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“A Circuit Tour of the Globe”: “Hiawatha” and the Double-Stake of Imperial Pop

Published online by Cambridge University Press:  18 February 2019

FREDERICK J. SCHENKER
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Abstract

Between 1903 and 1904, the two-step “Hiawatha” spread rapidly throughout much of the colonial world. The travels of “Hiawatha” reveal both what Stuart Hall calls the “double-stake” of popular culture as well as what Amy Kaplan describes as the “anarchic” nature of empire: through its circulation and repeated hearings, “Hiawatha” became both a kind of colonizing force and also a medium that disturbed ideas about racial hierarchies and nationhood that served to justify colonial rule. By charting the global movement of “Hiawatha,” I show how the song became both a colonial force and also a medium for expressions that challenged imperial logic. The tune exhibited imperial tendencies: it saturated soundscapes and, as part of an emerging form of new musical commodities, coaxed listeners into recognizing their shifting status from auditors to consumers. Through its Native American subject matter, the song also helped to perpetuate ideas of evolutionary racial science that served to justify the violence of imperialism. The very qualities that made “Hiawatha” a colonizing song, though, especially its repetitious ubiquity, also increased the complexity of its meaning as it circuited the globe, leading some listeners to hear an accumulation of meanings that seemed to exceed the forms of US imperial pop.

Type
Research Article
Information
Journal of the Society for American Music , Volume 13 , Issue 1 , February 2019 , pp. 1 - 26
Copyright
Copyright © The Society for American Music 2019 

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References

References

Moret, Neil [Charles Daniels]. “Hiawatha: A Summer Idyll.” Detroit: Whitney Warner Publishing, 1902.Google Scholar
Moret, Neil [Charles Daniels], and James O'Dea. “Hiawatha: His Song to Minnehaha.” Detroit: Whitney Warner Publishing, 1903.Google Scholar
Adorno, Theodor. “On Popular Music” (1941). In Essays on Music, edited by Leppert, Richard, translated by Gillespie, Sarah, 437–69. Berkeley: University of California, 2002.Google Scholar
Agawu, Kofi. “Tonality as Colonizing Force in Africa.” In Audible Empire: Music, Global Politics, Critique, edited by Radano, Ronald and Olaniyan, Teju, 334–56. Durham, NC: Duke University Press, 2016.Google Scholar
Austin, William. “Susanna,” “Jeanie,” and “The Old Folks at Home”: The Songs of Stephen C. Foster from His Time to Ours. New York: Macmillan Publishing, 1975.Google Scholar
Bellman, Jonathan. “The Hungarian Gypsies and the Poetics of Exclusion.” In The Exotic in Western Music, edited by Bellman, Jonathan, 74–103. Boston: Northeastern University Press, 1998.Google Scholar
Bierley, Paul E. The Incredible Band of John Philip Sousa. Urbana: University of Illinois Press, 2006.Google Scholar
Bissell, William. “Engaging Colonial Nostalgia.” Cultural Anthropology 20, no. 2 (2005): 215–48.Google Scholar
Boehmer, Elleke. Empire, the National, and the Postcolonial, 1890–1920. New York: Oxford University Press, 2002.Google Scholar
Browner, Tara. “‘Breathing the Indian Spirit’: Thoughts on Musical Borrowing and the ‘Indianist’ Movement in American Music.” American Music 15, no. 3 (1997): 265–84.Google Scholar
Chatterjee, Partha. The Black Hole of Empire: History of a Global Practice of Power. Princeton, NJ: Princeton University Press, 2012.Google Scholar
Cole, Catherine. “Reading Blackface in West Africa: Wonders Taken for Signs.” Critical Inquiry 23, no. 1 (1996): 183–215.Google Scholar
Dauncey, Mrs. Campbell. An Englishwoman in the Philippines. London: John Murray, 1906.Google Scholar
Delmendo, Sharon. The Star-Entangled Banner: One Hundred Years of America in the Philippines. New Brunswick, NJ: Rutgers University Press, 2004.Google Scholar
Deloria, Philip J. Indians in Unexpected Places. Lawrence: University Press of Kansas, 2004.Google Scholar
Deloria, Philip J. Playing Indian. New Haven, CT: Yale University Press, 1998.Google Scholar
Denning, Michael. Noise Uprising: The Audiopolitics of a World Musical Revolution. New York: Verso, 2015.Google Scholar
Densmore, Frances. “The Music of the Filipinos.” American Anthropologist 8, no. 4 (1906): 611–32.Google Scholar
Devins, John Bancroft. An Observer in the Philippines: or Life in Our New Possessions. New York: American Tract Society, 1905.Google Scholar
Du Bois, W. E. B. “Color Line Belts the World.” Collier's Weekly, Oct 20, 1906. Reprinted in W. E. B. Du Bois: A Reader, edited by David Levering Lewis, 42–43. New York: Holt, 1995.Google Scholar
Du Bois, W. E. B. The Souls of Black Folk. 1903; New York: Fawcett Publications, 1961.Google Scholar
Ellis, Henry T. Hong Kong to Manilla and the Lakes of Luzon, in the Philippines Isles, in the Year 1856. London: Smith, Elder, 1859.Google Scholar
Erlmann, Veit. African Stars: Studies in Black South African Performance. Chicago: University of Chicago Press, 1991.Google Scholar
Fee, Mary H. A Woman's Impressions of the Philippines. Chicago: A. C. McClurg, 1910.Google Scholar
Flint, Kate. The Transatlantic Indian, 1776–1930. Princeton, NJ: Princeton University Press, 2009.Google Scholar
Freer, William B. The Philippine Experiences of an American Teacher: A Narrative of Work and Travel in The Philippine Islands. New York: Charles Scribner's Sons, 1906.Google Scholar
Gaonkar, Dilip and Povinelli, Elizabeth. “Technologies of Public Forms: Circulation, Transfiguration, Recognition.” Public Culture 15, no. 3 (2003): 385–97.Google Scholar
Gardner, Edward Foote. Popular Songs of the Twentieth Century: Vol. 1—Chart Detail and Encyclopedia, 1900–1949. St. Paul, MN: 2000.Google Scholar
Hall, Stuart. “Notes on Deconstructing the ‘Popular.’” In People's History and Socialist Theory, edited by Samuel, Raphael, 227–40. Boston: Routledge, 1981.Google Scholar
Harris, Charles K. How to Write a Popular Song. New York: Charles K. Harris, 1906.Google Scholar
Harvey, David. The New Imperialism. New York: Oxford University Press, 2003.Google Scholar
Hebdige, Dick. Subculture: The Meaning of Style. London: Routledge, 1991.Google Scholar
Hila, Antonio C. Music in History: History in Music. Manila: University of Santo Tomas Publishing, 2004.Google Scholar
Howe, E. W. Daily Notes of a Trip Around the World. New York: Minton, Balch, 1927.Google Scholar
Jacobson, Matthew Frye. Barbarian Virtues: The United States Encounters Foreign Peoples at Home and Abroad, 1876–1917. New York: Hill and Wang, 2001.Google Scholar
Jasen, David A. Tin Pan Alley: An Encyclopedia of the Golden Age of American Song. New York: Routledge, 2003.Google Scholar
Kaplan, Amy. The Anarchy of Empire in the Making of U.S. Culture. Cambridge, MA: Harvard University Press, 2002.Google Scholar
Kramer, Paul A. The Blood of Government: Race, Empire, the United States, and the Philippines. Chapel Hill: University of North Carolina Press, 2006.Google Scholar
Kramer, Paul A. “Power and Connection: Imperial Histories of the United States in the World,” American Historical Review (2011): 1348–91.Google Scholar
Kramer, Paul A. “Transits of Race: Empire and Difference in Philippine-American Colonial History.” In Racism in the Modern World: Historical Perspectives on Cultural Transfer and Adaptation, edited by Berg, Manfred and Wendt, Simon, 163–91. New York: Berghahn Books, 2011.Google Scholar
Lapeña-Bonifacio, Amelia. The “Seditious” Tagalog Playwrights: Early American Occupation. Manila: Zarzuela Foundation of the Philippines, Inc., 1972.Google Scholar
Lee, Benjamin, and LiPuma, Edward. “Cultures of Circulation: The Imaginations of Modernity.” Public Culture 14, no. 1 (2002): 191–213.Google Scholar
Lumbera, Bienvenido. “Splintering Identity: Modes of Filipino Resistance Under Colonial Repression.” In Philippine Studies: Have We Gone Beyond St. Louis?, edited by Patajo-Legasto, Priscelina, 88–112. Quezon City: University of the Philippines Press, 2008.Google Scholar
Mayo, Katherine. The Isles of Fear: The Truth About the Philippines. New York: Harcourt, Brace, 1924.Google Scholar
McNally, Michael D. “The Indian Passion Play: Contesting the Real Indian in “Song of Hiawatha” Pageants, 1901–1965.” American Quarterly 58, no. 1 (March 2006): 105–36.Google Scholar
Meintjes, Louise. “Paul Simon's Graceland, South Africa, and the Mediation of Musical Meaning.” Ethnomusicology 34, no. 1 (1990): 37–73.Google Scholar
Mojares, Resil B. “The Formation of Filipino Nationality under U.S. Colonial Rule.” Philippine Quarterly of Culture and Society 34, no. 1 (2006): 11–32.Google Scholar
Moon, Krystyn R. “The Quest for Music's Origin at the St. Louis World's Fair.” American Music 28, no. 2 (Summer 2010): 191–210.Google Scholar
Novak, David. Japanoise: Music at the Edge of Circulation. Durham, NC: Duke University Press, 2013.Google Scholar
Pisani, Michael. “From Hiawatha to Wa-Wan: Musical Boston and the Uses of Native American Lore.” American Music 19, no. 1 (2001): 39–50.Google Scholar
Pisani, Michael. Imagining Native America in Music. New Haven, CT: Yale University Press, 2005.Google Scholar
Putnam, Lara. Radical Moves: Caribbean Migrants and the Politics of Race in the Jazz Age. Chapel Hill: University of North Carolina Press, 2013.Google Scholar
Radano, Ronald. Lying up a Nation: Race and Black Music. Chicago: University of Chicago Press, 2003.Google Scholar
Rizal, José. El Filibusterismo. Translated by Leon Ma. Guerrero. 1891; Manila: Longman Group, 2009.Google Scholar
Rosaldo, Renato. “Imperialist Nostalgia.” Representations 26 (Spring 1989): 107–22.Google Scholar
Rydell, Robert, and Kroes, Rob. Buffalo Bill in Bologna: The Americanization of the World, 1869–1922. Chicago: University of Chicago Press, 2005.Google Scholar
Rydell, Robert. “Soundtracks of Empire: ‘The White Man's Burden,’ the War in the Philippines, the ‘Ideals of America,’ and Tin Pan Alley.” European Journal of American studies 7, no. 2 (2012), doi:10.4000/ejas.9712.Google Scholar
Sakakeeny, Matt. “New Orleans Music as a Circulatory System.” Black Music Research Journal 31, no. 2 (2011): 291–325.Google Scholar
Santiago, Francisco. The Development of Music in the Philippine Islands. 1931; Quezon City: University of the Philippines, 1957.Google Scholar
Schafer, William J., and Riedel, Johannes. “Indian Intermezzi (‘Play It One More Time, Chief!’).” Journal of American Folklore (Oct–Dec 1973): 382–87.Google Scholar
Schenker, Frederick J. “Empire of Syncopation: Music, Race, and Labor in Colonial Asia's Jazz Age.” PhD diss., University of Wisconsin, 2016.Google Scholar
Sohn, Stephen Hong. “Los Indios Bravos: The Filipino/American Lyric and the Cosmopoetics of Comparative Indigeneity.” American Quarterly 62, no. 3 (2010): 547–68.Google Scholar
Steingo, Gavin. Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa. Chicago: University of Chicago Press, 2016.Google Scholar
Stoler, Ann, and Cooper, Frederick, editors. Tensions of Empire: Colonial Cultures in a Bourgeois World. Berkeley: University of California Press, 1997.Google Scholar
Stoler, Ann Laura. Carnal Knowledge and Imperial Power: Race and the Intimate in Colonial Rule. Berkeley: University of California Press, 2002.Google Scholar
Stoler, Ann Laura. “Tense and Tender Ties: The Politics of Comparison in North American History and (Post) Colonial Studies.” The Journal of American History 88, no. 3 (2001): 829–65.Google Scholar
Suisman, David. Selling Sounds: The Commercial Revolution in American Music. Cambridge, MA: Harvard University Press, 2009.Google Scholar
Szendy, Peter. Hits: Philosophy in the Jukebox. Translated by Bishop., Will New York: Fordham University Press, 2012.Google Scholar
Taketani, Etsuko. The Black Pacific Narrative: Geographic Imaginings of Race and Empire between the World Wars. Hanover, NH: Dartmouth University Press, 2014.Google Scholar
Taylor, Timothy. The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. Chicago: University of Chicago Press, 2012.Google Scholar
Trachtenberg, Alan. Shades of Hiawatha: Staging Indians, Making Americans, 1880–1930. New York: Hill and Wang, 2004.Google Scholar
Troutman, John W. Indian Blues: American Indians and the Politics of Music, 1879–1934. Norman: University of Oklahoma Press, 2009.Google Scholar
Tylor, Edward Burnett. “Primitive Culture, 1871.” In Social Thought: From the Enlightenment to the Present, edited by Sica, Alan, 258–61. New York: Pearson, 2008.Google Scholar
Walsh, Thomas P. Tin Pan Alley and the Philippines: American Songs of War and Love, 1898–1946, a Resource Guide. Lanham, MD: Scarecrow Press, 2013.Google Scholar
Worcester, Dean C. The Philippine Islands and their People. New York: The Macmillan Company, 1899.Google Scholar
Zon, Bennett. Representing Non-Western Music in Nineteenth-Century Britain. Rochester, NY: University of Rochester Press, 2007.Google Scholar
Moret, Neil [Charles Daniels]. “Hiawatha: A Summer Idyll.” Detroit: Whitney Warner Publishing, 1902.Google Scholar
Moret, Neil [Charles Daniels], and James O'Dea. “Hiawatha: His Song to Minnehaha.” Detroit: Whitney Warner Publishing, 1903.Google Scholar
Adorno, Theodor. “On Popular Music” (1941). In Essays on Music, edited by Leppert, Richard, translated by Gillespie, Sarah, 437–69. Berkeley: University of California, 2002.Google Scholar
Agawu, Kofi. “Tonality as Colonizing Force in Africa.” In Audible Empire: Music, Global Politics, Critique, edited by Radano, Ronald and Olaniyan, Teju, 334–56. Durham, NC: Duke University Press, 2016.Google Scholar
Austin, William. “Susanna,” “Jeanie,” and “The Old Folks at Home”: The Songs of Stephen C. Foster from His Time to Ours. New York: Macmillan Publishing, 1975.Google Scholar
Bellman, Jonathan. “The Hungarian Gypsies and the Poetics of Exclusion.” In The Exotic in Western Music, edited by Bellman, Jonathan, 74–103. Boston: Northeastern University Press, 1998.Google Scholar
Bierley, Paul E. The Incredible Band of John Philip Sousa. Urbana: University of Illinois Press, 2006.Google Scholar
Bissell, William. “Engaging Colonial Nostalgia.” Cultural Anthropology 20, no. 2 (2005): 215–48.Google Scholar
Boehmer, Elleke. Empire, the National, and the Postcolonial, 1890–1920. New York: Oxford University Press, 2002.Google Scholar
Browner, Tara. “‘Breathing the Indian Spirit’: Thoughts on Musical Borrowing and the ‘Indianist’ Movement in American Music.” American Music 15, no. 3 (1997): 265–84.Google Scholar
Chatterjee, Partha. The Black Hole of Empire: History of a Global Practice of Power. Princeton, NJ: Princeton University Press, 2012.Google Scholar
Cole, Catherine. “Reading Blackface in West Africa: Wonders Taken for Signs.” Critical Inquiry 23, no. 1 (1996): 183–215.Google Scholar
Dauncey, Mrs. Campbell. An Englishwoman in the Philippines. London: John Murray, 1906.Google Scholar
Delmendo, Sharon. The Star-Entangled Banner: One Hundred Years of America in the Philippines. New Brunswick, NJ: Rutgers University Press, 2004.Google Scholar
Deloria, Philip J. Indians in Unexpected Places. Lawrence: University Press of Kansas, 2004.Google Scholar
Deloria, Philip J. Playing Indian. New Haven, CT: Yale University Press, 1998.Google Scholar
Denning, Michael. Noise Uprising: The Audiopolitics of a World Musical Revolution. New York: Verso, 2015.Google Scholar
Densmore, Frances. “The Music of the Filipinos.” American Anthropologist 8, no. 4 (1906): 611–32.Google Scholar
Devins, John Bancroft. An Observer in the Philippines: or Life in Our New Possessions. New York: American Tract Society, 1905.Google Scholar
Du Bois, W. E. B. “Color Line Belts the World.” Collier's Weekly, Oct 20, 1906. Reprinted in W. E. B. Du Bois: A Reader, edited by David Levering Lewis, 42–43. New York: Holt, 1995.Google Scholar
Du Bois, W. E. B. The Souls of Black Folk. 1903; New York: Fawcett Publications, 1961.Google Scholar
Ellis, Henry T. Hong Kong to Manilla and the Lakes of Luzon, in the Philippines Isles, in the Year 1856. London: Smith, Elder, 1859.Google Scholar
Erlmann, Veit. African Stars: Studies in Black South African Performance. Chicago: University of Chicago Press, 1991.Google Scholar
Fee, Mary H. A Woman's Impressions of the Philippines. Chicago: A. C. McClurg, 1910.Google Scholar
Flint, Kate. The Transatlantic Indian, 1776–1930. Princeton, NJ: Princeton University Press, 2009.Google Scholar
Freer, William B. The Philippine Experiences of an American Teacher: A Narrative of Work and Travel in The Philippine Islands. New York: Charles Scribner's Sons, 1906.Google Scholar
Gaonkar, Dilip and Povinelli, Elizabeth. “Technologies of Public Forms: Circulation, Transfiguration, Recognition.” Public Culture 15, no. 3 (2003): 385–97.Google Scholar
Gardner, Edward Foote. Popular Songs of the Twentieth Century: Vol. 1—Chart Detail and Encyclopedia, 1900–1949. St. Paul, MN: 2000.Google Scholar
Hall, Stuart. “Notes on Deconstructing the ‘Popular.’” In People's History and Socialist Theory, edited by Samuel, Raphael, 227–40. Boston: Routledge, 1981.Google Scholar
Harris, Charles K. How to Write a Popular Song. New York: Charles K. Harris, 1906.Google Scholar
Harvey, David. The New Imperialism. New York: Oxford University Press, 2003.Google Scholar
Hebdige, Dick. Subculture: The Meaning of Style. London: Routledge, 1991.Google Scholar
Hila, Antonio C. Music in History: History in Music. Manila: University of Santo Tomas Publishing, 2004.Google Scholar
Howe, E. W. Daily Notes of a Trip Around the World. New York: Minton, Balch, 1927.Google Scholar
Jacobson, Matthew Frye. Barbarian Virtues: The United States Encounters Foreign Peoples at Home and Abroad, 1876–1917. New York: Hill and Wang, 2001.Google Scholar
Jasen, David A. Tin Pan Alley: An Encyclopedia of the Golden Age of American Song. New York: Routledge, 2003.Google Scholar
Kaplan, Amy. The Anarchy of Empire in the Making of U.S. Culture. Cambridge, MA: Harvard University Press, 2002.Google Scholar
Kramer, Paul A. The Blood of Government: Race, Empire, the United States, and the Philippines. Chapel Hill: University of North Carolina Press, 2006.Google Scholar
Kramer, Paul A. “Power and Connection: Imperial Histories of the United States in the World,” American Historical Review (2011): 1348–91.Google Scholar
Kramer, Paul A. “Transits of Race: Empire and Difference in Philippine-American Colonial History.” In Racism in the Modern World: Historical Perspectives on Cultural Transfer and Adaptation, edited by Berg, Manfred and Wendt, Simon, 163–91. New York: Berghahn Books, 2011.Google Scholar
Lapeña-Bonifacio, Amelia. The “Seditious” Tagalog Playwrights: Early American Occupation. Manila: Zarzuela Foundation of the Philippines, Inc., 1972.Google Scholar
Lee, Benjamin, and LiPuma, Edward. “Cultures of Circulation: The Imaginations of Modernity.” Public Culture 14, no. 1 (2002): 191–213.Google Scholar
Lumbera, Bienvenido. “Splintering Identity: Modes of Filipino Resistance Under Colonial Repression.” In Philippine Studies: Have We Gone Beyond St. Louis?, edited by Patajo-Legasto, Priscelina, 88–112. Quezon City: University of the Philippines Press, 2008.Google Scholar
Mayo, Katherine. The Isles of Fear: The Truth About the Philippines. New York: Harcourt, Brace, 1924.Google Scholar
McNally, Michael D. “The Indian Passion Play: Contesting the Real Indian in “Song of Hiawatha” Pageants, 1901–1965.” American Quarterly 58, no. 1 (March 2006): 105–36.Google Scholar
Meintjes, Louise. “Paul Simon's Graceland, South Africa, and the Mediation of Musical Meaning.” Ethnomusicology 34, no. 1 (1990): 37–73.Google Scholar
Mojares, Resil B. “The Formation of Filipino Nationality under U.S. Colonial Rule.” Philippine Quarterly of Culture and Society 34, no. 1 (2006): 11–32.Google Scholar
Moon, Krystyn R. “The Quest for Music's Origin at the St. Louis World's Fair.” American Music 28, no. 2 (Summer 2010): 191–210.Google Scholar
Novak, David. Japanoise: Music at the Edge of Circulation. Durham, NC: Duke University Press, 2013.Google Scholar
Pisani, Michael. “From Hiawatha to Wa-Wan: Musical Boston and the Uses of Native American Lore.” American Music 19, no. 1 (2001): 39–50.Google Scholar
Pisani, Michael. Imagining Native America in Music. New Haven, CT: Yale University Press, 2005.Google Scholar
Putnam, Lara. Radical Moves: Caribbean Migrants and the Politics of Race in the Jazz Age. Chapel Hill: University of North Carolina Press, 2013.Google Scholar
Radano, Ronald. Lying up a Nation: Race and Black Music. Chicago: University of Chicago Press, 2003.Google Scholar
Rizal, José. El Filibusterismo. Translated by Leon Ma. Guerrero. 1891; Manila: Longman Group, 2009.Google Scholar
Rosaldo, Renato. “Imperialist Nostalgia.” Representations 26 (Spring 1989): 107–22.Google Scholar
Rydell, Robert, and Kroes, Rob. Buffalo Bill in Bologna: The Americanization of the World, 1869–1922. Chicago: University of Chicago Press, 2005.Google Scholar
Rydell, Robert. “Soundtracks of Empire: ‘The White Man's Burden,’ the War in the Philippines, the ‘Ideals of America,’ and Tin Pan Alley.” European Journal of American studies 7, no. 2 (2012), doi:10.4000/ejas.9712.Google Scholar
Sakakeeny, Matt. “New Orleans Music as a Circulatory System.” Black Music Research Journal 31, no. 2 (2011): 291–325.Google Scholar
Santiago, Francisco. The Development of Music in the Philippine Islands. 1931; Quezon City: University of the Philippines, 1957.Google Scholar
Schafer, William J., and Riedel, Johannes. “Indian Intermezzi (‘Play It One More Time, Chief!’).” Journal of American Folklore (Oct–Dec 1973): 382–87.Google Scholar
Schenker, Frederick J. “Empire of Syncopation: Music, Race, and Labor in Colonial Asia's Jazz Age.” PhD diss., University of Wisconsin, 2016.Google Scholar
Sohn, Stephen Hong. “Los Indios Bravos: The Filipino/American Lyric and the Cosmopoetics of Comparative Indigeneity.” American Quarterly 62, no. 3 (2010): 547–68.Google Scholar
Steingo, Gavin. Kwaito's Promise: Music and the Aesthetics of Freedom in South Africa. Chicago: University of Chicago Press, 2016.Google Scholar
Stoler, Ann, and Cooper, Frederick, editors. Tensions of Empire: Colonial Cultures in a Bourgeois World. Berkeley: University of California Press, 1997.Google Scholar
Stoler, Ann Laura. Carnal Knowledge and Imperial Power: Race and the Intimate in Colonial Rule. Berkeley: University of California Press, 2002.Google Scholar
Stoler, Ann Laura. “Tense and Tender Ties: The Politics of Comparison in North American History and (Post) Colonial Studies.” The Journal of American History 88, no. 3 (2001): 829–65.Google Scholar
Suisman, David. Selling Sounds: The Commercial Revolution in American Music. Cambridge, MA: Harvard University Press, 2009.Google Scholar
Szendy, Peter. Hits: Philosophy in the Jukebox. Translated by Bishop., Will New York: Fordham University Press, 2012.Google Scholar
Taketani, Etsuko. The Black Pacific Narrative: Geographic Imaginings of Race and Empire between the World Wars. Hanover, NH: Dartmouth University Press, 2014.Google Scholar
Taylor, Timothy. The Sounds of Capitalism: Advertising, Music, and the Conquest of Culture. Chicago: University of Chicago Press, 2012.Google Scholar
Trachtenberg, Alan. Shades of Hiawatha: Staging Indians, Making Americans, 1880–1930. New York: Hill and Wang, 2004.Google Scholar
Troutman, John W. Indian Blues: American Indians and the Politics of Music, 1879–1934. Norman: University of Oklahoma Press, 2009.Google Scholar
Tylor, Edward Burnett. “Primitive Culture, 1871.” In Social Thought: From the Enlightenment to the Present, edited by Sica, Alan, 258–61. New York: Pearson, 2008.Google Scholar
Walsh, Thomas P. Tin Pan Alley and the Philippines: American Songs of War and Love, 1898–1946, a Resource Guide. Lanham, MD: Scarecrow Press, 2013.Google Scholar
Worcester, Dean C. The Philippine Islands and their People. New York: The Macmillan Company, 1899.Google Scholar
Zon, Bennett. Representing Non-Western Music in Nineteenth-Century Britain. Rochester, NY: University of Rochester Press, 2007.Google Scholar