1 Others were The Musical Courier and The Musical Leader, both of which covered general music news, and The Etude, which was directed specifically at music teachers.Google Scholar

2 Musical America has had two incarnations since then: from 1970 to 1987 it was published as an insert to High Fidelity, and in 1988 it again began publication as a separate magazine.Google Scholar

3 These are listed in the edition of March 9 1918.Google Scholar

4 Weil, M., Musical America, 9 August 1924, p. 1.Google Scholar

5 There was a National Conservatory of Music in New York City, but while it received charters from both the State of New York and the United States Congress, it operated solely on private funds and was not really a national conservatory in the sense that Freund and others envisaged. It was established in 1885 and operated until the late twenties.Google Scholar

6 When Augustus D. Juilliard died in 1919, he left a fortune of about twenty million dollars to be used to aid the development of music in America. There was considerable discussion in the press of how the money should be used until the trustees of the Juilliard Foundation announced the establishment of the Juilliard Conservatory in 1926.Google Scholar

7 In 1921, Musical America interviewed Mrs George Tuttle, president of the American Committee for the Fontainebleau School of Music, who said ‘we have no Jews enrolled. After all, I think it is best to send to France the element truly representative of America, not the radical part of this country’ (anonymous interview, 23 April 1921, p. 2). In the ensuing controversy, Mrs Tuttle clarified her earlier statement, saying that what she meant was that ‘East Side Jews’ were not welcome. Finally the committee made a formal statement that there were no racial or religious limitations in the selection process. In fact, Aaron Copland, who was Jewish, was the first student admitted for study at Fontainebleau.Google Scholar

8 Milton Weil, Musical America, 12 December 1925, p. 22.Google Scholar

9 A typical review referred to the majority of the work as ‘bombastic after the manner of Mr Babbitt addressing a meeting of Rotarians” (review by Philip Hale in the Boston Herald, reprinted in Musical America, 29 December 1928, p. 8).Google Scholar

10 See my article ‘“Jazz”, the Critics, and American Art Music in the 1920s', American Music, 4 (1986), 287–301 for a discussion of this subject.Google Scholar

11 Taylor's views are most clearly stated in his article ‘Music', Civilization in the United States: An Inquiry by Thirty Americans, edited by Harold E. Stearns (New York, 1922). This symposium is a virtual manifesto of the disillusioned intellectuals of the period.Google Scholar

12 The massive Works Projects Administration Music Periodicals Index, unpublished and now at Northwestern University in Evansville, Illinois includes Musical America from mid-1925 to the end of the twenties: see Dena J. Epstein, ‘The Mysterious WPA Music Periodicals Index', Notes, 45 (1989), 463–82. There is also an unpublished and highly selective index to periodicals, including Musical America, at the Library of Congress. Of the period under consideration here, it covers 1918–19, 1924, 1926–27 and 1929. See Anderson, Gillian, ‘Unpublished Periodical Indexes at the Library of Congress and Elsewhere in the U.S.A.', Fontes, 31 (1984), 54–64.Google Scholar