New York:The Record Changer (March) A Listener's Hierarchy in Jazz: Historical Precedents for the Future. New York:The Record Changer (September) 1958 Bubber Miley. New York:Jazz Monthly (May) "Everything about the 'twenties' is interesting, including Bubber's wa-wa. The period demonstrates what happens when an indigenous music is transplanted into artistically sterile ground and is commercially trimmed to popular taste. Bubber was one of the products of this period, a victim of it, but still a great man." 1959 Throwback. New York:The Jazz Review (May) (an appreciation of Elvis Presley) Articles on dance, classical music, Cuban Sexteto, theater (selection) 1930 Serge Lifar: A Study. London:The Dancing Times (May) "He brought something new to the company [Diaghileff], a something I would call fine emotional expression through movement—not to be confused with pantomime. Strictly speaking, Lifar is not a ballet dancer. He uses ballet, but does not do it." 1938 On Nijinsky Photographs. New York:The American Dancer (March) Dance in the Cinema. New York:Dance Herald (April) 1943 Wanda Landowska. New York:JAZZ (March) "I say go and hear Wanda Landowska...who has a style of execution similar, no doubt, to the great harpsichordists of that other era—the harpsichordists whose rhythm at that time must have been as vital as the barrel-house and boogie-woogie piano of today." 1944 Dancing on Skates: Correspondence (Edwin Denby on Sonja Henie). New York Herald Tribune (February) 1946 A Non-Aesthetic Basis for the Dance. London:Jazz Forum II (September) (and Berkeley:Circle)"It is the dancers who can do difficult steps with the ease with which a child can skip, who not only receive but give the greatest pleasure." 1947 The Place of Space and Time in the Dance. London:Jazz Forum (January) Alicia Markova and Alicia Alonso. The Ballet (March) 1950 Nijinsky: An Appreciation. New York:Dance Magazine (August) 1954 Landmark: Landowska Completes the "48" (Preludes & Fugues). Great Barrington:High Fidelity (November) 1955 The Importance of Dance Style in the Presentation of Early Western Instrumental Music. Cambridge:The Music Review (November) 1958 The Cuban Sexteto. New York:The Jazz Review (December). "the singing [is] something extraordinary in itself and [contains] the most glorious music...The most infectious part of Cuban music is the montuno." This article is informed by four trips to Cuba, 1938-1951, and Dodge's over 200 sexteto recordings. 1959 & 1960 Jazz Dance, Mambo Dance. New York:The Jazz Review (November 1959, January 1960) “I find folk expression alone far more significant than any individual expression that fails