AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLVIX, NUMBER 1 February 2019 ISSN 0402-012X Welcome to Boston in 2019! San Antonio Reflections AMS Boston 2019 first public city park (Boston Common in San Antonio’s balmy climate, especially wel- 31 October–3 November 1634), the first public school (Boston Latin come to those from colder climes, was the amsmusicology.org/page/boston in 1635), the first free public lending library congenial setting for the 2018 Annual Meet- (1848), and the first subway system (1897). ing, held jointly with the Society for Music 1858 In , in The Atlantic Monthly, Oliver The AMS will visit Boston in the centen- Theory (SMT). This year, a new formula was Wendell Holmes referred satirically to Bos- nial year of one of the city’s most bizarre tested: instead of two-hour sessions of four thirty-minute papers, we scheduled ninety- ton’s State House as “the hub of the solar events: the Great Molasses Flood of 1919, in minute sessions of three twenty-minute pa- system.” Although he meant this as a jab which twenty-one people perished and 150 at Boston’s high opinion of itself, not only pers, interspersed with ten-minute question were injured when a large tank of molas- periods. Future program committees will did the nickname stick, but ironically many ses burst and flooded the streets of the city’s Bostonians now refer to their city as “the continue to assess the degree to which this is North End. meeting the needs of both societies. hub of the universe.” Although this is said Boston is known as an international Certainly the increased number of time- tongue-in-cheek, it reflects a genuine pride center of higher education, research, and slots can accommodate a wide array of top- among locals in all that their city has to of- medicine. Harvard College was founded in ics. This year’s presenters went beyond Europe fer: a rich history, an extraordinarily vibrant neighboring Cambridge in 1636, the first of and North America to survey topics such as cultural life, and beautiful landscapes. what would grow to be over one hundred music and the transatlantic slave trade; Jap- Boston is the largest city in New Eng- colleges and universities in Massachusetts, anese-colonized Korea; Beirut-based rappers; 1968 land and among the oldest cities in the at least thirty-five of which are located with- protest music of ; cassettes; music and women’s labor; and no fewer than forty-nine country. Founded by English Puritan set- in the city of Boston itself. Other institu- presentations on Latin America. New meth- tlers in 1630, the city and its immediate tions in the area include the Massachusetts odological perspectives also emerged, as in the environs later saw some of the key events Institute of Technology, Boston University, of the American Revolution, including the session on “Critical Race Theory and Music”; Northeastern University, Brandeis Univer- the fact that three session titles contained the Boston Massacre, the Boston Tea Party, sity, Tufts University, Boston College, and word “rethinking”—whether of “blackness, the Battle of Bunker Hill, and the Battles Wellesley College. Boston is home to sev- desire, and political fantasy,” the Enlighten- of Lexington and Concord. It has been the eral institutions of higher learning devoted ment, or amateurism—affirmed these fresh site of many national firsts, including the specifically to music, including the New approaches. Sessions such as these coexisted England Conservatory (the oldest continu- amicably with more traditional areas of in- In This Issue… ously operating, independent conservatory quiry: opera from all periods; chant; Notre President’s Message ...... 2 in the country), Boston Conservatory at Dame polyphony; medieval and early mod- Treasurer’s Message ...... 3 Berklee, and the Berklee College of Music. ern theory; Ockeghem; sixteenth- and seven- The ociety’sS Finances ...... 3 Boston is a fabulous city for classical teenth-century music; keyboard music of the eighteenth century; Haydn; Beethoven; and Early Music Award ...... 5 music and the performing arts. In addi- 5 the nineteenth century, both long and short. Antokoletz Grant ...... tion to the Boston Symphony Orchestra Recent Actions of the Board . . . . 6 The AMS remains a congenial setting for (BSO) and the Boston Pops, it is home to JAMS News ...... 6 gatherings of the American Bach Society, the the Handel and Haydn Society (founded in AMS Public Lectures ...... 7 American Handel Society, the Mozart Society 1818 Awards, Prizes, Honors ...... 8 ), Boston Baroque, the Boston Philhar- of America, and similarly oriented groups of Elections 2019 ...... 12 monic, the Boston Chamber Music Soci- other scholarly organizations. San Antonio Post-Conference Survey 15 ety, the Boston Modern Orchestra Project, A number of sessions were devoted to prac- Committee News ...... 16 Boston Musica Viva, and numerous other tical matters, such as “Contingent Labor in Study Group News ...... 20 ensembles, as well as the Boston Lyric Op- the Academy: Issues and Advocacy” or “Rede- News Briefs ...... 22 era. It is also home to the Boston Youth fining Musicology Careers in the Twenty-First Papers Read at Chapter Meetings . 23 Symphony Orchestras, one of the coun- Century”; likewise, a distinguished panel of Obituaries ...... 30 try’s most well-regarded youth ensemble editors shared the insider’s view on publishing Grants, Awards, Fellowships . . . 31 continued on page  continued on page  President’s Message Suzanne Cusick It is an honor—and a humbling challenge— refuge from the unkindness, violence, igno- twice as many pre- to have been entrusted with the leadership of rance, and disdain that currently characterize sentations as it did our Society at a time of rapid change, both public life. Just as importantly, we bring into only a few years in music studies and the wider world. It is being a community from which we can resist ago. This change humbling, too, to succeed Martha Feldman, the darkest aspects of contemporary life—and has both broadened whose leadership over the last two years has their traces in our own history—by perform- and deepened the been inspired and inspiring. Humbled, know- ing daily our respect, knowledge, and love for scope of our field, ing I have already stumbled and that I will in- the artistic work we study, for the idea that and welcomed into evitably stumble again, I am consoled by the critical thought is worth cultivating, and for our community knowledge that no AMS president is alone in each other. scholars of music this work. Rather, the president is but one of Who is this “we?” “We” is you, the music who might once have felt that the AMS was many AMS leaders, guided and sustained by scholars who constitute the AMS. You bring not a place for them. Expansion challenges the ideas and generosity of an extraordinarily that into being whenever you share with communities, however, in practical, intellec- imaginative, perspicacious and deliberative someone else a source, an archival tip, a joy- tual, and social ways. In response to the prac- board; by a Council that takes an ever-more ously discovered detail in a recorded perfor- tical challenge, the Committee on the An- active role in the Society’s work; by the effi- mance, a moment from your teaching that nual Meeting and an ad hoc group of former cient, inventive, and compassionate leader- shifted your own and your students’ thinking Program Committee chairs are reviewing and ship of our Executive Director Bob Judd and in unforeseen, useful ways, as well as when revising that committee’s procedures, mean- his able assistants; and by the generosity with you present your research publicly, in oral or ing both to lighten its crushing workload which so many of you volunteer your time, written form, when you read and critique a and to ensure that every abstract be evaluated ideas, and intelligence to the nitty-gritty, quo- colleague’s drafts, when you mentor another. with utmost care. In response to the intellec- tidian work that continually brings the AMS Those acts of support for each other are the tual and social challenges, the same Commit- into being as a community. So let me begin by way that we daily renew ourselves as a com- tee will craft a new schedule for the annual thanking you my predecessors, and thanking munity that supports the scholarly study of meeting that will enable both occasions for the board, Council and their officers, Bob, music—a community that realizes the stated community-wide intellectual experiences and and all of you who do so much for the com- mission of the AMS. opportunities for maintaining the web of pro- munity committed to scholarship and critical “The AMS” as an institution provides in- fessional and personal relationships on which thought about music that is the AMS. frastructure that enables our support for each a healthy community depends. other to reach beyond individual acquain- As our community opens itself to newcom- The AMS in the world.We live in tumul- tanceship circles. That infrastructure includes ers, new technologies, and new needs, we have tuous times. Almost every institution any of research, travel, subvention and fellowship also begun to transform the ways we commu- us grew up with shudders with the continual funds that, last year, supported our commu- nicate with each other. The AMS Forum at shocks of rapid change (or corruption, or im- nity’s intellectual life to the tune of $250,000; Humanities Commons platform is one such pending collapse). Public life, both real and such public platforms for the exchange of transformation, as were the transformation virtual, is increasingly characterized by equal- ideas as JAMS, Musicology Now, and the fo- of the old AMS-L into the new, independent ly shocking acts of unkindness, interpersonal rum at Humanities Commons; and thought- Musicology-L, and the creation of lecture se- and intercultural disrespect, and violence— provoking, welcoming national and chapter ries at the Library of Congress, the Rock and daily re-opening, in plain sight, the wounds meetings that are rich with opportunities for Roll Hall of Fame, and NYU. Other, more of racism, sexism, homo- and transphobia, intellectual exchange, professional develop- dramatic changes are in the offing, includ- and xenophobia in ways that harm us all. ment and mentoring, and the cultivation of ing the transformation of this Newsletter to And although daily life in this shocking, of- rewarding social relationships grounded in an entirely digital form, beginning with the ten unkind world is saturated with commodi- our shared love for music and musical culture. first electronic issue this summer. In addition, fied musics, public discourse affords little val- “We”—that is, you—do good work in the board committees are evaluating ways of us- ue either to the complex and communal artis- world through the infrastructure “the AMS” ing technology to enable virtual attendance tic work that produces music or to the criti- has built over many decades. at the annual meeting (or at least some of it) cal thinking that seeks to understand artistic without sacrificing entirely the interactive, in- work’s interaction with the world. Upgrading the infrastructure: the annual terpersonal benefits of non-virtual meetings; Yet we, people whose imaginations have meeting, communications, and member to suppress the sound bleed that so afflicts ho- been captured by music—in the way one’s support. Almost everyone who has spoken tel conference spaces, and that prevents close imagination has been captured when one says with me about the AMS over the last year has listening to musical examples; and to expand “I fell hopelessly in love”—we turn to music enthusiastically welcomed the ways the Soci- publication possibilities by creating an on- anyway, and to thinking about music. We do ety has changed in recent years, and has ar- line journal that would be distinct from and so even though we would almost certainly be gued for continued change. You are emphati- qualitatively equivalent to JAMS. Last but not richer in money, material possessions, and cally asking for upgrades in our infrastructure least, the board and several committees are leisure if we turned our intelligences to some that will transform us into a Society able to actively seeking ways to expand the research, more conventional work. meet the changing needs of music scholars in travel, and mentoring support we offer all our When we turn to music anyway, with the the twenty-first century. members, particularly the growing number irrepressible inquisitiveness and need to share That transformation is well underway, per- whose circumstances are precarious because what we know that makes us scholars, we haps most dramatically in the expansion of bring into being a community that can be a our annual meeting to accommodate nearly continued on page   AMS Newsletter Treasurer’s Message James Ladewig As I reported in San Antonio, the fiscal year operating budget and the endowment. While need in the future will be charitable donations ending 30 June 2018 was a good year for the we have recently come to face challenges in that are unrestricted in nature. endowment, with an investment return of our operating funds, we are fortunate to have Before concluding, I cannot help but men- +7.4% that brought the portfolio to a total benefited from strong long-term performance tion a great milestone achieved within one of $7.48 million. As of 31 December, halfway within the endowment. of our endowed programs, the M. Elizabeth through the new fiscal year, our losses during During our AMS 50 and OPUS capital C. Bartlet Fund for Research in France. The the recent extreme volatility in the stock mar- campaigns, we raised the large part of the following is a wonderful example of the great 1931 effect one individual can have upon many ket (with the worst December since ) have principal that forms the foundation of our shaved -6.2% from that gain. scholars of future generations. Before Eliza- endowment. These campaigns also estab- Endowments, however, have a longer time- beth tragically passed away in 2005, she be- lished the majority of our present endowed perspective than do any of us as individuals, queathed to the AMS all future royalties from programs, which have now grown to three fel- their ultimate goal being to exist in perpetu- her edition of Rossini’s Guillaume Tell. Last lowship programs, eleven travel and research ity. The AMS endowment stands at the begin- year we received approximately $24,000, ning of this road, having started to invest in a grant programs, fifteen awards, ten publica- which brings the total royalties from her be- $260 000 meaningful manner in the stock market only tion subvention funds, and three endowed quest to over , , an amount that will in the mid-1990s. Twenty years ago we had lecture series. During those campaigns, our continue to increase. Her generosity will pro- vide income to give over $11,000 this year to over $1.5 million, and ten years ago a bit above operating income regularly covered our oper- doctoral students and others pursuing post- $3 million. Today we stand at $7 million. This ating expenses, so no fundraising was deemed doctoral research in France. despite having suffered during2001 and 2008, necessary in that area. But that has now We thank all benefactors of our Society two of the three worst bear markets of the last changed. Over the years we have received a who, like Elizabeth Bartlet, have found the hundred years. smaller amount in unrestricted contributions generosity in their hearts to include the AMS As Suzanne Cusick explains in her Presi- that can be used for any purpose, including in their charitable giving. If you, too, have the dent’s Message, the finances of our Society to support the operations and the administra- resources large or small to join their ranks, we divide into two separate components, the tion of the Society. What we will especially will all be forever grateful. The Society’s Finances Robert Judd A year ago I wrote about our deficit for the made a number of decisions to rein in expens- At the same time, the board wants to actually fiscal year ending 30 June 2017 (FY 2017), and es. These include: reduce the endowment draw in preparation for advised that the Board of Directors would be • Eliminate face-to-face meeting of the An- leaner times in future. The work to establish working to improve our financial situation. nual Meeting Program Committee (sav- a balanced operating budget ready to meet Since then we have undergone a financial au- ings: $10,000) the opportunities and challenges ahead is the dit for FY 2017 (available at amsmusicology. • Reduce Board of Directors expenses (sav- board’s top priority. 2018 org/page/financial), and our FY audit is ings: $1,000) *“Endowment draw”: the amount withdrawn currently in progress. • Make the printed Annual Meeting Program from endowment funds annually. If the endow- The auditor reported that the finances of the and Abstracts Book available as an add-on at ment value is $1,000 when averaged over the past society were healthy. So why did I sound an additional cost (savings: $5,000) three years, the annual draw would be $45 if our alarm? Because the Society did not adhere to • Move the AMS Newsletter to electronic target is 4.5 percent. The endowment draw is in- its self-imposed restrictions. In FY 2017 our only (savings: $7,000) tentionally untethered from actual endowment target unrestricted endowment draw* was • Cease support for the AMS-Newberry earnings, and using a three-year average helps $106,500 (4.5 percent of a three-year mov- Library Short-Term Fellowship (savings: avoid large fluctuations in the draw that might ing average), and we overspent our target by $1,500) occur because of stock market volatility. $123,000. • Reduce the Annual Meeting Performance This is tantamount to a 9.7 percent draw, Committee budget (savings: $2,000) over twice our target. Since the endowment • Reduce support for a delegate to attend End-of-Year Appeal performance in FY 2017 was very strong, and NASM (savings: $1,500) At its last meeting, the Development we had cash reserves in place, we were able to • Scale back the Annual Meeting guest Committee decided to adopt a practice receive a clean bill of health. We not only sur- speaker grant program (savings: $1,500) employed by many non-profit organiza- vived, we increased net assets by 8.6 percent. • Develop and implement a plan to deduct tions and launch the first year-end ap- But our cash reserves are now depleted. the cost of managing the endowment from peal for funds to support the Society’s How does the picture look for FY 2018? the endowment itself administrative activities and operations. A The audit is underway, so it is premature to • Create a new dues structure letter from President Cusick was sent to speak in detail, but at this time it appears to The savings amounts itemized here total members in mid-December, and by mid- be similar to FY 2017. Our FY 2018 core rev- $29 500 , , and are all slated to be implemented January the total amount contributed to enue (dues and library subscriptions to JAMS) 2021 by FY . the Society’s Annual Fund reached nearly was $276,000, a decline of 4.5 percent. For- Meanwhile, we anticipate significant new $30,000, from seventy donors. We are very tunately, the endowment performance in FY expenses in the near future: funding for the gratified and encouraged by this result. 2018 was again strong, but it is clear that we journal assistant editor, generously underwrit- Thanks are due to all those who made it continued to live beyond our means. At last ten in full by host institutions for many years, possible. November’s meeting the Board of Directors must now be partially provided by the Society. February 2019  President’s Message ture’s needs, let alone leave us extra revenue to ing scale that we could apply to both. We support new initiatives. We need to be smart, are trying to find a genuinely sweet spot that continued from page  frugal, and generous with each other if the would enable us to lower dues and registra- of infrastructural shrinkage in the institution AMS is to make the changes you and your tion charges for our most precarious mem- known loosely as “the academy.” board want to see over the next few years—es- bers, raise them for our well-to-do members, pecially our ongoing efforts to make our com- and generate more revenue for both our cur- Maintenance, upgrades, and money. Ev- munity more open and welcoming, to play a rent infrastructure and the improvements we ery innovation, every institutional response more important part in public culture, and to believe you want and need. to changes in the way that the world at large help support the scholarly lives of our precari- * * * supports (or doesn’t support) our work, asks ous members. However necessary in this moment, ask- more work for our already stretched paid Perhaps the most important Board Task ing you for alms and forbearance feels like a staff, and puts new strain on our operating Force of summer 2018 was the one devoted to somber place to end. I end instead by asking budget. During the summer of 2018, five task AMS’ fiscal health. Many of its recommenda- of you what you already freely give—your forces of the board worked long and hard to tions have already been implemented. These energy; your inventive, problem-solving think of ways to meet your changing, grow- include freezing as many budget allocations as ideas; your willingness to serve on one of the ing needs in a fiscally responsible way. Their we could so as to minimize budget cuts; en- forty-five (!) committees that keep the infra- reports, published elsewhere in this Newslet- ergetically seeking ways to combine resources structure of our community strong; your in- ter and on our website, have effectively set with our sister societies (SMT, SEM, SAM, novative, insightful scholarship; your lively, the agenda for the changing infrastructure and CMS); reviving the end-of-the-year an- respectful engagement with each other’s ideas outlined above. But what about the money? nual giving letter that you all received from even when you disagree; your manuscripts Treasurer Jim Ladewig and Executive Direc- me in December; and resolving to create and for JAMS, your abstracts for the annual and tor Bob Judd each respond to that question publicize guidelines for planned giving. Else- chapter meetings, your blog posts for Musicol- elsewhere in this issue. Here’s my take. where in this Newsletter you will find advice ogy Now; your mentoring of each other; your The AMS uses the same business model as about how my fellow seniors can still deduct bookmarking of our website, so that you can most scholarly societies. In that model oper- our charitable contributions to AMS under know and even participate in changes to our ating expenses—the costs of infrastructure— the new tax law. On behalf of the board, but infrastructure; your honest critiques of the are paid from dues, conference registration really on your behalf, I ask each of you who ideas we, your elected leaders, propose; your fees, library subscriptions, and a few smaller is able to be generous financially to consider commitment to participate in the spring elec- revenue streams. Fellowships, subventions, giving to the AMS, and to earmark a sub- tions. Most of all, your ongoing commitment travel/research grants, awards, and special stantial portion of whatever you might give to co-creating every day a virtual space in the lectures are paid for by the income from en- for the operating fund that supports our world that values and engages critically mu- dowments, income that legally can be spent infrastructure. sic’s sometimes shattering, sometimes joyous only for the purposes designated by their do- I ask, too, for your forbearance with ways capacity to transform, renew, challenge, and nors. Thanks to your generosity, the OPUS that the board may change our membership refresh us, both individually and in our rela- campaign in the 2000s, and Jim Ladewig’s and registration fees—“the revenue stream” tionships with each other. Thank you for all of excellent stewardship, the AMS is relatively on which we, like our peer societies, must that, and for the honor of working with you well endowed for our size. But our operating depend. Some of us have been working since toward an ever-renewed AMS. budget no longer quite meets our infrastruc- last June to devise a new, income-based slid- —Suzanne G. Cusick

San Antonio Reflections Salfen) assembled an excellent array of con- ebration of light over darkness and thanks to certs. Performances showcased Brazilian mu- which fireworks exploding against the night continued from page  sic for piano and guitar, percussion as a queer sky could be glimpsed. in journals. Study Groups examined a pleth- tool of resistance, and the music of New Spain My colleagues on the Program Commit- ora of topics, whereas seminars, now in their at the nearby San Fernando Cathedral, along tee deserve the Society’s thanks for their hard second year, explored “Time in Opera” and with other repertories. work putting the program together: Linda “On the Academic Pipeline.” The second Throughout the meeting, a strong sense of Austern, James Buhler, Emily Dolan, David “jointness” prevailed: seven AMS-SMT ses- Committee on Women and Gender En- Metzer, Jennifer Saltzstein, and 2019 chair sions reflected points in common between dowed Lecture was given by Bonnie Gordon: Holly Watkins. our two disciplines, whether treating De- a thought-provoking talk entitled “Feminist Please join us later this year in Boston. If bussy, hip hop, or the “San Antonio sound” Noise.” It complemented the AMS President’s you’ve never participated in the Annual Meet- in Tejano music, as did musicologist Carolyn ing Buddy Program, which pairs first-time Endowed Plenary Lecture, given this year by Abbate’s keynote address for SMT, on “Light- Dwandalyn R. Reece of the National Muse- ness, Improvisation, and What Is Knowable.” attendees with regulars, consider signing up um of African American History and Culture, Strolling along San Antonio’s celebrated next year. Equally hospitable are the yearly re- in conversation with Guthrie Ramsey. While River Walk led many of us to sample vari- ceptions and university-sponsored festivities. illuminating the role of musical objects in his- ous culinary traditions—not to mention What changes will future Annual Meetings torical narratives, they suggested combining numerous flavors of margaritas—and experi- bring? How can we make it even more inclu- music with museum work to Society mem- ence two community events: the Día de los sive? It’s our conference. Your views on any as- bers on the job market. Muertos (Day of the Dead), observed at a pect of the program matter a great deal. Please The Performance Committee (Laurie Stras, carnival in nearby Hemisphere Park, and the don’t hesitate to make them known. chair; Christina Baade, Ivan Raykoff, Kevin Tenth Annual Diwali Festival, the Hindu cel- —Carol A. Hess  AMS Newsletter New for 2019 Early Music Award endowment be renamed to include her completed the Ph.D. within the past five name as well. This endowment generates years. Preference will be given to applicants Through the generosity of an anonymous funding for the Elliott Antokoletz Grant, whose home institutions do not offer finan- donor, the AMS is pleased to announce this which will be awarded for the first time cial support for musicological research, and new award. It will honor each year a sub- this year. to music-centered approaches to creativity in twentieth-century music (composition, stantial, single-author work of scholarship The grant supports research in twenti- 1550 improvisation, performance). on music before . Nominations may be eth-century music. It is a memorial to El- The Antokoletz Grant joins the seven accepted for publications in a variety of for- liott Antokoletz (1942–2017), one of the existing travel and research grants already mats: articles, books, and scholarly editions foremost scholars and teachers of twenti- offered by the AMS, all with an application with significant editorial commentaries are eth-century music, whose work, insights, deadline of 1 April. See amsmusicology.org/ all eligible for consideration. and phenomenal accomplishments em- page/Antokoletz for full details. Work published during the preceding phasizing the creative aspects of music in- three calendar years will be eligible for spired decades of students. The award will consideration. The nomination deadline be made annually to one or more doctoral 1 is May, in accordance with other AMS students at or graduates of universities in awards. See amsmusicology.org/page/Ear- the United States and Canada to conduct lyMusic for full details. doctoral or post-doctoral musicological re- Antokoletz Grant search on twentieth-century music. Eligible applicants must currently attend The Elliott and Juana Antokoletz Endow- or have graduated from a doctoral program ment was established in 2018. The driving in a North American university. If they seek force behind the endowment was Juana to conduct research for their dissertation, Antokoletz as a memorial to her husband they must have completed all other require- Elliott; when she died in summer 2018, ments for the Ph.D. If they seek to conduct the Antokoletz family requested that the post-doctoral research, they should have Elliott Antokoletz

San Antonio Reflections Part II

By Kevin Salfen, chair of AMS an array of topics as of voices, and I hadn’t determined paths for the ideal twenty-first- Local Arrangements even made it past Thursday! Without detail- century musicologist, instead of applying the ing each of my conference days, I note gen- glossy coat of a single cosmopolitanism, San I had determined from the outset that dur- erally that they also included film screen- Antonio 2018 seemed to represent an oppor- ing the 2018 Annual Meeting I would attend ings, concerts (of Brazilian jazz, nineteenth- tunity for each AMS and SMT member to sessions in as many different formats as pos- century castrato repertory, and music from connect a changing discipline with the fasci- sible. And that’s what I did. Jumping between New Spain, each in evocative locations), a nating human beings who are changing it. four different papers during the first Thurs- Reports I’ve received suggest that I wasn’t day session, I kept admirably on schedule terrific Diwali celebration, a mini-workshop the only one to leave the meeting feeling that even with the twenty-minute format, hearing on minimizing implicit bias, special interest it had accomplished something special. AMS about Cécile Chaminade and Debussy, gospel group meetings, and, naturally, a plenitude of President Suzanne Cusick recently wrote to vamps, and Schoenberg. Later that afternoon paper sessions on everything from Elizabeth convey positive comments that had reached I sat in on a seminar session on opera in which Maconchy to Ravi Shankar, Forbidden Planet the board. The hotel was convenient and the panelists, who had read one another’s pa- to New York Pro Musica. comfortable, the Riverwalk charming; perfor- pers in advance, launched into a themed con- I find myself wondering if most AMS/SMT mances by local and regional artists were en- versation that kept returning to concepts of San Antonio 2018 attendees had an experi- joyed, as was the ample and affordable food. entrapment and release and the thickness and ence that was similarly diverse while being But Suzanne also wrote, “So many people thinness of time. Later I had the pleasure of completely different in specifics. It seems to have commented on an intangible quality—a hearing Dwandalyn R. Reece of the Nation- me that one of the finest accomplishments of warm, emotionally open ‘vibe’—that seemed al Museum of African American History and this most recent meeting was that, because of to suffuse the meeting.” I can attest to that Culture give the AMS President’s Endowed the organization’s earnest attempt to encour- special quality being owed in part to San An- Plenary Lecture about music and curation, age variety, structurally through the twenty- tonio, a city I not only live in but love, but featuring among many riches some memo- minute paper format and the promotion of all AMS and SMT members also contributed rable photos of the museum’s recreation of multiple session formats and also in other, to that “vibe,” to a hopeful openness at a his- George Clinton’s P Funk Mothership. That more personal ways, we were all able to follow torical moment often portrayed as hopeless evening I attended a session on interdiscipli- our own distinctive “stories” over four days in and closed. Writing as I am during (another) narity in teaching and learning sponsored by ways that were meaningful and that provided government shutdown, I am encouraged by the AMS Pedagogy Study Group. Four ses- opportunities to learn and to contribute. In- sions in four formats, featuring as diverse stead of forcing hesitant participants into pre- continued on page  February 2019  Recent Actions of the Board of Directors The Board of Directors took the following ac- (funds previously shifted from the operat- • Approved a new AMS Policy on Harassment tions between April 2018 and January 2019: ing funds to support the Greenberg prize) (amsmusicology.org/page/harassment) • Approved the budget for fiscal year 2019. back to the operating budget. • Confirmed its prior decision to cease spon- • Approved a reduction in the endowment • Approved incoming JAMS Editor-in- sorship of AMS-L by 31 December 2018 draw policy from 4.5% to 4.25% in 2019 Chief Kevin Karnes’s nominations for the and facilitate migration of the list to a dif- and 4.0% in 2020. positions of JAMS review editor and digi- ferent site. • Approved an additional allocation of tal media editor: Gurminder Bhogal and • Approved a funding request from the $2,667 for the 2019 fiscal year to support Jeffers Engelhardt; and Karnes’s nomina- Committee on Career-Related Issues to the JAMS editorial assistant, with plans to tions for JAMS editorial board give honoraria to three local non-academ- budget $8,000 per annum for the editorial • Approved an increase in the number of ic speakers for participating in Boston assistant in 2020, 2021, and 2022. concurrent sessions at the Annual Meeting sessions. 2019 • Approved a number of cost-cutting mea- from nine to ten beginning in . • Approved the Publication Committee’s • Agreed to direct the AMS statisticians to sures (see p. 3). subvention recommendations of 26 No- develop a base-line survey of the member- • Approved the imposition of a recurring ad- vember 2018. ship and their career profiles. ministrative fee on the endowment. • Approved a proposal from Holly Watkins, • Approved a transfer of $34,500 from the • Changed policy to restrict publication sub- the chair of the 2019 Annual Meeting Pro- endowment to reimburse the operating ventions to authors who are members of gram Committee, to revise the manner in budget for past and current expenditures the AMS. which free-standing paper proposals are for the treasurer’s honorarium. • Accepted a proposal from an anonymous • Approved a one-time transfer of $23,000 donor for a new endowed prize for scholar- evaluated and selected. from the Greenberg quasi-endowment ship on music before 1550.

JAMS News San Antonio Reflections Part II Boston 2019 continued from page  continued from page  By the time you read this, JAMS will have completed the transition to the online sub- a different piece of feedback, this from one programs. Emmanuel Music performs an mission management system ScholarOne of my first-year students who, after hearing ongoing Bach cantata series on Sundays at for articles (colloquies and reviews of books me describe the conference, decided to risk it Emmanuel Church. Symphony Hall, built and found himself in his first paper session: and media are still handled via email—see in 1900 and home to the BSO and Pops, “Timbre Analysis”! He later wrote me: “I am was one of the first concert spaces designed the submission guideline website for de- glad I attended this meeting, because it gave tails). I am especially grateful to Editori- according to scientific principles of acous- me a sense of belonging.” tics, and it is still considered one of the fin- al Assistant Liz Elmi for collaborating so As we head into the spring semester, I find est halls in the world. On any given eve- closely with the University of California myself thinking about how the lessons of a ning or weekend in Boston, one may find Press and the vendor to tailor the system to “warm, emotionally open” AMS/SMT meet- our workflow. The new system should im- ing, one that can give a freshman hearing numerous musical events to choose from, prove the experience for authors, peer re- about the analysis of timbre a “sense of be- often including free professional-grade con- certs at New England Conservatory’s Jor- viewers, and the editorial team. It will also longing,” might inform the way I teach and dan Hall or at other neighboring academic render author-generated data regarding engage in research. How many experiments institutions. dem­ographics and a folksonomy of key- in format should I allow myself and encour- age from my students? What can “repertory” Although some things have changed words to give the Society a better sense of mean to me in 2019? How can I cultivate a since the last time the AMS met in Boston who submits their work to JAMS and how sense of openness with depth and a classroom (1998), much remains the same, including they describe their own scholarship. where the fascinatingly different thrives, the crisp New England autumn air, perfect We received 111 submissions in calendar where people can gather, exchange ideas, and for a walk along the Charles River or on 2018 year ; over thirty of them were in re- walk their own paths? I look forward to con- the Boston Common. The AMS venue, the sponse to our call for submissions for a spe- tinuing to search for such a place, with the Westin Waterfront Hotel, is located in the cial issue on music, race, and ethnicity. AMS Annual Meeting as a source of inspira- Seaport District, convenient to South Sta- tion and challenge and as an opportunity to The present editorial team will hand over tion, Logan Airport, and many transporta- share my own ever-evolving perspective. day-to-day operations to our successors on tion options. It remains for me to convey the gratitude 1 March, although we will continue work- Please watch the conference website for ing on volume 72 (2019), including the of the Local Arrangements Committee— myself, Mark Brill, Elizabeth Dyer, Kim- updates. If you plan to schedule a meeting special issue, which is slated for publication berlyn Montford, Carl Leafstedt, and Drew or reception at the conference, please con- at the end of the year. Incoming Editor-in- Stephen. Thank you for visiting our city. We tact Katie VanDerMeer at the AMS office Chief Kevin Karnes and I will write a joint are delighted that you enjoyed your stay and as soon as possible. We look forward to wel- report for members later this year. would always welcome you back. Until Bos- coming the AMS to Boston in 2019! —Joy H. Calico, Editor-in-Chief ton, be well! —Jacquelyn Sholes

 AMS Newsletter AMS / Library of Congress Lecture Series The next AMS/Library of Congress Lecture will take place in periodicals and serials at the Library of Congress) reveals clearly that Washington D.C., in the library’s Madison Building, Montpelier opera audiences during the period included tens of thousands of regu- Room at 7 p.m. on Tuesday, 16 April 2019. Katherine K. Preston lar middle-class Americans who flocked to performances of operas in (College of William and Mary) will present “Americans’ Forgotten English, at ‘popular’ prices, and as spectacle and entertainment. Many Love Affair with Opera.” of the vernacular opera companies, furthermore, were managed by Preston describes the lecture as fol- women impresarios or artistic directors. lows: “Nineteenth-century Ameri- “My talk will reveal a completely forgotten but important chapter in cans loved to poke fun at European American cultural history. I will briefly describe how foreign-language opera. Blackface minstrels created opera became elite, exclusive, and the target of satire. But my princi- burlesques, wags published satires, pal focus will be the important English-language troupes of the 1870s and Mark Twain likened attending and 1880s, whose female managers created an American audience for opera to visiting the dentist. This sug- English-language opera and supplied those audiences with the enter- gests that the popular modern image tainment they craved. The paper will be accompanied by copious il- of opera as bombastic, pretentious, lustrations and should appeal to anyone interested in opera, women’s and affected has a long lineage. But studies, theatre history, or American cultural history.” a closer look at the evidence suggests Katherine K. Preston is the Bottoms Professor of Music, Emerita that nineteenth-century Americans at the College of William & Mary. Her books include Music for Hire Katherine K. Preston enjoyed both the lampoons and the (1992), Opera on the Road (1994), and three editions, including George operas themselves. Bristow’s Symphony No. 2, ‘The Jullien’ (2011) and the co-edited Emily’s “Most scholarship on American opera performance history has fo- Songbook: Music in 1850s Albany (2011). Her most recent monograph, cused on foreign-language companies, which has reinforced the image Opera for the People: English-Language Opera and Women Managers in of operagoers as wealthy and elite. But this scholarship mostly dis- Late Nineteenth-Century America (2017) is part of the series AMS Stud- missed opera in English translation as nonexistent or insignificant. A ies in Music, and is the inspiration for her lecture. The recipient of careful examination of periodicals, newspapers, scrapbooks, memoirs, many fellowships, she is Past President of the Society for American diaries, and performing materials (including the stellar collection of Music. AMS / Rock and Roll Hall of Fame and Museum Lecture Series The next AMS/Rock and Roll Hall of Fame and Museum Lecture sic, lyrics, and production to illuminate how Anderson raises ques- will take place in the library and archives of the RRHOFM, Cleve- tions that are downright metascientific. What kind of knowledge is land, Ohio, 8 May 2019. S. Alexander Reed (Ithaca College) will communicated in a poem, a proof, a plan, or a pickup line? Who present “There Is No Pilot: How Laurie Anderson’s Big Science Diag- gets to decide which is which? How is that authority granted? nosed a World Beyond Control.” “Unpacking the questions Big Science raises reveals it as not merely Reed describes his lecture as fol- a document of the 1980s, but a work that the twenty-first century lows: “The1982 LP Big Science helped renders more troublingly relevant every day.” establish Laurie Anderson as the de- S. Alexander Reed is the author of the ARSC-prizewinning book cade’s premier art/pop crossover. The Assimilate: A Critical History of Industrial Music, and co-author of album dazzled and bewildered audi- a 33 1/3 book on They Might Be Giants’ Flood. Alex has published ences with its uneasy staging of in- on post-punk and avant-garde musics in Perspectives of New Music, dividual facelessness amid corporate the Journal of Musicological Research, the Journal of Popular Music familiarity, its dry humor, its aesthet- Studies, Popular Music and Society, the Journal of Popular Music Edu- ics both icy and quaint, and its vital cation, and ImageTexT. He is founder of the AMS Popular Music engagement with gender, geography, Study Group, and has taught at New York University, the University technology, and embodiment. of Florida, and the College of William and Mary. He is now As- S. Alexander Reed “This lecture highlights the ways sociate Professor of Music at Ithaca College. He holds a doctorate Anderson’s breakthrough speaks per- from the University of Pittsburgh. With his bands SEEMING and sistently to our experience of a world where, media, governments, ThouShaltNot, Alex has released six albums, appeared on MTV and and corporations operate seemingly with a mind of their own. CW, and has toured internationally. Through this lens,Big Science asks what happens when power wields itself—when our systematic enterprises become so recursive and Fall 2019 Lectures mediated that they no longer serve us, but instead we serve them. Historically, it is among the first western documents to recognize The two series continue in fall 2019. Further details will be pub- this state of affairs, newly emergent in the early 1980s—no surprise, lished at the website and in a future Newsletter. given that stylistically, the album collides new wave, new age, and Are you interested in presenting a lecture at one of the AMS ‘new music,’ opening a whole discourse of what ‘new’ meant just series? Information on how to apply is available at the respective before the ‘end of history.’ websites, where webcasts of all past lectures may also be found. See “Investigating musical examples from across the album (bolstered amsmusicology.org/page/RRHOFMlectures and amsmusicology by the context of Anderson’s other work), this talk engages with mu- .org/page/lc_lectures for details.

February 2019  Awards, Prizes, and Honors

Honorary Member tatas and opera arias into the arie antiche of the nineteenth- and twentieth centuries Margaret Murata is Professor Emerita (1998, 1999, 2004, 2008). of Music at the University of California, Irvine. She received the A.B., A.M. and Corresponding Members Ph.D. degrees in music from The Universi- ty of Chicago (1967, 1971, 1975) and served Juan-José Carreras is Professor Titular of as vice-president of the AMS from 1994 to the history of music at the Universidad de 1996, heading the steering committee for Zaragoza, where he founded the program the 2000 joint meeting of sixteen North in musicology. He has been a visiting schol- American musical associations in Toronto, ar at Wolfson College, Cambridge, Univer- Canada. She edited the Baroque volume sità degli Studi di Firenze, Universitat de of the revised Strunk’s Source Readings in Girona, Royal Holloway College, the Brit- Music History (1998) and contributed the ish Academy, Universidad Complutense de chapter on secular vocal music to the Cam- Madrid, City University of New York, and bridge History of Seventeenth-Century Music the École normale supérieure. His research (2005). She was named an Honorary Mem- has focused on opera, musical patronage, ber of the Society for Seventeenth-Century institutional history, nationalism, historiog- Jose Carreras Music in 2014 after having served as its raphy, and the history of concepts from the president in 2000–03 and, with Alexander eighteenth to twentieth century, fields in Ph.D. in musicology from Cambridge Uni- Silbiger, having founded the Web Library which he has organized international con- versity. Before joining the University of of Seventeenth-Century Music. The Rotary ferences and trained doctoral students. In Hong Kong as head of the School of Hu- Clubs of Italy awarded her the decennial eighteenth-century studies, he has edited a manities, he was a Fellow and the Direc- International Galileo Galilei Prize in the major Spanish cantata source, El Manuscri- tor of Studies at St. John’s College, Cam- History of Italian Music in 2017. to Mackworth de Cantatas Españolas (2004) bridge, and later Professor of Music Theo- Murata’s research has focused on the- and various co-edited volumes, including ry and Analysis at King’s College, London. ater, opera and cantata in Baroque Rome, Music in Spain during the Eighteenth Cen- He was a Visiting Senior Research Fellow at including a catalogue, The Barberini Mu- tury (1998, with Malcolm Boyd); Concierto Yale (2014–15), a Henry Fellow at Harvard sic Manuscripts, edited with Lowell Lind- Barroco: Estudios sobre música, dramaturgia (1992–93), and a Junior Research Fellow gren (2018); publications on the singer- e historia cultural (2004, with Miguel-Ángel at Cambridge (1993–97). He is the recipi- composer Marc’Antonio Pasqualini (1980, Marín); Música y cultura urbana en la Edad ent of the 2004 Royal Musical Association’s 2003, 2014, 2016); Operas for the Papal Moderna (2005, with Andrea Bombi and Dent Medal. He is currently the President Court (1981); numerous essays on Italian Miguel-Ángel Marín), and Polychoralities. of the International Musicological Society cantatas (1980–2017); and explorations of Music, Identity, and Power in Italy, Spain, (2017–22). the cultural transformation of Baroque can- and the New World (with Iain Fenlon). Di- recting a select group of researchers, Carre- ras’s interest in the Spanish long nineteenth century has recently resulted in La música en España en el siglo XIX (2018), the first broad survey of the subject since 1984. Carreras has actively fostered internation- al musicological cooperation in Spain and abroad. A member of the editorial boards of Il Saggiatore Musicale (since 1994), Early Music (since 1995), Early Music History (since 2001) and the Revista Portuguesa de Musicologia (since 2014), he has also served on the advisory boards of the Journal of the Royal Music Association (2009–12), Eigh- teenth-Century Music (2004–07), Cuadernos de Música Iberoamericana (2005–15), and Revista de Musicología (1994–97). Daniel K. L. Chua is the Mr. and Mrs. Hung Hing-Ying Professor in the Arts and Professor of Music at the University Margaret Murata of Hong Kong. He received the B.A. and Daniel Chua  AMS Newsletter (1979) from the Polish Academy of Sciences yond Reason: Wagner contra Nietzsche (Univer- Institute of Art. During the years 1982–83 sity of California Press). she studied at the Centre d’études supéri- The Lewis Lockwood Award for an out- eures de civilisation médiévale, Universi- standing book by a scholar in the early stag- té de Poitiers. She obtained a Visiting Fel- es of her or his career was presented to Seth lowship at the University of Exeter (1985) Brodsky (University of Chicago) for From and research grants from the Herzog Au- 1989, or European Music and the Modernist gust Bibliothek in Wolfenbüttel (1987 and Unconscious (University of California Press). 1989). She received her Dr. Habil. degree in The Music in American Culture Award for 1991 and ten years later was named Profes- a book of exceptional merit that both illumi- sor at the Polish Academy of Sciences Insti- nates some important aspect of the music of tute of Art in Warsaw, where she has been a the United States and places that music in a 2007 director since . She is a member of the rich cultural context was presented to Nancy Polish Academy of Sciences and the Aca- Yunhwa Rao (Rutgers University) for China- demia Europaea. town Opera Theatre in North America(Univer - Her main area of research is Latin music sity of Illinois Press). theory of the late medieval and early mod- ern era, which includes producing critical TheClaude V. Palisca Award for best edition editions of music treatises, among others or translation was presented to Michael Ochs for Joseph Rumshinsky: Di goldene kale (A-R treatises by Georgius Libanus (1984), Se- Editions). Elzbieta Witkowska-Zaremba bastianus de Felstin (1991), Musica specu- Chua has written widely on music, from lativa by Johannes de Muris (1992), two The Ruth A. Solie Award for a collection of Monteverdi to Stravinsky, but is particu- anonymous Prague organ treatises from the essays of outstanding merit was presented to larly known for his work on Beethoven, the fifteenth century (2001) and treatises from Severine Neff (University of North Carolina history of absolute music, and the intersec- the Tabulatura Joannis de Lublin (2015). at Chapel Hill), Maureen Carr (Pennsylva- tion between music, philosophy, and theol- During the years 1993–97 she led an inter- nia State University), and Gretchen Horlach- ogy. His publications include The ‘Galitzin’ national project covering musical notation er (Indiana University), eds., for The Rite of Quartets of Beethoven (1994), Absolute Mu- in Polish sources from the eleventh to the Spring at 100 (Indiana University Press). sic and the Construction of Meaning (1999), sixteenth centuries. From 2003 to 2015 she The Robert M. Stevenson Award for out- Beethoven and Freedom, (2017), “Rioting was editor-in-chief of the quarterly Muzyka standing scholarship in Iberian music, in- With Stravinsky: A Particular Analysis of published by Polish Academy of Sciences cluding music composed, performed, cre- the Rite of Spring” in Music Analysis (2007), Institute of Art. Together with Michael ated, collected, belonging to, or descended and “Listening to the Self: The Shawshank Bernhard she co-edited the multi-volume from the musical cultures of Spain, Portugal, Redemption and the Technology of Music” Traditio Iohannis Hollandrini (2010–16), and all Latin American areas in which Span- in 19th-Century Music (2011). He currently a collection of Central-European chant ish and Portuguese are spoken, was presented is working on a post-human theory of mu- treatises from the fifteenth and sixteenth to Clinton D. Young (University of Arkansas sic inspired by NASA’s Voyager project. He centuries. at Monticello) for Music Theatre and Popular was an editor of Music & Letters (2004–10), Nationalism in Spain, 1880–1930 (Louisiana and serves on numerous advisory, editorial, AMS Awards and Prizes State University Press, 2016). and governing boards and committees. The Otto Kinkeldey Award for a book of ex- The H. Colin Slim Award for an outstand- Elżbieta Witkowska-Zaremba received ceptional merit by a scholar beyond the early ing article by a scholar beyond the early stag- her M.A. in musicology (1969) and classi- stages of her or his career was presented to es of her or his career was presented to Jen- cal philology (1972) from the Warsaw Uni- Karol Berger (Stanford University) for Be- nifer Saltzstein (University of Oklahoma) versity. She was awarded the Ph.D. degree continued on page 

Karol Berger Seth Brodsky Nancy Yunhwa Rao Michael Ochs Kinkeldey Award Winner Lockwood Award Winner MAC Award Winner Palisca Award Winner February 2019  Severine Neff Maureen Carr Gretchen Horlacher Clinton D. Young Solie Award Winner Solie Award Winner Solie Award Winner Stevenson Award Winner Awards for “Luigia Todi’s Timbre: The Enlightening work in the field of critical race and/or critcal ‘Social Utility’ of Female Voice in 1790s Italy” ethnic studies was presented to Marta Rob- continued from page  and to Caitlin Schmid (Harvard University) ertson (Gettysburg College) for “Ballad for for “Rape and Repentance in Two Medieval for “Ice Music, Ice Cello, Iced Bodies: Reinter- Incarcerated Americans: Second Generation Motets,” Journal of the American Musicologi- preting Charlotte Moorman’s Avant-Garde Japanese American Musicking in World War cal Society. (1972–2018)”. II Camps,” Journal of the Society for Ameri- can Music. The Alfred Einstein Award for an article The Thomas Hampson Award support- of exceptional merit by a scholar in the ear- ing research and publication in classic song Other Awards, Prizes, and Honors ly stages of her or his career was presented to was presented to Louise Toppin (Universi- Michael Accinno (University of California, Sean Curran (Trinity College, University of ty of Michigan) and Marquita Lister (Mor- Riverside) was selected to participate in the Cambridge) for “Hockets Broken and Inte- gan State University) for their research project NEH Summer Institute “Global Histories of grated in Early Mensural Theory and an Early “The Art Songs of African Poets and Arranged Disability” at Gallaudet University in Wash- Motet,” Early Music History. Spirituals for a New Generation.” ington, D.C. The AMS Teaching Award for outstanding The Roland Jackson Award for an article of work in innovative teaching in the music his- Margaret Bent (All Souls College, Universi- exceptional merit in the field of music analysis tory/music appreciation classroom was pre- ty of Oxford) received the Guido Adler Prize was presented to Clare Bokulich (Washing- sented to Erinn Knyt (University of Massa- from the International Musicological Society ton University in St. Louis) for “Contextual- chusetts Amherst) for “Teaching Music His- Directorate in 2018 for lifetime research on izing Josquin’s Ave Maria . . . virgo serena,” The tory to Graduate Students,” Journal of Music early music. Journal of Musicology. History Pedagogy (2016). Karen Desmond (Brandeis University) re- The Noah Greenberg Award for outstand- The inaugural H. Robert Cohen/RIPM ceived a NEH Digital Humanities Advance- ing contributions to historically aware perfor- Award for a work of scholarship of exception- ment Grant for “An Online Music Edi- mance and the study of historical performing al merit based upon eighteenth-, nineteenth-, tor for Late Medieval Polyphony Project practices was presented to Rebecca Cypess and twentieth-century periodical literature re- Description.” (Rutgers University) for the project “Sisters, lated to music was presented to Douglas Sha- Face to Face: The Bach Legacy in Women’s dle (Vanderbilt University) for Orchestrating Christopher Amos (Carnegie Hall Corpora- Hands.” the Nation: The Nineteenth-Century Ameri- tion) received a NEH Digital Projects for the Public Prototyping Grant for “A History of The Paul A. Pisk Award for an outstand- can Symphonic Enterprise (Oxford University 2015 African-American Music: Interactive Digital ing paper presented by a graduate student Press, ). Timeline.” at the Annual Meeting was awarded to Jes- The inaugural Judy Tsou Critical Race Stud- sica Gabriel Peritz (University of Chicago) ies Award for an outstanding musicological

Jennifer Saltzstein Sean Curran Clare Bokulich Rebecca Cypess Slim Award Winner Einstein Award Winner Jackson Award Winner Greenberg Award Winner  AMS Newsletter Jessica Peritz Caitlin Schmid Louise Toppin Marquita Lister Pisk Award Winner Pisk Award Winner Hampson Award Winner Hampson Award Winner Basil Considine (Minneapolis, Minn.) and will organize the symposium “Jewish Music Anne MacNeil (University of North Carolina Elissa Edwards received the 2018 Society for in South Germany—History, Exile, Contin- at Chapel Hill) and Deanna Shemek received American Music’s Digital Lectures in Ameri- uance,” 12–13 July 2019 at the Musikwissen- a NEH Digital Humanities Advancement can Music Award for a project devoted to Eli- schaftliches Institut. Grant for the design and production of a 3D 1803 67 za Eichelberger Ridgely ( – ). Giuseppe Gerbino (Columbia Universi- environment re-creation of Isabella d’Este of Karen M. Cook (University of Hartford) re- ty) received an NEH fellowship for his book Mantua’s art and music studiolo. ceived an ACLS Project Development Grant project Music and Mind in the Renaissance. Claudio Vellutini (University of British Co- for Non Est Minimo Dare Minus: The Fractur- Inga Mai Groote (University of Zurich) re- lumbia) received an Insight Development ing of Rhythm in the Late Medieval Period. ceived the Royal Musical Association’s 2018 Grant from Canada’s Social Sciences and Hu- Sean Curran (Trinity College, University of Dent Medal. manities Research Council for research on his project “Entangled Histories: Opera and Cul- Cambridge) received the Royal Musical Asso- Andrew J. Hicks (Cornell University) re- 2018 tural Networks between Vienna and the Ital- ciation’s Jerome Roche Prize for “Hock- ceived an ASCAP Deems Taylor/Virgil ian States, 1815–1848.” ets Broken and Integrated in Early Mensural Thomson Award and the Society for Music Theory and an Early Motet,” Early Music His- Theory’s Emerging Scholar Award for Com- Francesca Vella (University of Cambridge) 2017 tory ( ). posing the World: Harmony in the Medieval received the Music & Letters 2017 Westrup Ryan Ebright (Bowling Green State Univer- Platonic Cosmos (2017). Prize for her article “Jenny Lind, Voice, Ce- lebrity” (2016). sity) received an ASCAP Deems Taylor/Virgil Julie Hubbert (University of South Caroli- Thomson Award for his article “‘My Answer na, Columbia) received an NEH fellowship Alejandro Vera (Pontificia Universidad to What Music Theatre Can Be:’ Iconoclasm for her book project Technology, Listening, and Catolica de Chile) received the 2018 Casa de and Entrepreneurship in Steve Reich and Ber- Labor: Music in New Hollywood Film. las Americas Musicology Award for his book yl Korot’s The Cave,” American Music (2017). El Dulce Reato de la Musica. La Vida Musi- Lewis Lockwood (Harvard University) re- cal en Santiago de Chile Durante el Perio- Annegret Fauser (University of North Car- ceived the Guido Adler Prize from the Inter- do Colonial. olina at Chapel Hill) received an ASCAP national Musicological Society Directorate in Deems Taylor/Virgil Thomson Award for 2018 for lifetime contributions to musicologi- Anna Zayaruznaya (Yale University) received her book Aaron Copland’s Appalachian Spring cal research. the Society for Music Theory’s Outstanding (2017). Pamela Potter (University of Wisconsin, Publication Award for “Intelligibility Redux: Tina Frühauf (RILM/Columbia University) Madison) received an NEH fellowship for her Motets and the Modern Medieval Sound,” 2017 received a DAAD Visiting Professorship to book project Development of Berlin as a Music Music Theory Online ( ). teach at the Munich Hochschule für Musik Metropolis, 1880–1961. und Theater. With faculty in Munich she also

Correction The August 2018 AMS Newsletter published an er- roneous listing for the Pa- cific Northwest Chapter’s Best Student Paper award. The award was given to So- phia Maria Andricopulos­ for the paper “‘Latin-ish’: Carlos Santana in Rolling Stone 1969–1977.” We regret Erinn Knyt Douglas Shadle Marta Robertson the error. Teaching Award Winner Cohen/RIPM Award Winner JTCRS Award Winner February 2019  AMS Elections 2019 Officers and members of the Board of Direc- Group, founding member; elected Member- Research areas: Dolly Parton; folk and tradi- tors are elected each year according to the at-Large (2006–09) tional musics in the US; gender and Southern procedures set forth in the Society’s bylaws. Appalachian music; the history of the ban- In 2019, the board presents to the member- STEVE SWAYNE jo; early music revivals in the US in the early ship two candidates for president and secre- 20th century Jacob H. Strauss 1922 Professor of Music, tary and six candidates for director-at-large Dartmouth College Publications: Unlikely Angel: The Songs of (two officers and three directors are to be music.dartmouth.edu/people/steve-swayne Dolly Parton (Illinois, forthcoming); “With- elected). The balloting is electronic and avail- in Sight: Three-Dimensional Perspectives on able at the AMS website (login required); a Degrees: PhD, UC Berkeley, 1999; MDiv, Women and Banjos in the Late Nineteenth paper ballot may be obtained from the office Fuller Theological Seminary, 1984; AB, Occi- Century,” NCM (2007); “Peggy Seeger: From upon request. Voting closes 1 May. Results are dental College, 1978 Traditional Folksinger to Contemporary announced in early June. Research areas 20 Songwriter,” in Ruth Crawford Seeger’s Worlds: Responsibilities of board officers and mem- : th-century American mu- Innovation and Tradition in Twentieth-Cen- bers are outlined in the bylaws and handbook sic; musical theater and opera; music, neuro- tury American Music, ed. Hisama and Allen (available at the website), and include manag- science, and ethics (Rochester, 2007); “A Resisting Performance ing all Society policies and procedures as well Publications 2 : “A Tale of Cultures: We Live of a Traditional Appalachian Murder Ballad: as all its fiduciary obligations. in a Stadium, but Need a Sanctuary,” Pacif- Giving Voice to ‘Pretty Polly,’” Women & Mu- 2014 ic Standard ( ); Orpheus in Manhattan: sic (2005); co-ed. (with E. Barkin), Audible William Schuman and the Shaping of Amer- Traces: Gender, Identity, and Music (Carcio- Candidates for President 2011 ica’s Musical Life (Oxford, ); “William foli, 1999) Schuman, World War II, and the Pulitzer DANIELLE FOSLER-LUSSIER Prize,” MQ 89 (2006); How Sondheim Found Awards: Hamilton College: Samuel & Helen Professor of Music, Ohio State University His Sound (Michigan, 2005); “Sondheim’s Pi- Lang Prize for Excellence in Teaching (2013); music.osu.edu/people/fosler-lussier.2 ano Sonata,” JRMA (2002) Class of 1962 Outstanding Teaching Award (2007); Class of 1963 Faculty Fellowship Awards Degrees: PhD, UC Berkeley, 1999; BA, Univ. : ASCAP Deems Taylor Awards, (2001; 2010); Hamilton College Kirkland En- of Pennsylvania, 1991 Nicolas Slominsky Award for Outstand- dowment Course Development Grant (1991); ing Musical Biography in the Concert Mu- ACLS Travel Grant to International Confer- Research areas: Musical diplomacy; Cold War 2012 2008 09 sic Field ( ); NEH Fellowship ( – ); ences (1990) politics; women in U.S. musical organizations Music Library Assoc., Dena Epstein Award Publications: Music in America’s Cold War for Archival and Library Research in Ameri- Administrative experience: Society for Diplomacy (California, 2015); Database of can Music (2008); AMS Publication Subven- American Music, Program Committee (2015– Cultural Presentations, musicdiplomacy.org/ tion (2004); Woodrow Wilson National Fel- 16; Chair, 2016); Society for American Mu- database (2015); “Music Pushed, Music lowship Foundation Career Enhancement sic, Service and Awards Committee (2018–21); Pulled: Cultural Diplomacy, Globalization, Fellowship for Junior Faculty from Underrep- Hamilton College, Faculty Chair (2012–14); and Imperialism,” Diplomatic History (2012); resented Groups (2002–03) Feminist Theory & Music Conference (in- augural program chair, 1991; co-chair, 2013); “Cultural Diplomacy as Cultural Globaliza- Administrative experience: Interim director, tion: The University of Michigan Jazz Band in Women and Music: A Journal of Gender and Montgomery Fellows Program, Dartmouth Culture, editorial board (1995–99) Latin America,” JSAM (2010); Music Divided: (2019); chair, Music Department, Dartmouth Bartók’s Legacy in Cold War Culture (Califor- (2013–16); Director of Campus Ministries, Se- AMS activities: President, New York State- nia, 2007) attle Pacific University (1986–90) St. Lawrence Chapter (2014–16); NYSSL pro- gram committee (2018; Chair, 1994 & 2012); Awards: Ohio State Univ. Libraries, TOME AMS activities : Council Secretary, Board of Founding co-chair, LGBTQ Study Group Open Monograph Initiative Subvention 2015 19 Directors ( – ); JAMS Editorial Board (1990–96); Council (1996–99); Chair, Philip (2018); AMS Publication Subvention (2014); 2011 15 2011 14 ( – ); Performance Committee ( – ; Brett Award Committee (1997–98) NEH Fellowship (2011–12); Princeton Society Chair, 2013); Council (2009–12) of Fellows (2000–03); AMS 50 Dissertation Fellowship (1998–99) ROBERTA MONTEMORRA MARVIN Administrative experience: Society for Candidates for Secretary Professor of Musicology, University of Mas- American Music Board of Directors (2016– sachusetts Amherst LYDIA HAMESSLEY 19); Area Head for Musicology, Ohio State umass.edu/music/member/roberta-m-marvin Univ. (2014–16) Professor of Music, Hamilton College Degrees: PhD, Brandeis Univ., 1992; MA, hamilton.edu/academics/our-faculty/ AMS activities: Board of Directors (2016– Tufts Univ., 1986; BM, Boston Conservato- directory/faculty-detail/lydia-hamessley 18); Slim Award Committee (2013–15; Chair, ry, 1975 2015); Council Committee on Correspond- Degrees: PhD, Univ. of Minnesota, 1989; Research areas: 19th-century Italian opera; ing and Honorary Members (2011); Coun- MA, Univ. of Minnesota, 1983; BMusEd, Tex- music in Victorian Britain; reception history; cil (2008–10); Cold War and Music Study as Lutheran Univ., 1979 music and politics; text criticism

 AMS Newsletter Publications: co-ed. (with C. Bashford), A Survivor from Warsaw in Postwar Europe Harvard Initiative for Learning and Teach- The Idea of Art Music in a Commercial World, (California, 2014); Brecht at the Opera (Cali- ing Grant Committee (2017–18); Univ. of 1800–1930 (Boydell, 2016); The Politics of Verdi’s fornia, 2008) Pennsylvania: Undergraduate Chair (2013– ‘Cantica’ (Royal Musical Association Mono- 14), College House Fellow (2012–14), Penn Awards: NEH (Institute Instructor, 2018; graphs, 2014); “Idealizing the Prima Donna in Humanities Forum Postdoctoral Fellowship Summer Stipend, 2005); Exceptional Book in Mid-Victorian London,” in The Arts of the Pri- Committee (2007–09; 2012–14) Jewish Studies and Music, AMS Jewish Stud- ma Donna in the Long Nineteenth Century, ed. ies and Music Study Group (2015); ACLS AMS activities: Program Committee (2018); R. Cowgill & H. Poriss (Oxford, 2012); Verdi Frederick Burkhardt Fellowship (2009–10); Pisk Prize Committee (2015–17; Chair, 2017); the Student–Verdi the Teacher (Istituto Nazio- Howard Fellowship (2008–09); American JAMS Editorial Board (2017–present); Coun- nale di Studi Verdiani, 2010); “Verdian Opera Academy in Berlin Fellowship (2005) cil Nominating Committee (2012); Council Burlesqued: A Glimpse into Mid-Victorian (2010–12) Theatrical Culture,” COJ (2003) Administrative experience: Vanderbilt Univ.: Director, Max Kade Center for Euro- Awards: NEH Summer Stipends (1993, 2003, NINA SUN EIDSHEIM pean and German Studies (2013–16), Director 2010 2004 05 ), Fellowship ( – ); American Phil- of Undergraduate Studies, European Studies Professor of Musicology, University of Cali- osophical Society Franklin Research Grants (2013–16); German Studies Assn.: Executive fornia, Los Angeles 1992 2007 ( , ); Bogliasco Foundation Fellow- Board (2014–16), Co-coordinator, Music and schoolofmusic.ucla.edu/people/ 2003 04 ship ( – ); Howard Foundation Fel- Sound Studies Network (2012–16); Modern nina-eidsheim/ 2002 03 lowship ( – ); Fulbright Fellowships Languages Assn.: Executive Committee, Dis- 1988 1993 Degrees: PhD, UC San Diego, 2008; MFA, ( , ) cussion Group on Opera (2012–16) CalArts, 2001; BM, Conservatory of Agder, Administrative experience: Chair, Dept. of AMS activities: Editor-in-Chief, JAMS Norway, 1999 Music & Dance, Univ. of Massachusetts Am- (2017–19); Einstein Award Committee (2013– 2016 Research areas: Critical race studies; voice herst ( –present); Associate Dean, Inter- 15); Chair, Cold War and Music Study Group 2010 12 studies; sound studies; American studies; national Programs, Univ. of Iowa ( – ); (2010–12); Council Nominating Committee 20th- and 21st-century music Associate General Editor (2006–present) and (2011); Annual Meeting Program Commit- Editorial Board (2014–present), The Works of tee (2009) Publications: co-ed. (with K. Meizel), The Giuseppe Verdi; Director, Opera Studies Fo- Oxford Handbook of Voice Studies (Oxford, rum, Univ. of Iowa (1999–2016); Board of Di- EMILY I. DOLAN forthcoming); The Race of Sound: Listening, rectors, North American British Music Stud- Timbre, and Vocality in African American Mu- Gardner Cowles Associate Professor of Mu- ies Association (2010–12) sic (Duke, 2019); “Maria Callas’s Waistline and sic, Harvard University (until July 2019); As- the Organology of Voice,” OQ (2017); Sens- AMS activities: Publications Commit- sociate Professor and Chair of Music, Brown ing Sound: Singing and Listening as Vibrational tee (2015–present); Program Committee University (after July 2019) Practice (Duke, 2015); “Marian Anderson and (2011); Pisk Prize Committee (2007–09; scholar.harvard.edu/eidolan/bio Chair, 2009); Board Nominating Committee ‘Sonic Blackness’ in American Opera,” Ameri- (2005); Committee on Career-Related Issues Degrees: PhD, Cornell Univ., 2006; MA, can Quarterly (2011) Cornell Univ., 2003; BA, Univ. of Minneso- (1997–2001; Chair, 2000–01) Awards: ACLS Charles A. Ryskamp Research ta, 1999 Fellowship (2015–16); The UC President’s Candidates for Director-at-Large Research areas: 18th- and 19th-century mu- Faculty Research Fellowship in the Human- sic; instruments; aesthetics; technology; his- ities (2015–16); Woodrow Wilson National JOY H. CALICO tory of science Fellowship (2011–12); Cornell Univ., Society for the Humanities (2011–12); UC Human- Publications: co-ed. (with A. Rehding), The Cornelius Vanderbilt Professor of Music, ities Research Center Residency Research Oxford Handbook of Timbre (Oxford, 2019); Vanderbilt University Group (2011) blair.vanderbilt.edu/bio/joy-calico “Music as an Object of Natural History,” in Sound Knowledge, ed. Davies and Lock- Administrative experience: UCLA, Dept. Degrees: PhD, Duke Univ., 1999; MMus, hart (Chicago, 2017); ed., Vocal Organologies of Musicology, Director of Graduate Stud- Univ. of Illinois, 1992; BMus, Baylor and Philologies (Opera Quarterly 33, no. 3–4, ies (2018–19); UCLA, Alpert School of Music: Univ., 1988 2017); The Orchestral Revolution: Haydn and Director of Postdoctoral Fellowships Program Research areas: Cold War cultural politics; the Technologies of Timbre (Cambridge, 2013); (2017–present), Special Assistant to the Dean 20th- and 21st-century opera; Schoenberg; “Toward a Musicology of Interfaces,” Key- (2017–19), Associate Dean (2016–17); UCLA Brecht; digital humanities board Perspectives (2013) Center for the Study of Women, Board of Di- rectors (2017–19) Publications: “Genre Designation as Ambig- Awards: Radcliffe Institute for Advanced uating Force: Olga Neuwirth’s Lost Highway Study Fellow (2009–10); Penn Humanities AMS activities: Co-chair, Committee on as Opera,” Zeitschrift für Ästhetik und Allge- Forum, Faculty Fellow (2008–09); Deutscher Race and Ethnicity (2018–21); Council meine Kunstwissenschaft (2018); “Noise and Akademischer Austausch Dienst Grant (2017–20); Committee on Cultural Diversity Arnold Schoenberg’s 1913 Scandal Concert,” (2008); Alvin H. Johnson AMS 50 Disserta- (2013–15) Journal of Austrian Studies (2017); “Music in tion Fellowship (2005) Avant-Garde Magazines,” Journal of Modern Administrative experience: Harvard Univ., Periodical Studies (2017); Arnold Schoenberg’s Director of Undergraduate Studies, 2018–19; continued on page  February 2019  Candidates Publications: “The Musicking Body: Maud (2012); IASPM Woody Guthrie Book Award MacCarthy,” in The Music Road: Coherence (2009) continued from page  and Diversity in Music from the Mediterranean Administrative experience: Co-Editor, CHARLES HIROSHI GARRETT to India, ed. R. Strohm (Proceedings of the Twentieth-Century Music (Cambridge, 2019– British Academy, forthcoming); “An Imperial present); Series Editor, Currents in Lat- Professor of Musicology, University of Leitmotif: Elgar’s Pageant of Empire,” in Ex- in American and Iberian Music (Oxford, Michigan hibiting the Empire: Cultures of Display and the 2015–present); Cornell Univ.: College of Arts smtd.umich.edu/about/faculty-profiles/ British Empire, ed. J. McAleer and J. MacK- and Sciences, Academic Records Commit- charles-garrett/ enzie (Manchester, 2015); Resonances of the tee (2017–18), Budget Advisory Committee Degrees 2004 Raj: India in the English Musical Imagination, : PhD, UCLA, ; MA, UCLA, (2015); Dept. of Music, Director of Under- 2000 1998 1897–1947 (Oxford, 2014) ; BM, Columbia Univ., graduate Studies (2016–18) 20 21 Awards: Frederick A. Rice Professorship, Research areas: United States; th and st AMS activities Mills College: Endowed Chair (2015–18); : Chair, Board Nominating centuries; jazz; popular music; cultural theory 2019 BBC Music Magazine’s Book of the Month Committee ( ); Committee on Honor- Publications: ed., The Grove Dictionary of (for Resonances of the Raj, Nov., 2014); Meg ary and Corresponding Members (2017); 2014 American Music, second edn ( ); “Prank- Quigley Women’s Studies Research Fellow- Committee on the Status of Race and Eth- sta Rap: Humor as Difference in Hip-Hop,” ship, Mills College (2011–12); National Soci- nicity in the Profession (2016–17); Council in Rethinking Difference in Music Scholarship ety of Collegiate Scholars, Honorary Lifetime (2015–18); Solie Award Committee (2015– 2015 (Cambridge, ); co-ed. (with Ake and Award: Distinguished Member (2012); Alvin 17; Chair 2017) Goldmark), Jazz/Not Jazz: The Music and H. Johnson AMS 50 Dissertation Fellowship 2012 its Boundaries (California, ); Struggling (2001–02) to Define a Nation: American Music and the Please vote! Twentieth Century (California, 2008); “Chi- Administrative experience: Chair, Music natown, Whose Chinatown? Defining Ameri- Department, Mills College (2016–18); Ad- AMS 2019 voting is open until 1 May. ca’s Borders with Musical Orientalism,” JAMS visor, Society for Asian Art, San Francisco Please review the election materials and (2004) (2013–present); Co-chair, Diversity and Social candidates and cast your vote. Justice Committee, Mills College (2009–12); Details: amsmusicology.org Awards: University of Michigan, Faculty Rec- Fulbright Scholarship Selection Committee, 2014 ognition Award ( ); Prose Award for Best Mills College (2011–present) Multivolume Reference Work in Humanities AMS Council Election and Social Sciences (2013); Society for Amer- AMS activities: Kinkeldey Award Commit- ican Music, Irving Lowens Memorial Book tee (2019–21); Chair, Council Nominating The annual AMS Council election is Award (2008); Society for American Mu- Committee (2018); Committee on Cultural open to every member. Nominations for sic, Wiley Housewright Dissertation Award Diversity (2015–18); Council (2015–2018) AMS Council closed in mid-January. The (2008); Alvin H. Johnson AMS 50 Disserta- Council Nominating Committee is now tion Fellowship (2003) ALEJANDRO L. MADRID reviewing nominations and preparing a slate of candidates to be approved by the Administrative experience: President, Soci- Professor of Music, Cornell University Board of Directors at their next meeting. ety for American Music (2015–17); Chair, De- music.cornell.edu/alejandro-l-madrid The election itself is scheduled for mid- partment of Musicology, University of Mich- Degrees: PhD, Ohio State Univ., 2003; May and will be available to members 2014 16 igan ( – ); Member, Board of Trustees, MMus, Univ. of North Texas, 1999; MFA, for only two weeks. Members will receive 2008 11 Society for American Music ( – ) SUNY-Purchase, 1995; BM, Boston Conser- email notices accordingly. Details: AMS activities: Publications Commit- vatory, 1992 amsmusicology.org/page/council 2017 20 tee ( – ); Membership and Develop- Research areas: Latinx music; long twen- 2013 16 ment Committee ( – ); Howard Mayer tieth century; masculinities; neoliberal- AMS Membership Totals 2018 2009 2013 Brown Fellowship Committee ( – ; ism; postnationalism Chair, 2010–13); Corresponding and Hon- Current total membership (as of 31 De- orary Members Committee (2009); Council Publications: In Search of Julián Carrillo and cember 2018): 3,119 (2017: 3,343). (2007–9) Sonido 13 (Oxford, 2015); co-auth. (with R. 2017 546 Moore), Danzón. Circum-Caribbean Dia- members who did not renew: NALINI GHUMAN logues in Music and Dance (Oxford, 2013); Institutional subscriptions: 720 (760) Professor of Music, Mills College ed., Transnational Encounters. Music and Per- Breakdown by membership category inside.mills.edu/academics/faculty/mus/ formance at the U.S.-Mexico Border (Oxford, • Regular, 1,367 (1,490) nalinig/nalinig.php 2011); Sounds of the Modern Nation. Music, Culture and Ideas in Post-Revolutionary Mex- • Sustaining, 9 (11) Degrees: PhD, UC Berkeley, 2003; MA, ico (Temple, 2009); Nor-Tec Rifa! Electronic • Low Income, 348 (379) Univ. of Oxford, 2000; MMus, King’s Col- Dance Music from Tijuana to the World (Ox- • Student, 783 (862) lege London, 1996; BA, Univ. of Oxford, 1995 ford, 2008) • Emeritus, 379 (357) • Joint, 49 (65) Research areas: 20th-century British music; Awards: Dent Medal (2017); AMS Robert • Life, 72 (70) Indian music and Indian music in the West, Stevenson Award (2014, 2016); ASCAP Béla • Honorary and Corresponding, 95 (91) 19th and 20th centuries; postcolonialism; mi- Bartók Award (2014); AMS Ruth Solie Award • Complimentary, 17 (18) gration; women and gender  AMS Newsletter AMS San Antonio Post-Conference Survey Following the 2018 Annual Meeting, a short many panels/not enough papers, and 6.3% Would Change. 77.4% of participants re- survey devoted to the conference was sent to the opposite. sponded. Again, simple word frequency anal- all AMS and SMT members, 4,132 individu- ysis was performed, removing common stop 77 6 als altogether. 1,434 responses were received. Online Resources. . % of respondents words. Looking at single words, the most used the online program PDF, 50.4% used There were a total of906 valid responses from common were: sessions (171), papers (136), online announcements, 38.7% used the meeting attendees, an overall response rate time (95), conference (71), panels (67), eve- conference app, and 23.6% used pre-circu- of 48.3% with margin of error +/- 2.8%, or ning (57), hotel (46), session (42), and paper 95 lated material. The most dramatic change put another way, nearly % accuracy. The re- (38). Looking at bi-grams, the most common mainder of responses were from AMS mem- from last year was the use of online hand- were: evening sessions (29), [30- or 20-] min- bers who chose not to attend the meeting. outs: 67.3%, compared to 10.4% in 2017. At ute papers (25), paper sessions (12), confer- Responses are summarized below. least one online resource was used by 95.9% of respondents. ence hotel (9), sound bleed (9), concurrent Did Not Attend (Why?). The most frequent sessions (8), and “fewer evening” [events] (8). reason given was the expense (44.2%), fol- Twenty-Minute Papers. 81.1% were “very” Overall Satisfaction. 91.8% were very or lowed by “too busy” (34.0%). Three respons- or “somewhat” satisfied/in favor;9 .4% were 6 2 es received similar percentages: timing of the neutral, and 9.5% were “very” or “somewhat” somewhat satisfied, . % neither satisfied meeting (18.1%), meeting location (17.9%), dissatisfied/opposed. nor dissatisfied, and2 .0% very or some- and “rarely attend meetings” (16.6%). what dissatisfied. 31 3 Joint meetings. Attendees were asked about The remaining . % of non-attendees pro- Demographic information collected from re- vided a variety of reasons such as illness, con- AMS and SMT continuing to meet jointly spondents follows. cerns about the quality/content of the pro- every two years. Very or somewhat satisfied/ gram, and not having a paper accepted. in favor: 79.4%, neutral: 14.4%, very or some- Career Stage. 52.8% primarily teaching or re- what dissatisfied/opposed:6 .2%. Responses search; 24.2% student; 8.9% retired; 5.0% in- How much of the meeting? Most attend- from AMS and SMT members were not sig- dependent scholar; 3.7% other educationally ees were present for Thursday 85( .9%), Fri- nificantly different. 5 3 day (98.0%) and Saturday (96.4%) (all three affiliated position; and . % other. days: 83.0%). 56.8% attended Sunday, 18.2% Liked Most. 79.9% of participants respond- Gender: 48.1% male; 46.6% female; 1.8% attended Wednesday pre-conference events ed. This year, simple word frequency analy- other; 3.6% no response. (Project Spectrum: 7.3%; Staging Witches: sis was performed, removing common stop 2.2%; Mendelssohn: 1.1%). words. Looking at single words, the most Combined Race/Ethnicity: The survey in- common were: papers (138), location (98), cluded standard US Census questions on race Concerts. Attendance at concerts was as fol- conference (82), topics (79), sessions (68), ho- and ethnicity. 7.8% identified themselves as lows: Austin Baroque Orchestra (6.3%), Art tel (59), variety (58), diversity (56), colleagues Spanish, Hispanic, or Latino, 88.5% did not, of the Castrato (2.3%), Percussion as Queer (55), and shorter (41). Looking at “bi-grams” and 3.7% did not answer. 86.1% identified as Tool (1.1%), Perrachio Piano Music (1.0%), (two-word combinations), the most common white; 6.5% as Asian; 1.5% as black/African Brazilian music for Piano and Guitar (0.7%). were: San Antonio (37), shorter papers (26), American; 1.0% as American Indian/Alaska Balance. 82.6%, indicated that the bal- conference hotel (12), paper sessions (12), Native; 0.3% as Native Hawaiian; and 4.6% ance between panel discussions and pa- 20-minute [papers] (20), pre-conference (11), as another race/ethnicity. pers was “about right,” 11.1% indicated too wide variety (8) and project spectrum (7). —Evan Cortens

Senior Members: New Way to Reduce Taxes with Small Meetings Survey Charitable Contributions For the first time in recent memory, AMS committee members If you have reached 70½ years of age and need to withdraw the were asked to evaluate their committee meetings. Seventy-six re- sponses were received; questions were based on a five-point scale. taxable Required Minimum Distribution from your retirement account, you can now make your charitable contribution from Pre-meeting communications. 4.5/5. Chairs were encouraged that distribution and it will be excluded from your taxable in- to send agendas and identify key issues well ahead of the meeting. come. These “Qualified Charitable Distributions” (QCD) are Meeting logistics (facilities, catering). 3.85/5. not required to be itemized, because they reduce your adjusted gross income: especially beneficial in light of the new itemiza- Overall meeting rating. 4.26/5. tion rules under the new tax reform. A lower AGI could help Takeaways. Pre-meeting planning and post-meeting communi- avoid the 3.8% Medicare surtax, reduce taxable Social Security cation (minutes and action agenda) are appreciated by attendees. benefits, and increase the amount of other deductible expenses. Inadequate facilities and catering is an annoyance. More time There are rules and limitations, so (as always) be sure to consult to communicate as a committee is desirable. To that end: the your tax advisor. The AMS is a501 (c)(3) nonprofit fully eligible AMS has an account with the videoconferencing tool zoom.us for charitable contributions; whatever your age, your contribu- and can facilitate web-based committee meetings. Those inter- tions to the AMS benefit musicologists young and old. ested should contact the AMS office.

February 2019  Committee News AMS-Music Library Association view of paper proposals, beginning with the contingent labor’s session will take the form Joint RISM Committee 2019 Annual Meeting. The Program Commit- of a roundtable and workshop titled “‘What tee has also streamlined their reviewing pro- Can I Do?’: The Future of Musicology.” It At the San Antonio Annual Meeting the cess in order to deal with the large number of will include lightning talks by administrators, AMS-MLA Joint RISM Committee received submitted proposals. Furthermore, President department chairs, school of music directors, a report from Paul Sommerfeld of the Library Suzanne Cusick has created a task force con- senior faculty, and others who advise gradu- of Congress (LC) on its renewed RISM activ- sisting of CAM members and program chairs ate students, followed by small group discus- ity as well as the preparation of a bibliogra- to create a different and more inclusive model sions. We are also coordinating the ever-pop- phy of pre-1750 publications, both print and for conference proposal reviews beginning in ular Conference Buddy Meet-Up, as well as manuscript, which will be compared with 2020. The task force will report to the board the Job Materials Workshop (formerly called holdings in the RISM database to update LC in April. the Career Bootcamp), at which we welcome information. The entire project could poten- One successful initiative at the San Anto- CVs and cover letters from those applying for tially include up to 1,000 items. This is en- nio meeting was the new attendees’ meeting; both academic and non-academic jobs. If you couraging news, and we hope to work more the room was packed. Led by Vice President are on the job market, please plan to send us closely with LC as the project unfolds. Georgia Cowart, President Martha Feldman, your materials—a call will go out closer to the Sarah Adams, director of the U.S. RISM incoming President Suzanne Cusick, incom- time of the annual meeting—and join us at Office at the Eda Kuhn Loeb Music Library at ing Vice President Judy Tsou, and Executive this workshop! Harvard University, reported that in 2018 478 Director Bob Judd were there to welcome —Margaret Butler new U.S. records were added to the database, and speak to individuals. The attendees made mostly those held at the Houghton Library, many connections among their peers. This Chapter Activities Committee the Music Library, and the Harvard Theatre event will be repeated at the next Annual Collection. The Moravian Music Foundation Meeting. The board’s Meet and Greet, initi- The chapter fund, administered by the Chap- has entered 374 manuscripts records from its ated in Rochester, continued in San Antonio. ter Activities Committee, is reaching more significant holdings. In addition, libraries can Many good ideas were relayed to CAM and members than ever these days, providing now update holdings information for print the board. This, too, will continue in Boston. academic and professional development to editions, as well as enter data for new im- This year, CAM approved the guest speaker the Society’s regional chapters through sup- prints that did not appear in A/I. Over 5,300 funding applications from the Committee on port of student representatives to travel to the of the database entries include digital images. Race and Ethnicity and the Music and Dance Annual Meeting and chapter special events. —James P. Cassaro Study Group for the Boston meeting. More This year, eight of fifteen chapters have sought details about these speakers appear in their and received support for chapter activities. Committee on the Annual Meeting reports (below). As always, CAM welcomes Notable is the number of requests submit- At the end of the San Antonio Annual Meet- your feedback and comments. Please send ted for joint regional meetings both within ing, the Committee on the Annual Meeting them to [email protected] (with the and across societies. The Allegheny, Capital, (CAM) gathered feedback through the mem- subject line: For CAM). and Mid-Atlantic chapters of AMS held a bers of the Committee: outgoing (Georgia —Judy Tsou joint meeting last fall; the Rocky Mountain Chapter will gather with their regional coun- Cowart, chair, Todd Decker, Tammy Ker- Committee on Career-Related Issues nodle, and Andrew Weaver), continuing terparts of Society for Music Theory and So- (Bonnie Gordon and Bob Judd, ex officio), The Committee on Career-Related Issues ciety for Ethnomusicology in El Paso, with and incoming (Judy Tsou, chair, Abigail (CCRI) is planning to host four panel ses- a keynote address on border music planned; Fine, Phil Ford, and Stephan Pennington). sions at the Boston meeting. In “Academic and the Pacific Northwest Chapter will meet From the informal feedback, the new twenty- Job Interview Practices outside of North jointly with the Pacific Northwest Chapter of minute paper format was welcomed by most America: The How and the Why,” we aim the College Music Society. Specially themed members. The shorter papers enabled us to to serve North-American-trained musicolo- meetings received support, among them the present more research on broader and more gists considering academic positions outside Greater New York Chapter’s “Business of Mu- diverse topics. The alternative formats also of North America. Faculty members working sic Day” with its excellent post-meeting sum- met with positive response. The endowed lec- or who have worked in a variety of interna- mary available online, the New York State-St. tures were enthusiastically received, especially tional institutions will share their knowledge Lawrence Chapter for unusual expenses, and Dwandalyn Reece’s “interview” with Guthrie of job search practices in other parts of the the Midwest Chapter for the keynote speaker Ramsey during the President’s Endowed Ple- world and will field questions. In the session at their fall meeting. The committee is par- nary Lecture. The evening sessions, however, “Time to Write” we will explore strategies for ticularly excited to help fund these joint ven- were poorly attended. The committee is con- maintaining scholarly productivity while be- tures that bring together scholars from our sidering moving the evening sessions to earlier ing employed outside academia. The session related disciplines, and to support the other in the day and leaving evenings free for social- “Career Fluidity in Musicology” will examine imaginative ways that chapters serve their izing and networking. ways in which scholars have built careers in- memberships. A little funding is going a long As reported a year ago, CAM and the AMS side, outside, and around traditional academ- way in helping important grass-roots efforts office have been surveying software programs ic jobs, focusing especially on those who have within the chapters to increase the vibrancy for abstract review. The software has now been left and re-entered academia and those who of our professional lives where we live them. chosen to aid the abstract submission and re- work in allied fields. The subcommittee on —Mary Paquette-Abt

 AMS Newsletter Communications Committee further details and updates, see amsmusicol- ment to thinking holistically about training ogy.org/page/LClectures and amsmusicology. graduate students for future careers, while To begin with the most important item: we org/page/RRHOFMlectures. Details of the also committing to forming panels that move are tremendously grateful to outgoing chair upcoming lectures in our two series are found away from “alt-ac” positions and more toward Roger Freitas for steering a complex set of on p. 7. We are grateful to Simon Morrison an expansion of the definition of “professional subgroups through a period of change and and his subcommittee, and to Caitlin Miller musicology.” In looking forward to Boston, transformation on almost all fronts during his at the Library of Congress and Jason Hanley we are considering panels that utilize best two-year term. The Communications Com- at the RRHOFM for their continuing work practices for linking academy and industry mittee oversees the AMS blog Musicology in putting on these valuable lecture series. partners. We also hope to encourage the soci- Now, the Newsletter, the AMS-L / Humani- AMS-L has now transitioned to the inde- ety, and particularly graduate degree granting ties Commons Forum (HC), the Library of pendent Musicology-L discussion list. Warm- institutions, to discuss the advantages—both Congress and Rock & Roll Hall of Fame est thanks are due to the former AMS-L ethical and professional—for expanding what and Museum lecture series, and more general moderating team of Nathaniel Lew, Blake graduate training looks like and what doors AMS communications matters. Its work is Howe and Mike D’Errico, and to Bob Judd such degrees might open for graduates. dependent on a large number of volunteers, for transferring everyone and ensuring there The Society has provided travel grants to and we always need more. At present we espe- was no more than a dark hour or two between those who attend the Annual Meeting and do cially need help on the burgeoning HC team. the closing of the old list and the launch of not have institutional financial support since If you are interested, please contact the HC the new one. 2004; in 2015, we were able to expand that subcommittee chair Jim Zychowicz (jzychow- Membership of the AMS HC Forum con- support through use of the Keitel/Palisca En- [email protected]). tinues to grow, with numbers now at over 875. dowment, and the MPD is happy to report 2018 Since August , our sterling Musicology Recent discussion topics include “Musicology that similar support is in place for the Boston Now editorial team has published ten posts. of the Non-West,” which has generated a fas- meeting this fall. Please check the website for Several on music education, including the cinating discussion on disciplinary boundar- the updated eligibility criteria. The applica- closing installment in MN’s “Teaching Mu- ies. Another, on “Artist—Musician Friend- tion deadline is 1 July 2019. sic and Difference” series, graced the August ships,” points toward creating an impressive —Kimberly Francis blog. AMS members also posted on archival list of musicians who formed important re- finds, on music and sexuality, on listening to lationships with visual artists. There is much Committee on the Publication of animals, and on commemorative music at the potential for more activity on the forum; see American Music state funeral of Senator John McCain. With a amsmusicology.org/page/Forum for access in- 2018 The Committee on the Publication of Ameri- new article appearing nearly every week, formation. User preferences can be adjusted was nevertheless a quiet year, and more sub- can Music (COPAM) serves as the editorial easily for the forum experience to be set up board for Music in the United States of Amer- missions will be very welcome. Under the new similarly to the AMS-L (by selecting “Email executive editorship of Susan Thomas, who ica (MUSA), a series of critical editions pub- Options” and “All Email”). Users can also lished under the auspices of the AMS by A-R took over in November, the team of Brandi share their work with colleagues through the Neal, Marysol Quevedo, and Christopher J. Editions. November 2018 saw the publication site. of MUSA 29, Noble Sissle and Eubie Blake’s Smith look forward to increased activity in As reported on p. 32, in future the AMS 2019, and invite writers to follow the simple Shuffle Along, edited by Lyn and Lawrence Newsletter will be published online, and with Schenbeck. directions to contributors posted at the Musi- greater regularity, to ensure timely dissemina- cology Now website. We expect three additional volumes to ap- tion of news and information. James Parsons pear in the next two years: John Cage: Solo The Library of Congress/AMS lecture series will move to editing the new resource. We continues in April 2019, with Katherine Pres- for Piano, Second Realization by David Tudor, thank him for his years of service and look edited by John Holzaepfel; Aaron Copland: ton (College of William & Mary) consider- forward to the new format taking shape un- ing the prevalence of English-language opera Appalachian Spring (Original Ballet Version), der his guidance. Deadlines for content will edited by Jennifer DeLapp-Birkett and Aaron productions in the United States in the nine- be published online shortly. teenth century, debunking the myth that only Sherber; and Stephen Sondheim: Follies, Or- —Katharine Ellis the elite attended operatic productions. The chestrations by Jonathan Tunick, edited by Jon lecture, titled “Americans’ Forgotten Love Af- Alan Conrad. Membership and Professional We encourage AMS members to investigate fair with Opera,” relies extensively on the LC Development Committee Music Division’s music periodical holdings. the many works published in the MUSA se- The Rock and Roll Hall of Fame and Muse- The Membership and Professional Develop- ries, use the editions in class, and explore per- um /AMS lecture series will continue with S. ment Committee (MPD) serves as a central formances in consultation with the volume Alexander Reed (Ithaca College) speaking on node for the needs of AMS constituents. It editors. It is easier than ever to access now Laurie Anderson. The lecture, entitled “There is an umbrella committee with members rep- that A-R Editions has developed a new digi- is No Pilot,” illustrates how her 1982 break- resenting six Society committees or entities: tal distribution method (www.rrimo.com), through Big Science speaks persistently to Board of Directors, Council, Cultural Diver- where the complete content of MUSA edi- our experience of a world where technology, sity, Women and Gender, Graduate Educa- tions present and past are made available for media, governments, and corporations seem- tion, and Career-Related Issues. It is designed PDF download. ingly operate with minds of their own. The to promote a spirit of inclusivity and diversity Michael Ochs has been awarded the 2018 album, Reed continues, “collided new wave, within the society and to address the myriad AMS Claude V. Palisca Award for an out- new age, and ‘new music,’ opening up a whole professional realities of those who work as standing music edition for his edition Joseph discourse of what ‘new’ might mean in the era musicologists. At the San Antonio Annual Rumshinsky: Di goldene kale (MUSA 27; see of New Coke and the ‘end of history’.” For Meeting the committee renewed its commit- continued on page  February 2019  Committee News University Press); supported by the Manfred Rochester Press); supported by the James R. Bukofzer Endowment Anthony Endowment continued from page  Mitchell Ohriner, Flow: Expressive Rhythm in p. 9). This is the third MUSA edition to be Gabriela Cruz, Grand Illusion: Phantasma- the Rapping Voice (Oxford University Press); thus honored. goria in Nineteenth-Century Opera (Oxford supported by the AMS 75 PAYS Endowment In view of the well-publicized threat to the University Press); supported by the AMS 75 PAYS Endowment NEH last year, we celebrate the renewal of Benjamin Piekut, The World is a Problem: that agency’s generous MUSA funding for Kyle Gann, The Arithmetic of Listening: Tun- Henry Cow and the Vernacular Avant-Garde another three-year period (October 2018 to ing Theory and History for the Impractical Mu- (Duke University Press); supported by the September 2021). At the San Antonio An- sician (University of Illinois Press); supported Manfred Bukofzer Endowment nual Meeting, we held a reception celebrating by the Dragan Plamenac Endowment MUSA’s thirtieth anniversary. A-R Editions James Porter, Beyond Fingal’s Cave: Ossian in proudly displayed the twenty-nine editions K. Dawn Grapes, With Mornefull Musique: the Musical Imagination (Boydell & Brewer); published to date, and we honored founding Funeral Elegies in Early Modern England (Boy- supported by the Otto Kinkeldey Endowment MUSA editor Rich Crawford, the wonderful dell & Brewer); supported by the Margarita Marianna Ritchey, Co-opting Classical Mu- staff at A-R, and the many musicologists who M. Hanson Endowment sic: Neoliberalism and Contemporary Practice have contributed to this impressive project. Emily H. Green, Dedicating Music, 1785–1850 (University of Chicago Press); supported by —Leta Miller (University of Rochester Press); supported by the AMS 75 PAYS Endowment the AMS 75 PAYS Endowment Claude Debussy: biographie cri- Publications Committee Marie Rolf, Nicole Grimes, Brahms’s Elegies: The Poetics of tique by François Lesure (University of Roch- In Fall 2018, the Publications Committee Loss in Nineteenth-Century German Culture ester Press); supported by the James R. An- awarded subventions to thirty-four books (Cambridge University Press); supported by thony Endowment for a total of $44,000. They include the the Lloyd Hibberd Endowment Tes Slominski, Trad Nation: Gender, Sexuality, following: Thomas Irvine, Listening to China: Sound and and Race in Irish Traditional Music (Wesleyan Abby Anderton, Rubble Music: Occupying the the Sino-Western Encounter, 1770–1839 (Uni- University Press); supported by the AMS 75 Ruins of Postwar Berlin, 1945–1950 (Indiana versity of Chicago Press); supported by the PAYS Endowment University Press); supported by the AMS 75 Gustave Reese Endowment Kenneth Smith, Desire in Chromatic Harmo- PAYS Endowment ny: A Psychodynamic Exploration of Fin-de- Jake Johnson, Mormons, Musical Theater, Siècle Tonality (Oxford University Press); sup- Jacqueline Avila, Cinesonidos: Film Music and and Belonging in America (University of Il- ported by the AMS 75 PAYS Endowment Identity in Mexican Cinema, 1896–1952 (Ox- linois Press); supported by the AMS 75 ford University Press); supported by the AMS PAYS Endowment Vincent Stephens, Rocking the Closet: Queer 75 PAYS Endowment Male Musicians and the Power of Sexual Ambi- Hyun Joo Kim, Colors in Black and White: guity (University of Illinois Press); supported Andrea Bohlman, Musical Solidarities: Politi- Liszt’s Representations of Instrumental Sounds by the AMS 75 PAYS Endowment cal Action and Music in Late Twentieth-Centu- on the Piano (University of Rochester Press); ry Poland (Oxford University Press); support- supported by the AMS 75 PAYS Endowment Joshua Tucker, Making Music Indigenous: Pop- ed by the AMS 75 PAYS Endowment ular Music in the Peruvian Andes (University Lornell Kip, Country Music in Washington, of Chicago Press); supported by the Lloyd Ryan Bunch, Oz and the Musical: Perform- D.C. (Oxford University Press); supported by Hibberd Endowment ing the American Fairy Tale (Oxford Uni- the Donna Cardamone Jackson Endowment versity Press); supported by the AMS 75 Christopher Washburne, Latin Jazz: The Oth- PAYS Endowment Michael Lasser, City Songs and American Life, er Jazz (Oxford University Press); supported 1900 1950 – (University of Rochester Press); by the AMS 75 PAYS Endowment Melissa D. Burrage, Caught on America’s supported by the John Daverio Endowment Changing Cultural Battlefield: German Con- Laura Watson, Paul Dukas: Composer and ductor Dr. Karl Muck in World War I (Uni- Harry Liebersohn, Music and the New Global Critic (Boydell & Brewer); supported by the versity of Rochester Press); supported by the Culture: From the Great Exhibitions to the Jazz James R. Anthony Endowment AMS 75 PAYS Endowment Age (University of Chicago Press); supported by the Joseph Kerman Endowment David Yearsley, Sex, Death, and Minuets: Jerome Camal, Creolized Aurality: Guadelou- Anna Magdalena Bach and Her Musical Note- pean Gwoka and Postcolonial Politics (Univer- Laura Lohman, Hail Columbia! American books (University of Chicago Press); support- sity of Chicago Press); supported by the AMS Music and Politics in the Early Nation (Oxford ed by the Margarita M. Hanson Endowment 75 PAYS Endowment University Press); supported by the Claire and Barry Brook Endowment In accordance with the Society’s procedures, Thomas Christensen, Stories of Tonality in the these awards were recommended by the Pub- Age of François-Joseph Fétis (University of Chi- Tracy McMullen, Haunthenticity: Musical Re- lications Committee and approved by the cago Press); supported by the James R. An- play and the Fear of the Real (Wesleyan Uni- Board of Directors. Funding for AMS sub- thony Endowment versity Press); supported by the AMS 75 PAYS Endowment ventions is provided through the National Sarah Collins, Lateness and Modernism: Endowment for the Humanities, the Andrew Untimely Ideas about Music, Literature John Near, Widor’s Maxims on Organ Perfor- W. Mellon Foundation, and the generous and Politics Between the Wars (Cambridge mance Practice and Technique (University of support of AMS members and friends.

 AMS Newsletter The AMS subventions program is for two influenced music scholars, but she was se- Committee on Technology constituents. For individuals, they are intend- lected by the committee particularly because ed to defray costs not normally covered by her analyses, especially of how race frames The Committee on Technology hosted a publishers; examples include costs related to modern culture and aesthetics and affects session at the 2018 San Antonio Annual illustrations, musical examples, facsimiles, ac- democracy, can help to foster our Society’s Meeting, supported by the AMS Fund for companying audio or audio-visual examples, ongoing efforts to engage with issues of race Guest Speakers. Carl Stahmer, Director of and permissions fees. For publishers, they and ethnicity in scholarship. Data and Digital Scholarship, University are intended to reduce the retail price of the The special issue on race and ethnicity for Library, University of California, Davis, book or resource. Proposals from scholars at JAMS, a collaboration between the CRE in his talk “More than Scores: Musicology all stages of their careers are welcome. Proj- and the outgoing JAMS editorial team and ects that make use of new technologies are Editorial Board, is scheduled to appear at the and Metadata,” focused on the importance encouraged. See the guidelines for full details end of 2019. This has been a very important of metadata for musicological projects, in- (amsmusicology.org/page/pubs_subvention). project for the Committee, and we thank cluding best practices for collaboration, 15 15 Deadlines are August and February each outgoing editor Joy Calico for this meaning- pedagogy, and publication. Lightning year. ful effort. We expect the significance of this rounds of small-group discussions facilitat- —Anna Maria Busse Berger issue to be felt for decades to come. ed by members of the committee followed The CRE is encouraged by the efforts of Committee on Race and Ethnicity Stahmer’s talk, and generated enthusiasm a number of bodies to address issues of race for further community building within the The Committee on Race and Ethnicity and ethnicity and questions of diversity, and AMS around digital scholarship. (CRE) is in its second year and a number is pleased to be in dialogue, most notably The committee’s work for the coming with the Committee on Cultural Diversity. of its projects have been realized, with more year will continue to focus on issues of In addition, a number of CRE members took underway. The Committee’s work continues community-building and support for mu- part in the 2018 pre-conference symposium to engage its mandate in the areas of schol- sicologists engaged in digital research and arship, atmosphere, pedagogy, professional “Diversifying Music Academia: Strengthen- teaching. We will host a session on digital development, and governance. ing the Pipeline” organized by Project Spec- resources, access, and support at the 2019 We were especially pleased to present the trum. The thoughtful concern shown at this inaugural Judy Tsou Award in Critical Race event with diversifying music scholarship Annual Meeting, and this year will develop Studies to Marta Robertson at the AMS 2018 was felt and appreciated throughout the a public-facing online presence for digital Annual Meeting (see p. 10). Her article tells meeting. As the issues we work on are com- musicology. Finally, the AMS Board has a sensitive and nuanced story about the “hy- plex and of long standing, we need as many asked our committee, in partnership with bridity” of Japanese-American music prac- bodies as possible to be involved. volunteers from the AMS Council, to re- ticed in World War II incarceration camps. Judy Tsou has stepped down as co-chair port recommendations having to do with By using complementary methodologies, due to her new role as the Society’s vice the Annual Meeting and technology. The president. We thank her for her service to Robertson captures the “dual cultural com- Committee looks forward to contributing mitment to both traditional Japanese and both the planning and CRE Committees. Nina Eidsheim has begun the three-year co- to the ongoing discussion about how to in- home front patriotic American principles.” crease access to the Society’s research and Twenty-three submissions were received: chair position, while co-chair George Lewis scholarship. eleven books and twelve articles. continues. —Karen Desmond The CRE hosted Professor George Lipsitz —Nina Eidsheim and George Lewis for its annual lecture at the San Antonio Annual Meeting. An internationally recog- Committees: FAQ I’m on a committee. When does it meet? nized historian of the United States in the Nearly all committees meet at the Annual Who is on which committee? twentieth century, Lipsitz studies race, urban Meeting, and their meeting times remain Over three hundred members serve on culture, social movements, and activism, and stable from year to year. Consult last year’s committees. They’re all listed at the website has been in continuous dialogue with mu- program to see the committee meeting (amsmusicology.org/page/committees). sic, musicians, and music scholarship for times. decades. In San Antonio he presented a talk How do I write to a committee? When does my committee term end? entitled “‘The Danger Zone Is Everywhere’: Send an email to [email protected] The office sends notices to all committee Why Talking about Race and Music Matters and identify which committee it’s to go to, members every year identifying which year Now.” The event was well-attended, and giv- and the office will forward it. of service members are in. If you can’t lo- en the political, social and cultural circum- How do I volunteer for a committee? cate it and need to know, write to the AMS stances we live in now, the tenor of the con- Send your offer and CV to the chair of the office. Nearly all committee terms run from versation was at times tense and emotional. Committee on Committees, Martha Feld- Annual Meeting to Annual Meeting. 2019 This event continues in , with political man ([email protected]) or to the AMS I chair a committee. Is there an easy way to theorist Nancy Love slated to speak. Among office. communicate with the committee members? Love’s books are Trendy Fascism: White Power How long are committee terms? The AMS website has a “Group” func- Music and the Future of Democracy (2016), They vary, from one to four years. For tion that in effect gives committees their Musical Democracy (2006), and Doing De- specifics, visit the AMS Handbook (at the own private website. It is ideal for internal mocracy: Activist Art and Cultural Politics website), where terms are identified. communication. (2013). Her work is in dialogue with and has February 2019  Study Group News tered on papers by Rachel Lumsden, Daniel Kaplan were thanked. The annual party was Walden, and Kristin Franseen. The second, attended by several hundred AMS partici- Cold War and Music Study Group “Where Credit Is Due,” featured papers by pants and featured a performance by the San Nancy Yunhwa Rao, August Sheehy, and Antonio-based drag king troupe Los MEN- The Cold War and Music Study Group Michael Scott Cuthbert. In conjunction tirosos. The 2019 Annual Meeting will mark (CWMSG) sponsored two events at the with the SMT History of Theory Interest the thirtieth anniversary of the Study Group 2018 Annual Meeting. The group hosted an Group, we also presented a workshop on with events dedicated to its history as well as evening panel on Friday 2 November enti- tonal spaces led by Suzannah Clark. We scholarship and pedagogy by its members. tled “Screening Cold War Music on Film,” currently are planning events for 2019, and For information about the Study Group, featuring three excerpts from documentary we invite members to share ideas for future please visit ams-lgbtq.org. All are welcome films that circulated in Cold War contexts, panels via our website’s contact page. New to join our listserv at ams-lgbtq@virginia. and curated and introduced by three pre- members are always welcome (please register edu and follow our group on social media at senters. Philip Gentry discussed Shirley your interest by completing the short form facebook.com/AMSLGBTQ/. Clarke’s Bridges-Go-Round (1958) and The at bit.ly/2HbMcvT). —Shana Goldin-Perschbacher Connection (1961); Eduardo Herrera focused For more information and bibliographi- on Fernando “Pino” Solanas’s La hora de los cal resources, see historyofmusictheory. Ludomusicology Study Group hornos (The Hour of the Furnaces, 1968); and wordpress.com, which hosts an active blog Chérie Rivers Ndaliko contextualized Raoul curated and edited by Stephanie Probst At the Annual Meeting in San Antonio, the Peck’s Lumumba: La mort du prophète (Lu- and Leon Chisholm. Recent posts include Ludomusicology Study Group (LSG) host- mumba: Death of a Prophet, 1990). Kevin “Rhythm, Number, and Heraclitus’ River” ed a thought-provoking interactive poster Bartig moderated reactions from the au- (David Cohen) and “Storms in Chang-an: session in which presenters set up stations dience, using these excerpts to launch a On the Music Debate of Kai-huang Period” with demonstrations of various games and broader discussion about the global docu- (Rujing Huang). We invite blog submissions programs associated with their ludomusical mentary film practices in the context of the from scholars in all career stages; if you’d research. It included: Cold War. The CWMSG also convened a like to test out an idea, publicize a recent • Jesse Kinne, “Demonstration of Fami- brown-bag lunch to facilitate informal con- or upcoming event, or summarize an ongo- Tracker Chiptuning Software” versation among its members and to reach ing research project, please visit our contact • Karen Cook, “Medievalisms and Emo- out to scholars new to our work. The lunch page. To learn more about our activities, tions in Video Games” was attended both by longstanding and new join our mailing list, and read or submit • Kevin R. Burke, “Game Genie: The NES members of the study group, and we will blog posts, please visit historyofmusictheory. Transcription Enhancers” continue these gatherings at future Annual wordpress.com, follow us on Twitter (@ • Dan Tramte and Stephen Lucas, “Au- Meetings. CorpsSonore), or find us at facebook.com/ dio-Only Game Demonstration: Found Shortly before convening in San Antonio, groups/historyofmusictheory/. Ambiance” the CWMSG held elections for a new ex- —Andrew Hicks • Ryan Thompson, “Live Demonstration ecutive committee. On behalf of the entire of XSplit Broadcaster Software for Cap- CWMSG, we offer our thanks to the outgo- ture and Streaming” ing committee, Andrea Bohlman, chair; Lisa LGBTQ Study Group During our business meeting we elected Cooper Vest, Anicia Timberlake, Michael The LGBTQ Study Group voted to amend Elizabeth Hambleton to serve alongside Uy, and Alyssa Wells. The incoming com- its bylaws in 2018, altering roles and terms Dana Plank as group co-chair, Jesse Kinne mittee consists of Martha Sprigge, chair; of board members to incorporate a rotat- as webmaster, and Lisa Golas Scoggin as a Hyun Kyong Hannah Chang, Anne Searcy, ing leadership structure. Incoming co-chair member-at-large. Gabrielle Cornish, and Mackenzie Pierce, (Shana Goldin-Perschbacher), co-chair elect The LSG always welcomes new members. all of whom will serve a two-year term until (Ryan Dohoney), and two new members- Write to [email protected] to 2020. We would be delighted to hear from at-large (Gayle Murchison and Tiffany learn more about our activities and upcom- those interested in becoming involved in our Naiman) began terms at the 2018 Annual ing conferences or to join the mailing list. group. In 2019, we continue our efforts to Meeting. At the meeting our study group —Dana Plank invite conversation among scholars across presented a panel, “New Work in LGBTQ Music and Dance Study Group musicology’s subdisciplines and geopolitical Studies,” featuring papers by David Mc- routes. To join our email list and learn more Carthy, Joe Nelson, Larissa Alice Irizarry, The Music and Dance Study Group about our activities, please visit our web site: and Lee K. Tyson. Study Group members (MDSG) offered two events at the 2018 An- www.ams-net.org/cwmsg. also participated in the SMT’s Queer Re- nual Meeting. Our evening panel, “Digital —Martha Sprigge source Group Panel on trans studies in Scholarship in Music and Dance,” was mod- History of Theory Study Group music. The Philip Brett Award proceedings erated by David Day and included presen- were delayed last year and so the 2018 and tations by Todd Decker on “Quantifying At the 2018 Annual Meeting the History of 2019 winners will be announced at the 2019 Screen Dance: New Perspectives from Time- Theory Study Group hosted a well-attended Annual Meeting. At the open board meet- code Data” and Tina Frühauf on “Research- evening session with two round-table dis- ing, initiatives to improve LGBTQ experi- ing Dance on a Virtual Floor: Methodologi- cussions on the theme of Women in the ence at annual meetings were discussed and cal Approaches in the Digital Age.” History of Music Theory. The first, “Glyn, outgoing co-chair Stephan Pennington and At our business meeting we elected Julia Kinkel, Lee, and Newmarch at Work,” cen- members-at-large Chris Nickell and Kyle Randel as incoming co-chair to serve with  AMS Newsletter Chantal Frankenbach. We are grateful to Music and Disability Study Group the theme “The Future of Pop: Big Ques- outgoing co-chair Matilda Ertz for her two tions Facing Popular Music Studies.” Dan- At the San Antonio Annual Meeting the years of service. Megan Varvir-Coe was re- iel Goldmark has again agreed to host the Music and Disability Study Group co- elected secretary-treasurer. PMSG Junior Faculty Symposium at Case hosted an evening panel session with the For the Boston 2019 Annual Meeting, the Western Reserve University, which will take SMT Music and Disability Special Interest internationally renowned dance historian place in summer 2020. PMSG thanks the Group and the AMS Ecocriticism Study Millicent Hodson and art historian Kenneth mentors and presenters who participated Group entitled “Music, Disability, and the in the 2018 workshops: Mike Alleyne, Archer will speak about their three decades Environment: Bridging Scholarship with Lori Burns, Norma Coates, Andrew Flory, of work reconstructing the choreography Activism.” The panel featured lightning Daniel Goldmark, and Norm Hirschy. At and designs for Stravinsky’s ballet works. talks from six AMS, SMT, and SEM af- the San Antonio PMSG business meeting Hodson and Archer’s research has resulted filiates that explored how disability and members thanked Chair Albin Zak for his in numerous reconstructions and publica- environmental activism can transform the dedicated service and presented its 2018 tions that link Stravinsky’s music with the intellectual, methodological, pedagogical, Best Essay Award to Nicolette Rohr for her dance productions for which it was created. and institutional scope of our disciplines article “Yeah yeah yeah: The Sixties Scream- They will give two presentations at the 2019 by drawing on their respective areas of scape of Beatlemania” (Journal of Popular meeting: expertise. Topics included the generative Music Studies). I was elected as Albin Zak’s potential of ADHD in music history peda- • A keynote address, “Sacrificial Situations: successor for a two-year term. Brian Wright gogy; new developments in campus disabil- Ritual and Ordeal in the Music, Dance, continues as secretary. ity rights activism; the multifaceted role of and Design of Three Stravinsky Produc- —Andrew Flory tions.” This talk will describe Hodson sound as a practical, ethical, and creative phenomenon in clinics and hospitals; and and Archer’s researched reconstructions Pedagogy Study Group the role of Twitter, as creative and intellec- of three Stravinsky works, demonstrating At the San Antonio Annual Meeting, the tual ecosystem, in public musicology. the original design and dance with refer- Pedagogy Study Group (PSG) sponsored an At the Study Group’s business meeting, ence to Le Sacre du Printemps, Le Chant evening panel titled “Teaching and Learn- co-hosted with the SMT Music and Dis- du Rossignol, and Persephone. A panel dis- ing through Interdisciplinarity,” which ad- ability Special Interest Group, members cussion with respondents will follow. dressed the undergraduate experience in a expressed a desire to use the evening panel variety of settings. The presenters discussed • An alternative session titled “Nijinsky’s session at the 2019 Annual Meeting to forge and demonstrated pedagogical strategies Le Sacre du printemps and Balanchine’s Le a new model for musicological accessibil- such as online skills, games, and perfor- Chant du rossignol: Rhythmic Complexi- ity by showcasing new, creative presenta- mance. Several of the panelists blended tion formats, live ASL interpretation, and ties and Choreographic Counterpoint.” hands-on activities into their presentations, the latest work in music and disability. This movement workshop is open to all including a design-a-game session and a les- Planning is underway, and we will solicit AMS members as an opportunity to ex- son on how to play a Renaissance tune on contributions through a call for papers. perience Vaslav Nijinsky and George Bal- viola da gamba. We also will be soliciting nominations for anchine’s approaches to rhythm and their At the PSG business meeting, we dedicat- executive appointments for the 2019–21 means of visualizing Stravinsky’s scores ed a portion of the meeting to a roundtable term, including Co-chair, Social Media Of- through counterpointed groups of danc- discussion on “Listening Tests in the Digital ficer, and Secretary. Please contact Jessica ers. No dance background is required. Music Era.” We debated the utility and rel- Holmes ([email protected]) for more evance of the listening test, the various ways As always, we invite dance-research enthu- information, and visit our Wordpress site in which the test can be thwarted through siasts to join our group, like our Facebook for regular updates: musicdisabilitystudies. technology (for instance, Shazam on an page, and visit our website or Google Group wordpress.com. Apple watch), and ways to circumvent the (see amsmusicology.org/page/mdsg). If you —Jessica A. Holmes technological “cheating” through technol- would like to add your name to the Study ogy and/or pedagogy. Group’s listserv, please contact Megan Var- Popular Music Study Group Stephen Meyer concluded his editorship vir-Coe ([email protected]). You At the San Antonio Annual Meeting the of the Journal of Music History Pedagogy. may also wish to peruse the database of bib- Popular Music Study Group (PMSG) PSG thanks him for his thoughtful steward- liographic sources relating to dance music sponsored an evening panel entitled “Re- ship and strong advocacy over the past three (atom.lib.byu.edu/dancemus) maintained thinking Amateurism,” which included years. He created an editorial environment by member David Day (to add to it, write to three papers and a keynote delivered by that invited scholarship on the pedagogy of [email protected]). For updates to our Karl Hagstrom Miller, author of Segregating teaching music and music history. His suc- website, write to matilda.ertz@louisville. Sound: Inventing Folk and Pop Music in the cessor, Sara Haefeli, shepherded her first is- edu. Information about conferences, cross- Age of Jim Crow (2010). The PMSG plans to sue to press (vol. 9, no. 1) in February. She society liaisons, and ideas for future events host another evening session in 2019 with a continued to build on the goal of publishing can be posted to the Google group or sent to special call for proposals forthcoming. The scholarship based on “systematic inquiry into Chantal Frankenbach ([email protected]) group also will sponsor, along with Am- the principles of teaching and learning” (“A and Julia Randel ([email protected]). herst College and Northeastern University, —Chantal Frankenbach an AMS pre-conference in Boston with continued on page  February 2019  CFPs and Conferences 75 years ago: 1943–44 • Barry Brook volunteered to update the member directory to include the new The AMS posts Conference and CFP notices • All lingering debts from the 1939 Con- USPS delivery field “ZIP Code.” at three bulletin boards: see amsmusicology. gress were discharged. org/page/announcements for complete list- • Publication of the 1939 Congress Pro- 25 years ago: 1993–94 ings and information about subscribing to ceedings was hindered by limitations • The series AMS Monographs, predecessor email notices. Over a hundred conference due to World War II. The problem was to AMS Studies, was announced. and CFP notices have been posted since the surmounted when Anthony Seeger con- August 2018 AMS Newsletter was published; vinced the MENC to redirect its own • The Society began to collect member visit the website for full details. War Production Board paper allocation email addresses. for use by the AMS. • The first volume of MUSA (music of Study Group News • Efforts to draw the Texas Musicological Ruth Crawford, ed. Judith Tick and Society (twelve members) into the AMS Wayne Schneider) was published. continued from page  as a regional chapter continued. • The Society began work on its Ethical 1998 Note from the Editor,” JMHP 9/1, 3). JMHP • President Glenn Haydon noted that the Guidelines (published ). continues to welcome not only submissions Society’s membership growth was hin- • The Society ran a deficit of about dered by the requirement that applicants for article-length essays, but also shorter and $30,000. for membership provide two letters of more focused essays, roundtables, and other • The Program Committee received297 support from sponsors. alternative-format ideas. See ams-net.org/ submissions and selected 119, to be pre- • About twenty members attended the ojs/index.php/jmhp/ for details. sented in five simultaneous sessions. Annual Meeting (New York, December The 2019 Teaching Music History Con- • The Hispanic Music Study Group was 1943); three papers were presented. ference will take place 7–8 June at Univer- formed. sity of Missouri-Kansas City. This year’s 50 years ago: 1968–69 • Feedback on the fall 1993 meeting’s twen- conference theme is “Connecting Class- ty-minute papers was strongly positive, rooms and Beyond.” Andrew Granade and • Plans for the December 1969 Annual according to President Ellen Rosand. Paula Bishop are organizing the confer- Meeting in St. Louis included the fol- • The board arranged for three people to ence, and Dan Blim chairs the program lowing innovations: holding simultane- take up the work previously done by Al- committee. Conference information can ous sessions, printing an abstract book, vin Johnson, who was forced to resign be found at teachingmusichistory.com/ and charging conference registration suddenly due to ill health: Ruth Steiner teaching-music-history-conference-2019/. fees. (Executive Director), Rebecca Baltzer The PSG evening panel at the Boston An- • The board first considered the idea of is- (Treasurer), and Jacqueline Bruzio (As- nual Meeting will focus on questions and is- suing a semiannual print newsletter. sociate Executive Director) sues surrounding evaluation and assessment in the music history classroom. Terry Dean chairs the program committee. More infor- mation can be found at teachingmusichistory. News Briefs com/psg-evening-panel-at-ams-2019-call-for The Digital Mozart Edition, a collabora- recordings, books, periodicals, newspaper -proposals/. clippings, photographs, programs, and When not meeting at the AMS Annual tive project of the Stiftung Mozarteum and other materials. Details: library.stanford. Meeting or the Teaching Music History Packard Humanities Institute, has launched 2018 11 Conference, the PSG has an active online the Digital Interactive Mozart Edition. edu/blogs/stanford-libraries-blog/ / / Details discussion in its Facebook group (AMS : dme.mozarteum.at. maria-callas-materials-come-stanford. Pedagogy Study Group). Members ask for advice, offer solutions, and recommend re- The RISM Central Office and the Bavar- Yale University’s Irving S. Gilmore Music sources. It is also a place where the funda- ian State Library have released a new ver- Library has completed an eighteen-month mental structures and assumptions of music sion of the RISM online catalog. New fea- project, funded by the Grammy Museum, programs are often questioned and debated. tures include an updated user interface, a to preserve approximately 335 hours of non- We also have book reviews and blog posts mobile-friendly format, search capabilities commercial audio, predominantly from on tips and techniques for the music history in French, Italian, and Spanish, and an ex- 1937 to 1956, featuring music by Charles Ives. classroom on our website, teachingmusichis- panded incipit search. The 436 recordings comprising the Charles tory.com. We invite you to join us in any of Details: opac.rism.info. Ives Rare and Non-Commercial Sound Re- these places. cordings Collection are digitally available. —Paula Bishop Stanford University’s Archive of Record- Details: web.library.yale.edu/news/2018/09 ed Sound has completed processing the /rare-charles-ives-recordings-now-available. Maria Callas Sub-Collection of the Rob- For the latest news about all thirteen AMS Study ert Baxter Collection. Consisting of ap- In 2018, A-R Editions became the first mu- Groups, please visit amsmusicology.org/page/ proximately fifty-six linear feet of mate- sic publisher to provide electronic access studygroups. Each study group maintains an rial, it provides rich and detailed docu- to critical editions of music through their email network and web page, and participates mentation of the life and work of Ma- subscription service Recent Researches in at the Annual Meeting each year. ria Callas. It consists of sound and video Music Online. Details: rrimo.com.  AMS Newsletter Papers Read at Chapter Meetings, 2017–18

Members are encouraged to communicate with Bethany Goldberg (Youngstown State Uni- Matthew Franke (Howard University), “Ap- presenters listed here regarding mutual research versity), “Native Songbirds Take Flight: palachian Folk Song as a Symbol of White- interests. Thanks are due to all members who American Singers on the Italian Opera Stage ness in the Jim Crow South” participated in and organized chapter meet- During the Civil War” ings last academic year. For the latest news on Stephanie Ruozzo (Case Western Reserve 14 April 2018 upcoming chapter meetings and events, see University), “Many a New Day Will Dawn: Howard University amsmusicology.org/page/chapters. Changing Models of Integration in Broad- Alanna R. Tierno (Shenandoah University), way’s ‘New Golden Age’” “My Bavarian Renaissance Wedding: A Re- Allegheny Chapter Christopher Lynch (Duquesne University), construction of the 1579 Fugger Nuptial “The Creation of the Operatic Museum in Mass” 23 September 2017 New York City: Taxes and Figaro at the Met Fairmont State University Ashley Sherman (University of Pittsburgh), in 1940” “Grief and Transformation: The Lament- Gui Lee (Stony Brook University), “Com- Kirsten L. Speyer Carithers (Ohio State Uni- ing Voice in Twentieth Century Solo Oboe menting on the Belle Époque and Our Time versity/Capital University), “Hacking the Repertoire” Through Historical Styles: Joe Hisaishi’s Avante Garde: Cardew, Experimentalism, Nicole Steinberg (Towson University), “Wil- Original Score for Howl’s Moving Castle and the Culture Industry” liam Walton’s Pursuit of Compositional In- 2004 ( )” Laura Schwartz (University of Pittsburgh), dependence in the Three Songs from Edith Phoebe Hughes (West Virginia University), “Confessions from the Killing Jar: ‘Coming Sitwell ” “Morton Feldman’s The King of Denmark out’ as Reclamation and Selfcare” Lorenzo Vanelli (University of Bologna), 1964 ( ): Existentialism through Large-Scale Paige Zalman (West Virginia University), “Themes and tropes in African American Analysis” “Performing Gender, Music, and Witchcraft field hollers from the Jim Crow era” Peter Graff (Case Western Reserve Univer- in Early Modern England” Evangeline Athanasiou (University of Mary- sity), “Staging Dual Patriotism: Cleveland’s land, College Park), “The Baroque Voice: German-Language Theater and the Great Capital Chapter Perceptions of Baroque Solo Vocal Literature War” among Voice Students” 14 October 2017 Christopher Wilkinson (West Virginia Uni- Andrea Copland (Peabody Institute), “Ander- Shenandoah University versity), “A ‘Moment’ in the History of Big son and Adorno’s Forgotten Posthorn: Pow- Band Dance Music in West Virginia dur- Bonny Miller (Independent Scholar), “The er, Intragroup Violence, and the Politics of 1930 ing the s: the Pittsburgh Courier and Fair Transatlantic Sylph: Elise Peruzzi, née the Sublime in Mahler’s Third Symphony” George Morton” Eustaphiève” Tom Owens (George Mason University), Codee Spinner (University of Pittsburgh), Joanna Chang (Duke University), “‘Tedious “Charles Ives and the Ragtime Topic” “Uncovering the Monstrous in Rameau’s Elaboration?’: The Remarkable Case of Lars Helgert (Independent Scholar), “Euro- Platée, 1745” Emanuel Moór and his Prelude op. 71, no. 1” pean Paternalism as Musical Migration: Sa- Ashley Sherman (University of Pittsburgh), Ronit Seter (Independent Scholar), “Beauti- roni’s Musical Times and Criticism of Musi- “Creation of Interiority in Franz Schubert’s ful without the Arrogance of Beauty: Kaija cal Life in America and in New York City, 620 Einsamkeit, D. ” Saariaho’s L’amour de loin (2000)” 1849–1951” Claire Zavolta (Carnegie Mellon University), Jessica Grimmer (University of Michigan), Alexander Devereux (University of Maryland, “Summus Finis: The Prevalence of Fate in the “From Femme Idéale to Femme Fatale: Con- College Park), “From Universalization to Chosen Texts of Carl Orff” texts for the Exotic Archetype in Nineteenth- Eternalization: Peter Weiss’s The Investiga- Megan Woller (Gannon University), “Adapta- Century French Opera” tion and Frederic Rzewski’s The Triumph of tion and the Musical Retelling of Arthurian Cary Peñate (University of Texas at Austin), Death” Legend” “From Wagner to the Mulata: a Dual Female Personality” 7 April 2018 Greater New York Chapter Samuel Brannon (Randolph-Macon Col- Youngstown State University lege), “Sight, Sound, and Music Literacies 23 September 2017 Emily Theobald (University of Florida), “So- during the Renaissance” AMS Office, New York University norism and Urban Soundscape in Pend- Rachel Short (Shenandoah University), “Do Beverly Jerold (Princeton, N.J.), “Beethoven erecki’s Pittsburgh Overture (1967)” They Know They Are Dancing? Diegetic Reception as Affected by Performance” Ryan Harrison (Ohio University), “Percep- Movement in Ballet” Bruce MacIntyre (Brooklyn College), “De- tion and Ecocentric Performance Spaces: Laura Youens (George Washington Univer- bussy as Critic: Crystal Ball for the Twenti- Environment in Matthew Burtner’s Aukslaq sity) “A Real-life Model for Verdi’s Duke of eth Century?” and John Luther Adams’s Inuksuit” Mantua”

continued on page  February 2019  Papers Read at Chapter Meetings 21 April 2018 Steven Wilson (University of Illinois), “To- New York University ward a Philosophy of Noise in Music: Sym- continued from page  bolism, Sonics, and Transgression” Solomon Guhl-Miller (Temple University / Rutgers University), “Hearing the Greek Stephen Husarik (University of Arkansas), Sasha Metcalf (Brooklyn Academy of Music), Genera: Re-evaluating Tuning and Interpre- “Switching Colors and Developing Varia- “How Critic Robert Brustein Positioned tation in Three Repertoires” tions in the Second Movement of Beethoven’s Philip Glass as the Future of American Jane Schatkin Hettrick (Rider University), Piano Sonata no. 32 in C Minor, op. 111” Theater” “A Newly Discovered Contract for a Lu- Terry Dean (Indiana State University), “Re- Keynote: David Hurwitz (ClassicsToday. theran Organist in Vienna in 1824: Curiosity flections of Tragedy in Prokofiev’s Sympho- com), “‘Acidy’ Cassidy and the Birth of the or Blueprint of ‘A Well Regulated Church ny no. 6 in E-flat Minor, op. 111” Modern Record Review: 1942–50” Music’?” Luca Lévi Sala (New York University), “Cul- Stephen Allen (Rider University), “‘Lateness’ Olivia Cacchione (Northwestern University), tural Purification: Musical Autarchy and in Elgar’s The Severn Suite” “‘Tequila Makes Her Clothes Fall Off ’: Gen- Antisemitism in Italian Music Criticism of Barry Wiener (New York, N.Y.), “Sibelius, der, Advertising, and Twenty-First Century the 1930s” Busoni and Ultramodernism” Commercial Country Music” Karen Uslin (Rowan University), “Critiques Christopher Doll (Rutgers University), “Five Ayden Adler (DePauw University), “The Under the Gallows: The Music Criticisms of Taken: The Rhythmic Influence of the Critical Response to Profitable Concerts: Ar- Viktor Ullmann” Dave Brubeck Quartet on British-American thur Fiedler and the Boston Pops Orchestra, Pop-Rock” 1930–50” Jonathan Waxman (Hofstra University), “Music Critics as Program Note Annota- Jeremy Zima (Wisconsin Lutheran College), tors for Early Twentieth-Century American Mid-Atlantic Chapter “Kultur vs. Zivilisation: Ernst Krenek’s Jonny Orchestra” spielt auf as Composer Opera” 21 April 2018 Georg Burgstaller (RILM), “Damages: Hein- Curtis Institute of Music Richard Adams (Chicago, Ill.), “Vocal Mu- rich Schenker’s Reception as a Key to His sic and Social Hierarchy in Marc-Antoine Woodrow Steinken (University of Pitts- Views on Music Criticism” Charpentier’s Medée” burgh), “Rethinking Tragedy Through Rich- Solomon Guhl-Miller (Rutgers University), ard Strauss’s Elektra” Devon J. Borowski (University of Chicago), “How we got out of Critical Music Criticism Maria Ryan (University of Pennsylvania), “Singing White Womanhood: Bach’s Kaf- and Why We Should Get Back into it” “‘Our people, I fear, are drifting too far away feekantate and the Erotics of Enlightenment from the classics . . .’: Singing Race, Class, Cannibalism” 27 January 2018 and Gender in Philadelphia 1912–14” Columbia University Keynote: Johann Buis (Wheaton College), Erin K. Maher (West Chester University / “Two Truths and a Lie: Affirmations and Fal- Delaware Valley University), “Gender and Lynette Bowring (Rutgers University), “Mu- lacies in Documenting Music History” Narrative in Drum Corps International, sicking or Musical Work? The Passamezzo 2017” Allison Robbins (University of Central Mis- from Improvised Formula to Composition” souri), “Entertaining with Troops: Female Edward Wang (College of New Jersey), Impersonation in World War I Service Liu Ye (Musical Instrument), “The Piano Art “Transnationalism, Authenticity, and the Shows” in China since the Cultural Revolution Re-Appropriation of Cultural Identity in (1966–76) and the Beginning of the ‘Reform Tan Dun’s Marco Polo” Solveig Mebust (University of Minnesota), and Open Policy’” Katherine Kaiser (Northampton Commu- “‘Watch Out, Sofie, Lest You Sing’: The Luca Levi Sala (New York University), nity College), “Voice in Piano Wire: Peter Voice as a Marker of Adolescent Femininity “Muzio Clementi’s Output beyond Eng- Ablinger’s Letter from Arnold Schoenberg” in Camilla Collett’s Amtmandens Døttre” land: Dissemination, Issues of Authenticity, Larissa Irizarry (University of Pittsburgh), and Textual Problems in Vienna (1787–99)” Erin Smith (Cleveland, Oh.), “‘You’d Bet- “Clémence’s Lament: Processing Grief in ter Be Nice to Them Now’: Tin Pan Alley’s Danielle Bastone (Music in Gotham), “The L’amour de loin” (Anti-)Suffrage Songs” Sublimity of Dussek’s Suffering Queen of France” Elissa Harbert (DePauw University), “Un- Midwest Chapter likely Subjects: The Reception of History Heather Platt (Ball State University), “‘A Musicals from 1776 to Hamilton” Novel Affair’: The Establishment of Lieder 23–24 October 2017 Recitals in Nineteenth Century America” Roosevelt University Kendra Preston Leonard (Silent Film Sound Reuben Phillips (Princeton University), Siriana Lundgren (St. Olaf College), “The & Music Archive / Newberry Library), “Brahms as Reader: Examining the Young Musical Geography Project: Mapping as a “Nostalgia and Cultural Memory in Scoring 1927 Kreisler’s Treasure Chest” Musicological Resource” for The General ( )” Jon Churchill (Duke University), “A Second Devin Burke (University of Louisville), “The C.A. Norling (University of Iowa), “Midwest- Battlefield: Semantic Exchange in Vaughan First Appearance of Lully’s Music in Vien- ern Musical Uplift: Lowell Mason, Robert Williams’s London and Pastoral Symphonies” na? New Research on an Enigmatic Set of Hutchinson, and The Boston Glee Book in French Dances at the Court of Leopold I” Iowa City”

 AMS Newsletter 21–22 April 2018 New England Chapter Jeannette Jones (Boston University), “Mu- Ball State University 23 September 2017 sique Alexandrine: Guillaume Crétin’s De- ploration and the French Royal Court” Lesley Hughes (University of Wisconsin- University of New Hampshire Madison), “‘German, Upright, Tragic, and Daniel Fox (Graduate Center, CUNY), “The Melissa Goldsmith (Westfield State Univer- Heartfelt’: Hindemith’s Path to Mathis der Perceptual Origin of the Sublime in György sity), “The Sweet Life, Song, and Sound: Maler” Ligeti’s Violin Concerto” “Patricia” in La dolce vita” April Pauline Morris (University of Western Jason McCool (Boston University), “Who Erinn Knyt (University of Massachusetts- Ontario), “A Crisis of American Identity: Tells Your Story? Dispatches from the Ham- Amherst), “Ferruccio Busoni: Architect of Elie Siegmeister’s Vietnam War Works” ilton: An American Musical Moment” Sound” Allison Smith (Boston University), “Operatu- Elinor Olin (Northern Illinois University), Andrew Chung (Yale University), “The Force nistic Gains: Reconciling Public Perceptions “Le Roi d’Ys: Mythical Construction of a Re- of Empathy in Ashley Fure’s The Force of of Opera in Contemporary England” gionalist Ideology” Things (2016): Installation-Opera as Posthu- man Ecocriticism” Steven A. Stofferahn and Thomas J. Johnson (Indiana State University), “Medieval Music Stephen Guerra (Yale University), “When New York State– Isochronous and Non-isochronous Meters Manuscript Fragments from the Binding of St. Lawrence Chapter a 1502 Calepino Dictionary” Meet: Hemiola and Phrase Form in a Brazil- ian Samba-Jazz Recording” 14–15 April 2018 Peter Poulos (University of Cincinnati), Brent Wetters (Brown University), “Uphill SUNY Fredonia “Myth, Mythology and the Partitura delli sei and Down: Mahler’s Cycling Trips Through libri de’ madrigali of Carlo Gesualdo” David H. Miller (Cornell University), “The the Austrian Landscape” First International Webern Festival; or, It Amy L. Edmonds (Ball State University), Happened at the World’s Fair” “Using Google Trends to Analyze Changes 24 February 2018 April Pauline Morris (University of Western in Popular Music Taste” Boston College Ontario), “A Crisis of American Identity: Matthew Leone (Indiana University), “His- Benjamin Safran (Temple University), Elie Siegmeister’s Vietnam War Works” toriographies of Genius and Jan Ladislav “Hannibal Lokumbe’s One Land, One River, Dussek’s Nineteenth-Century Reception” John Kapusta (Eastman School of Music, One People as Political Resistance” University of Rochester), “Ethel Merman, Paul Abdullah (Case Western Reserve Univer- Ewelina Boczkowska (Youngstown State Uni- Gypsy, and the Birth of the Broadway ‘Belt’” sity), “Shakespeare via Italy: Rossini’s Otello versity), “A Chopin Film and Uneasy Recon- Stephanie Vander Wel (University at Buffalo), in Restoration Paris” ciliations Under Socialist Realism in Poland” “Carolina Cotton’s Swinging Yodels and Alexis Witt (Indiana University), “The Exotic Evan MacCarthy (West Virginia University), 1940s Okie Womanhood” Allure of Russian Giants, Swans, and Bats: “Padre Martini, Ugolino, and Late Medieval Seth Coluzzi (Colgate University), “Bound Feodor Chaliapin and the Establishment Music Theory in the Eighteenth Century” for Display: The Interior/Exterior Dualities of Russian Performance Networks in 1920s Natasha Roule (Harvard University), of Monteverdi’s Nymph” New York City” “Armide, Lyon, and Networks of Opera in Roger Freitas (Eastman School of Music, Keynote: Susan Youens (Notre Dame Univer- Eighteenth-Century France” University of Rochester), “Orlando at Play: sity), “Reentering Mozart’s Hell: Schubert’s Martha Sullivan (Rutgers University), “Ma- The Games of Il palazzo incantato (1642)” Gruppe aus dem Tartarus” rino and Monteverdi’s Meraviglia: How Gordon Root (SUNY Fredonia), “The Art of Siavash Sabetrohani (University of Chicago), the Sense of Touch Shaped the Book Seven The Extended Refrain” “Rules Versus Music: How a Minor Seventh Madrigals” Keynote: Jamie Currie (University at Buffalo), Interval Provoked a Long Debate in Berlin” Michael Goetjen (Rutgers University), “Deficient Media, Extraordinary Musics, Stephen M. Kovaciny (University of Wiscon- “Through the Fire of Imagination: The Key- Mozart, Distance—and the Art of Love” sin-Madison), “Chabanon, Rameau, and the board Sketch as Mediator Between Improvi- Kimberly Francis (University of Guelph), ‘Nerveux Systême’” sation and Composition” “More than the CBC: The Elmer Eisler Andrew Malilay White (University of Chica- Justin Gregg (University of Hartford), Singers, Shirley Verett-Carter, and Igor go), “The Genius and the Machine: Shifting “Sounds of Silence: Shostakovich’s Eleventh Stravinsky in Toronto, 1961–62” Views of the Piano Exercise” Symphony” John Green (Eastman School of Music, Uni- Bradley Spiers (University of Chicago), “The versity of Rochester), “Sound and Meaning Imitation Game: Behaving Musically in the 21 April 2018 on Radio in John Cage’s The City Wears a Age of Artificial Intelligence” University of Massachusetts Amherst Slouch Hat (1942)” Eric Strother (Anderson University), “The Heather DeSavage (University of Connecti- Matteo Magarotto (Cornell University), Early Seeds of Duke Ellington’s Composi- cut), “American Perspectives on the Fauré “Representing Difference in Popular Music: tional Style as Demonstrated in East St. Louis Centennial, 1945: The Writings of Aaron Alienation and Disability in an Italian Set- Toodle-Oo” Copland, Elliott Carter, and Irving Fine” ting of Masters’ Spoon River Anthology ” Matteo Magarotto (Cornell University), Uri Schreter (Harvard University), “‘Snobs Rachael Lemna (Eastman School of Music, “Representing Difference in Popular Music: in Search of Exotic Color’: Blackness and University of Rochester) “Strategizing the Alienation and Disability in an Italian Set- Subversion in the Appropriation of Jazz in Female Body: Charlotte Moorman’s Sky ting of Masters’ Spoon River Anthology ” Interwar Paris” Kiss” continued on page  February 2019  Papers Read at Chapter Meetings Mark Samples (Central Washington Univer- Fusako Hamao (independent scholar, Santa sity), “The Framing Effect of Promotion on Monica), “Unveiling Schoenberg’s Japanese continued from page  Recordings Artists in the Pre-Digital Age: A Connection” Model for Analysis” William Weber (California State University Northern California Chapter Holly Chapman (University of Oregon), Long Beach), “To Praise or to Criticize? Press 10 February 2018 “REZZ as a Master of Mass Manipulation: Reports on the Concert spirituel, 1725–90” University of California, Berkeley Navigation of the Industry Through Brand Andrew J. Chung (Yale University), “What is and Sound” Musical Meaning? Towards a Theory of Mu- Kim Sauberlich (University of California, Chelsea Oden (University of Oregon), “The sic as Performative Utterance” Berkeley), “The Lundu’s Perils: Tabooed En- Cinematic Piano: Gender, Power, and counters in Brazilian Dance” Katherine Reed (California State Univer- the Romantic in Modern American Film sity Fullerton), “Halloween Jack Comes to Julia Simon (University of California, Davis), Culture” “The Significance of Cars in the Delta: Rob- America: David Bowie’s Lost Diamond Dogs Stefan Honisch (Independent Scholar), ert Johnson’s Terraplane Blues (1936)” Tour” “From Blind Virtuosity to Blindness as Landon Bain (University of California, San Margaret Jones (University of California, ‘a Kind of Virtuosity in Itself’: Of Prized Diego), “‘Something Just Broke,’ and Ste- Berkeley), “Built for Destruction: Traces of Embodiments and International Piano phen Sondheim’s authorial voice in Assassins” Use in a Seventeenth-Century Music In- Competitions” struction Book” Mark Martin (Independent Scholar), “Trans- 28 29 2018 Anthony Newcomb (University of California, – April gressing States: Sexuality and National Stanford University Berkeley), “The New Roman Madrigal Style, Identity in Sibelius’s Lemminkäinen and the Jointly with Northern California Chapter 1570–1600” Maidens of Saari” Alysse G. Padilla (New York University), “Di- Catherine Ludlow (University of Washing- Parkorn Wangpaiboonkit (University of Cali- vas, Directors and the Reparative in Kusej’s ton), “The Fading Garden of Lili Boulanger’s fornia, Berkeley), “Swapping Complacence Rusalka” Clairières dans le ciel ” for Filicide: Exploring Operatic Masculinity Kelly Christensen (Stanford University), “The Through Rethinking Aria Substitution” Sound and Love of Medieval Alterity in Emily Loeffler (University of Oregon), “Me- Andressa Goncalves-Vidigal (University L’Amour de loin” lodic maps on the Neo-Riemannian torus and the mixed transmission of Oh! Susanna” of California, Davis) “Exoticism, Desire, Alice Miller Cotter (University of Califor- and Questions of Gender in Chaminade’s Rebecca Clarke (University of British Colum- nia, Berkeley), “Undecided: John Adams on Sombrero” Girls of the Golden West” bia), “Colors: Experimentation and Stylistic Diversity in the Music of Between the Bur- Melanie Gudesblatt (University of California, 28–29 April 2018 ied and Me” Berkeley), “Animating Opera after Wagner” Stanford University Jeff Warren (Quest University), “Pedal to the Jonathan Spatola-Knoll (University of Cali- Jointly with Pacific Southwest Chapter metal...or the Bon Iver: Music and Moun- fornia, Davis), “Schubert’s Rossini Complex” Papers listed with Pacific Southwest Chapter. tain Biking” Susan Bay (University of California, Berke- David Gramit (University of Alberta), “Set- ley), “Advice Fit for a King in Rex Karole / Pacific Northwest Chapter tler Nostalgia and the Soundscape of Dis- Johannis genite” possession: Frank Oliver’s The Indian Drum” 7–8 April 2018 Malachai Bandy (University of Southern Cal- University of British Columbia Olga Zaitseva (University of Alberta), “Pre- ifornia), “Number, Structure, and Lutheran serving field recordings of Canadian-Ukrai- Symbol in Buxtehude’s Herr, wenn ich nur Bertil van Boer (Western Washington Univer- nian folklore for new performance” Dich hab (BuxWV 38)” sity), “Advertizing Hype or Signal Achieve- ment: The1738 Schouwburg “Concert of the Michael Accinno (University of California, Riverside), “‘If sight be from our eyes with- Century” and the Popularization of the Early Pacific Southwest Chapter drawn’: John Sullivan Dwight, Blindness, Symphony” 30 September 2017 and Music Education” Justin Henderlight (University of British Occidental College Columbia), “Marc-Antoine Charpentier’s Cesar Favila (University of Chicago), “‘Child JoAnn Taricani (University of Washington), 1660 62 diverging harmonic approaches in David et that Music is Not for Me; Stop Enjoying It”’: “Rump Songs ( – ): A Web of Invisible Jonathas versus Mors Saulis et Jonathae” Novohispanic Nuns Behaving and Misbe- Musical Paratext” Katharina Clausius (University of Victoria), having in the Choir” Jonathan Minnick (University of California, “Imagi(ni)ng Opera: Pedagogies of Silence” Siu Hei Lee (University of California, San Davis), “Cyborgs and Cybernetics: Electro- Jamie Meyers-Riczu (University of Alberta), Diego), “The Music and Politics of Pierrot: Acoustic Characterization and Ecology in “Franz Liszt’s Mazeppa and the Aesthetics of Challenges to National and Gender Identi- Forbidden Planet (1956) Suffering” ties in France, 1885–1898” Kerry Brunson (University of California, Joseph Salem (University of Victoria), Daniel Castro Pantoja (University of Cali- Los Angeles), “Philip Glass’s Itaipú and the “Boulez, the Literal, and the Literary” fornia, Riverside), “From Europhilia to In- Sound of the Sublime” Sophia Maria Andricopulos (University of digenismo: Uribe Holguín’s Bochica and the Joe Cadagi (Stanford University), “Piec- Oregon), “‘Latin-ish:’ Carlos Santana in Construction of an Indigenous Imaginary in ing Together Ligeti’s Unfinished Alice in Rolling Stone 1969–1977” Colombian Art Music” Wonderland ”

 AMS Newsletter Kirsten Paige (University of California, Kelsey Fuller (University of Colorado, Boul- Michael Ward (University of Colorado, Boul- Berkeley), “On the Politics of Performing der), “Seeing is Believing: Sámi Political and der), “Hybridity, Virtuosity, and the Forgot- Wagner Outdoors, 1909–59: Open-Air Op- Environmental Activism in Popular Music ten Chamber Music of the French Violin era and the Third Reich” Videos” School” Regan Homeyer (University of New Mexico), Mitchell Ohriner (University of Denver), Rocky Mountain Chapter “Sounding the Nile: Hamza El Din as ‘Eth- “Metric Complexity, Lyric, and Groove in Selected Verses and Tracks of Eminem” 23–24 March 2018 nographic Ear’” University of Arizona Dan Kruse, Matthew Mugmon, and Brad Matthew Stanley (University of New Mexico), Jointly with Rocky Mountain Society for Story (University of Arizona), “Soundscape: “Toward Metric Stability: The Interplay of Music Theory and Society for The University of Arizona’s Remarkable Meter, Syncopation, and Hemiola as Formal Ethnomusicology Southwest Region Chimes and Echoes” Process in Brahms’s Violin Sonata No. 1 in G Major, op. 78” Kathy Acosta Zavala (University of Arizona), Julie Hedges Brown (Northern Arizona Uni- “War, Institutions, and Commissions: A versity), “Schumann’s Chamber Music and Anna Fulton (St. Olaf College / Eastman Study of the 1943 League of Composers’ His London Reception” School of Music, University of Rochester), War-Themed Commissions” “Temporality and Disembodiment in Alvin Jay Rosenblatt (University of Arizona), “Liszt, Lucier’s I am sitting in a room” Jessica Berg (University of Arizona), “Chal- Wagner, and Judaism in Music” lenging Bernstein’s Impact on the Perception Nancy Murphy (University of Houston), of Mahler’s Music in America from 1911 to Janice Dickensheets (University of Northern “‘Old, Weird America’: Metric Irregulari- 1968” Colorado), “Ossianism, the Bardic Style, ties in Harry Smith’s Anthology of American Alexander Meszler (Arizona State University), and Nineteenth-Century American Aesthet- Folk Music” ics in Dvořák’s New World Symphony” “The Twenty-First Century Secular Church Benjamin Cefkin (University of Colorado, Organ: A Precedent at the Twentieth- Glen Hicks (Arizona State University), Boulder), “Pleng Diaw: Teaching Virtuos- Century Cathedral of Notre-Dame” “‘Above All Other Nations’: French Organ ity and Cultural Value Through Thai Music’s Michael Dekovich (University of Oregon), Encounters at the 1893 Chicago World’s Fair” ‘Solo Repertoire’” “Death Metal Dodecaphony: Partition Brett Clement (Ball State University), Richard Miller (University of Nevada, Las Ve- Schemes in Ron Jarzombek’s Twelve-Tone “Single-Tonic and Single-Scale Systems in gas), “Transcribing the Now or Transcribing Music” Rock Music” the History? Understanding the 1928 Minzo- Demi Nicks (Florida State University), Don Traut (University of Arizona), “Senten- ku Geijutsu Debate” “Something ‘Freakish’: Broken Bodies in tial Structures in Rock Music” Tachinee Patarateeranon (University of Ligeti’s String Quartet no. 2” Northern Colorado), “Organology in the Rina Sugawara (University of Minnesota), Micheal Sebulsky (University of Oregon), “The Space Between: Connecting Narrative Iconography of the Ramayana Epic and In- “Fantasia as Form: Logic and Freedom in struments at the Courts of Southeast Asia” Schoenberg’s Phantasy for Violin and Piano and Tonal-Center Relationships in the Mu- Golriz Shayani (University of Northern Colo- Accompaniment, op. 47” sic of Dave Matthews Band” rado), “No One Wants to Listen to Us: The Matthew E. Ferrandino (University of Kan- Jeremy L. Smith (University of Colorado, Challenges of Female Iranian Musicians Per- sas), “Ternary Forms in Rock” Boulder), “The Good Thief in Byrd and Tal- forming Western Classical Music” lis’s Cantiones quae ab argumento sacrae vo- Adrienne Alton-Gust (University of Chica- Maxine Fawcett-Yeske (United States Air cantur: A Study in Musical Anagnorisis” go), “‘Todos me miran’: Drag Performance Force Academy), “Music and Architecture Alexandra Siso (University of Colorado, in Undocumented LGBTQ Migrant Spaces” in the Personal Performance Spaces of Frank Boulder), “Hidden Prayers: Re-interpreting Salvador Hernandez, Jr. (University of Flor- and Olgivanna Lloyd Wright” William Byrd’s Cantiones Sacrae (1589)” ida), “Songs of Immortality: Exploring the Daniel Obluda (University of Colorado), Deborah Kauffman (University of Northern Role of Death in Music” Colorado), “The “Pseaumes de Mr de No- “Neo-Riemannian Analysis: A Bridge ailles”: Cantiques spirituels and the Court of Teresita Lozano (University of Colorado, Linking Topic Theory and Film Music Louis XIV” Boulder), “The Holy Coyote: Ghost Smug- Scholarship” gling Corridos and the Undocumented Mi- Shaun Stubblefield (Northern Arizona Uni- Anne-Marie Houy-Shaver (Arizona State grant Experience” versity), “For What Purpose? J. Pachelbel’s University), “Deep Ecology in Music: The Was Gott thut, das ist Wohlgetan and Middle- Renata Yazzie (University of New Mexico), Reduction in Hierarchical Structures in the Class Patronage” “Indigenizing Art Music: An Analysis of Music of Pauline Oliveros” Sara Everson (Florida State University), “A Connor Chee’s Navajo Vocables for Piano” Morgan Block (University of Arizona), “Six Gestural Basis for New-Music Analysis” Joel Schwindt (Boston Conservatory), “Why Litanies for Heliogabalus: John Zorn and the Jennifer Harding (Florida State University), Striggio Was Not on Monteverdi’s Side: Or- Theatre of Cruelty” “A Computational Approach to the Analysis feo (1607), Academy Culture, and the Stag- Faez Abdalla Abarca (University of Arizona), of Olivier Messiaen’s Preludes (1928–29)” ing of the ‘Artusi Controversy’” “Chromatic Evolution: V-of-iii as a Domi- Joseph R. Jakubowski (Washington Universi- Clémence Destribois (Brigham Young Uni- nant Substitute in Felix Mendelssohn’s Songs ty in St. Louis), “Making the Spectral, Cor- versity), “Eric Chafe’s Method of Seven- without Words” poreal: Embodied Cognition and Expressive teenth-Century Harmonic Analysis: Per- Performance in Grisey’s Prologue” spectives from Continuo Treatises” continued on page  February 2019  Papers Read at Chapter Meetings Luke Dahn (University of Utah) “Fifth Erin Fulton (University of Kentucky), “Hymn Amendments: Editorial ‘Corrections’ of Selection within the Thought and Polity of continued from page  Consecutive Fifths in the Bach Chorales” the Church of Christ, Scientist” Joshua Klopfenstein (University of Chicago), Koeun (Grace) Lee (Brevard College), “David Emily Barbosa (Indiana University), “Why “Toward a Broader Theory of Music: Charles Burge’s Go-Hyang (1994): Blending Contem- Are the Roses so Pale? Closure in Fanny Butler’s The Principles of Musik and Seven- porary and Korean Traditional Music” Mendelssohn Hensel’s op. 1, no. 3.” teenth-Century England” Tara Jordan (University of Tennessee Knox- Steven Reale (Youngstown State University), ville), “Music of the Rebellion: Classical and Popular Music During the Syrian Civil War” “A Love(-Theme) Triangle in Bernard Her- South-Central Chapter mann’s Score to Vertigo” 23 24 2018 Brent Yorgason (Brigham Young University), – March Warren-Wilson College Southeast Chapter “A Transformative Event in Max Steiner’s Fanfare for Warner Brothers” Holly Tumblin (University of Tennessee 23 September 2017 University of North Carolina Wilmington Keith Waters (University of Colorado, Boul- Knoxville), “The Ballroom Seduction: Mu- der), “Seventh and Ninth Chord Regions in sic, Dance, and Society in Jane Austen Heri- Kristen M. Turner (North Carolina State Uni- Debussy and Ravel: The Tristan Genus and tage Films” versity), “Gershwin and Pre-War Aesthetics” Other Spaces” Ellyn Washburne (University of Kentucky), Annegret Fauser (University of North Caro- Mark McFarland (Georgia State University), “Realism and Romanticism in the Music of lina at Chapel Hill), “Imperialist Substitu- “The Games of Debussy’s Jeux” Cold Mountain” tions: Commemorating Beethoven in 1927 Josh Barbre (University of Arizona), “‘I Know Basil Considine (University of Tennessee Vienna” You Want It’: How the ‘Blurred Lines’ Copy- Chattanooga), “Audience Awareness of Elizabeth L. Keathley (University of North right Case Impacts the Sample-Based Tradi- the Censored Past in Donizetti’s La fille du Carolina at Greensboro), “Voicing the Op- tion of Hip-Hop” regiment: Censorship, Coded Messages, and position: Lila Downs, El Demagogo, and Zane Cupec (University of Colorado, Boul- Government Propaganda” Balas y Chocolate” der), “Interdependence in Cuban Batá Kathryn Caton (University of Kentucky), Keynote: Neil Lerner (Davidson College), Drumming: Román Díaz and L’ó dá fún “Imagined Memory in Christopher Cer- “Sounds of Failure and Death in Early Video Bàtá” rone’s Invisible Cities” Games” Karen Mize (University of Denver), “Safe Cameron Steuart (University of Georgia), Benjamin Dobbs (Furman University), “Re- Space, Community, and Communalism in “Rediscovering the Music of Signora Corilla” evaluating Early Triadic Thought: From the Denver D.I.Y. Punk Scene” Isaac Maupin (University of Kentucky), “Im- Event to Object” Jessica Vansteenburg (University of Colorado, mortalizing Otto Hess: Restoring Original Patricia Sasser (Furman University), “‘To Boulder), “Nemzeti Rockers’ Message of Order to Long-Lost Jazz Photographs” Think and Judge Independently’: Birgit Unity for Szekeler Hungarians on the Fes- Laurie McManus (Shenandoah Conservato- Krohn and Amateur Music-Making in Late tival Stage” ry/Shenandoah University), “Wagner Prob- Nineteenth-Century Norway” Keynote: John Roeder (University of British lems, Freudian Solutions: Wagner, Graf, and Panel: Columbia), “Comparing Musical Cycles the Birth of Psychoanalytic Music Criticism” Diversity Issues in Music History Pedagogy: Across the World” Keynote: Sheila Kay Adams, “Traditions of “Finding Points of Connection in the Class- Adriana Martinez-Figueroa (Arizona State Ballad Singing in Western North Carolina” room,” Candace Bailey (North Carolina University), “Women, War, and the Piano in Alison Redman (University of Georgia), Central University), Kunio Hara (University Nineteenth-Century Mexico: Mexican Mu- “Magical and Mysterious Resonances: Cir- of South Carolina), Jocelyn Nelson (East sical Life in the Newberry Library’s Collec- cularity in E. T. A. Hoffmann’s Kreisler Carolina University) tion of Piano Pieces” Works and Robert Schumann’s Kreisleriana” Lecture-recital: Sabine Feisst (Arizona State University), Jeremy Grall (Birmingham-Southern Col- Thomas Heuner (East Carolina Univer- “Fences as Sonic Bridges: Glenn Wey- lege), “Musical Borrowing and Signifyin’ in sity), “The Art of the Seventeenth-Century ant’s Musical Activism at the U.S.-Mexico John Coltrane’s Impressions” Trumpeter: From the Battlefield of Europe Border” Jackson Harmeyer (University of Louisville), to the Warfare of Love,” with members of George Adams (University of Chicago), “Timbre and Melody in Three Cello Com- Amphion’s Echo: Thomas Huener (Baroque “Conceptualism, Minimalism, and Steve positions by Kaija Saariaho” trumpet), Jon Ward Shaw (soprano), John Reich’s Instrumental Music” Megan Murph (University of Kentucky), “R. B. O’Brien (organ) Jacy Pedersen (Texas Christian University), Murray Schafer and The Book of Noise” “A Theory of Closure in the Late Works of Tyler Kinnear (Western Carolina University), 2–3 March 2018 Sergei Prokofiev” “The Aesthetics of Climate Change in Two University of South Carolina Kristina Knowles (Arizona State University), Recent Concert Hall Works” Miguel J. Ramirez (East Carolina University), “Theorizing Silence” Poster presentations: “White Australia Policy: The Musicians’ Reiner Krämer (University of North- Jessica Grimmer (University of Michigan), Union and the Immigration of Jewish Refu- ern Colorado), “Computationally Re- “French Provincial Conservatoires under the gees in 1930s and ’40s Australia” Imagining Mode Definitions in Glarean’s Nazi Occupation and Vichy Regime” Dodecachordon”

 AMS Newsletter Kyle Kostenko (University of North Carolina Jennifer Thomas (University of Florida), Brian Galica (Texas Tech University), “Sing- at Greensboro), “RuPaul Reconsidered: In- “Alexander Agrigola’s Si dedero: A Modest ing Defiance: El Corrido de Gregrorio tersections of Gender, Sexuality, and Race in Matrix” Cortez” ‘Supermodel (You Better Work)’” Silvio J. dos Santos (University of Florida), Kimberlyn Montford and Kristina Kummerer Julian Duncan (Florida State University), “‘Listen to Him!’ Villa-Lobos’s Indigenism (Trinity University, San Antonio), “An Unat- “Poetics and Manifestos: The Nationalism in His Symphony no. 10 ‘Ameríndia’” tributed Renaissance Gradual in the Trinity of Parade” Leanny Muñoz (Louisiana State University), University Special Collections” Imani Mosley (Duke University), “‘A Stutter- “Regionalism and Nationalism in Manuel de Nico Schüler (Texas State University), “Mi- ing Primer for Infants’: The Press and Public Falla’s Homenajes (1939)” crotiming at the Beginning of Beethoven’s Reception of Benjamin Britten’s Gloriana in Navid Bargrizan (University of Florida), Piano Sonata op. 2 no. 1, I” the Coronation Year” “Narrative and Mises-en-scène in Manfred Scott M. Strovas (Wayland Baptist Univer- Jennifer Walker (University of North Caro- Stahnke’s Postdramatic Theatrical Music” sity), “The American Music Wiki Cohort: lina at Chapel Hill), “Sacred Sanctuary or Emily Theobald (University of Florida), “‘The Purging Textbooks from the Academy One Secular Stage? ‘Les Grands oratorios à l’église Guilty to be Judged’: Penderecki’s Lacrimosa Entry at a Time” Saint-Eustache’ and the Religious Republic” and the Gdańsk Monument” Siegwart Reichwald (Converse College), Ryan Ross (Mississippi State University), 7 April 2018 “Mendelssohn and the Reformed Tradition: “Avoiding the Subject? Interrogating the Collin College Re-evaluating Sources within the Context of Sparse Historiography of the Post-1950 Michael Lively and Mary Lena Bleile (South- the Prussian Restoration Movement” Symphony” ern Methodist University), “Gesualdo’s David Haas (University of Georgia), “Variet- ‘Moro Lasso’ and the Freudian Repetition ies of Russian Leitmotivic Usage, 1878–1915” Southwest Chapter Compulsion” Karen E. H. Messina (Duke University), “Au- 7 October 2017 Andrew Salyer (Independent), “‘Solemnity ral Agency: The Meaning of Diegetic Sound Texas Tech University and Gravity’ in Anglican Church Music, in Film and Opera” c.1700” Emily Hagen (University of North Texas), Tim Page (University of Southern Califor- Amy Onstot (University of Minnesota), “All “The Early Baroque Singer as Actor: Portray- nia), “Writing about Music in the Twenty- the Pretty Little Horses: the Spectacle of ing Emotion on the Venetian Opera Stage” First Century” Power in the Ladies’ Carousel of 1743” Stephen Husarik (University of Arkansas– James W. Kirkpatrick (University of the In- Fort Smith), “Contrasting Fortepiano Col- carnate Word), “Folk Songs in Dame Ethel Southern Chapter ors and Developing Variations in Beethoven’s Smyth’s Opera The Boatswain’s Mate” 16–17 February 2018 Piano Sonata, op. 111” David Catchpole (Texas State University), Louisiana State University Kim Pineda (Sam Houston State University), “Immigrants, Indians, and Americans: Na- Katlin Harris (Louisiana State University), “A “The Blues: Going Medieval on your tive American Imagery and the Formation Musical Mirror: The Reflection of Schubert Assumptions” of Identity in the Music of Victor Kolar in the Spatial Relationships of the Wanderer Anne Wharton (Texas Tech University), “The (1888–1957)” Fantasy” Absence of Female Composers in the Devel- Luisa Nardini (University of Texas at Austin), Joshua Neumann (University of Florida), opment of Modern Dance” “The Liturgical Other: Chant, Women, and “Dying between Tradition and Convention: Joanna Zattiero (University of Texas at Aus- Jews in Medieval Southern Italy” Informatics and Operatic House Style” tin), “The Singing Charro, the Silver Screen Kimberly Beck Hieb (Texas A&M Universi- Alice V. Clark (Loyola University New Or- Cowboy, and Valorization of Rural Life in an ty), “Literary Theory, Constructing Musical leans), “Obediens usque ad mortem: The Pas- Age of Social and Technological Transition” Genre, and Communicating Meaning in the sion of Christ in the Fourteenth-Century Carrie Evans (Texas Tech University), “The Early Modern Period” French Motet” Song of the Sword-Dancer: Creating an Poster presentations: ‘Other’ within The Witcher III: Wild Hunt” Michael Palmese (Louisiana State Univer- Koma Donworth (University of Birming- sity), “John Adams Recomposing Ives and Nicole Wesley (Texas State University) and ham [UK]), “Dr. Johann Christoph Pepusch Debussy” Christopher J. Smith (Texas Tech Universi- (1667–1752): Musical Antiquarian and Sav- Nate Ruechel (Florida State University), ty), “‘To Wipe All Tears from Our Eyes’: De- ior of ‘Old’ Music” vised Pedagogy and Practice-Based Research “The Influence of Jazz on Aaron Copland’s Nico Schüler (Texas State University), “The in the Teaching of History” Aesthetics” Musical Language of Black Minstrel Music Valerie Woodring Goertzen (Loyola Univer- Bob Mondello (National Public Radio), “The by Jacob J. Sawyer (1856–85)” Arts and the Outside World” sity New Orleans), “Brahms’s Concert Per- Panel: Poster presentations: formances of Bach’s Organ Works” “Preparing for a Career in Academia: Confer- Charles E. Brewer (Florida State University), Heather Beltz (Texas Tech University), “Bad, ences, Publishing, and Job Search,” Kimber- “Balletti ad duos Choros in Central Europe” Bad Woman: An Analysis of Carmen and ly Harris, Kendra Leonard, Kevin Mooney, Kathleen Sewright (Winter Springs, Fla.), Her Role within Society” Aaron West “A Spanish Manuscript at the University of Vern Falby (Peabody Conservatory) and Denver: The Willcox 1 Antiphoner” James Dennis (Texas State University), “Thinking by Ear”

February 2019  Obituaries at Grace Cathedral in San Francisco. After a year of keyboard study in Amsterdam and The Society regrets to inform its members of the deaths of the following members: European travels (1962–63) he was persuaded to study musicology at Princeton. At the sug- Murray Bradshaw, 5 September 2018 on many other editorial boards. He contin- gestion of harpsichordist-scholar Ralph Kirk- Nancy B. Reich, 31 January 2019 ued to publish into his final years, with his patrick, Tony investigated the early musical Frank Retzel, 19 December 2018 last (co-authored) essays appearing in 2017. influences on Girolamo Frescobaldi at the Arthur Satz, 10 November 2018 Haar’s teaching mirrored his scholarship, court of Alfonso II d’Este in late sixteenth- with high expectations of his students. He century Ferrara. (Research visits in Bologna James Haar (1929–2018) oversaw nearly thirty dissertations on top- and Modena in the late 1960s and early ’70s ics ranging from medieval and Renaissance James Haar died on 15 September 2018 in St. also led to a part-time career in the wine- source studies to early Baroque violin mu- Louis, Missouri, the city of his birth. He was importing business in California.) His dis- sic, Mannheim opera, Beethoven, and Rich- one of the foremost musicologists of his gen- sertation and subsequent two-volume study ard Strauss. Always generous with his time, 1579 1597 eration, and was a productive scholar, dedi- The Madrigal at Ferrara – (Princeton he was equally generous with his home, and 1980 cated teacher, and devoted AMS member over University Press, ) drew on a richly de- frequently hosted parties with students and 1594 a career spanning more than six decades. tailed correspondence from Este courtier colleagues. A visit to Haar’s residence was not Haar earned his B.A. at Harvard University and musician Alfonso Fontanelli to Duke Al- complete without a tour of the garden, one in 1950 with an honors thesis on Frescobaldi’s fonso II. Like many of his generation, Tony of his favorite non-musical activities, and the keyboard music. He completed the M.A. at migrated into more modern repertories after high point of any party was watching him the University of North Carolina at Chapel first proving himself in Renaissance scholar- play four-hand piano with his students. He Hill, with a thesis on parody technique in Jos- ship. Studies of formal process as generating was the embodiment of the word “professor,” quin’s masses under the supervision of Glen levels of meaning and expression in the mu- and will be greatly missed. Haydon (1954). His Harvard Ph.D. disserta- sic of Wagner reflected the early influence of —Scott Warfield tion, “Musica mundana: Variations on a Py- Carl Dahlhaus on American musicology, and interest in aesthetics and critical interpreta- thagorean theme” (1961), was prepared under Anthony Newcomb (1941–2018) the guidance of John Ward and Nino Pirrotta. tion led to innovative work on ideas of musi- At Harvard he served in a variety of teaching Anthony Newcomb, musicologist and long- cal “narratology” in Schumann and Mahler in 1980 1990 capacities before going to the University of time University of California, Berkeley fac- the later s and early s. Pennsylvania (1967–69) and New York Uni- ulty member, died at home in Berkeley, Cali- In addition to extensive university service versity (1969–77), where he chaired the Music fornia on 18 November 2018, age 77. He was throughout his time at the University of Cali- Department. In 1978 he was appointed W. R. raised in the San Francisco Bay Area, attended fornia, Berkeley, Tony served on numerous Kenan Jr. Professor of Music at the University Philips Exeter Academy (1955–58), Stanford American Musicological Society commit- JAMS of North Carolina at Chapel Hill, a position University (1958–59), the University of Cali- tees, the Board of Directors, the edito- Journal he held until his retirement in 1997. Until fornia, Berkeley (B.A. in music, english, and rial board, and Editor-in-Chief of the 1986 1989 1992 2008 Haar continued to teach courses as a vis- economics, 1962), and Princeton University from to . In he was elected to iting scholar and to serve on dissertation com- (Ph.D. in musicology, 1969). Prior to gradu- the American Academy of Arts and Sciences. mittees. In 2009 he gave his last AMS Annual ate work at Princeton, he studied harpsichord During his last two decades Tony returned Meeting presentation, forty-nine years after and organ with Gustave Leonhardt in Am- to his original field of the late Renaissance his first. sterdam as a Fulbright scholar. At Princeton Italian madrigal with complete, extensively His AMS service began in 1966 with a term he studied with Lewis Lockwood, Arthur annotated editions of the works of Alfonso as JAMS Editor-in-Chief. He was elected Mendel, and Oliver Strunk. From 1968 to Fontanelli, Luzzasco Luzzaschi, and Giovanni Vice President in 1973 and President in 1977, 1973 he served as instructor and assistant Maria Nanino (the latter with Christina Boe- and also served for more than forty years on professor at Harvard University; in 1973 he nicke) published by A-R Editions between 1998 2018 AMS committees, among them Publications, joined the music faculty at the University of and . An article on Nanino and 1580 Finance, AMS 50, COPAM, and Kinkeldey. California Berkeley, where he remained until the “new Roman style” of the s will ap- The Journal of Few corners of the AMS have not benefited his retirement in 2005. He received the Uni- pear posthumously this year in Musicology from his efforts and influence. In1995 he was versity of California, Berkeley Distinguished . —Thomas Grey elected an Honorary Member. In 1987, he was Teaching Award in 1989 and served as Dean honored with election to the American Acad- of Humanities from 1990 to 1998, after which emy of Arts and Sciences. he also served as chair of the Departments of Donna S. Parsons (1966–2018) The majority of Haar’s scholarship focused Art History (2000–02) and Music (2003–05). Donna S. Parsons, a native Iowan and lecturer on the madrigal, a topic in which he had few In 2005 he was appointed Gladyce Arata Ter- in popular music at the University of Iowa, peers. Approaching the subject as a series of rill Distinguished Professor in Music and Ital- died on 17 May 2018 after a short illness. She case studies, each new article or essay illumi- ian Studies, elected to the Berkeley Fellows earned the B.M., M.A., and Ph.D. from the nated another problem, the solution of which society in 2007, and elected an AMS Honor- University of Iowa, the last degree in interdis- added to our understanding of the whole. His ary Member in 2009. ciplinary studies with a concentration in mu- essays remain relevant today, serving as mod- Tony initially trained with an eye to be- sic literature. She completed her dissertation, els of meticulous scholarly practice. In addi- coming an organist and conductor, starting “Their Voices Sing True and Clear: British tion to his own publications, he was a Senior with French conservatory-style musicianship Women Musicians and their Literary Coun- Consulting Editor for The New Grove Diction- lessons with Darius Milhaud in Oakland in terparts, 1860–1920,” in 2001. ary of Music and Musicians (1980), and served the early 1950s and serving as first chorister continued on page   AMS Newsletter AMS Grants, Awards, and Fellowships

Descriptions and detailed guidelines for all AMS awards appear at the AMS website. Travel and Research Grants Awards Ruth A. Solie (essay collection) (deadlines 1 April except where noted) (deadlines 1 May except where noted) H. Colin Slim (article [later career stage])

Elliot Antokoletz (twentieth-century music) Philip Brett (LGBTQ Study Group), Robert M. Stevenson (article or book deadline 15 August [Iberian music]) M. Elizabeth C. Bartlet (research in France) H. Robert Cohen/RIPM (musical press) Teaching (pedagogical scholarship) Virginia and George Bozarth (research in Early Music (article or book [music Judy Tsou Critical Race Studies (article Austria) before 1550]) or book [critical race and/or critical ethnic Alfred Einstein H. Robert Cohen/RIPM (musical press) (article [earlier career stage]) studies]) Noah Greenberg (outstanding performance Jan LaRue (research in Europe) projects), deadline 15 August Fellowships Janet Levy (independent scholars) Thomas Hampson(classic song) (deadlines 16 December) deadline 15 August Harold Powers (research anywhere) Roland Jackson (article [music analysis]) Alvin H. Johnson AMS 50 (dissertation year) Ora Frishberg Saloman (criticism and Otto Kinkeldey (book [later career stage]) reception history) Howard Mayer Brown (minority graduate Lewis Lockwood (book [earlier career study) Eugene K. Wolf Travel Fund (research in stage]) Europe) Music in American Culture (book [music William Holmes/Frank D’Accone (history of opera) Eileen Southern Travel Fund of the U.S.]) (Annual Meeting travel [underrepresented Claude V. Palisca (edition or translation), minorities]), deadline 1 June deadline 31 January Other Grants MPD Travel Fund (Annual Meeting travel) Paul A. Pisk (graduate student paper at Publication Subventions deadline 1 July Annual Meeting), deadline 1 October Deadlines: 15 February, 15 August

Additional Grants and Fellowships • American Academy in Rome • Harvard University Center for Italian • American Antiquarian Society Renaissance Studies Many grants and fellowships that recur on • Humboldt Foundation Fellowships annual cycles are listed at the AMS website: • American Brahms Society amsmusicology.org/page/grants. • American Council of Learned Societies • Institute for Advanced Study, School of Grants range from small amounts to • American Handel Society Historical Studies • International Research & Exchanges full-year sabbatical replacement stipends. • Berlin Program for Advanced German Board A partial listing is presented here; see the and European Studies • Kurt Weill Foundation for Music website for additional opportunities. • Camargo Foundation • Liguria Study Center for the Arts and • Columbia Society of Fellows in the • American Academy of Arts & Sciences Humanities Humanities • American Academy in Berlin • Monash University, Kartomi Fellowship • Council on Library and Information • Music Library Association Resources Donna S. Parsons • National Endowment for the • Delmas Foundation continued from page  Humanities • Deutscher Akademischer Austauschdienst • National Humanities Center • Emory University, Fox Center for Hu- Following that dissertation, a major focus Fellowships manistic Inquiry of her University of Iowa work stemmed from • Newberry Library Fellowships teaching a class devoted to The Beatles, one • French Ministry of Foreign Affairs: Cha- • Northwestern University Library she taught many times. She published a num- teaubriand Scholarship • Rice University, Humanities Research ber of articles and reviews on music and Vic- • Fulbright U.S. Scholar Program Center torian literature in Victorian Studies and other • The Getty Foundation • Royal Musical Association journals, and taught several courses in the • Getty Library Research Grants • Social Science Research Council University of Iowa’s School of Music and the • University of London, Institute of Musi- University Honors Program. She received the • Grammy Foundation university’s Honors Program Teaching Award • Guggenheim Memorial Foundation cal Research in 2013. Fellowships • Yale Institute of Sacred Music February 2019  American Musicological Society New York University Nonprofit org. 20 Cooper Square, Floor 2 U.S. Postage PAID New York, NY 10003-7112 Mattoon, IL Permit No. 217 Change service requested

AMS Newsletter Moves to Online-Only Format Newsletter Address and Deadline Items for publication in the AMS Newslet- This edition of the AMS Newsletter, vol. 49/1, will be the last one published in paper format. ter should be sent to the editor: The AMS Newsletter began semiannual print publication in early 1971, and has continued in that format, essentially unchanged, ever since. But now, given opportunities through the new James Parsons AMS website, and in order to ensure greater flexibility and timely posting of information, the AMS Newsletter Editor print publication will transition to a regular series of articles and news items that cover the same Missouri State University subjects and doubtless more, distributed by email and on the web. James Parsons, now in his [email protected] fifth year as our inestimable Newsletter editor, has kindly agreed to continue editing the new electronic resource; he and a small Communications Committee team are currently working This issue of AMS Newsletter (ISSN 0402- out an annual calendar. Deadlines for content will be published at the AMS website shortly. 012X) is the last to be published in print The new format has financial advantages for the Society through savings in production and form until further notice. It is mailed to all distribution, but more importantly, it has advantages for members to receive more frequent and members and subscribers. Requests for ad- time-sensitive information, more quickly and more efficiently. The current array of information ditional copies of current and back issues appearing in our newsletter: of the AMS Newsletter should be directed • Annual meeting articles, calls for materials, and preliminary program to the AMS office. • Calls for fellowship, grant, award applications and nominations All back issues of the AMS Newsletter are • Election information available at the AMS website: • Administrative communications (President, Treasurer, Executive Director) • Papers read at chapter meetings amsmusicology.org/page/newsletter • Notices of upcoming sponsored events and lectures Claims for missing issues must be made • News from committees, study groups, and chapters within 90 days of publication (overseas: 180 • Announcements of honors and awards presented and received days). • Notices for upcoming conferences and other musicological events and news related to the Moving? Please send address changes to: discipline 20 • Financial reporting AMS, New York University, Cooper Sq., • Obituary notices Fl. 2, New York, NY 10003-7112 or [email protected]. will be distributed across the year in timely smaller packets, built more quickly, flexibly, and attractively. Final details are still being worked out, but the first issue of the new format is an- ticipated for late spring 2019. Call for Boston Session Chairs Next Board Meetings AMS New Books The Program Committee will select Boston The next meetings of the Board of Di- 104 titles have been added to the AMS New session chairs in early May. To be consid- rectors will take place 27–28 April in Books in Musicology list since August 2018. ered, consult the list of sessions to be pub- Philadelphia and 30–31 October in See ams-net.org/feeds/newbooks for details lished at that time and complete the form. Boston. and information on submitting titles. Details: amsmusicology.org/page/boston.