Gotowe bibliografie tematyczne / Musicians – united states – biography

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Gotowa bibliografia na temat „Musicians – united states – biography”

Autor: Grafiati

Data publikacji: 29 lipca 2024

Data aktualizacji: 31 lipca 2024

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Artykuły w czasopismach na temat "Musicians – united states – biography"

Hughes, Richard. "Gates, Jr And Higginbotham, Eds., Harlem Renaissance Lives - From African American National Biography". Teaching History: A Journal of Methods 34, nr 2 (1.09.2009): 110–11. http://dx.doi.org/10.33043/th.34.2.110-111.

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With hundreds of accessible entries on the lives of African Americans directly or indirectly associated with this period, Harlem Renaissance Lives is an ambitious effort to highlight, and sometimes uncover, the role of African Americans in shaping the United States in the twentieth century. While the entries are brief, the book's strength is its breadth with portraits of not only writers, artists, actors, and musicians but also educators, civil rights and labor activists, entrepreneurs, athletes, clergy, and aviators. Students of history will find familiar figures of the period such as Langston Hughes, Josephine Baker, Duke Ellington, Marcus Garvey, W.E.B. Du Bois, and Adam Clayton Powell, Jr. However, the real value of the work is in highlighting, however briefly, the lives of hundreds of lesser-known African Americans. Some figures, such as educator Roscoe Bruce, the son of a U.S. Senator, grew up relatively privileged, but many of the biographies involve African-Americans whose unlikely contributions begin with a background that included slavery and sharecropping. Regardless, each entry includes a valuable bibliography and information about relevant primary sources such as an obituary and archival collections.

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Jaffré, Maxime. "Decontextualizing Arabic Music in France and in the United States". Middle East Journal of Culture and Communication 12, nr 1 (29.03.2019): 35–67. http://dx.doi.org/10.1163/18739865-01201006.

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Abstract This paper traces the various steps of the redefinition process implemented by Arab musicians performing in France and in the United States. The assembling of Arabic music groups outside their institutional and national borders reveals new patterns and raises several questions: (1) While most Arabic countries do not share the same institutional music traditions, or the same repertoires (Arab-Andalusian vs. maqamat), how can Arabic musicians from different countries assemble outside their institutional and national borders? (2) How can we understand the heterogeneity of repertoires (scholarly and popular) when the musicians come from different traditions and institutions? Can musicians pursue the legacy—and legitimacy—of classical repertoires or do they necessarily have to embrace Arabic pop culture? Finally, (3) while they were part of the elite in their home countries, how are Arab musicians considered outside their musical institutions, in their new countries such as France and the United States? Have they remained elite musicians in the eyes of their new audiences? Or have they simply become ‘popular’ musicians, regardless of the repertoire they play?

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Prendergast, A. "Scientific Biography in the United States". Choice Reviews Online 46, nr 02 (1.10.2008): 227–38. http://dx.doi.org/10.5860/choice.46.02.227.

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Patalano, Frank. "Psychosocial Stressors and the Short Life Spans of Legendary Jazz Musicians". Perceptual and Motor Skills 90, nr 2 (kwiecień 2000): 435–36. http://dx.doi.org/10.2466/pms.2000.90.2.435.

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Mean age at death of 168 legendary jazz musicians and 100 renowned classical musicians were compared to examine whether psychosocial stressors such as severe substance abuse, haphazard working conditions, lack of acceptance of jazz as an art form in the United States, marital and family discord, and a vagabond life style may have contributed to shortened life spans for the jazz musicians. Analysis indicated that the jazz musicians died at an earlier age (57.2 yr.) than the classical musicians (73.3 yr.).

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Lookingbill, Brad. "Weisner And Hartford, Eds., American Portraits - Biographies In United States History". Teaching History: A Journal of Methods 23, nr 2 (1.09.1998): 92–94. http://dx.doi.org/10.33043/th.23.1.92-94.

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Teaching historians often assign biography to supplement reading lists for the introductory survey classroom, even though selecting which life to share might be a difficult process. Biography represents a unique form of history and literature, inviting a reader to come to terms with the significance of human agency. Indeed, a biography possesses the potential to reveal how a particular person influenced and was influenced by broader historical forces.

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SullyCole, Althea. "Listening to Kora in New York City: Constructing Africa and Blackness in the United States". Ethnomusicology 66, nr 2 (1.07.2022): 319–40. http://dx.doi.org/10.5406/21567417.66.2.07.

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Abstract Drawing upon ethnographic fieldwork with New York City-based musicians, this article observes how the kora, a twenty-one stringed harp from the Mandé region of West Africa, has become integrated into a Black cultural expression in the United States. It highlights the disjunctures between migrant West African kora players and Black musicians and audiences in the United States that result from particular modes of listening. How these conflicts are manifest in the performance context, the author argues, reveals both who and what means, historically, have been authorized to organize a social imaginary around the idea of “Africa” and its traditions.

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WELLS, PAUL F., i SALLY K. SOMMERS SMITH. "Irish Music and Musicians in the United States: An Introduction". Journal of the Society for American Music 4, nr 4 (19.10.2010): 395–99. http://dx.doi.org/10.1017/s1752196310000349.

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“The Irish came early and often to America,” quipped musicologist Charles Hamm in his landmark book Yesterdays: Popular Song in America. Although the largest waves of immigration occurred during the years of the potato famines in the 1840s and 1850s, the process began long before then and continues to the present day, albeit with many ebbs and flows in the stream. Today nearly 36.5 million people in the United States claim Irish ancestry.

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Koegel, John. "Mexican Musicians in California and the United States, 1910-50". California History 84, nr 1 (2006): 6–29. http://dx.doi.org/10.2307/25161856.

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Phillips, Carla Rahn, i William D. Phillips. "Christopher Columbus in United States Historiography: Biography as Projection". History Teacher 25, nr 2 (luty 1992): 119. http://dx.doi.org/10.2307/494269.

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Barilleaux, Ryan J. "Gonzo biography". Review of Politics 68, nr 2 (maj 2006): 347–49. http://dx.doi.org/10.1017/s0034670506280136.

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The single organizing fact of the Cold War was “the bomb.” In our present age of unipolarity, globalization, and the clash of civilizations, it is useful to remember that our current complexities exist only because the previous age of stark simplicity has passed into history. The decades from the end of World War II until the fall of Communism were years shaped by a nuclear standoff. The threat of nuclear conflict between the United States and the Soviet Union framed the politics and culture of the age. This framing was especially apparent in the 1950s and 1960s, before arms-control agreements lent an air of manageability to nuclear politics.

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Rozprawy doktorskie na temat "Musicians – united states – biography"

Hubbs, Holly J. "American women saxophonists from 1870-1930 : their careers and repertoire". Virtual Press, 2003. http://liblink.bsu.edu/uhtbin/catkey/1259304.

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The late nineteenth century was a time of great change for women's roles in music. Whereas in 1870, women played primarily harp or piano, by 1900 there were all-woman orchestras. During the late nineteenth century, women began to perform on instruments that were not standard for them, such as cornet, trombone, and saxophone. The achievements of early female saxophonists scarcely have been mentioned in accounts of saxophone history. This study gathers scattered and previously unpublished information about the careers and repertoire of American female saxophonists from 1870-1930 into one reference source.The introduction presents a brief background on women's place in music around 1900 and explains the study's organization. Chapter two presents material on saxophone history and provides an introduction to the Chautauqua, lyceum, and vaudeville circuits. Chapter three contains biographical entries for forty-four women saxophonists from 1870-1930. Then follows in Chapter four a discussion of the saxophonists' repertoire. Parlor, religious, and minstrel songs are examined, as are waltz, fox-trot, and ragtime pieces. Discussion of music of a more "classical" nature concludes this section. Two appendixes are included--the first, a complete alphabetical list of the names of early female saxophonists and the ensembles with which they played; the second, an alphabetical list of representative pieces played by the women.The results of this study indicate that a significant number of women became successful professional saxophonists between 1870-1930. Many were famous on a local level, and some toured extensively while performing on Chautauqua, lyceum, and vaudeville circuits. Some ended their performing careers after becoming wives and mothers, but some continued to perform with all-woman swing bands during the 1930s and 40s.The musical repertoire played by women saxophonists from 1870-1930 reflects the dichotomy of cultivated and vernacular music. Some acts chose to use popular music as a drawing card by performing ragtime, fox-trot, waltz, and other dance styles. Other acts presented music from the more cultivated classical tradition, such as opera transcriptions or original French works for saxophone (by composers such as Claude Debussy). Most women, however, performed a mixture of light classics, along with crowd-pleasing popular songs.
School of Music

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Gaines, Adam W. "Work of Art : the life and music of Art Farmer". Virtual Press, 2005. http://liblink.bsu.edu/uhtbin/catkey/1317924.

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Hall, Toby. "Tony Williams: rhythmic syntax in jazz drumming". Thesis, The University of Sydney, 2004. http://hdl.handle.net/2123/19736.

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Sugg, Andrew Norman. "Tracking the trane: comparing selected improvisations of John Coltrane, Jerry Bergonzi and David Liebman : a thesis presented to the Elder Conservatorium, Adelaide University, in fulfillment of the requirements of the degree of Doctor of Philosophy". Title page, abstract and contents only, 2001. http://web4.library.adelaide.edu.au/theses/09PH/09phs947.pdf.

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Includes bibliographical references (leaves 350-359). Investigates the influence of Coltrane's music on the improvising of post-Coltrane saxophonists by inspecting selected improvisations of Jerry Bergonzi and David Liebman and comparing them to improvisations by Coltrane on the same repertoire piece. The comparision also demonstrates how two current jazz saxophonists have drawn on the past - the legacy of Coltrane - to create innovative music in the present.

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Lington, Aaron Joseph. "The Improvisational Vocabulary of Pepper Adams: A Comparison of the Relationship of Selected Motives to Harmony in Four Improvised Solos". Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc5576/.

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Park "Pepper" Adams, III (1930-1986) is one of the most influential baritone saxophonists in the history of modern jazz. In addition to his time feel, his timbre, and other conceptual techniques, a great deal of Adams's improvisational style and vocabulary can be illustrated by his use of three motivic devices. These three motivic devices are: (1) his utilization of the sixth degree of the major scale as an important melodic pitch; (2) his use of a paraphrased portion of the melody of the popular song "Cry Me a River;" and (3) his use of the half-whole octatonic scale when the rhythm section sounds a dominant chord. This dissertation traces the way in which Adams applies these three motivic devices through four of his original compositions, "Enchilada Baby," "Bossallegro," "Lovers of Their Time," and "Rue Serpente." All four of these compositions were recorded by Adams on his 1980 album, The Master. In addition to the motivic analysis, a biography of Adams is included. Complete transcriptions by the author of Adams's improvised solos on the four compositions are included in the appendices.

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Harris, Matthew L. Sharp James Roger. "'Experience must be our guide' John Dickinson and the origins of American federalism, 1754 - 1808 /". Related electronic resource: Current Research at SU : database of SU dissertations, recent titles available full text, 2004. http://wwwlib.umi.com/cr/syr/main.

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LaFantasie, Glenn Warren. "William C. Oates : a biography /". View online version; access limited to Brown University users, 2005. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3174631.

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DuBay, Susan Adams. "John Humphrey Noyes, 1811-1840 : a social biography". PDXScholar, 1989. https://pdxscholar.library.pdx.edu/open_access_etds/3568.

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John Humphrey Noyes was the founder of the Oneida Community, one of the most successful utopian ventures in nineteenth-century America. Early in his life, Noyes was a deep religious thinker, but he founded Oneida as an ideal society based on extending the family unit, and not as a church. Noyes's social theories eventually overwhelmed his former religious concentration. The purpose of this thesis is to locate in Noyes's religiously-oriented youth the sources of his social interests. Few scholars have studied in depth the childhood and young manhood of John Humphrey Noyes, but that is where the roots of his social theories are to be found. Noyes did write his religious autobiography, but completely passed over his formative years. Further, he never wrote the analysis of his social ideas and experiences that he had once promised. However, many of his early letters and journals have been compiled and edited by his relatives; and his immediate family left reminiscences of his youth. These works provide most of the available information on the childhood of Noyes. Large gaps in his history do exist, however. Therefore, the modern psychological theories of Erik Erikson are used to illuminate the otherwise shadowy areas of Noyes's early life.

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Graff, Frank Warren. "Strategy of involvement a diplomatic biography of Sumner Welles /". New York : Garland, 1988. http://catalog.hathitrust.org/api/volumes/oclc/17807643.html.

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Meyer, Nancy Jean. "Vance Hartke : a political biography". Virtual Press, 1987. http://liblink.bsu.edu/uhtbin/catkey/530361.

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The focus of this dissertation is the political career of R. Vance Hartke, Democratic Senator from Indiana 1958-1976. The areas of emphasis include Hartke's role in the creation of the Veterans' Affairs Committee of the Senate and his chairmanship of the Committee, several of the controversies of his career, and his political style and philosophy.Books and articles written by Hartke were used extensively as were various newspapers and the Conqressional Record. Information was also obtained from interviews with Hartke and Frank Brizzi, who was staff director of the Veterans' Affairs Committee during Hartke's term as chairman.That Hartke philosophically was a liberal and politically was a risk-taker are among the conclusions reached in this study. Hartke's strongest asset in winning election to the Senate three times in a relatively conservative state was an energetic and personalized political style. Despite the controversies which surrounded Hartke and some apparent conflicts of interest," there is no evidence he committed illegal or unethical acts. Hartke used his power as chairman of the Veterans' Affairs Committee of the Senate to infuse his liberal ideology into public policy for American veterans. Furthermore, he expanded veterans' benefits during his tenure.
Department of Political Science

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Książki na temat "Musicians – united states – biography"

Sisk, Eileen. Buck Owens: The Biography. Chicago: Chicago Review Press, 2010.

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Bill, Truman, i Yamanaka Roy Oki, red. Diamond, a biography. Chicago: Contemporary Books, Inc., 1987.

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Oliphant, Dave. KD: A jazz biography. San Antonio, Tex: Wings Press, 2012.

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Hillman, Christopher. Bunk Johnson: Life & times. Speldhurst: Spellmount, 1988.

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Hillman, Christopher. Bunk Johnson: His life & times. New York: Universe Books, 1988.

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Zwickel, Jonathan A. Beastie Boys : a Musical Biography: A Musical Biography. ABC-CLIO, LLC, 2011.

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Biographiq. Duke Ellington - American Jazz Man (Biography). Simon & Schuster, 2008.

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(Introduction), Christopher Hitchens, red. The Real Michael Moore: A Critical Biography. Touchstone, 2007.

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Metallica: Enter Night - The Biography. Orion Publishing Group, Limited, 2011.

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Brannigan, Paul, i Ian Winwood. Birth School Metallica Death Vol. 1: The Biography. Hachette Books, 2014.

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Części książek na temat "Musicians – united states – biography"

Abrams, Jesse. "Author biography". W Forest Policy and Governance in the United States, 283. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003043669-15.

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Wendler, Eugen. "Overview of List’s Biography and Economic Theory". W Friedrich List’s Exile in the United States, 1–9. Cham: Springer International Publishing, 2015. http://dx.doi.org/10.1007/978-3-319-23642-1_1.

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Fiorito, Luca, i Sebastiano Nerozzi. "Chicago Economics in the Making, 1926–1940: A Further Look at United States Interwar Pluralism". W Hayek: A Collaborative Biography, 373–418. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-95219-2_11.

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Alvarado, Paulo. "Women's Auto/biography in the Mexico-United States Borderscape, 1942–1968". W The Routledge Handbook of Latinx Life Writing, 96–109. New York: Routledge, 2024. http://dx.doi.org/10.4324/9781003273141-10.

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"Visit to the United States, 1856". W George Peabody, A Biography, 76–86. Vanderbilt University Press, 2020. http://dx.doi.org/10.2307/j.ctv176kvjp.15.

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"Last Visit to the United States, 1869". W George Peabody, A Biography, 174–79. Vanderbilt University Press, 2020. http://dx.doi.org/10.2307/j.ctv176kvjp.28.

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Storhoff, Timothy P. "The Politics of Cuban Music in the United States". W Harmony and Normalization, 55–80. University Press of Mississippi, 2020. http://dx.doi.org/10.14325/mississippi/9781496830876.003.0003.

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The third chapter describes the history of Cuban politics in the United States, their recent transformations, and how they have impacted musical production and interaction. The politics and musical prominence of Cuban exiles in Miami has resulted in a range of reactions to Cuban musicians in South Florida ranging from controversy to acceptance. Divisive Florida performances are contrasted with appearances by Cuban artists elsewhere in the country. The National Symphony Orchestra of Cuba’s first tour of the United States in 2012 featured a range of repertoire by Cuban artists, European romantic composers, Gershwin, and more that represented a call for increased US-Cuban musical interaction.

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Chan, Raymond H., Chen Greif i Dianne P. O’Leary. "Gene H. Golub Biography". W Milestones In Matrix Computation: Selected Works Of Gene H. Golub, With Commentaries, 3–12. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199206810.003.0001.

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Abstract Gene Howard Golub was born on February 29th, 1932 to Bernice and Nathan Golub. His mother was from Latvia and his father from Ukraine. They both came to the United States independently of one another in 1923, and both settled in Chicago for family reasons: they each had an older sibling in the city.

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Lapidus, Benjamin. "The Musical Impact of the Mariel Boatlift on the Latin Music Scene of New York City and Interethnic Collaboration among Puerto Ricans and Cubans". W Cuba and Puerto Rico, 256–66. University Press of Florida, 2023. http://dx.doi.org/10.5744/florida/9781683403302.003.0014.

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Cubans and Puerto Ricans have interacted musically throughout history, yet their collaborations were greatly impacted by the 1980 Mariel boatlift. As Benjamin Lapidus notes, few scholarly works have focused on the musical impact of Cubans who arrived during the Mariel exodus. Existing scholarship on Cuban music in the United States has centered on the period before and immediately after 1959 and has overlooked important musicians who brought the newest Cuban musical information to the United States in the late twentieth century. Lapidus discusses the immediate musical effects of the Mariel boatlift by examining some of the dancers and musicians who arrived in New York City at that time. The activities of these and other musicians had long-term effects on the folkloric and Latin popular dance music scenes in New York and the United States, not only as performers but in many cases also as teachers for subsequent generations of Cuban and non-Cuban musicians. These interactions produced hybrid forms of both Cuban and Puerto Rican genres. Mariel immigrants served as important points of connection for musicians and dancers who arrived in the early 1990s during the era of the balseros (rafters) and would fit into established networks of Cuban and Puerto Rican musicians.

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Lazarski, Christopher. "A Brief Biography". W Lord Acton for Our Time, 12–36. Cornell University Press, 2023. http://dx.doi.org/10.7591/cornell/9781501771712.003.0002.

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This chapter presents a brief biography of Lord Acton. It begins by describing his childhood, when he was placed in a boarding school, moving from one place to another and hardly ever seeing his mother and grandmother. If Acton's childhood formed his personality, his stay in Munich shaped his scholarly interests and lifelong passions. Father Döllinger, Alexis de Tocqueville, and Edmund Burke became Acton's intellectual staples in his youth and continued to exert influence on him thereafter. Together they made him a thinker and a liberal of a unique kind, linking a belief in progress with respect for tradition; a love of liberty with an emphasis upon conscience, self-government, and citizenry; and the adornment of liberalism with contempt for and rejection of its doctrinaire currents. The chapter then looks at Acton's Aldenham estate; his view of the United States as a prime example of civic liberty; his efforts to reconcile Catholicism with liberalism; and his position as the Regius Professor of Modern History at the University of Cambridge.

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Streszczenia konferencji na temat "Musicians – united states – biography"

Zhen, Ying. "Career Challenges Musicians Face in the United States". W MEIEA Summit 2020. Music and Entertainment Industry Educators Association, 2020. http://dx.doi.org/10.25101/20.37.

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Castro, Ana Claudia Veiga de. "Um historiador entre duas cidades: Richard Morse, de Nova York a São Paulo". W Seminario Internacional de Investigación en Urbanismo. Barcelona: Instituto de Arte Americano. Universidad de Buenos Aires, 2013. http://dx.doi.org/10.5821/siiu.5938.

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O historiador Richard Morse (1922-2001) publica o livro De comunidade à metrópole, a biografia de São Paulo, em 1954, nas comemorações do IV Centenário da cidade. O livro, hoje um clássico, foi gestado entre a sua formação nos Estados Unidos e a pesquisa de campo em São Paulo. Esse artigo tem a intenção traçar paralelos entre as condições urbanas e culturais de São Paulo e Nova York em 1940 e 1950 e a estrutura narrativa do livro, apontando o que Morse traz da América para a formulação do problema encarado na tese – a evolução urbana de comunidade à metrópole – e o que ele formula na experiência de pesquisa numa cidade em processo de metropolização. Richard Morse (1922-2001) published the book From community to metropolis, the biography of São Paulo, in 1954, in celebration of the fourth centenary of the city. The book, now a classic, was conceived between his training in the United States and his field research in São Paulo. This article intends to draw parallels between the urban and cultural conditions of Sao Paulo and New York in the 40’s and 50’s and the narrative structure of the book, pointing out that Morse brings form America to the formulation of the problem faced in the thesis - the urban evolution from community to metropolis - and that he makes in the search experience in a city undergoing metropolis.

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Shea, Brendan Sullivan, i Neal Lucas Hitch. "School’s Out: Exploring Learning By Doing Methods In On-Site Design Build Architecture Workshops". W 2022 AIA/ACSA Intersections Research Conference. ACSA Press, 2022. http://dx.doi.org/10.35483/acsa.aia.inter.22.18.

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The paper details current endeavors by the authors to explore and expand notions of sustainable design through two design-build festivals hosted during the summer of 2022 that each re-engaged historical architectural sites in ecologically diverse contexts. The paper first outlines the history of design-build pedagogies in the United States, from the founding of some of the country’s first colleges of design to contemporary manifestations of festival architecture as seen in pop-culture contexts. Next, the authors detail how this history impacts the site, structure, and organization of the two research projects presented in the paper: one in a temperate forest ecoregion of North America located on the historic site of the 1969 Woodstock festival, appropriating research into laminate wood construction previously conducted by the authors; and the other in the Błędowska Desert of Poland, an area of anthropogenic desertification in Central Europe, which aims to expand research in silt-casting conducted in labs at Arcosanti, Arizona, onto rapidly transforming sites across the Atlantic. The following projects and observations provide a lens into the participatory research methods and engagement strategies unique to the design-build festival model and argue for the festival model’s capacity to adapt to site conditions, transform contemporary forms of architectural production, and engender a framework of community resilience; all the while amplifying contact and collaboration among groups of interdisciplinary experts through hands-on exploration at a construction site. As an illustration of how festivals allow designers to rethink the materials that are used to build, the paper examines the development of generative material processes and robust construction systems (in particular, laminated wood and silt-cast composites) as both a pre-festival site of research and a means of hands-on, on-site design exploration, invention, and evolution. The paper specifically addresses the relationship between structure and infrastructure in the context of the design-build festival, describing the application of the aforementioned principles and prototypes as implemented in two pavilion-scaled structures—in each case, a site-specific and environmentally-sensitive design—conceived as part of a larger communal infrastructure intended to galvanize resilient, even if temporary, communities of artists, architects, writers, researchers, and musicians during the festivals.

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Bruce, Dr. "The Life and Mysterious Death of Harold F. Pitcairn: Was it Suicide?" W Vertical Flight Society 76th Annual Forum & Technology Display. The Vertical Flight Society, 2020. http://dx.doi.org/10.4050/f-0076-2020-16260.

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Harold F. Pitcairn, American aviation and Autogiro pioneer, died from a single gunshot wound to the head in the late evening hours of April 23, 1960 at the age of 62 after a gala evening at which he presided over a celebration attended by more than 450 guests for his brother's Raymond's 75th birthday. Initially labelled a suicide by the press, Pitcairn's widow Clara declared that "she never wanted to hear another word about the tragedy", while friends and friendly local authorities made the argument, duly reported by Frank Kingston Smith in Legacy of Wings, his devotional Pitcairn biography (subsidized by the Pitcairn family), that the death was accidental because "there was no note, no indication of depression or unhappiness" and "the police investigation disclosed that two shots had been fired; one had penetrated the ceiling directly over the desk in the first floor study, another had struck Pitcairn in the eye" and that "the next morning it was discovered the semi-automatic pistol was defective: when cocked, it had a supersensitive "hair trigger," and it had a faulty disconnector so that it would fire more than one shot at a time, a condition known as "doubling."" The Pitcairn families, prominent and powerful, prevailed upon the local authorities to declare the death accidental and Kingston Smith's 1981account became the de facto authoritative story of the death of Harold F. Pitcairn. With the perspective, however, of six decades, it appears far more likely that Pitcairn's death was a suicide for reasons that were not readily evident, minimized, unappreciated or deliberately ignored at the time to craft a result that met the needs of Clara Pitcairn and her surviving family. These included the fact that while the claim was made that Pitcairn was making his nightly rounds to check on the estate’s ground-level windows (and had been doing so since the Lindbergh kidnapping in 1932), he actually died at his desk; that those in the house only reported a single shot; the 1907 Savage pistol had no reputation for a hair-trigger, and had not evidenced such a flaw in almost three decades of Pitcairn's nightly ritual; that even though Pitcairn had been assured that his almost-decade-long lawsuit against the United States government for Patent infringement of his Autogiro patents was going well, he was concerned about the impact this lawsuit was having on his aged associates who had been called to give depositions and he had voiced the sentiment that "if he had known that he would have to sue the government, he would not have gone into the Autogiro business"; that the lawsuit, itself intended as a vindication of Pitcairn's contribution to aviation was dragging on and would reach its first legal conclusion in 1967, and not finally conclude upon appeal until 1977; and most importantly, those who deny suicide and point to Pitcairn’s state-of-mind, have failed to take into account when the death occurred or ready evidence of his 'state of mind' To fail to see the tragic end of Harold F. Pitcairn is to forget that 29 years and one day earlier, he had been recognized for "the greatest achievement in aeronautics or astronautics in America, with respect to improving the performance, efficiency, and safety of air or space vehicles, the value of which has been thoroughly demonstrated by actual use during the preceding year." The memory of that day on the White House back lawn with the President was the high point of his life even as Pitcairn prepared to celebrate his older brother's achievements. The evidence, when marshalled and documented, conclusively points to suicide - a death of an American aviation pioneer before his contributions were vindicated in the largest patent infringement judgement against the United States in history. To fail to see the tragic end of Harold F. Pitcairn is to forget that 29 years earlier, he had been recognized for "the greatest achievement in aeronautics or astronautics in America".

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