Censorship of the American Theatre in the Twentieth Century. By John Houchin. Cambridge: Cambridge University Press, 2003; pp. ix + 332. $75 cloth.

Censorship is an intriguing lens through which to view theatre in the United States because it allows us to glimpse—at moments—how theatre participates in the life of a society in truly meaningful ways. These moments appeal to John Houchin, as I suspect they do to many of us who yearn to find significance in live performance and who toil in the backwater of vapid and violent film and television. Censorship, whether it be of Sapho or Angels in America, enrages and harms, but it also crystallizes the debate between those who believe the arts should support the normative culture and those who believe the theatre's obligation is to challenge authority.

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Leonard S. Reich. The Making of American Industrial Research: Science and Business at Ge and Bell, 1876–1926. (Studies in Economic History and Policy, The United States in the Twentieth Century.) New York: Cambridge University Press. 1985. Pp. xvi, 309. $24.95

The American Historical Review ◽

10.1086/ahr/91.4.1000 ◽

1986 ◽

Keyword(s):

United States ◽

New York ◽

Twentieth Century ◽

Economic History ◽

The United States ◽

Industrial Research ◽

Cambridge University

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Stanley L. Engerman and Robert E. Gallman, eds. The Cambridge Economic History of the United States, Volume 3: The Twentieth Century. New York: Cambridge University Press, 2000. vii + 1190 pp. ISBN 0-521-55308-3, $99.95.

Enterprise & Society ◽

10.1017/s1467222700005620 ◽

2002 ◽

Vol 3 (1) ◽

pp. 162-165

Author(s):

Howell John Harris

Keyword(s):

United States ◽

New York ◽

Twentieth Century ◽

Economic History ◽

The United States ◽

Cambridge University ◽

History Of

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The Art Museum: Power, Money, Ethics. By Karl E. Meyer. (New York: William Morrow and Co., 1979. Pp. 352. $15.00.) - The Subsidized Muse: Public Support for the Arts in the United States. By Dick Netzer. (New York: Cambridge University Press, 1978. Pp. ix + 289. $14.95.)

American Political Science Review ◽

10.2307/1960682 ◽

1980 ◽

Vol 74 (2) ◽

pp. 509-510

Author(s):

Douglas M. Fox

Keyword(s):

United States ◽

New York ◽

Public Support ◽

The United States ◽

Art Museum ◽

Cambridge University ◽

The Arts

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The Cambridge Economic History of the United States, Volume III: The Twentieth Century, edited by Stanley L. Engerman and Robert E. GallmanThe Cambridge Economic History of the United States, Volume III: The Twentieth Century, edited by Stanley L. Engerman and Robert E. Gallman. New York, Cambridge University Press, 2000. x, 1,190 pp. $99.95 U.S. (cloth).

Canadian Journal of History ◽

10.3138/cjh.36.3.600 ◽

2001 ◽

Vol 36 (3) ◽

pp. 600-602 ◽

Cited By ~ 1

Author(s):

Robert Cuff

Keyword(s):

United States ◽

New York ◽

Twentieth Century ◽

Economic History ◽

The United States ◽

Cambridge University ◽

History Of

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W. Bernard Carlson. Innovation as a Social Process: Elihu Thomson and the Rise of General Electric, 1870–1900. (Studies in Economic History and Policy, The United States in the Twentieth Century.) New York: Cambridge University Press. 1991. Pp. xxii, 377. $44.50

The American Historical Review ◽

10.1086/ahr/98.1.258 ◽

1993 ◽

Keyword(s):

United States ◽

New York ◽

Twentieth Century ◽

Economic History ◽

Social Process ◽

The United States ◽

General Electric ◽

Cambridge University

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Michael A. Bernstein. The Great Depression: Delayed Recovery and Economic Change in America, 1929–1939. (Studies in Economic History and Policy; The United States in the Twentieth Century.) New York: Cambridge University Press. 1987. Pp. xvii, 269. $29.95

The American Historical Review ◽

10.1086/ahr/94.4.1195 ◽

1989 ◽

Keyword(s):

United States ◽

New York ◽

Twentieth Century ◽

Great Depression ◽

Economic History ◽

Economic Change ◽

The United States ◽

Cambridge University ◽

The Great Depression ◽

Delayed Recovery

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Peter D. Mcclelland and Alan L. Magdovitz. Crisis in the Making: The Political Economy of New York State Since 1945. (Studies in Economic History and Policy; The United States in the Twentieth Century.) New York: Cambridge University Press. 1981. Pp. xvi, 522. $24.95

The American Historical Review ◽

10.1086/ahr/87.1.290-a ◽

1982 ◽

Keyword(s):

United States ◽

New York ◽

Twentieth Century ◽

Political Economy ◽

Economic History ◽

New York State ◽

The United States ◽

The Political ◽

Cambridge University ◽

York State

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Sonorism

Artful Noise ◽

10.5622/illinois/9780252043130.003.0010 ◽

2020 ◽

pp. 136-145

Author(s):

Thomas Siwe

Keyword(s):

United States ◽

Twentieth Century ◽

The United States ◽

Relaxed Controls ◽

Avant Garde ◽

George Crumb ◽

The Arts ◽

American Composer ◽

Tone Color ◽

Media Work

In this chapter, the use by twentieth-century composers of tone color, or timbre is explained with examples by those who made its use central to their compositional output. Poland, freed from the bonds of communism and the Soviet state, relaxed controls over the arts and in 1956 initiated the Warsaw Autumn festival where avant-garde Polish and Western music could be heard. Kazimierz Serocki cofounded the festival, contributing to the percussion canon his timbre-based sextet, Continuum. In the United States, the American composer George Crumb definitely had an ear for timbre coupled with a love for percussion evident in the works discussed. A young Polish/American composer, Marta Ptaszynska, created a number of works for both solo and ensemble percussion in the latter half of the century. Her work Siderals was conceived as an audio-visual, or mixed-media work utilizing ten percussionists, magnetic tape playback, and lighting. The three composers highlighted in this chapter approached the use of timbre in differing ways.

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