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AMS Newsletter February 2004

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AMS Newsletter February 2004 VOLUME XXXIV, NUMBER 1 February 2004 ISSN 0402-012X Seattle—2004 Houston—2003 hear papers outside our research area. I’m grateful to the session chairs for the some- The American Musicological Society and Our sixty-ninth annual meeting in Houston times challenging work of drawing connec- Society of Music Theory will hold their 2004 was rich and abundant in people, papers, tions, the scholars who contributed pene- national meeting in Emerald City. Thus and performances. The gathering itself was trating questions and helpful comments to Seattle residents name their idyllic city, international. From among 492 submitted the discussions, and especially the other which floats like an archipelago amidst abstracts, 27 of the 144 accepted (in anony- members of the Program Committee (Susan lakes, bays, and ocean sound. Ringed by the mous judging) were by scholars from out- Boynton, Elizabeth Hudson, Jeffrey Kall- Cascade and Olympic ranges, dominated by side the United States. Not counting those berg, Robert Kendrick, and Michael Tusa) the glacial majesty of Mount Rainier, Seattle from Italy, Poland, Mexico, and Japan with for their hard work, careful consideration combines urban sophistication with stun- jobs at American and British institutions, in reviewing the abstracts, and harmonious ning natural beauty. Despite a reputation for eleven presenters hailed from the U.K., collaboration. rain, the city enjoyed a remarkably clear, eight from Canada, three from Hong Kong, We are also indebted to J. Peter Burk- sunny fall this year. November brought and one each from Ireland, New Zealand, holder for organizing the inspiring Presi- mostly crisp blue days, flaming leaves, and a Austria, Germany, and Switzerland. Eve- dential Forum on the symbiosis between shimmering halo around the skyline and ning panels included participants from Spain teaching and research (with H. Wiley Hitch- mountain peaks. and Canada. Perspectives from outside cock, Susan McClary, and Kay Kaufman The meeting will take place 11–14 American musicology—opera direction, art Shelemay) and to Kay for sharing her eth- November in the Sheraton Hotel, in the curatorship, and Jungian psychology—also nographic research on the topic. The Per- heart of downtown Seattle. Members can enhanced the meeting. formance Committee (Julie Cumming, stroll to the famed Pike Place Market, the Many people remarked on the high chair, Don O. Franklin, and Neal Zaslaw) Seattle Art Museum, or Benaroya Symphony quality of the papers, perhaps not surprising selected a variety of excellent daytime con- Hall. On a sunny day, nothing beats a ferry given the competition. Offered for our con- certs and lecture-recitals, and AMS Com- ride through the Puget Sound islands. A sideration were new theories (on l’homme mittees and interest groups sponsored help- quick monorail ride leads to the Experience armé and the octatonic scale), new sources ful workshops and discussion sessions on Music Project (EMP), where members can (for Beethoven and Oklahoma!), forgotten issues important to our membership. New admire Frank O. Gehry’s bold architecture genres (coon songs), and unusual influences AMS members were grateful for the inau- and explore the leading interactive museum (whale songs). In some sessions, especially guration of the “conference buddy” pro- of American popular music. the short ones on Roman chant, quattrocento gram (organized by Darwin Scott) that Superb restaurants abound within easy songs, and Berlioz’s Roméo et Juliette, scholars paired them with established scholars hav- walking distance. The waterfront provides juxtaposed their perspectives and methodol- ing similar interests. fresh seafood and, of course, Seattle’s famous ogies on individual works and traditions. In Last but not least, we all must thank salmon. Try Wild Ginger for spicy pan-Asian others, they explored interdisciplinary Howard Pollack and the Local Arrange- and the Dahlia Lounge for more eclectic approaches and intermedia, politics and ments Committee. Many of us had not real- delicacies. Or hike a few blocks to Capi- national identity in music, and, most of all, ized that Houston has become the fourth- tol Hill and explore the used bookstores, music in the United States. Some of this largest city in the U.S. Drawing on its year’s papers incorporated live perfor- continued on page 2 famed musical institutions and collections mance, most notably Philip Gossett’s, with of modern art, Howard and his Committee the audience joining the speaker in a rendi- arranged many stimulating events, as enjoy- In This Issue . tion of a discarded chorus from La forza del able as they were pertinent to our research. destino. Many appreciated the connections For example, the Houston Symphony President’s Message 3 that emerged within sessions (such as Print Executive Director’s Report 4 Orchestra offered a stunning performance Cultures in Early Modern Europe; Percep- of Benjamin Britten’s War Requiem, and at Committee Reports 5 tion and Rhetoric in Classical Music; or Honorary & Corresponding Members 6 the Menil Galleries, we were treated to a Instrument, Gesture, and Body in Perfor- moving rendition of Morton Feldman’s Awards, Prizes, and Honors 7 mance) and topics, such as Jean de la Fon- Grants and Fellowships 9 Rothko Chapel amidst the paintings and taine’s role in music, that linked one session architectural space for which the choral Obituaries 12 to another. In organizing some sessions work was written. There were also beautiful 13 Forthcoming Conferences according to issues and questions rather performances of rarely performed baroque Calls for Papers 13 than composers and periods, the idea was masterpieces, Handel’s Giulio Cesare by the News Briefs 13 to break us out of habitual modes of think- Houston Grand Opera, Monteverdi’s Ves- Presidential Forum 14 ing and interaction. If this caused some peo- pers of 1610 by a consortium of early music Financial Report 15 ple to move around from session to session Papers Read at Chapter Meetings 16 more than usual, it also encouraged us to continued on page 2 —1— AMS Membership Records Seattle—2004 continued from page 1 Houston—2003 continued from page 1 To send AMS mailings in a safe and timely hipster culture, and iridescent nightlife. Beer ensembles in a new hall at the University of manner, the AMS must receive notice of enthusiasts will find a plethora of exotic Houston (with a ceiling decorated by Stella), changes of address at least two weeks prior choices in the land of microbrews. and eighteenth-century Spanish music by the to each mailing. For correct information to This year’s special entertainment spot- Orchestra of New Spain. The Hyatt Regency be included in the AMS Directory, the AMS lights Seattle’s early-music scene. The Early provided us with excellent facilities and lux- must receive changes prior to 15 Decem- Music Guild will host Andrew Manze and urious central spaces, which we had (almost) ber each year. Your membership record is the English Concert, who perform instru- to ourselves. This made it easy to find one maintained online at <www.theams.us>. mental works of the Italian Baroque. Gallery another, whether to deepen friendships or to You may update your record online at any Concerts and Seattle Early Dance will explore new connections—two of the great- time; when changes occur, please update present a program of French Baroque ballet, est pleasures we associate with the AMS your own record or let us know via U.S. accompanied by Janet See, Margriet Tinde- meeting year after year. Mail, telephone, fax, or e-mail. AMS con- mans, and Jillon Stoppels Dupree. Rounding —Jann Pasler, 2003 Houston tact information is as follows: AMS, 201 S. out the genres, Seattle’s Tudor Choir will Program Committee Chair 34th Street, Philadelphia, PA 19104- combine with Portland’s Cappella Romana 6313; 215/898-8698; toll free 888/611- to present an “East-West” program of vocal 4267 (“4AMS”); fax 215/573-3673; <ams polyphony, balancing Byzantine chant, Eng- @sas.upenn.edu>. See the AMS Web site lish Renaissance motets, and the work of for more information: <www.ams-net. Canadian-Greek composer Christos Hatzis. org>. More modern tastes may prefer the Seattle Chamber Players’ program of works by AMS Fellowships, Awards, and AMS Newsletter Address and George Crumb, John Cage, and Earle Prizes Deadlines Brown. And the Seattle Symphony, con- ducted by Gerard Schwarz, offers an eve- Descriptions and detailed guidelines for Items for publication in the August issue ning of Viennese Romanticism, featuring all AMS awards appear in the AMS Direc- of the AMS Newsletter must be submitted Brahms’s Second Symphony, Beethoven’s tory and on the AMS home page. by 1 May to Egmont overture, and Karl Goldmark’s Vio- Alvin H. Johnson AMS 50 Andreas Giger lin Concerto. In recognition of Seattle’s rep- Dissertation Fellowship Awards Editor, AMS Newsletter utation as the capital of alternative rock, an Deadline: 15 January. <[email protected]> excursion to the EMP will feature a special School of Music performance by the rising Seattle band Vis- Otto Kinkeldey Award Louisiana State University queen. No specific deadline. Baton Rouge, LA 70803-2504 The 2004 Program Committee is chaired tel. 225/344-0427 by Robert Kendrick (University of Chicago), Alfred Einstein Award fax 225/578-3333 the Performance Committee by Neal Zaslaw Deadline: 1 June. (Please note that e-mail submissions are (Cornell University), and the Local Arrange- preferred.) ments Committee by Stephen Rumph (Uni- Paul A. Pisk Prize versity of Washington). Our SMT Liaisons Deadline: 1 October. The AMS Newsletter is published are Jonathan Bernard (University of Wash- twice yearly by the American Musicologi- ington) and James Denman (Seattle Pacific Noah Greenberg Award cal Society, Inc. and mailed to all members University). Deadline: 15 August. and subscribers. Requests for additional The meeting Web site, <www.ams- copies of current and back issues of the Philip Brett Award net.org/seattle>, is taking shape and will AMS Newsletter should be directed to the Deadline: 1 July.
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