Richard Crawford, Leading Scholar of American Music, Dies at 89

So despite the potential career risk, he wrote his dissertation — and then a 1968 book — on Law, becoming one of the first scholars to dedicate his life’s work to music of the United States.

His timing was fortuitous: Preparations for the 1976 U.S. bicentennial celebration spurred a new public interest in reviving early American music, and Mr. Crawford helped build its scholarly infrastructure. He was a founding member of the Sonneck Society, later renamed the Society for American Music; wrote the first biography of the Revolutionary-era composer William Billings, with David P. McKay in 1975; and, through painstaking bibliographic work, excavated large swaths of repertory from the beginnings of American sacred music.

“Americanists set out, by turning our full attention to music in our own backyard, to prove the musicological worth of American studies,” he wrote in the journal American Music in 2005. The value was not in discovering an American Bach or expanding the classical canon, but instead shifting focus, as he once described it, “from Music with a capital M to music-making.” For Mr. Crawford, musical history was about process, not just product; performance, not just composition.

“They pointed not to beauty, not to excellence, not to the music that had survived, but to all the music whose existence in America could be documented,” he wrote of his generation of Americanists. “Only by reconstructing that totality could the life — the beating heart, we might say — of a forgotten or moribund tradition be glimpsed and a true image of historical ‘shape’ imagined.”

Thus, his magnum opus, the 2001 book “America’s Musical Life: A History,” presented not a parade of major composers and their masterworks but instead a rich musical tapestry, beginning with Native American songs and colonial psalms and continuing through African-American spirituals, Civil War anthems, Tin Pan Alley and Philip Glass. With clear, matter-of-fact prose, Mr. Crawford placed economic and artistic developments in popular, folk and classical music side by side.