Quintets, Opp. 38, 39, & 40 by Georges Onslow
(cellist). The Smithsonian Chamber Players and L’Archibudelli. SONY Vivarte SK 64308, 1995.
CD recording of three of the thirty-four string quintets of Georges Onslow (called by no less discriminating a critic than Hector Berlioz “our French Beethoven”), played on five Stradivarius instruments from the Smithsonian collection: the Ole Bull and Greffuhle violins, the Axelrod viola, and the Servais and Marylebone cellos. Slowik’s cello colleague is the legendary Dutch cellist, Anner Bylsma, who is joined by his L’Archibudelli colleague, violinist Vera Beths. Slowik’s accompanying essay discusses the three works, paying particular attention to Onslow’s autobiographical Op. 38 quintet, subtitled “The Bullet.”
The Twelve Trio Sonatas of Op. 3 by Arcangelo Corelli
(cello). The Smithsonian Chamber Players. Smithsonian Collection of Recordings ND 035, 1989.
The first CD recording made on period instruments of the complete trio sonatas of Corelli’s Op. 3. Slowik’s Smithsonian Chamber Players colleagues are violinists Jaap Schroeder and Marilyn McDonald, theorbo player Konrad Junghänel, and organist James Weaver. In the accompanying essay, Slowik discusses Corelli’s widespread influence at the end of the seventeenth century and the history of the Op. 3 sonatas.
Trio in E-flat Major, D929 and Sonatensatz, D28 by Franz Schubert
(cellist). The Castle Trio. Virgin Classics CDC 7-59303-2, 1993.
CD recording of one half of Schubert’s output for piano trio, performed on period instruments by the Castle Trio. The Trio’s Grammy Award-winning pianist Lambert Orkis uses a copy of an 1824 Graf fortepiano made by Rod Regier, who has subsequently done extensive restoration work on the Smithsonian’s own Graf instrument. Slowik’s accompanying essay discusses the works and the last years of Schubert’s life.
Visions of Freedom on the Great Plains: An Illustrated History of African Americans in Nebraska
with Bertha Calloway. Donning Publishers, 1998.
“The Adequate Revolution,” Roundtable on Gordon Wood, The Radicalism of the American Revolution,
William and Mary Quarterly, 3rd Ser., Vol. 51, No. 4. (Oct. 1994), 684â€“692.
Men and Women—A History of Costume, Gender, and Power
Kathy Peiss. (Washington, D. C: NMAH, 1989).
Excerpts from a Conference to Honor William Appleman Williams
with Dina Copelman, ed. Radical History Review 50 (1991), pp. 39–70.
"Markets, Streets, and Stores: Contested Terrain in Pre-industrial Boston,"
in Autre Temps, Autre Espace/An Other Time An Other Space, ed. Elise Marienstras and Barbara Karsky (Nancy, France: Presses universitaires de Nancy, 1986), pp. 172–97.
"Revolution in Boston,"
for the National Park Service handbook, Boston and the American Revolution, Boston National Historic Park and Freedom Trail (July 1998), pp. 6–73.
"The Authority of History: The Changing Public Face of the Historical Society of Pennsylvania,"
Pennsylvania Magazine of History and Biography CXIV (1990), pp. 37–66.
The Boston Review, 29 (Feb/Mar 2004), pp. 20â€“25.
After the Revolution: The Smithsonian History of Everyday Life in the Eighteenth Century
(New York: Pantheon Press, 1985).
Museum Review, the Yorktown Victory Center,
William and Mary Quarterly, 3rd Ser., Vol. 54, No. 2. (Apr. 1997), pp. 440–442.
Response to Nathan Huggins, "The Deforming Mirror of Truth: Slavery and the Master Narrative of American History,"
Radical History Review 49 (Winter 1991), pp. 56–59.
Review of “We the People: Creating a New Nation, 1765-1820,” Chicago Historical Society exhibition,
The Journal of American History, Vol. 76, No. 1. (Jun. 1989), pp. 198â€“202.
Review of The Great River, Art and Society of the Connecticut River Valley, 1635–1820, by Gerald W. R. Ward; William N. Hosley, Jr.,
The New England Quarterly, Vol. 59, No. 4. (Dec. 1986), 588â€“594.
"Food Rioters and the American Revolution,"
William and Mary Quarterly, 3rd ser., Vol. 51, No. 1. (Jan. 1994), pp. 3–38.
Review of Cary Carson, et al. Becoming Americans: Our Struggle to Be Both,
in William and Mary Quarterly, 3rd ser. Vol. 56, No. 4. (Oct. 1999), pp. 842–847.
"From Another Site: Comments on 'Digitizing Women's History',"
Radical History Review 68 (1997), pp. 121–25.
"Social Visions of the American Revolution, 1765–1775,"
in The Transforming Hand of Revolution: Reconsidering the Revolution as a Social Movement, ed. Ronald Hoffman and Peter J. Albert (Charlottesville, Va.: University of Virginia Press, 1995), pp. 27â€“57.
“A Case Study of Applied Feminist Theories,”
in Gender Perspectives: Essays on Women in Museums, ed. Jane R. Glazer and Artemis A. Zenetou (Washington, D.C: Smithsonian Institution Press, 1994), 137â€“146.
"Irons," "Stoves," and "Washing Machines."
In Facts on File Encyclopedia of Science, Technology, and Society, edited by Rudi Volti. New York: Facts on File, 1999.
Entries in specialized science and technology encyclopedia about the invention and development of irons, stoves, and washing machines in America, with links to other inventions featured in the publication.
From Frying Pan to Flying V: The Rise of the Electric Guitar with Gary Sturm. 1997, 2004.
This virtual exhibition features instruments that illustrate how innovative makers and players combined the guitar with a pickup and amplifier to create a new instrument and a new sound that profoundly changed popular music—blues, country, rhythm and blues, jazz, and rock and roll—in the 20th-century. From an exhibition produced by the Lemelson Center for the Study of Invention and Innovation at the Smithsonian's National Museum of American History, November 1996 through October 1997.
Journal of Museum Education, Co-published by the Museum Education Roundtable and Left Coast Press.
I served as the Editor-in-Chief of the Journal, 2005-2008.
"The Electric Guitar: How We Got From Andres Segovia to Kurt Cobain."
American Heritage of Invention and Technology 20, no. 1 (summer 2004): 12–21.
The magazine's cover article about the invention and development of the electric guitar and how it changed the world of music during the 20th century. Features guitarists, makers, and innovators who played important roles in the evolution of the instrument and helped influence popular music styles including rock and roll.