Judith E. Carman holds the B.M. and M.M. degrees (Peabody College) in vocal performance with minors in piano and languages, the D.M.A. in vocal performance and pedagogy (University of Iowa), and has taught singing and related subjects at the university level and in the private studio for 40 years. She writes the Music Review column for the Journal of Singing and has given numerous presentations of American art song.
William K. Gaeddert, Professor Emeritus, Baker University, is retired after 45 years of teaching singing at the high school and university levels and in his private studio. He holds the M.F.A in vocal performance and the Ph.D. in Music Literature (University of Iowa), with research interests in the songs of Robert Franz as well as the art song of the United States, and is a member of the National Association of Teachers of Singing.
Rita M. Resch, Professor Emerita of Music, University of Central Missouri, has taught singing, piano accompanying, and related subjects for more than 30 years. She holds the D.M.A. in piano accompanying and chamber music and the M.F.A. in vocal performance (University of Iowa), an M.A. in English and American Literature (University of North Dakota), and an M.M. in Music Literature (Eastman School of Music, University of Rochester).
In this select bibliography (more than 2,500 entries) of solo vocal pieces with piano for practice and recital use, a set or song cycle—The Aids Quilt Songbook, for example—is listed under its title followed by its composers. Other entries are listed by composer (and under composer, by song title). Information on voice type, mood, piano style, and difficulty of the piece is provided. Beyond a classification of voice, such as soprano or tenor, rhythm and phrasing challenges are noted. Mood descriptions like “humorously philosophical” or “ecstatic love song” give a helpful interpretation of the song. Piano style can be “block chords throughout” or “very chromatic,” for example. Difficulty can be cited as “many tempo changes” or “highly complex and dissonant.” Recommendations for use are also included, such as “interesting and attractive cycle for an advanced graduate soprano” or “vigorous song for baritone with flair for the style.” The discography references recordings (anthologies and single composer), where available. Back matter offers an appendix that includes compositions with foreign language texts, a chronological list of composers and a list of references, and indexes of titles, composers, and poets (William Shakespeare, Sara Teasdale, William Blake). VERDICT This specialized resource covers a lengthy time span and is aimed at teachers, students, performers, and researchers. A reliable source for a quick, informative profile of art song, of particular interest to music and academic libraries.
— Library Journal
The first edition of this comprehensive bibliography was published in 1978, and subsequent supplements and editions have each increased the coverage. This edition contains 2,850 entries, 470 of which are new. Entries are arranged by composer and by song title under the specific composer, and among the many details provided are the publisher, date of composition, key, vocal range, mood, length, voice type, and recording. There are indexes by composer, poet, special characteristics/subjects, and title. A discography supplements the bibliography with lists of anthology recordings and single-composer recordings. Recommended for academic library collections that support vocal- and performance-studies programs.
— Booklist
For anyone curious about the rich American song repertoire, this volume is invaluable. It gives teachers, singers, and pianists a great deal of information about the music, the poetry, the suitability for a particular voice—in short everything necessary to lead performers to find just what they're looking for. I wouldn't be without it.
— Paul Sperry, classical singer
Review from the 3rd edition:
Art Song in the United States, 1759-1999 is by far the best tool available on the topic. More than twenty-five years after this country's bicentennial, information on American art song is still not readily available and promotion of the repertory is relatively rare. I recommend this book highly to voice teachers, academic libraries of institutions which support voice programs, and all proponents and enthusiasts of American music.
— Notes: Quarterly Journal of the Music Library Association
The fourth edition (3rd ed., 1759-1999, CH, Jun'02, 39-5522) of this annotated bibliography of American art songs for solo voice with piano stays true to the strengths of preceding editions. Written by Carman (independent scholar), Gaeddert (emer., Baker Univ.), and Resch (emer., Univ. of Central Missouri), it features 470 new entries for a total near 2,900. The arrangement of the material is essentially the same, but select updates merit mentioning. Alternate keys found in song anthologies are included in the entries, and the octave designation was changed to the Acoustical Society of America system. Several newer and rising composers are included here, whereas earlier editions focused more on mid-20th-century compositions. The late Gordon Meyers's special section on early American art song is still present, but no new sections are introduced. Compiled discography sources have expanded to include enduring Internet services such as AllMusic (CH, Sup'06, 43Sup-0163) and Amazon.com. Although Keith Clifton's Recent American Art Song: A Guide (CH, Mar'09, 46-3584) has a similar purpose (though far fewer songs are described, with more commentary), Art Song in the United States remains the more beneficial reference work for voice teachers, singers, and accompanists. Summing Up: Highly recommended. Upper-division undergraduates and above
— Choice Reviews