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Laura Dean - Music in the Westward Expansion: Songs of Heart and Place on the American Frontier

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Over 400,000 people moved their families in search of a better life in the American West during the Westward Expansion. The pioneers made room for musical instruments with their guns, food, and tools, while taking only the minimal necessities that would fit into modest wagons. During what seemed like an interminable dusty journey, music was often the sole source of light and happiness for these exhausted travelers. This book examines the roles of music in the Westward Expansion and the diverse cultural landscape of the Old West, including northern Cheyenne courtship flute makers, fiddle-playing explorers, dancing fur trappers, hymn-singing missionaries, frontier flutists, girls with guitars, wagon-driving balladeers, poetic cowboys, singing farmers, musical miners, and preaching songsters.

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Music in the Westward Expansion

Music in the Westward Expansion
Songs of Heart and Place on the American Frontier
Laura Dean

Music in the Westward Expansion Songs of Heart and Place on the American Frontier - image 2

McFarland & Company, Inc., Publishers

Jefferson, North Carolina

Library of Congress Cataloguing-in-Publication Data

Names: Dean, Laura, 1969 author.

Title: Music in the westward expansion : songs of heart and place on the American frontier / Laura Dean.

Description: Jefferson, North Carolina : McFarland & Company, Inc., Publishers, 2022. | Includes bibliographical references and index.

Identifiers: LCCN 2022019727 | ISBN 9781476685229 (paperback : acid free paper) ISBN 9781476645209 (ebook)

Subjects: LCSH: MusicWest (U.S.)19th centuryHistory and criticism. | MusicSocial aspectsWest (U.S.)History19th century. | PioneersWest (U.S.)Social life and customs19th century. | Oregon National Historic TrailHistory19th century. | BISAC: MUSIC / History & Criticism | HISTORY / United States / 19th Century

Classification: LCC ML3551.4 .D43 2022 | DDC 780.978/09034dc23/eng/20220510

LC record available at https://lccn.loc.gov/2022019727

British Library cataloguing data are available

ISBN (print) 978-1-4766-8522-9

ISBN (ebook) 978-1-4766-4520-9

2022 Laura Dean. All rights reserved

No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying or recording, or by any information storage and retrieval system, without permission in writing from the publisher.

Front cover: Musicians from the Fort Shaw Indian School, circa 1905 (Montana Historical Society Research Center)

Printed in the United States of America

McFarland & Company, Inc., Publishers

Box 611, Jefferson, North Carolina 28640

www.mcfarlandpub.com

Dedicated to my parents, Gail and Richard Dean, who encouraged my musical journey

Table of Contents
Acknowledgments

Thank you, Gail Dean, my mom, for providing years of lessons and musical experiences and for encouraging a life in music. Thanks, brother Scott Dean, for your love and encouragement. Thank you, sister Rona Williams, for reaching out and for your understanding. Dear Ruby Brown, my daughter, thank you for your love, laughter, and your beautiful violin music. Id also like to acknowledge my dad and guardian angel, Richard Dean. I miss him every day.

Thank you, Joe Sweeney, my partner in life, for your unwavering support throughout this project. I could not have done this without your enduring patience as you edited the early drafts of the manuscript. Thank you for your love, your insight (and your red pen).

Thank you, Jill Timmons, my dear friend and mentor (Artsmentor, LLC), for seeing the potential in this project, for working with me in the early stages, and for giving me the courage, not to mention the (not so gentle) push to write the book. Thank you to my editor David Alff and to the staff at McFarland for your guidance and assistance with turning the manuscript into a book.

Thank you, Jay Old Mouse, the Northern Cheyenne flute master, for sharing the history of the Northern Cheyenne courtship flute, for your craftsmanship, your music, your infectious humor, and your heart. Rest in peace, my dear music friend. Thank you, Amy Old Mouse, for your hospitality and your friendship.

Thank you, Susan Gibson, for sharing your song-writing story. Thank you, Al Wiseman, for sharing your memories and knowledge of the Mtis fiddle tradition. Thank you, Eric Houghton, for sharing your story of Pioneer Songs . Thank you, Michael Haynes, for your beautiful artwork. Thank you, Jeremy Agnew, for your photo contributions. Thank you, Ken Robison at the Fort Benton Museum for the research gems. Thank you, Daniel Slosberg, for your input regarding the music of Pierre Cruzatte.

Thank you to the individuals who helped with research and photographs at the Smithsonian Institution, Frick Digital Collections, True West Magazine, Brother Van House Museum, National Historic Oregon Trail Interpretive Center, Butte-Silver Bow Public Archives, Butte-Silver Bow Public Library, Idaho State Archives, Library of Congress, Kansas State Historical Society, Montana Historical Society, Oregon Historical Society, History Nebraska, Brigham Young University, Washington State Historical Society, Fort Walla Walla Museum, Whitman College, Wichita State Special Collections, National Portrait Gallery, New York Public Library, New York Metropolitan Museum of Art, and Wyoming State Archives.

Finally, thank you to my dear friends Michelle Josserand and Karrie Crabtree for your longtime friendship and encouragement. Thank you to my earliest music teachers, Dorothy Allen, Lloyd Reynolds, Jeanette McCormick and also to Tom Mollgaard for an outstanding hands-on music and arts education. Thank you to the wonderful community of Choteau, Montana, my hometown, for providing a nurturing musical atmosphere. Thank you to the C.M. Russell Museum in Great Falls, Montana, for sponsoring a series of Heart and Place concert presentations in the Great Falls Public Schools and at the C.M. Russell Museum in 2017. Thank you to my Seattle community of friends, swimming buddies, neighbors, colleagues, and music students who have been following this project from the premier Heart and Place concert in 2017.

Preface

Mr. and Mrs. Maya newly married couple that came into our train at the junction of the roadsare both musicians: several of our young men have fine voices, and with Lydes guitar, and Mr. Mays violin we had an enjoyable musicale away out here in the wilderness. Sarah Raymond Herndon (1865)

On a sunny April morning in 1981, my dad drove me from our house down on Airport Road to the Choteau High School parking lot where I would catch the bus for a multi-school concert band festival which would be held in Conrad, a neighboring community. (Both Conrad and Choteau are rural communities located along the eastern side of the Montana Rocky Mountain Front, wide-open country where the plains dramatically meet the mountains.) Our middle school band had been preparing for months. I loved playing my French horn, and I couldnt wait to get to the festival. When my dad pulled into the parking lot of the school, my friends were waiting on the sidewalk alongside a collection of music stands and instruments. Excited to get on with the day of music, I leaned over, kissed my dad on the cheek, hopped down from the seat of his vintage turquoise Ford pickup and slammed the door shutthe only way to close the door of an old Ford. As my dad slowly pulled away, he casually waved goodbye out of his open window.

That was the last time I saw my dad. While I was in Conrad playing my French horn in the evening concert, he died in a head-on collision on the Augusta Highway, just a few miles outside of Choteau. In my minds eye, my dad is forever young32 years old, handsome, and oh, so wonderful, my hero. His sudden death was the worst event of my life and in the life of my familyprofoundly tragic. Our small community of Choteau was stunned and deeply saddened. My dad was the football coach, a beloved teacher, husband, and father. School was closed on the day of his memorial service. Students, community members, family, and friends gathered in the auditorium to celebrate his life and to collectively mourn.

How do you go on from such a staggering loss? We were down to three: my mom, my eight-year-old brother, and 12-year-old me. There is nothing to do but to go on with the business of life, one day at a time. My mother single-handedly raised me and my brother while working full time. Knowing how important music is to my heart and soul, she provided access to private piano and vocal lessons and music summer camps, and she arranged for us to attend every performing arts event that came through town. I found refuge in music: listening to music, attending musical events, singing, playing my French horn, playing the piano, and acting in school musicals. Music became my therapy and solace in the face of tragedy. I was working on the first movement of Beethovens Moonlight Sonata around the time of my dads accident, which, at the time, expressed the complex emotions I was feelinganger, sadness, and grief. Music provided comfort in my time of need, just as many of the emigrants in the 1800s found comfort in music in the throes of their physically and emotionally difficult journeys westward. Many of them suffered the loss of family and friends along the way.

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