Inspired by the San Francisco Symphony's highly successful American music festival last June, this book and its accompanying CD provide an entertaining survey of some of America's best-known composers--all of them controversial in their day.

From colonial times to the present, American composers have lived on the fringes of society and defined themselves in large part as outsiders. In this stimulating book Michael Broyles considers the tradition of maverick composers and explores what these mavericks reveal about American attitudes toward the arts and about American society itself. Broyles starts by examining the careers of three notably unconventional composers: William Billings in the eighteenth century, Anthony Philip Heinrich in the nineteenth, and Charles Ives in the twentieth. All three had unusual lives, wrote music that many considered incomprehensible, and are now recognized as key figures in the development of American music. Broyles goes on to investigate the proliferation of eccentric individualism in all types of American music—classical, popular, and jazz—and how it has come to dominate the image of diverse creative artists from John Cage to Frank Zappa. The history of the maverick tradition, Broyles shows, has much to tell us about the role of music in American culture and the tension between individualism and community in the American consciousness.

Celluloid Mavericks: A History of American Independent Filmmaking documents this rich history, showing what it meant to be "independent" in the 1930s and what it means today. Author Greg Merritt distinguishes between indie and semi-indie productions, explores the genres represented under the independent umbrella, and addresses the question of what makes a movie independent -- its "spirit" or the budget backing the production. From one-reel flicks at the turn of the century to the blockbusters of the ‘90s, Celluloid Mavericks takes readers on a fascinating tour of the industry.

A surreal, lyrical work of narrative nonfiction that portrays how the largest domestic oil discovery in half a century transformed a forgotten corner of the American West into a crucible of breakneck capitalism. As North Dakota became the nation's second-largest oil producer, Maya Rao set out in steel-toe boots to join a wave of drifters, dreamers, entrepreneurs, and criminals. With an eye for the dark, absurd, and humorous, Rao fearlessly immersed herself in their world to chronicle this modern-day gold rush, from its heady beginnings to OPEC's price war against the US oil industry. She rode shotgun with a surfer-turned-truck driver braving toxic fumes and dangerous roads, dined with businessmen disgraced during the financial crisis, and reported on everyone in between--including an ex-con YouTube celebrity, a trophy wife mired in scandal, and a hard-drinking British Ponzi schemer--in a social scene so rife with intrigue that one investor called the oilfield Peyton Place on steroids. As the boom receded, a culture of greed and recklessness left troubling consequences for investors and longtime residents. Empty trailers and idle oil equipment littered the fields like abandoned farmsteads, leaving the pioneers who built this unlikely civilization to reckon with their legacy. Part Barbara Ehrenreich, part Upton Sinclair, Great American Outpost is a sobering exploration of twenty-first-century America that reads like a frontier novel.

An award-winning scholar and leading authority on American symphonic culture argues that classical music in the United States is peculiarly performance-driven, and he traces a musical trajectory rising to its peak at the close of the 19th century and receding after World War I.

During the Great Depression, Harry Partch rode the railways, following the fruit harvest across the country. From his experience among hoboes he found what he called ""a fountainhead of pure musical Americana."" Although he later wrote immense stage works for instruments of his own creation, he is still regularly called a hobo composer for the compositions that grew out of this period of his life. Yet few have questioned the label''s impact on his musical output, compositional life, and reception. Focusing on Partch the person alongside the cultural icon he represented, this study examines Par.

The Cambridge History of American Music, first published in 1998, celebrates the richness of America's musical life. It was the first study of music in the United States to be written by a team of scholars. American music is an intricate tapestry of many cultures, and the History reveals this wide array of influences from Native, European, African, Asian, and other sources. The History begins with a survey of the music of Native Americans and then explores the social, historical, and cultural events of musical life in the period until 1900. Other contributors examine the growth and influence of popular musics, including film and stage music, jazz, rock, and immigrant, folk, and regional musics. The volume also includes valuable chapters on twentieth-century art music, including the experimental, serial, and tonal traditions.