A desire for national identifiability strongly tinged activities of Americans in many walks of life between 1890 and 1920. During these years Americans boasted of having on many stages of world activity--the military, the economic, the diplomatic. Having arrived implied a maturity and strength of leadership which commanded status, if only begrudgingly, in the eyes of world leaders. It also portended a character of leadership which was distinctive. The world of the arts did not go unnoticed amidst this. A great exceptional culture had be so in many areas, not just in those of power and wealth. Here the United States could not be so boastful at the turn of the century. Indeed, some argued that the very dynamics which so pushed the United States the fore in economic and political matters had an opposite effect in the world of the arts. As a nation, wrote composer, critic, and conductor Reginald DeKoven, are too prone race a desired result with sevenleague boots of impatience, which so hurriedly cross the intermediate stages as render mature and rounded founded in the solid structure of logical training and development, in most cases an impossibility.' Mature and rounded achievement, then, was the goal for many Americans in the arts in the early twentieth century. Among musicians, perhaps Aaron Copland best echoed this sentiment. What we wanted, wrote Copland, recalling the collective interests of his generation, was to find a music that would speak of universal things in a vernacular of American speech rhythms. We wanted write music on a level that left popular music far behind-music with a largeness of utterance wholly representative of the country that Whitman had envisaged.2 Whitman's world was one of a man inextricably rooted in his native soil who had the means within him give expression his culture and create art which could speak not just those of similar circumstances, but a wide range of people and cultures in his time and beyond. His art was thus not just the ramblings of a folkist that struck images familiar those of the same background, nor was it the