AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLVII, NUMBER 1 February 2017 ISSN 0402-012X Rochester: The Flower City Beckons Vancouver 2016 Wrap-Up

AMS Rochester 2017 cause Rochester once hosted a number The eighty-second Annual Meeting of the 9–12 November of companies that sold seeds in the mid- American Musicological Society took place www.ams-net.org/rochester nineteenth century, it is known as the in the beautiful mountain-and-ocean-ringed Flower City. Even earlier, Rochester boast- It is likely that when you hear the word landscape of Vancouver. Many participants ed a number of flour mills, arninge it the took time to enjoy the natural beauty of the “Rochester,” you think of snow. You are short-lived, homonymic nickname “Flour environs, taking the short stroll to the bay or not wrong in calling this to mind, but it City.” It is still home to one of the oldest, the slightly longer trip to Stanley Park. The is my job to not let New York State’s third- continuously-operating farmer’s markets program reflected the ever-widening fields largest city be defined by its unruly level in the country (open year round). The city of inquiry embraced by musicology, and the of frozen precipitation. Instead, I warmly also has a history of being at the forefront joint meeting with the Society for Music The- welcome you to attend the eighty-third of social justice. Frederick Douglass spent ory meant a packed schedule with sometimes Annual Meeting of the American Musico- almost half of his life in Rochester speaking agonizing choices to be made between paral- logical Society in Rochester, New York, to out against slavery. Susan B. Anthony like- lel sessions. Opera and film studies continued be held in the Joseph A. Floreano Roch- their strong showings of recent years, while wise advocated for women’s suffrage in the ester Riverside Convention Center, on the the omnipresence of technology in our lives Flower City. Both Douglass and Anthony east bank of the Genessee River. yielded a plethora of papers discussing radio, are buried in Rochester’s historic Mount Originally inhabited by the Seneca tribe video games and digital technology, and ex- Hope Cemetery. Each Election Day in No- of Native Americans, the area was settled tending our awareness of technology’s influ- vember, Rochesterians gather at Anthony’s by immigrants about 1800. When the ence on culture from the “mendacious tech- grave and put their “I Voted!” stickers on Erie Canal was completed in 1823, Roch- nology” behind the violin’s claim to historic- her headstone. The burial site made na- ester became an important port for ship- ity to the use of music as surveillance. Sound- tional news on 8 November 2016, remain- ping from the Great Lakes to the Atlantic scape, environmentalism, and ecomusicology ing open well after the usual closing time (the advent of railroads led to the demise were the focus of two dedicated sessions, but to allow citizens to visit Anthony’s place threaded through myriad others, from the of the canal only a few decades later). Be- of rest in honor of presidential candidate sounds of Parisian streets in the nineteenth Hillary Clinton. century to the soundscape artist Hildegard In This Issue… The Eastman School of Music, princi- Westerkamp to the noise of political advertis- ing in twenty-first-century America. Archival President’s Message ...... 2 pally located on one square block a ten- research in Bombay, Lima, Lisbon, Mexico AMS Public Lectures ...... 4 minute walk from the convention center, City, Paris, Rio, Shanghai, Singapore, and Women and Gender Lecture . . . .5 will grace the conference with outstanding many other places underpinned many of the Treasurer’s Message ...... 5 performance halls and the enviable musi- presentations, and genres ranging from the National Humanities Alliance . . . 5 cal talent of its student body. It will serve thirteenth-century mini-clausula of the Mag- Awards, Prizes, Honors ...... 6 as the artistic epicenter of the meeting nus Liber to the monumental symphonies of AMS Demographic Report . . . . 11 and several exciting musical events are in Bruckner were discussed. Vancouver Post-Conference Survey . 12 the works. Among its strengths, Eastman In addition to daytime paper sessions, the Executive Director’s Message . . . 13 is particularly well known in the area of Elections 2017 ...... 14 conference hosted a variety of other research organ. Not only does the School employ formats. Poster sessions, in their third year on Historical Notation Bootcamp . . 16 some of the most renowned organists, but 16 the AMS program, offered, inter alia, a digital News Briefs ...... a coordinated effort between the School Grants, Awards, Fellowships . . . 17 map of nineteenth-century Parisian theaters and the community called the Eastman Committee News ...... 18 and a video landscape of twentieth-century Rochester Organ Initiative has produced Study Group News ...... 21 American marching bands. A much-discussed Papers Read at Chapter Meetings . 23 an unparalleled selection of historic and alternative-format session was the panel “Sex- CFPs and Conferences . . . . . 28 modern instruments around the city, ual Violence on the Stage: How Musicolo- Financial Statement ...... 29 which is considered the organ capital of the gists Promote Resistance in the Twenty-First Obituaries ...... 30 continued on page  continued on page  President’s Message

Greetings from a cold Chicago winter land. both before and during the main conference, composition and improvisation. Though the I hope this message finds you all well and something new was clearly in the air, some- main exempla were drawn from eighteenth- warm. As I contemplate the reality of deep thing suggesting new configurations of musi- century Naples and Venice, a remarkable divisions in our world, I find myself wanting cal and sonic knowledge and new kinds of case dealt with a young child from present- to take a moment to reflect on what AMS is exchanges. Race matters were also the direct day England. I was struck by resonances be- and what it can accomplish. Members of our focus of a Special Session on Race, Ethnicity, tween Gjerdingen’s talk and the Society’s re- Society work in a broader range of subjects and the Profession, hosted by the Planning newed emphasis on teaching, as evinced in its using more disparate methods than ever be- Committee of the same name and featuring Teaching award, Pedagogy Study Group, and fore. This multiplicity continually challenges presentations by Ellie Hisama, Mark Bur- the latter’s Journal of Music History Pedagogy our most basic notions of what music is and ford, and Bonnie Gordon (now collected on and inscribed in our recently revised mission does. Our work provokes and divides us as our blog Musicology Now, musicologynow. statement, which puts teaching on an equal easily as it comforts and binds. Yet we share ams-net.org). The post-presentation discus- footing with research and learning with the something powerful: the commitment to sion elicited broad and thoughtful participa- words “the object of the Society shall be the inquiring into subjects that involve research- tion from the floor that raised difficult, some- advancement of scholarship in the various ing, teaching, and learning about music and times painful issues with no easy answers. It fields of music through research, learning, sound. If there is a distressing dearth of har- was the kind of conversation we need to be and teaching.” mony in our world these days, perhaps the having. So what might such work tell us about what microsociety that is AMS and our dedication Conspicuous among other fields on display to its fundamental goals can yield something were radio studies (the subject of three full we in our pluralistic mini-society might ac- special in the way of common cause. sessions), sound studies, disability studies, complish? Perhaps it tells us that moving into The most recent witness to the commit- ludomusicology, critical organology, stud- the future we can feel optimistic about be- tedness and sometimes fraught diversity of ies of colonial musics, critical histories of coming effective teachers and interlocutors. AMS was its 2016 Annual Meeting in Van- world music, and feminist studies (notably Having long been committed to teaching couver last November. Vancouver showed us a session called “Sexual Violence on Stage”). future generations, we know well that speech both its storied beauty and its storied capac- Many other sessions and papers affirmed that is rarely maximally effective, nor is it ever ity for near-perpetual rain. Attendees spent the Society also continues to do marvelous completely “free.” It demands work and vigi- many an hour indoors snaking their way to lance. That means not just advancing good meetings and sessions through the Shera- arguments with sound evidence, intelligence, ton’s long, curvaceous corridors. There were Open exchange is dynamic, contin- conviction, or even courage; it means being giggles from those who attended early morn- gent, and open-ended willing to listen and try to understand oth- ing meetings in a room named “Cracked ers. And it means knowing that dissonance Ice,” which, alongside others with names like doesn’t always resolve. Open exchange—as “Beluga” and “Gulf Islands,” made for inter- new things with older subjects. A fascinat- the Special Session on race made clear—is esting speculation about what might go on ing session organized by the Program Com- dynamic, contingent, and open-ended. And there. On our way to and fro, we got to enjoy mittee was called “After Machaut and before practicing it, as I think we’re learning to do, book exhibits sprinkled throughout hallways, Monteverdi: Current Trends in Music of is exhilarating but difficult. We should feel perched behind escalators, and tucked into the Renaissance.” Other sessions dealt with good about the steps we’re taking toward be- foyers—a refreshing change from the usual such varied themes as musical literacy in the coming better interlocutors, not least in the bunkering of exhibition rooms. Venturing Middle Ages, Enlightenment tarantism, Su- context of so much polarization in the world outdoors in the intervals between sessions, sanne Langer’s philosophy of music, musi- around us. And we should not stop trying to Vancouver displayed a richness of urban life cal artifacts, cold war musics, musical affect, do better, since there is always more to do. and culinary pleasures that few cities can voice in popular music, musical stereotypes, Before closing, I want to offer sincere match. archives, empire and aural history, musical thanks to several members of our Society: More than once, including at the business demimondes, producing grooves, historical to Anne Stone, Chair of the 2016 Program meeting led by then-president Ellen Har- materialism, musical propaganda, Brazil- Committee, and all its members for vetting ris, we were reminded that our conference ian music, music alla bastarda, comparative an unprecedented 800-plus abstracts and or- was taking place on the unceded territory of histories of just intonation, ars nova music, the Coast Salish peoples, including the ter- Parisian street music, gastromusicology, and ganizing the Vancouver program; to Christi- ritories of the Musqueam, Squamish, Stó:lo prerevolutionary American music, to name na Ann Hutten for her valiant work as Local and Tsleil-Waututh Nations. It seemed fitting but a few. Arrangements Chair; to Steven Zohn, Chair therefore that issues of race and diversity ran Robert O. Gjerdingen’s plenary lecture, of the Performance Committee, for organiz- through the meetings like a red thread. With “‘Suffer the Little Children’: The Institution- ing the concerts; to Bob Judd, our Executive sessions on “Minstrelsy,” “Race in Midtown,” alization of Craft Apprenticeship in the Con- Director, for persevering through the move “Figuring the Rhythm: Black Social Dance servatories of Europe,” addressed the theo- to New York and its aftermath with amazing and Its Musics,” “Sharing the Gospel,” and retical and practical learning of musical skills diligence and resilience; and to my predeces- “Mediating the Blues,” in addition to numer- in eighteenth-century Europe through an sor Ellen Harris, who continues to provide a ous related papers and a conference on “Race- exacting demonstration of the way children guiding hand as Past President. ing Queer Music Scholarship” taking place were taught to use schemata as the basis for —Martha Feldman

 AMS Newsletter Rochester 2017 Vancouver 2016 continued from page  continued from page  world. Among the riches is a copy of a 1776 organ built by Adam Century.” The evening sessions included manycompelling panels on Gottlob Casparini (suitable for the music of J. S. Bach), regarded pedagogy, and their open-ended format permitted the tackling of big as the largest and best preserved late Baroque organ in Northern topics like “Toward a Critical World History of Music: Developing Europe. Expect this instrument and others to be featured during Theory for an Emergent Field.” The meeting saw the fourth itera- the Annual Meeting. tion of the President’s Endowed Lecture, this year Robert Gjerdigen’s The Eastman School takes its name from the entrepreneur who “‘Suffer the Little Children’: The Institutionalization of Craft Appren- made cameras and photography available for the masses, George ticeship in the Conservatories of Europe.” Politics weighed unusually heavily on the meeting, which conclud- Eastman. He not only helped found the school bearing his name ed only two days before the US Presidential election. Nervous jokes 1921 ( ), but also made lasting contributions to the community by by Americans about staying on and seeking asylum in Canada attested providing seed funds for the Rochester Philharmonic Orchestra to real concern about the future of the USA. The political climate of and the Eastman School of Dentistry (University of Rochester). the AMS itself was also very much on peoples’ minds; I heard from His impressive residence is now an archive of photography and a number of friends, colleagues, and students about their feeling of film museum (George Eastman Museum) that attracts an inter- marginalization and disaffection from the Society. For some of us, national audience. Eastman graduates have touched almost every such testimonials resonate with our own AMS experiences; for others facet of the music industry, from opera and jazz to film composi- they come as a surprise, but are useful to all of us as the Society works tion and arts administration. In addition to Renée Fleming, some to create a more inclusive and diverse environment for its members. of the school’s most prominent alumni include singer William This work was much in evidence at the meeting. Addressing the con- Warfield; jazz musicians Chuck Mangione and Maria Schneider; cerns of members struggling in the current job market, the Commit- composers Charles Strouse (Bye Bye Birdie; Annie), Jeff Beal, and tee on Career-Related Issues devoted one of its four sessions to alter- Michael Torke; Mark Volpe (managing director of the Boston natives to the tenure-track career. The AMS LGBTQ Study Group organized a parallel conference, “Race-ing Queer Musicology,” whose Symphony Orchestra); and Doriot Anthony Dwyer, former prin- numerous sessions took place before and during the AMS conference. cipal flutist of the Boston Symphony and one of the first women Significantly, the Society convened a special session on Friday eve- to be named a principal in a major American orchestra. ning, co-chaired by George Lewis and Judy Tsou, to discuss members’ The Flower City has produced other notable celebrities. Kristin concerns and to inaugurate a Committee on Race, Ethnicity and the Wiig, John Lithgow, and the late Philip Seymour Hoffman are Profession. All participants recognized the importance of continuing Rochester natives who have who have had notable film and televi- this work after the meeting. sion careers. In music, Rochester was the birthplace of jazz singer I would like to thank the program committee—Brigid Cohen, Jon- and bandleader Cab Calloway. Soprano Renée Fleming grew up in athan Glixon (2017 chair), Halina Goldberg, Nicholas Mathew, Mas- the Flower City, taking her master’s degree in 1983 from the East- simo Ossi, and Katherine Preston—for their hard work and good- man School of Music at the University of Rochester. Her mother humored collaboration reading and evaluating a record number of still teaches at Eastman Community Music School, one of the outstanding abstracts. The AMS/SMT local arrangements committee largest schools of its kind in the United States. (Antares Boyle, Christina Hutten, and Laurel Parsons) ensured the The Greater Rochester International Airport is conveniently lo- smooth functioning of the meeting and helped attendees navigate the cated ten minutes from the downtown area, and both conference city and its attractions with ease, and the Performance Committee hotels (Radisson Riverside and Hyatt Regency) provide compli- (Steven Zohn, chair, Christina Baade, David Dolata, and Christina Hutten) organized excellent lecture-demonstrations and concert per- mentary transportation to and from the airport. The two hotels are formances, including an evening of songs from the circle of Sara Levy, directly connected to the convention center by covered, climate- the Jewish arts patron in Enlightenment Berlin, virtuoso piano works controlled walkways, so you can avoid any inclement weather, by twentieth- and twenty-first-century Canadian composers, twenti- which I am unable to rule out at this time. With the Eastman eth-century Latin American guitar music, and Baroque cello works of School of Music as an artistic anchor for the convention, we are in Angelo Maria Fiorè. good hands. Be sure to monitor the conference web site (ams-net. Finally, the indefatigable work Bob Judd does behind the scenes is org/rochester/) for more information as the meeting approaches. astonishing, and I extend my personal thanks for the gentle, methodi- We look forward to seeing you in the Flower City! cal, and insightful way he oversaw the formation of the program and —Michael Alan Anderson the meeting. Local Arrangements Chair —Anne Stone

Current Events in Washington The Board of Directors and I, like the leadership of many scholarly societies and institutions of higher education, have recently com- municated electronically with members about current events of importance, including messages calling for support for the National Endowment for the Humanities (see p. 5) and condemning the 27 January 2017 Executive Order on immigration. We will continue to use email and the web site to communicate important information to you that is time-sensitive. Visit ams-net.org or write ams@ ams-net.org to learn more about late-breaking activities. —Martha Feldman

February 2017  AMS / Library of Congress Lecture Series The next AMS/Library of Congress Lec- strates, played a central role in binding the Britain, the United States, and Canada, re- ture will take place in Washington D.C., three countries together.” spectively; and they will each speak about in the library’s Madison Building, Montpe- Drawing primarily on the Library of and through their respective country’s mu- lier Room at 7 p.m. on Thursday,18 May Congress’s recently digitized copyright de- sics. The presentation is not a series of pa- 2017. Christina Bashford, William Brooks, posits from the period, and contextualized pers but rather a single, collaboratively au- Geoffrey Duce, Gayle Sherwood Magee, by a study of the newspapers in Chroni- thored text, partitioned among the speakers Laurie Matheson, and Justin Vickers to- cling America, recordings from National in a series of scripted encounters, and illus- gether will present “Johnnies, Tommies, Jukebox, and other materials from Ameri- trated with slides, films, period recordings, and Sammies: Music and the WWI Alli- can Memory, six participants—musicolo- and live performances of sheet music. ance.” They describe their presentation as gists Christina Bashford, William Brooks, and Gayle Magee, and performers Justin follows: “Throughout World War I, musical Fall 2017 Lectures Vickers, Laurie Matheson, and Geoffrey cultures in Britain, Canada, and the United Duce—offer an integrated lecture-per- AMS/LC Lecture: States were deeply entangled in the forma- Randall Goldberg formance that manifests in its design the (Youngstown State University), “The tion of ‘The Allies.’ As the war evolved, process of alliance that occurred a century Kishineff Massacre and Domestic Musi- popular music exchanged and performed ago. Bashford, Brooks, and Magee are from cal Practice in America.” in all three cultures—filtered increasingly AMS/RRHOFM Lecture: Tammy through U.S. publishers—provided re- Kernodle (Miami University of Ohio), markable insights into their changing views “Hope for a New Tomorrow: Transcen- of each other, themselves, and the conflict. dence and Resistance in the Gospel In 1914, Britain was directly involved and Blues of Nina Simone, Aretha Franklin, directly threatened; Canada, still a British Mavis Staples and Roberta Flack.” colony, owed allegiance to the Crown but Further details will be published at the was three thousand miles removed; and web site and in the August 2017 AMS the United States was officially neutral but Newsletter. in practice supported the allies and (after Are you interested in presenting a lec- the Lusitania incident) was increasingly ture at one of the AMS series? Informa- inclined towards engagement. By 1917 all tion on how to apply is available at the three countries had become part of ‘The respective web sites, where webcasts of Allies’; music, as this presentation demon- all past lectures may also be found.

AMS / Rock and Roll Hall of Fame and Museum Lecture Series

The next AMS/Rock and Roll Hall of Fame and Museum Lecture for reissues by combining thoughtful and wide-ranging track lists will take place in the library and archives of the RRHOFM, Cleve- with a humorous and often irreverent take on music and pop cul- land, Ohio, 15 May 2017. Daniel Goldmark (Case Western Reserve ture. In the process of creating unique boxed sets popular with University) will present “Anthologizing Rock and Roll: Rhino Re- both consumers and critics, Rhino also contributed to the bur- cords and the Repackaging of Rock History.” geoning crystallization of the rock history canon. Informed in part Goldmark describes his lecture as follows: “During their twenty- by my own experience as an editor and compilation producer at three year existence as an independent record label, Rhino Records Rhino in the late 1990s, I will show that Rhino excelled in giving helped to define an approach to selling music that became standard practice in the music business: the repackaging music fans collections of familiar hits in engaging of preexisting songs into novel and often history- formats along with genre-bending compilations, defying formats such as artist compilations, his- while also giving the music industry more and torical reissues, and especially the deluxe boxed more reasons to revisit their back catalogs for lost set. In this presentation I investigate Rhino’s or forgotten tracks to remaster and rerelease.” place as the preeminent reissue label in the re- Daniel Goldmark is Professor of Music and cord industry, evidenced by the clear influence Director of the Center for Popular Music Stud- they had on how other major labels conceived ies at Case Western Reserve University in Cleve- and packaged their own music. Rhino originally land. He is the series editor of the Oxford Music/ focused on novelty artists, but became known Media Series, and is the author and/or editor of for their retrospective anthologies and boxed sets. Through a series of distribution deals with several books on animation, film, and music, in- Capitol, Roulette, and finally Atlantic Records, cluding Tunes for ‘Toons: Music and the Hollywood Rhino solidified their position as industry leader Daniel Goldmark Cartoon (California, 2005).

 AMS Newsletter Treasurer’s Message AMS Lecture on Women For endowments overall, the fiscal year ending 30 June 2016 was the and Gender Established worst since the global financial crisis of 2008–09. The large majority of The Committee on Women and Gender is pleased to announce endowments lost money, including the AMS: our investment return that through the generosity of sixty-six donors, an endowed lec- was -0.14%. Our performance, however, was much better than most ture on women and gender has been established, to be given each endowments, for which the median return was -2.9%, as reported by year by a distinguished scholar at the Annual Meeting. Dona- Cambridge Associates. As I write this in mid-December, I am pleased tions served a double function: to establish the endowment and to report the good news that in the five months since the end of the 4 3 $274 300 to sponsor a block on the AMS Name Quilt bearing the name fiscal year we have achieved an investment gain of . % ( , ), $6 7 of the donor or an individual the donor wished to honor. AMS giving us a grand total of over . million. members Annegret Fauser, Lydia Hamessley, Honey Meconi, and As all endowment managers do, I keep a close eye on our competi- tion. In comparison to much larger endowments, such as the thirty- Mary Natvig (the “AMS Feminist Quilting Quartet”) are in the eight universities and colleges that I could find that reported their re- finishing stages of constructing the quilt, which will be raffled sults in the press, we placed in the top quintile with only 18% ahead at the next Annual Meeting. Information about raffle tickets for of us. Among the largest of the large, only two of the eight Ivy League this historical artifact will appear in the August AMS Newsletter. endowments bested us. The inaugural lecture will take place in Rochester on 11 Novem- There is even better news for our endowment when viewed from a ber 2017. The speaker will be announced in the nextNewsletter . longer perspective. Earlier this year, one of my fellow treasurers from The lecture will take place in a ninety-minute short session. The our sister societies in the ACLS sent out a request to share our five-year session’s first half will be devoted to the lecture, on a subject re- investment performance data. I was eager to participate, and eight so- lated to women and gender chosen by the speaker. In the second cieties opened up their books, giving us our first glimpse ever as to how half, three scholars chosen by the speaker will provide responses the AMS compares with our closest peers. Over the five-year period to the lecture. The session thus models the collaborative interac- from 2011 to 2015, the average annual returns of the group ranged from tion that is the foundation of all scholarship. a low of +1.0% up to the AMS’s +9.7%. The August Newsletter will also include details about the nomi- So far I have been speaking about our investment return. There is, 2018 nation process for the lecture. however, another source of income that invigorates the health of any —Honey Meconi endowment. This past year, you, our members, donated over a half- million dollars to the AMS, the largest amount in a single year in our history! This includes the $304,000 bequest from the estate of Roland Report from the National Humanities Alliance: Jackson, four other major gifts and bequests, and a multitude of ad- The Future of Humanities Funding ditional acts of generosity on your part, including the sixty-six of you who have now fully funded our new Women and Gender Lecture Se- Following the November 2016 elections, we face a threat to federal ries. When all these are added to the pot, we did not lose 0.14%. We funding for the humanities. For the past four years the House Budget gained 6.45%. Because of you, we will now be able to spend more on Committee has issued a non-binding recommendation to substan- our fellowships, awards, and grants than ever before—for the first time tially cut non-defense spending and eliminate the NEH, and in recent over a quarter-million dollars! months some Senators have raised concerns about specific grants and The ACLS comparison also showed that we have the second-lowest the NEH grant-making process more generally. endowment management expenses in the group. Compared to a high At the same time, there have been heartening signs of Congressional of 0.84%, we spend only 0.1% to manage our investments. In other support from both sides of the aisle. Despite the budget resolution words, for every dollar that you donate to the AMS endowment, 99.9 recommendation, Republican-led appropriations committees passed a cents go directly toward our fellowships, grants, and awards. Compare modest FY 2016 NEH increase and proposed another for FY 2017. In- that to what American charitable organizations on average spend on deed, a growing number of Republican members of Congress believe their administrative expenses, which is 36.9%. that humanities funding is, or should be, a nonpartisan issue. While While I am on the topic of your donations to the AMS, I would like there is reason to be hopeful, it is important to be realistic about the to mention that in just the last two years we have received two bequests possibility of NEH funding threats and to prepare to vigorously op- that, adjusted for inflation, rival those of Manfred Bukofzer, Otto Kin- pose proposals harmful to the humanities. keldey, and other early benefactors of our Society. In 2014 we received The final federal budget has been delayed repeatedly, and currently $290,000 from the estate of Elizabeth Keitel, and one year ago the operates on Continuing Resolutions. These now allow the executive above-mentioned $304,000 from the estate of Roland Jackson. Over branch to shape appropriations for the fiscal year’s final five months a decade ago, Elizabeth Bartlet bequeathed to the AMS in her will all (May to September 2017). Both the Senate and House appropriations future royalties from her edition of Rossini’s Guillaume Tell. Today her committees provided increases for the NEH in draft appropriations generous foresight has grown to nearly a quarter-million dollars and at bills, and the National Humanities Alliance will push for those in- the same time has been funding grants for research in France at a level creases to be included in final legislation. However, this is the first now over $6,000 per year. juncture where one may see efforts from Congress and the new ad- If you, likewise, are contemplating a gift along these lines to the ministration to decrease overall discretionary spending or to increase AMS, please do not wait until after you are no longer here for us to military funding at the expense of domestic spending. Either would learn about it! We would very much like to hear from you now, while leave less funding for the humanities. we can all still talk with one another. Together we can explore where Throughout spring 2017 Congress will hold hearings, introducing your wishes and the needs of the Society best coincide. In so doing, Congressional Budget Resolutions in mid-March, followed by draft you can enhance the opportunities of generations of musicologists lon- ger into the future than any of us can today imagine. continued on page  —James Ladewig February 2017  Awards, Prizes, and Honors seum of Contemporary Art Chicago. He has collaborated extensively with a wide range of experimental artists, including Merce Cun- Honorary Members monograph on Hildegard. Fassler presented ningham, Christian Wolff, Musica Elettron- the Plenary Presidential Lecture to the Society ica Viva, Roscoe Mitchell, Lev Manovich, Jo- Margot Fassler is Keough-Hesburgh Profes- in 2014 on “Hildegard’s Cosmos and Its Mu- elle Leandre, Anthony Braxton, Evan Parker, sor of Music History and Liturgy and Director sic.” She has served the Society as a member Derek Bailey, Irene Schweizer, and Marina of the Program in Sacred Music, University of the Council, Board of Directors, Program Rosenfeld. He has served on the editorial of Notre Dame; she is also the Robert Tange- Committee, Committee on the History of the boards of numerous journals and has served man Professor Emerita of Music History at Society, Board Nominating Committee, and the Society in several capacities, including Yale University and a former director of the Committee on Technology, and as member the Kinkeldey Award Committee, the AMS Yale Institute of Sacred Music. Fassler’s prize- and chair of the Solie and Kinkeldey Award Council, and as co-chair of the Committee winning monographs and co-edited volumes committees. on Cultural Diversity and the planning group demonstrate both her strong interdisciplin- for the Committee on Race, Ethnicity, and ary bent and wide engagement with the field: George E. Lewis is Edwin H. Case Profes- the Profession. He gave the Plenary Presiden- Gothic Song: Victorine Sequences and Augus- sor of American Music at Columbia Univer- tial Lecture at the 2015 AMS national meet- tinian Reform in Twelfth-Century Paris (2011; sity. Lewis’s writing engages experimental mu- ing, and his first book, A Power Stronger Than Otto Kinkeldey Award and the John Nicolas sic, interactive media, sound art, and impro- Itself: The AACM and American Experimental Brown Prize); The Virgin of Chartres: Making visation. His article “Improvised Music After Music (2008) received the AMS’s first Music History through Liturgy and Arts (2010; Otto 1950: Afrological and Eurological Perspec- in American Culture Award. Gründler Book Prize and the ACE Mercers’ tives” (1996) was one of the first to critical- International Book Award); The Divine Office ly examine the role of race in the historiogra- Gary Tomlinson is John Hay Whitney Pro- in the Latin Middle Ages (ed. with Rebecca A. phy of experimental music. With Benjamin fessor of Music and Humanities at Yale Uni- Baltzer, 2000); Psalms in Community: Jewish Piekut he co-edited the two-volume Oxford versity, where he moved in 2010 after a long and Christian Textual, Liturgical, and Artis- Handbook of Critical Improvisation Studies tenure as Annenberg Professor at the Univer- tic Traditions (ed. with Harold W. Attridge, (2016). Lewis was previously Professor of Mu- sity of Pennsylvania. At Yale he also directs 2003), and, forthcoming, Medieval Cantors sic at the University of California, San Diego, the Whitney Humanities Center. After receiv- and Their Craft: Music, Liturgy, and the Shap- and his honors include a MacArthur Fellow- ing his B.A. from Dartmouth College (1973), ing of History, 800–1500 (ed. with Katie A. Bu- ship, Guggenheim Fellowship, membership Tomlinson took his Ph.D. from the Univer- gyis and Andrew B. Krabel). in both the American Academy of Arts and sity of California at Berkeley (1979). He has Her passionate interest in the intersection Sciences and the British Academy (2016), and held visiting professorships at Duke, Prince- of music, liturgy, and the visual arts has cul- the degree of Doctor of Music (DMus, hono- ton, and Florida State Universities, as well as minated in a co-authored study (with Jeffery ris causa), University of Edinburgh. at the Folger Shakespeare Library. He is the Hamburger, Eva Schlotheuber, and Susan Active as a composer and as part of the recipient of Guggenheim and MacArthur Marti), Life and Latin Learning at Paradies pioneering Association for the Advancement Fellowships and in 2001 was elected to the bei Soest, 1300–1425: Inscription and Illumi- of Creative Musicians (AACM) since 1971, American Academy of Arts and Sciences. He nation in the Choir Books of a North German Lewis’s work has been presented by ensembles has served the Society on its Board of Direc- Dominican Convent (2 vols., 2016), a forth- and venues worldwide, including the Philhar- tors, Council, Program Committee, Einstein coming digital model of Hildegard’s cosmos monia Orchestra of London, International Award Committee, Committee on Women (with Christian Jara), and an interdisciplinary Contemporary Ensemble (ICE), and Mu- and Gender, and more. Credit: Emily Peragine

Margot Fassler George E. Lewis Gary Tomlinson  AMS Newsletter From an initial concentration on music and di Torino in philosophy, Borio received his Until his retirement, Holford-Strevens culture in early modern Italy (Monteverdi and Ph.D. in musicology at the Technische Uni- worked at Oxford University Press, first the End of the Renaissance, 1987), Tomlinson versität Berlin (under Carl Dahlhaus). He as proof-reader and then as copy-editor; it moved to explore the musical foundations of has held visiting professorships at various in- was in the latter capacity that he was asked magical philosophies of the same period (Mu- stitutions in Europe, Canada, and the USA; to work on Bonnie Blackburn’s edition of A sic in Renaissance Magic, 1993), then the place in 2013, he was Distinguished Visiting Pro- Correspondence of Renaissance Musicians (Ox- of operatic voice in European subject forma- fessor at the Italian Academy for Advanced ford, 1991); a long correspondence followed, tion across four centuries (Metaphysical Song: Studies in America. He is the recipient of re- culminating in their 1990 marriage and the An Essay on Opera, 1999). Along the way, at search fellowships from the DAAD, the Paul addition of musicology to his other interests; the moment of the Columbian quincente- Sacher Foundation, and the Alexander von together in 2010 they published in the I Tatti nary, he set about learning Nahuatl so as to Humboldt Foundation, and was awarded the Renaissance Library the text and translation understand the Aztec cantares; the resulting Dent Medal by the Royal Musical Association of a fifteenth-century amateur theorist, Flo- essays on voice and colonialism in Mexico, (1999). Since 2013, he has been a member of rentius de Faxolis: Book on Music. They had al- Peru, and Brazil compose The Singing of the the Academia Europaea. ready collaborated on the Oxford Companion New World: Indigenous Voice in the Era of Eu- He is a member of the scientific board of to the Year (1999), a fruit of his long-standing ropean Contact (2007). Tomlinson’s recent Archivio Luigi Nono, Venice and of the artis- interest in calendars. research concerns human evolution and has tic committee of the Milano Musica festival. He has written in various places on the led to two books, one specifically on music Borio has been scientific director of a project Latin texts set by Du Fay, Obrecht, Regis, ( A Million Years of Music: The Emergence of on the History of Music Concepts supported and Ciconia; in addition, he has advised nu- Human Modernity, 2015), and the other on by the Italian Fund for Research and Uni- merous musicologists on matters of Latinity. the general role of culture in our formation versity (2002–03; 2005–06) and co-director Holford-Strevens’s work as a copy-editor was (Culture and the Course of Human Evolution, of the European Network for Musicological recognized in 2016 by the award of the Brit- in press). Research (2006–10). He is the founder and ish Academy President’s Medal for outstand- director of the Routledge book series Musical ing service to the cause of the humanities and Corresponding Members Cultures of the Twentieth Century. social sciences. Gianmario Borio is Professor of Musicology Leofranc Holford-Strevens is a classical Isabelle Moindrot is Professor of Theat- at the Università di Pavia and director of the scholar educated at Christ Church, Oxford. er Studies at Université Paris 8–Vincennes Institute of Music at the Fondazione Giorgio He received his D.Phil. in 1971 with a the- Saint-Denis. A student of the École normale Cini, Venice. His publications deal with sev- sis on the Roman miscellanist Aulus Gellius, supérieure and a scholar at the Foundation eral aspects of composition in the twentieth who has remained his focus of interest: he has Thiers (Institut de France), she completed her century, music theory, and aesthetics; he is written a monograph, Aulus Gellius. An An- Ph.D. in Theater Studies at the University of author of Musikalische Avantgarde um 1960: tonine Scholar and his Achievement (Oxford, Paris III–Sorbonne Nouvelle and her habili- Entwurf einer Theorie der informellen Musik rev. ed. 2003) and co-edited a volume of es- tation in Comparative Literature at the Uni- (Laaber, 1993) and editor of Musical Listen- says with Amiel Vardi, The Worlds of Aulus versity of Paris-Sorbonne. Her research fo- ing in the Age of Technological Reproduction Gellius (Oxford, 2004). He is currently pre- cuses on operatic dramaturgy, contemporary (Routledge, 2015). His current book project paring a new edition of the writings of Gellius operatic staging, and the history of theatrical considers the German theory of musical form to be published as an Oxford Classical Text. spectacle from the nineteenth to the twen- in the nineteenth and early twentieth cen- In 1999–2000 Holford-Strevens was President ty-first centuries. turies. After graduating from the Università of the Oxford Philological Society. continued on page 

Gianmario Borio Leofranc Holford-Strevens Isabelle Moindrot February 2017  Credit: Jimmy and Dena Katz Credit: Sandrine Sheon

Martha Feldman Amy Lynn Wlodarski Elijah Wald Alejandro L. Madrid Kinkeldey Award Winner Lockwood Award Winner MAC Award Winner Stevenson Award Winner

Honors and Awards umes (Pièces et drames historiques) will be pub- Porpora: Vespers for the Feast of the Assumption lished by Classiques Garnier in 2017. (A-R Editions). continued from page  AMS Awards and Prizes The Ruth A. Solie Award for a collection of At the University of Tours, where she was essays of outstanding merit was presented to Professor of Literature, Moindrot founded The Otto Kinkeldey Award for a book of ex- Susan Boynton (Columbia University) and the Department of Theatre at the crossroads ceptional merit by a scholar beyond the early Diane J. Reilly (Indiana University), eds., for of several disciplines. She also helped to create stages of her or his career was presented to Resounding Images: Medieval Intersections of the Laboratory of Excellence in Arts and Hu- Martha Feldman (University of Chicago) for Art, Music, and Sound (Brepols). 2 man Mediations (www.labex-arts-h h.fr), led The Castrato: Reflections on Natures and Kinds by Université Paris 8, of which she was direc- The Robert M. Stevenson Award for out- (University of California Press). tor and president of its scientific council from standing scholarship in Iberian music, includ- 2011 to 2016. The Lewis Lockwood Award for an out- ing music composed, performed, created, col- Since the publication of her Ph.D., La standing book by a scholar in the early stag- lected, belonging to, or descended from the Représentation d’opéra. Poétique et Dramatur- es of her or his career was presented to Amy musical cultures of Spain, Portugal, and all gie (1993), she has written for such European Lynn Wlodarski (Dickenson College) for Latin American areas in which Spanish and opera houses as the Opéra de Paris, the Grand Musical Witness and Holocaust Representation Portuguese are spoken, was presented to Ale- Théâtre de Genève, the Staatsoper Stuttgart, (Cambridge University Press). jandro L. Madrid (Cornell University) for In and the Théâtre de la Monnaie in Brussels. Search of Julián Carrillo and Sonido 13 (Ox- The Music in American Culture Award for She has edited Le Spectaculaire dans les arts ford University Press). a book of exceptional merit that both illumi- de la scène: du Romantisme à la Belle Epoque nates some important aspect of the music of TheH. Colin Slim Award for an outstanding (2006), Victorien Sardou, le théâtre et les arts the United States and places that music in a article by a scholar beyond the early stages of (2011), and co-edited, with Sangkyu Shin, rich cultural context was presented to Elijah her or his career was presented to W. Antho- Transhumanités.­ Fiction, formes et usages de Wald (Boston, Mass.) for Dylan goes Electric! ny Sheppard (Williams College) for “Pucci- l’humain dans les arts contemporains (2013), Newport, Seeger, Dylan, and the Night that ni and the Music Boxes,” Journal of the Royal and L’Altérité en spectacle 1789–1918 (2015) with Split the Sixties (Dey Street). Musical Association. Nathalie Coutelet. Since 2010, she has been director of the critical edition of the complete TheClaude V. Palisca Award for best edition The Alfred Einstein Award for an article theatrical works of Victorien Sardou, author or translation was presented to Kurt Mark- of exceptional merit by a scholar in the ear- of La Tosca and Spiritisme. The first six vol- strom (University of Manitoba) for Nicola ly stages of her or his career was presented to

Kurt Markstrom Susan Boynton Diane J. Reilly Louis Epstein Palisca Award Winner Solie Award Winner Solie Award Winner Teaching Award Winner  AMS Newsletter W. Anthony Sheppard Julia Doe Walter Frisch Braxton D. Shelley Slim Award Winner Einstein Award Winner Jackson Award Winner Pisk Award Winner

Julia Doe (Columbia University) for “Opéra- for exceptional work in the field of gay, les- for a Book on Jewish Studies and Music from comique on the Eve of Revolution: Dalayrac’s bian, bisexual, and transgender/transsexual the AMS Jewish Studies and Music Study Sargines and the Development of ‘Heroic’ studies, was presented to William Cheng for Group for Defining Deutschtum: Political Ide- Comedy,” Journal of the American Musicologi- Just Vibrations: The Purpose of Sounding Good ology, German Identity, and Music-Critical cal Society. (University of Michigan Press) and Christina Discourse in Liberal Vienna (2014). Sunardi for Stunning Males and Powerful Fe- The inaugural Roland Jackson Award for an Franziska Brunner (University of Georgia) males (University of Illinois Press). article of exceptional merit in the field of mu- received a Fulbright U.S. Student Grant and sic analysis was presented to Walter Frisch Other Awards, Prizes, and Honors Ernst Mach Worldwide Grant from the Aus- (Columbia University) for “Arlen’s Tape- trian Bundesministerium für Wissenschaft, worms: The Tunes That Got Away,” The Mu- David Beach (University of Toronto) received Forschung und Wirtschaft to conduct re- sical Quarterly. the Society for Music Theory’s Outstanding search on her dissertation “Schoenberg’s multi-author award for Bach to Brahms: Essays Voices.” The Noah Greenberg Award for outstand- on Musical Design and Structure (2015). ing contributions to historically aware perfor- Walter Aaron Clark (University of Califor- mance and the study of historical performing Margaret Bent (University of Oxford) re- nia, Riverside) was made Knight Command- practices was presented to Laurie Stras (Uni- ceived the Derek Allen Prize for Musicology er of the Order of Isabel the Catholic by King versity of Southampton) for her project to re- from the British Academy. Felipe VI of Spain. cord motets associated with the convent of Susan Boynton (Columbia University) re- Chantal Frankenbach (California State Corpus Domini in Ferrara with the ensemble ceived a three-year grant from the Partner University, Sacramento) received the Selma Musica Secreta. University Fund from the French-American Jeanne Cohen Prize in Dance Aesthetics for The Paul A. Pisk Award for an outstanding Cultural Exchange in Education and the Arts “Dancing the Redemption of French Lit- paper presented by a graduate student at the Foundation for “French-American Bridge for erature: Rivière, Mallarmé, and Le Sacre du Annual Meeting was awarded to Braxton D. Medieval Musical Iconography,” a project in printemps” (Dance Chronicle, 2015). Shelley (University of Chicago) for “‘Tuning collaboration with Paris-Sorbonne University James Grier (Western University) has been up’ in Contemporary Gospel Performance.” to teach graduate students new approaches to elected Fellow of the Royal Society of Canada. the analysis and description of medieval im- The AMS Teaching Award for outstanding ages related to music. Kate Guthrie (University of Bristol) received work in innovative teaching in the music his- the Music & Letters 2015 Westrup Prize for the tory/music appreciation classroom was pre- David Brodbeck (University of California, sented to Louis Epstein (St. Olaf College) for Irvine) received the 2016 Award for Excellence continued on page  “The Musical Geogra- phy of 1920s Paris.” The Thomas Hamp- son Award support- ing research and publication in clas- sic song was present- ed to Natasha Log- es (Royal College of Music) for Brahms and His Poets. The Philip Brett Award, presented by the LGBTQ Study Laurie Stras and Musica Secreta Christina Sunardi William Cheng Group of the AMS Greenberg Award Winners Brett Award Winner Brett Award Winner February 2017  Honors and Awards Foundation for research on her dissertation, Katelijne Schiltz (Universität Regensburg) “A Forbidden Fruit? Spirituality in the Music received the Sixteenth Century Society and continued from page  of Unofficial USSR Composers before its Fall Conference Roland H. Bainton Prize for her article “Awakening The Sleeping Beauty: The (1974–1991).” book Music and Riddle Culture in the Renais- Creation of National Ballet in Britain.” sance (2015). Cormac Newark (Guildhall School of Mu- Katherine Hambridge (Durham Universi- sic and Drama) received a grant from the Travis Stimeling (West Virginia University) ty) received the Royal Musical Association’s Arts and Humanities Research Council for received an NEH fellowship for the project 2016 Jerome Roche Prize for “Staging Singing “The Operatic Canon” and another from the “Country Music and Record Production in in the Theater of War (Berlin, 1805),” JAMS Leverhulme Trust for “Screen Adaptations Nashville, 1955–1973.” (2015). Le Fantôme de l’Opéra of : Routes of Cultural Joan Titus (University of North Carolina Transfer.” Leofranc Holford-Strevens has received the at Greensboro) received an NEH Fellowship President’s Medal from the British Academy. C. A. Norling (University of Iowa) won the for her project “Dmitry Shostakovich and 2016 Music for Stalinist Cinema, 1936–1953.” Amanda Hsieh (University of Toronto) re- National Opera Association’s Scholarly ceived a year-long DAAD Research Grant for Paper Competition for “Puccini’s Grotesque Zachary Wallmark (Southern Methodist research on the dissertation “Male Hysteria, West: Exoticism and Appropriating in La fan- University) received an NEH Fellowship for Degenerate Opera.” ciulla del west.” the project “Timbre and Musical Meaning.” Margaret Kartomi (Monash University) re- Jennifer Oates (Graduate Center, CUNY) Paul Watt (Monash University) received a ceived the 2015 Sir Bernard Heinze Memo- received the 2016 Music Library Association Certificate of Merit from the Association for rial Award, and in 2016 the Fumio Koizumi Richard S. Hill Award for best article on li- Recorded Sound Collections for the book he Prize for Ethnomusicology as well as the In- brary instruction/pedagogy for “Engaging edited, Joseph Holbrooke Composer, Critic, and donesian Ministry of Education and Culture’s with Research and Resources in Music His- Musical Patriot (2014). Award of Cultural Appreciation. tory Courses,” Journal of Music History Peda- gogy (2014). Blake Wilson (Dickinson College) received Elaine Keillor (Carleton University) has the M. H. Abrams Fellowship from the Na- been appointed to the Order of Canada in Kate van Orden (Harvard University) re- tional Humanities Center for the project “Do- recognition of her research on Canadian mu- ceived the biannual book award from the So- minion of the Ear: Memory, Performance, sic and the musical traditions of Canada’s in- ciety for Renaissance Studies for Materialities: and Oral Poetry in Early Modern Italy.” digenous peoples. She has also received an Books, Readers, and the Chanson in Sixteenth- Amanda Eubanks Winkler (Syracuse Uni- honorary Doctor of Music degree from Carle­ Century Europe (2015) and the Tours, France versity) received a three-year grant from ton University. Medal of Honor for outstanding contribu- the Arts and Humanities Research Coun- tions to understanding the Renaissance. John Koster (National Music Museum, Uni- cil for the project “Performing Restoration versity of South Dakota) received the 2016 Kirsten Paige (University of California, Shakespeare.” Curt Sachs Award from the American Musi- Berkeley) received the 2016 Best Graduate Susan Youens (University of Notre Dame) cal Instrument Society in recognition of life- Student Paper Prize from the North Ameri- received the Harrison Medal from the So- time contributions to organology. can Society for the Study of Romanticism for “Wagnerian Climatic Fantasies: Sound, ciety for Musicology in Ireland for out- Elizabeth Eva Leach (University of Ox- Space, Breath.” standing contributions to Schubert and ford) has been elected Fellow of the Brit- Lieder studies. ish Academy. Caroline Potter (Kingston University) re- 2016 Anne MacNeil (University of North Caroli- ceived the Sunday Times Classical Music na at Chapel Hill) received an NEH Fellow- Book of the Year Award for her book Erik Sa- 2016 ship for her project “Italian Songs from the tie: A Parisian Composer and His World ( ). Guidelines for Announcements of Time of Christopher Columbus: A Critical Emiliano Ricciardi (University of Massachu- Awards and Honors Edition.” setts Amherst) received a three-year Scholarly Awards and honors given by the Soci- Matthew Mendez (Yale University) received Editions and Translations Grant from the Na- ety are announced in the Newsletter. In an ASCAP Deems Taylor/Virgil Thomson tional Endowment for the Humanities for the addition, the editor makes every effort Award for “No Strings Attached: A Prism “Tasso in Music Project.” to announce widely publicized awards. on the Saxophone Quartet,” NewMusicBox The CD recording “Guillaume Du Fay: Les Other announcements come from indi- 2015 ( ). messes à teneur,” performed by Cut Circle vidual submissions. The editor does not Christy J. Miller (University of Kansas) re- under the direction of Jesse Rodin (Stanford include awards made by the recipient’s ceived the North American British Mu- University), received awards from the Acadé- home institution or to scholars who are sic Studies Association’s Nicholas Temperley mie du Disque Lyrique, Gramophone’s Edi- not currently members of the Society. Prize for an outstanding student paper for “‘If tor’s Choice, and the “Diapason d’Or” from Awards made to graduate student mem- They Can Do It, I Guess That We Can, Too’: the magazine Diapason. bers as a result of national or interna- Folk and ‘Folk-Styled’ Music as Propaganda tional competitions are also announced. Colin Roust (University of Kansas) received in The Martins and the Coys.” The editor is always grateful to individ- a Big XII Fellowship to study the music and uals who report honors and awards they Oksana Nesterenko (Stony Brook Univer- politics of Georges Auric at the Harry Ran- have received. sity) received a grant from the Paul Sacher som Center.  AMS Newsletter Summary Report from the AMS Demographic Survey Beginning in August 2014, the AMS started 8.6% Adjunct/contingent LGBTQ - 97 asking members to complete a brief demo- 6.6% Instructor/lecturer Ludomusicology - 18 graphic survey on the AMS web site. While 2.6% Staff Music and Dance - 60 the initial response rate was quite low, about 1.2% Teacher Music and Disability - 39 41% of members have now responded. 5.9% Other Music and Philosophy - 94 A summary of the primary demographic re- Pedagogy - 132 Most of the “other” responses consisted of sults follows below, with the complete report Popular Music - 100 variations on university academic titles avail- and collated data categories available at www. able at different institutions. Other Scholarly Societies: ams-net.org/administration/demographics/. Respondents who are members in other aca- Length of Current Employment Term: While we now have enough responses to get demic societies: 61.0% Permanent a better sense of a significant portion of our College Music Society - 191 26.5% Contractual membership, I would add to President Mar- International Musicological Society - 143 5.5% Temporary tha Feldman’s recent reminder and strongly Society for American Music - 302 7.0% Not applicable urge members who have not completed the Society for Ethnomusicology - 101 survey to do so. Also, if you filled out the sur- The highest proportions of “temporary” re- Society for Music Theory - 117 vey in a previous year and your information sponses here came from those who identified Nearly half of all survey respondents (601) has changed, please take a few minutes to up- their employment type as postdoctoral fellow- checked the “other” box and included a list of date your information. ships or research positions. Among the large further societies. Unfortunately, some of the Survey response rate: majority of “Academic/teaching appoint- As of November early records were accidentally truncated, so 2016 1 289 ment” jobs, 68% called their position perma- , we have received , survey respons- I would encourage members to consider up- 41 nent, 25% contractual, and 4.5% temporary. es (about % of the membership). Not all dating this field if they listed multiple societ- respondents answered all questions. Infor- Time in Role: ies in their response. A summary of the most mation on most “other” responses is omitted 13.8% More than 20 years common “other” responses is given in the here, but more details are given in the full re- 20.9% 11–20 years full report. port at the web site. The summary below is 26.3% 5–10 years IV. PERSONAL DEMOGRAPHIC DATA presented in the order of the online survey 23.7% 2–4 years question placement. 15.2% one year Year of Birth (and Degree Date): Reported I. EMPLOYMENT II. EDUCATION dates ranged from 1922 to 1997, with a me- 1972 1955 Employment Status: dian of (first quartile , third quar- Highest Degree: tile 1983), which gives an age of respondents 48.6% Full-time 65 4 . % Ph.D., D.Phil. varying from 19 to 94, with the middle half 27.6% Student 2 1 . % D.M.A. between age 33 and 61. A couple of hundred 11.4% Retired 1 7 . % Other doctorate respondents omitted this information, but it 8.6% Part-time 12 0 . % M.A. can allow us to get a sense of other interac- 2.7% Unemployed 8 8 . % M.Mus. tions in the data, such as determining age at 1.0% Other 1 5 . % Other Masters last degree. While average ages for bachelor’s 4 1 Employment Type: (only asked of “regular” . % B.A. degrees are 22, the median ages for graduate 3 4 AMS members, not students or retirees; the . % B.Mus. degrees show some variation: M.Mus. (25), following is based on 630 responses) Degree Year and Institution: The report- M.A. (27), Ph.D. (33), D.M.A. (34.5). The 83.6% Academic/teaching ed years for the highest degree ranged from mean age for the awarding of a Ph.D. is 34.2 4% Non-academic/professional 1961 to 2016, with a median year of 2006 (first years, with a standard deviation of 6.3 years. 2 7 . % Librarian quartile 1991, third quartile 2012). A wide va- Gender: 2 6 . % Postdoctoral fellow riety of institutions was named, to which a 51.2% Female 1 6 . % Performance brief summary cannot do justice. Charts of 48.5% Male 1 5 . % Research position the degree year information over time and a 0.3% Transgender 1.4% Administrative position breakdown of degree institutions are given in 1.2% Writing/editorial position the full report. Race/Ethnicity: 97.2% identified only one 1.4% Other race or ethnicity: III. STUDY GROUPS AND SOCIETIES Employment Sector: 89.8% White 83.4% University AMS Study Group Participation: Members 3.5% Asian 10.8% Four-year college were asked to select all study groups in which 1.1% Black or African American 1.3% Community/two-year college they participate. Since multiple selections 0.1% American Indian / Alaska Native 1.3% Conservatory were possible, the following lists the actual 2.6% Some other race 0 7 12 . % K- number of respondents who said they partici- 2.8% of responses identified two or more 2 3 . % Other/Not applicable pate in each group. races. Rank: Cold War and Music - 75 3% of respondents identified as of Hispanic, 29.4% Professor Ecocriticism - 35 Latino, or Spanish origin. 87.7% identified 26.9% Associate professor Ibero-American Music - 34 18.9% Assistant professor Jewish Studies and Music - 47 continued on page  February 2017  AMS/SMT Vancouver Post-Conference Survey Following the 2016 Annual Meeting, Society 14.3% improve the schedule White: 91.3% (89.5% not His- members received a short survey. As last year, 12.2% improve the exhibit location panic, 1.8% Hispanic) it was sent to all members—even those who 8.5% change the program’s constitu- Asian: 2.4% did not attend—in order to learn about the tion (e.g. the over/under-representation of a Black / African American: 0.6% needs of non-attendees as well as attendees. particular topic area) Other: 2.7% Responses are summarized below. 6.2% eliminate evening sessions two or more races: 3.0% 14.3% other concerns Survey data. Attendance. 67.3% of respondents attended (e.g. improving paper quality, eliminating Invitations sent: 3,132 (all AMS members) the meeting. Of the 32.7% who did not at- short sessions, and changing to twenty-min- Responses received: 819 tend, reasons were as follows: ute papers) Response rate: 26.1% 49.1% too expensive Attendee demographics. Career stage. Margin of error for questions asked of all 31.1% too busy 40.4% stable, full-time teaching position respondents is +/- 3% 18.4% timing of the meeting 9.5% Students fifth year and beyond Response rate among AMS members who 18.0% location of the meeting 8.8% retired attended the meeting: 39.2% 16.5% rarely attend meetings 8.5% Students first to fourth year Response rate among non-attendees: 15.5% Attendance percentages according to day: 6.9% part-time adjunct Margin of error (questions asked of at- 19.1% Wednesday 6.0% full-time academic seeking to tendees): +/- 3% 89.9% Thursday change Margin of error (questions asked of non- 98.9% Friday 6.0% independent scholar attendees): +/- 6%. 97.6% Saturday 4.7% full-time non-academic The Committee on the Annual Meeting 53.5% Sunday 3.2% full-time adjunct oversees all aspects of the Society’s Annual 2.4% other 87.5% attended the three days from Thurs- Meeting. Members are encouraged to day to Saturday. 6.7% attended one or more Statistically significant findings: those with communicate with committee chair Geor- noontime concerts; 11.7% attended one or part-time adjunct positions, independent gia J. Cowart ([email protected]) more evening concerts. scholars, and retirees were significantly less with ideas and suggestions. likely to attend the Vancouver meeting, while —Evan Cortens Balance between panel discussions and those with full-time (stable) academic posi- papers: tions and early career students (first to fourth 79.5% about right year) were significantly more likely to attend. 10.7% too many panels 9.8% too many papers Gender. News from the AMS Board Female: 52.7% 88 2 At its Vancouver meeting, the AMS Use of online resources. . % of the re- Male: 47.3% spondents used an online resource, as follows: Board of Directors received, processed, 76.3% online PDF program Because too few respondents expressed anoth- and discussed dozens of reports from 62.7% announcements er gender identity, those responses are omit- membership, award, and publication 18.6% app ted due to privacy concerns. committees. It reviewed the nomination 13.1% handouts Age. slates for Board officers and members, as 29 or under: 13.8% well as financial reports on the endow- Liked Most (81.5% response rate): ment, and present, past, and future So- 30–39: 26.4% 40.7% location or venue ciety budgets. 40–49: 16.6% 22.7% papers/quality of the program Issues of race and gender were a re- 50 59 16 5 14.4% networking/meeting with friends – : . % curring subject. The Board responded 60 69 16 1 10.0% panels – : . % enthusiastically to the work of the ad 2.9% joint meeting 70 or older: 10.6% hoc committee on race and ethnicity in 2 4 . % plenary lectures Statistically significant differences regarding the profession, and reaffirmed its com- 7.0% identified other items. Among those attendance and age: those aged 30 to 39 were mitment to hold a workshop on un- identifying panels, a number specifically men- significantlymore likely to attend the Vancou- conscious bias for Board members at its tioned the Special Session on Race, Ethnicity ver meeting; those aged 70 or older were sig- April 2017 meeting. and the Profession and “Sexual Violence on nificantly less likely to attend. The Board approved Communications Committee plans to change the Soci- Stage” (Alternative Format session sponsored Race/Ethnicity. The survey included the ety’s sponsored mode of discussion from by the Committee on Women and Gender) standard US Census questions on race and email- to forum-based communications ethnicity. Percentages are given as a percent Most wanted to change (81.5% response (see p. 18). of responders to both questions, with non-re- rate): They also continued to plan structur- sponders and those responding “prefer not to 27.2% location or venue concerns ally for the Society’s future at New York answer” omitted. (cramped common areas, small meeting University, including its employee and 97 0 rooms, difficulty of navigation, and travel . % Not Hispanic / Latino departmental relations and a planned- 3 time and expense) % Hispanic Latino for lecture series. 17.4% soundproofing one race only: 97.0%  AMS Newsletter AMS Demographics Executive Director’s Message continued from page  How healthy is our Society? In Vancouver 5,000 as white alone (non-Hispanic and no other 4,500 I drew attention to the decline in member- 4,000 races/ethnicities). ship, and a number of people asked for more 3,500 3,000 The categories above follow the U.S. Cen- information. Accordingly, I’ve prepared 2,500 sus method of classification and reporting. 2,000 some figures to show in more detail the state 1,500 7000 Comparisons of these demographics with 500 the of the AMS over the past ten years. 1,000 IPEDS database and available data from other 6000 500 400 Overall membership in the AMS has de- - academic societies can be found in the full re- 2006 2007 2008 2009 2010 2011 2012 2013 2014 2015 2016 300 clined by 16% (from 4,652 to 3,975) from 5000 port. The above percentages are based on the nonsubsidized subsidized Institutions grand total 2006 to 2016 (fig. 1). This is clearly cause 4000 1064 respondents who answered both 200 ques - Figure 1. Society membership trends, 2006– tions on race/ethnicity on the survey. 100 A siz - for concern and merits careful investigation. 30002016 , according to three membership groups: able number of responses (over 200) preferred2005 Other numbers2010 for the same2015 period cloud full price2005 (Regular, Sustaining);2010 subsidized2015 the matter, however. not to report race/ethnicity information in Revenue Expense price (Low Income, TotalEmeritus, assets Student), and one or both questions. Figures 2a and 2b show the two main ele- Institutions. ments of operational income for the society: LGBTQ: dues/subscriptions and Annual Meeting. 78.2% No (Amounts given in all figures are adjusted for 16.2% Yes 500 2016 5.5% Prefer not to answer 200 inflation to dollars.) Society operating 400 revenue and expenses have increased over the 300 Disabled: past ten years by about 13%; comparable An- 92 4 100 2005 2010 2015 . % No nual Meeting figures are essentially flat, with 3.3% Yes 2005 2010 2015 the exception of the New Orleans 2012 meet- Revenue Expense 4.2% Prefer not to answer Endowments ing, anomalous because AMS met with both Figure 2a. Society current operating revenue I conclude by noting again that strict confi- SMT and SEM. and expense, 2005–16 (000s, adjusted for dentiality of identities is maintained in the Figures 3a and 3b show the Society’s en- inflation). database data. All respondents are identified dowment-related numbers: the overall en- solely in the aggregate data by anonymous to- dowment value is very strong, rising 120%. kens, and any public reports of data will only 500 7000 Payouts from the endowment towards be by aggregate numbers. 400 6000 Many further correlations using the de- grants, publications, awards, and fellowships 5000 mographic data are possible, and some sug- have also increased significantly: by 108%. 300 gestions are contained in the full report. I These increases reflect the OPUS Campaign’s 200 4000 encourage members with questions about de- success; the campaign concluded in 2009. 100 3000 mographics to contact me (jmckay@mozart. Declining membership, moderately ris- 2005 2010 2015 2005 2010 2015 sc.edu). ing dues/subscription figures, flat Annual Revenue Expense Total assets Lastly, I would like to acknowledge the Meeting figures, and strongly rising endow- efforts of Evan Cortens, who compiled and ment figures add up to a mixed message. The Figure 2b. Society Annual Meeting revenue processed much of the data in this summary. contexts of the numbers are ambivalent in and expense, 2005–16 (000s, adjusted for —John Z. McKay, AMS Statistician that AMS activities are strong and increas- inflation). 500 ing; yet the challenges facing all humanities 200 400 disciplines (documented in nearly every is- 300 500 7000500 7000 Membership logistics sue of the Chronicle of Higher Education), the 100 2005 2010 2015 400 shrinking job market, the decline of tenure 6000400 2005 2010 2015 6000 Revenue Expense The Society moved to rolling member 300- in higher education, and not least the change 5000300 5000 ship in late 2016. This means that mem- Endowments 200 in publishing paradigm from paper to elec- 4000200 4000 bership is for one year from the date dues tronic media are all factors in the calculus. 3000 3000 are paid (not for the calendar year, as100 it 100 2005The Board and2010 I will continue2015 to explore the 20052005 20102010 20152015 2005 2010 2015 had been). situation in the coming months. 3 Total assets Total assets Members in good standing now receive Revenue Expense —Robert Judd Figure a. the RevenueSociety’s endowmentExpense value, one year’s worth of Society materials (two 2005–16 (000s, adjusted for inflation). Newsletters, three issues of JAMS, AMS Directory), no matter when they join; but 500 500 only current and forthcoming material is AMS New Books sent. Previously published material is200 not 200 400 400 sent retroactively. 105 titles have been added to the AMS 300 300 2016 In response to member requests, 100the New Books list since August . 100 2005 2010 2015 2005 2010 2015 Society has also begun to accept three- 2005 See www.ams-net.org/feeds/newbooks/2010 2015 2005 2010 2015 year membership payments for its “regu- for details and information on submit- Revenue Expense Revenue Expense lar” member category. ting titles.Endowments Figure 3b. Society endowmentEndowments payouts, 2005– 16 (000s, adjusted for inflation). February 2017  AMS Elections 2017 Officers and members of the Board of Direc- 2013); Editor-in-chief, Women and Music Candidate for Secretary tors are elected each year according to the (2005–13); editorial boards of JAMS (1997– procedures set forth in the Society’s bylaws. 2000), radical musicology (2006–09), Villa I MICHAEL C. TUSA In 2017, the Board presents to the member- Tatti Studies (2012–present) ship two candidates for president, a single Professor of Music, Butler School of Music, AMS activities: Kinkeldey Award Commit- candidate for secretary, and six candidates for Univ. of Texas at Austin tee (2015–17, Chair, 2017); Program Commit- director-at-large, three of whom are elected. tee (2014); Director-at-Large (2008–09); Pub- Degrees: PhD, Princeton, 1983; MMus, Yale The balloting is electronic and available at lications Committee (2003–07); Co-chair, School of Music, 1976; BA, Yale, 1975 the AMS web site (login required); a paper LGBTQ Study Group (1996–2000) ballot may be obtained from the office upon Research areas: Beethoven; 19th-century op- request. Voting closes 1 May. Results are an- era; piano music; compositional process CAROL A. HESS nounced in the August AMS Newsletter. Publications: “Mime, Meyerbeer and the Responsibilities of board officers and mem- Genesis of Der junge Siegfried: New Light Professor of Music, Univ. of California, Davis bers are outlined in the bylaws and handbook on the ‘Jewish question’ in Richard Wagner’s (available at the web site), and include man- Degrees: PhD, UC Davis, 1994; MM, Holy Work,” COJ (2014); “Reading a Relationship: aging all Society policies and procedures as Names College, 1988; MA, San José State Solo-Tutti Interaction and Dramatic Trajec- well as all its fiduciary obligations. Univ., 1986; BMus, Hartt School of Mu- tory in Beethoven’s Second Piano Concerto,” sic, 1978 JM (2012); “Cosmopolitanism and the Na- Candidates for President tional Opera: The Case of Weber’s Der Frei­ Research areas: Music of the Americas schütz,” Journal of Interdisciplinary History SUZANNE G. CUSICK and Spain; music and politics; music histo- (2006); “Noch einmal—Form and Content in ry pedagogy Professor of Music, New York Univ. the Finale of Beethoven’s Ninth Symphony,” Publications: Representing the Good Neigh- Beethoven Forum (1999); “Euryanthe” and Carl Degrees: PhD, Univ. of North Carolina, bor: Music, Difference, and the Pan American Maria von Weber’s Dramaturgy of German Op- 1976; BFA, Tulane, 1969 Dream (Oxford, 2013); “Copland in Argen- era (Clarendon, 1991) Research areas: Musical cultures of early tina: Pan Americanist Politics, Folklore, and Awards: UT-Austin, College of Fine Arts, modern Italy; gender, sexuality and music; the Crisis of Modern Music,” JAMS (2013); Distinguished Teaching Award (2014) music, violence and contemporary wars; “Competing Utopias? Musical Ideologies in Administrative experience: sound studies the 1930s and Two Spanish Civil War Films,” UT-Austin, But- JSAM (2008); Manuel de Falla and Modern- ler School of Music: Chair, Graduate Studies Publications: “He Said, She Said? Men Hear- ism in Spain, 1898–1936 (Chicago, 2001); Committee (2015–present); Associate Direc- ing Women in Medicean Florence,” in Re- “John Philip Sousa’s El Capitan: Political Ap- tor (2001–08); Acting Director (1999–2001); thinking Difference in Music Scholarship, ed. propriation and the Spanish-American War,” Head, Division of Musicology/Ethnomusi- Bloechl et al. (Cambridge, 2015); “Towards American Music (1998) cology (1988–92, 2008–10) an Acoustemology of Detention in the ‘Glob- AMS activities: Secretary (2014–present); al War on Terror,’” Music, Sound and the Re- Awards: Robert M. Stevenson Award (2015, Eugene K. Wolf Travel Grant Committee configuration of Public and Private Space, ed. 2004); UC Davis, Hubert H. and Barbara P. (2007–10, Chair, 2010); Director-at-Large Born (Cambridge, 2013); Francesca Cacci- Wakeham Mentoring at Critical Transitions 2004 05 JAMS 1996 98 ni at the Medici Court: Music and the Circu- Grant (2015); NEH Summer Stipends (2014, ( – ); Reviews Editor, ( – ); Program Committee (1989, 2003) lation of Power (Chicago, 2009); “On a Les- 1997); ASCAP-Deems Taylor Symphonic bian Relation with Music: a Serious Effort Books Award (2002); SAM Irving Lowens Ar- Not to Think Straight,” in Queering the Pitch, ticle Award (1998) Candidates for Director-at-Large ed. Brett et al. (New York, 1994); “‘Thinking Administrative experience: UC Davis: from Women’s Lives’: Francesca Caccini after CARLO CABALLERO Chair, Music Department (2016–present); 1627,” MQ 77 (1993) Graduate Adviser for Musicology (2013– Erma Mantey Faculty Fellow, Associate Pro- Awards: AMS Honorary Member (2014); 16); Member, Task Force on Mellon-fund- fessor of Music, Univ. of Colorado, Boulder “Golden Dozen” Teaching Award, ed Diversity in Graduate Admissions (2016– Degrees: PhD, Penn, 1996; BA, Pomona, NYU (2011); Society for the Study of Early present); Michigan State Univ.: Chair, Grad- 1985 Modern Women Book Prize (2010); Philip uate Committee (2007–11); SAM, Board of Brett Award (2007); Fellowships from ACLS Trustees (2008–10) Research areas: France, 1790–1945; historiog- (2013–14), Charles Warren Center for Studies raphy; ballet; textual criticism; aesthetics AMS activities: ex of- in American History (2006–07), Villa I Tatti Council Secretary and ficio 2011 15 Publications: (2001–02), NEH (1990–91) member of Board of Directors ( – ); “Dancing out of Formalism: JAMS Editorial Board (2015–present); Ein- On Peter Kivy’s Theory and Its Limits,” In- Administrative experience: NYU, Dept. of stein Award Committee (Chair, 2006–08, ternational Review of the Aesthetics and Soci- Music, Chair (2008–09), Director of Gradu- Chair, 2008); CCRI (2002–04, Chair, 2003– ology of Music (2013); “Silence, Echo: A Re- ate Studies (2004–08); Program Committee, 04); founding member Ibero-American Mu- sponse to ‘What the Sorcerer Said,’” NCM feminist theory and music (1991, 1997, 2005, sic Study Group (1993) (2004); Fauré and French Musical Aesthetics

 AMS Newsletter (Cambridge, 2001); “Patriotism or National- Coordinator, music history (2013–15); Board Awards: ACLS Fellowship (2015–16); John S. ism? Fauré and the Great War,” JAMS (1999); of Directors, PostClassical Ensemble, Wash- Diekhoff Award for Excellence in Graduate “‘A Wicked Voice’: On Vernon Lee, Wagner, ington, DC (2016–present); Board of Direc- Teaching, CWRU (2010); Special Jury Prize, and the Effects of Music,” Victorian Studies tors, El Paso Symphony Orchestra (2013– Theatre Library Association Award (2006) (1992) present); UT-Austin, Butler School of Music, Administrative experience: CWRU: Direc- Executive Committee (2008–10) Awards: Faculty Fellowship, Center for Hu- tor, Center for Popular Music Studies (2014– manities and Arts, Univ. of Colorado (2013); AMS activities: Stevenson Award Committee present); College of Arts and Sciences Exec- Sabbatical Fellowship, American Philosophi- (2011–12, Chair, 2013); Council (2006–08); utive Committee (2013–16); Associate Edi- cal Soc. (2006); External Fellowship, Stanford Cultural Diversity Committee (2002–04) tor, Musical Quarterly (2013–present); Senior Humanities Center (2005–06); ACLS Fellow- editor, Grove Dictionary of American Music 2005 2007 13 ship (declined ); Chancellor’s Postdoc- KATHARINE ELLIS ( – ); Series editor, Oxford Music/Me- toral Fellowship, Univ. of Colorado (1997–99) dia Series (2007–present) Administrative experience: Univ. of Colora- Stanley Hugh Badock Chair in Music, Univ. AMS activities: Program Committee (2014– do, Boulder, College of Music: Chair, Musi- of Bristol; 1684 Professor-elect, Univ. of 15, Chair, 2015); Review Editor, JAMS (2011– cology Area (2010–12, 2016–present); Steering Cambridge 13); Council (2006–08); Council Student 2015 1999 2000 Committee for Strategic Planning ( –pres- Degrees: DPhil, Oxford, 1991; BA, Ox- Member ( – ); Outreach Committee 1998 99 ent); Primary Unit Evaluation Committee ford, 1985 ( – ) (2001–03, 2013–15); Univ. of Colorado, Boul- der, Steering Committee, Center for Human- Research areas: France; long nineteenth DANA GOOLEY ities and Arts (2012–15, 2000–05); American century; socio-cultural history of music; Associate Professor of Music, Brown Univ. Philosophical Soc., Organizing Committee, press criticism 2005 06 GAFOH ( – ) Publications: The Politics of Plainchant infin- Degrees: PhD, Princeton, 1999; BA, Wesley- an, 1991 AMS activities: Committee on Committees de-siècle France (RMA Monograph, 2013); (2014–15); Review Editor, JAMS (2008–10); “Mireille’s Homecoming? Gounod, Mistral Research areas: 19th-century music; Liszt; Council (2003–05) and the Midi,” JAMS (2012); Interpreting the music criticism; performance studies; impro- Musical Past (Oxford, 2005); “Female Pianists visation; jazz LORENZO F. CANDELARIA and their Male Critics in Nineteenth-Century Paris,” JAMS (1997); Music Criticism in Nine- Publications: “Saving Improvisation: Hum- Professor of Music, Univ. of Texas at El Paso teenth-Century France (Cambridge, 1995) mel and the Free Fantasia in the Early Nine- teenth Century,” in The Oxford Handbook of Degrees: PhD, Yale, 2001; BM, Oberlin, Awards: Fellow, British Academy (2013); 1995 Critical Improvisation Studies, ed. Lewis and Member, Academia Europaea (2010) Piekut (2016); “Jazz Piano Pedaling and the Research areas: Spain, 16th century; New Administrative experience: Univ. of Bristol, Production of Timbral Difference,” Keyboard Spain, 17th and 18th centuries; Catholic litur- Head of Music (2013–16); Institute of Musi- Perspectives (2014); “Enacting the Revolution: gy and culture; American Music; codicology cal Research (London), inaugural Director Thalberg in1848 ,” in Taking it to the Bridge: Music across the Disciplines, ed. Cook and Publications: “Music and Pageantry in the (2006–09); Royal Musical Association, Vice- Pettengill (Michigan, 2013); “Hanslick and Formation of Hispano-Christian Identity: President (2005–09); editor, JRMA (2004– the Institution of Criticism,” JM (2011); The The Feast of St. Hippolytus in Sixteenth- 07); joint editor, ML (1995–2001) Virtuoso Liszt (Cambridge, 2004) Century New Spain,” in Music and Culture in AMS activities: AHJ AMS 50 Committee the Middle Ages and Beyond: Liturgy, Sources, (2012–15); Council (2013–15); Lewis Lock- Awards: Howard Foundation Fellowship Symbolism, ed. Brand and Rothenberg (Cam- wood Award Committee (2007–10) (2014–15); AMS 50 Dissertation Fellowship bridge, 2016); American Music: A Panorama, (1998) 5th edn. (Cengage, 2015); “Bernardino de Administrative experience: Brown Univ., Sahagún’s Psalmodia Christiana: A Catho- DANIEL GOLDMARK Chair, Dept. of Music (2016–present); Edi- lic Songbook from Sixteenth-Century New Professor of Music, Case Western Reserve torial Board, 19th Century Music (2009–pres- Spain,” JAMS (2014); The Rosary Cantoral: Univ. ent); Scholar-in-Residence, Bard Music Fes- Ritual and Social Design in a Chantbook from tival (2005–06) Early Renaissance Toledo (Rochester, 2008); Degrees: PhD, UCLA, 2001; MA, UCLA, “Silvestre Revueltas at the Dawn of his ‘Amer- 1997; BA, UC Riverside, 1994 AMS activities: Program Committee (2013– ican Period’: St. Edward’s College, Austin, 14; chair, 2014); Council (2007–09); AHJ Research areas: Music and film/animation/ Texas (1917–18),” American Music (2004) AMS 50 Fellowship Committee (2007–09) television; popular music; music industry Awards: UT-Austin, Dads Association Cen- Publications: BONNIE S. GORDON tennial Teaching Fellowship (2012); NEH Fel- “‘Making Songs Pay’: Tin Pan Alley’s Formula for Success,” MQ (2015); co- lowship (2010); Robert M. Stevenson Award Associate Professor of Music, Univ. of Virginia (2009); UT-Austin, School of Music Teach- ed., Jazz/Not Jazz: The Music and Its Bound- 2012 Degrees: 1998 1990 ing Excellence Award (2007); J. William Ful- aries (California, ); “Creating Desire on PhD, Penn, ; BA, Brown, Tin Pan Alley,” MQ (2007); co-ed., Beyond bright Grant (1999–2000) Research areas: Early modern Italy; technol- the Sound Track: Representing Music in Cine- ogy; gender; civic engagement; early America Administrative experience: UT-El Paso, ma (California, 2007); Tunes for ‘Toons: Music Associate Provost (2016–present), Area and the Hollywood Cartoon (California, 2005) continued on page  February 2017  Candidates Historical Notation Bootcamp continued from page  The history of mu- notational systems Publications: “It’s Not about the Cut: The sic notation, once a through a multi- Castrato’s Instrumentalized Song,” New Liter- ubiquitous compo- modal approach ary History (2015); “What Mr. Jefferson Didn’t nent of most music including singing, Hear,” in Rethinking Difference in Music Schol- Ph.D. programs, transcribing, and arship, ed. Bloechl et al. (Cambridge, 2015); has been less fre- closely reading se- “The Secret of the Secret Chromatic Art,” JM quently taught of lected passages from (2011); co-ed., The Courtesan’s Arts: Cross-Cul- late, even as inter- theoretical treatises. tural Perspectives (Oxford, 2006); Montever- disciplinary inter- Zayaruznaya called di’s Unruly Women: The Power of Song in Early est in the histories it her “most reward- Modern Europe (Cambridge, 2004) of writing, read- ing—and most Awards: Robert Lehman Visiting Profes- ing, and the tech- intense—teaching sor, Villa I Tatti (2017); Jefferson Trust grant nologies of musical experience,” and (2010–12); NEH Fellowship (2007–08); Ruth transmission has Hicks was “deeply A. Solie Award (2007); Radcliffe Institute for been on the rise. The Historical Notation Bootcamp in action. Shown (right impressed and grat- Advanced Studies Fellowship (2001–02) This disconnect was to left): Sarah Koval (University of Toronto), Natalia Perez ified by the partici- the impetus behind (Florida State University), Brian Barone (Boston University), pants’ dedication; Administrative experience: Univ. of Virgin- the Historical Nota- Joseph Rudolph (Fordham University) the pace was de- ia: Diversity and Inclusion Directors Com- tion Bootcamp, an intensive four-day event manding, but the rewards more than repaid mittee (2015–16), Director of Graduate Stud- that took place at Yale University in August the effort.” ies (2012–14), President’s Ad hoc Commit- 2016. Co-conceived and co-taught by Anna The August 2016 event had greater demand tee on Culture and Climate (2014–16); Co- Zayaruznaya (Yale University) and Andrew than the space and available resources could Chair, Charlottesville Cultural Plan Educa- Hicks (Cornell University), the boot camp support, but a second Historical Notation tion and Youth Outreach Task Force (2013– was supported by libraries and departments Bootcamp is being planned for 7–11 August 14); Founder and Director, Arts Mentors Pro- at Yale and Cornell. The twenty participants 2017, to take place in Yale’s newly renovated gram (2012–17) from eleven universities across the U.S. and Beinecke Rare Book and Manuscript Library, AMS activities: Committee on the Status of Canada were introduced to a range of music with support from Cornell. The call for par- Race and Ethnicity in the Profession (2016– notations spanning some five hundred years, ticipants will be published toward the end of present); Committee on Women and Gen- from early neumatic notations to the com- April. Again, the event will be open to gradu- der (Chair, 2010–15); Membership and Pro- plex ars subtilior of the late fourteenth centu- ate students in music history, theory, and fessional Development Committee (2011–13); ry. While knowledge of modern notation was medieval studies as well as undergraduates Council (2004–06); Pisk Prize Committee a prerequisite, no experience with historical headed into or seriously considering gradu- (2003–05, Chair, 2005) notation was required, and the event drew ate study, the aim being to prepare them for a graduate students from a range of disciplines semester-long course on the topic, refreshing including musicology, music theory, art his- a rusty skillset, or providing the groundwork tory, and English. for further self-study. The event was billed as a music paleography —Anna Zayaruznaya and Andrew Hicks News Briefs “crash course,” and its focus was exploring the

The University of Texas at Austin has re- ceived a $5 million gift for the creation, study, and performance of American music. De- tails: news.utexas.edu/2017/01/17/ digital encyclopedia that features the com- • Franz Stieger, Opernlexikon/Opera cata- new-5-million-fund-for-american-music-at- plete second edition of MGG along with up- logue/Lexique des opéras/Dizionario operis- ut-austin. dated entries and new articles. The Editor-in- tico (Tutzing: Schneider, 1975–1983). To mark the centennial of Scott Joplin’s Chief is AMS Corresponding Member Lau- • Bianca Maria Antolini, Dizionario degli 1750 1930 death, a memorial bench will be installed at renz Lütteken (University of Zürich). editori musicali italiani, – (Pisa: 2000 the grave site in Brooklyn, N.Y., on 27 May, Details: rilm.org/mgg-online/. Edizioni ETS, ). after the annual Memorial Concert. Details: rilm.org Details: stmichaelscemetery.com/events/ RILM Music Encyclopedias has added four The Society for Seventeenth-Century Mu- scott-joplin-memorial-concert-bbq/. seminal works to its collection: sic has announced two new or revised vol- • Albert Lavignac and Lionel de La Lauren- umes in its JSCM Instrumenta series: Jeffrey cie, Encyclopédie de la musique et diction- Kurtzman and Anne Schnoebelen, A Cata- Internet Resources naire du Conservatoire. Paris: C. Delagrave, logue of Mass, Office, and, and Holy Week Mu- News 1913–1931. sic Printed in Italy, 1516–1770, rev. January • Gracian Cérnušák, Bohumír Štědroň, and 2017, and Margaret Murata’s Thematic Cat- Bärenreiter and J. B. Metzler, in partnership Zdeněk Nováček, Československý hudeb- alogue of Chamber Cantatas by Marc’Antonio with Répertoire International de Littérature ní slovník osob a institucí (Praha: Státní Pasqualini, 2016. Details: sscm-jscm.org/ Musicale, have created MGG Online, a new Hudební Vydavatelství, 1963/1965). instrumenta/about-jscm-instrumenta/.  AMS Newsletter AMS Grants, Awards, and Fellowships

Descriptions and detailed guidelines for all AMS awards appear at the AMS web site. Travel and Research Grants Awards Paul A. Pisk (graduate student paper at (deadlines 3 April except where noted) (deadlines 1 May except where noted) Annual Meeting), deadline 2 October Philip Brett (LGBTQ Study Group), M. Elizabeth C. Bartlet (research in France) Otto Kinkeldey (book [later career stage]) deadline 15 August Virginia and George Bozarth (research in Lewis Lockwood (book [earlier career Austria) stage]) Fellowships H. Robert Cohen (historical periodical (deadlines 15 December) literature) Claude V. Palisca (edition or translation), deadline 31 January William Holmes/Frank D’Accone (history Howard Mayer Brown (minority graduate study) of opera) Music in American Culture (book [music Jan LaRue (research in Europe) of the U.S.]) Alvin H. Johnson AMS 50 (dissertation year) Janet Levy (independent scholars) Ruth A. Solie (essay collection) Harold Powers (research anywhere) Robert M. Stevenson (article or book Other Grants Ora Frishberg Saloman (criticism and [Iberian music]) Thomas Hampson Fund(research or reception history) H. Colin Slim (article [later career stage]) publication in classic song) Eugene K. Wolf Travel Fund (research in Deadline: 15 August Europe) Alfred Einstein (article [earlier career stage]) Publication Subventions Eileen Southern Travel Fund Roland Jackson (article [music analysis]) Deadlines: 15 February, 15 August (Annual Meeting travel [underrepresented minorities]), deadline 1 June Teaching (pedagogical scholarship) MPD Travel Fund (Annual Meeting travel) Noah Greenberg (outstanding performance deadline 30 June projects), deadline 15 August National Humanities Alliance continued from page 

Additional Grants and Fellowships • Fulbright U.S. Scholar Program appropriations legislation in each House. During this process, we should be prepared • Guggenheim Memorial Foundation Many grants and fellowships that recur on to voice our opposition to decreased funding Fellowships annual cycles are listed at the AMS web site: or the elimination of the NEH. The AMS • Harvard University Center for Italian ams-net.org/grants.php. has already communicated this urgent need Renaissance Studies Grants range from small amounts to members; be on the lookout for additional • Humboldt Foundation Fellowships calls for action this spring. to full-year sabbatical replacement sti- • Institute for Advanced Study, School of AMS members should be aware of the pends. The list of programs includes the Historical Studies NHA’s Campaign for Humanities Funding following: • International Research & Exchanges email list, the purpose of which is to provide • American Academy in Berlin news if Congressional proposals threaten the Board • American Academy in Rome humanities and to provide a way to contact • American Academy of Arts & Sciences • Kurt Weill Foundation for Music elected officials. You may also join the NHA • American Antiquarian Society • Liguria Study Center for the Arts and at Facebook and Twitter. • American Brahms Society Humanities As in past years, AMS Executive Director • American Council of Learned Societies • Monash University, Kartomi Bob Judd will attend the NHA Annual Meet- • American Handel Society Fellowship ing and Humanities Advocacy Day on 13–14 • Berlin Program for Advanced German • National Endowment for the March. This activity draws many humanities advocates from across the country to Wash- and European Studies Humanities • National Humanities Center ington, D.C. Humanities Advocacy Day falls • Camargo Foundation at an especially critical moment this year, Fellowships • Columbia Society of Fellows in the since Congress will not only be negotiating a Humanities • Newberry Library Fellowships budget package for the remainder of FY 2017 • Delmas Foundation • Rice University, Humanities Research but also beginning the process for FY 2018. It • Deutscher Akademischer Austauschdienst Center is crucial that Congress hear from constitu- • Emory University, Fox Center for Hu- • Social Science Research Council ents who support humanities funding. Please manistic Inquiry • University of London, Institute of consider joining us: contact Bob if you are • French Ministry of Foreign Affairs: Musical Research interested. Chateaubriand Scholarship • Yale Institute of Sacred Music —Beatrice Gurlitz, National Humanities Alliance February 2017  Committee News AMS-Music Library Association the survey summarized in the February 2015 ter representatives and up to $250 for special Joint RISM Committee Newsletter (“Should the Annual Meeting events occurring as part of a chapter’s meeting Be Expanded?”), findings will help to guide (for instance guest speakers, guest performers, The Joint RISM Committee continues to future Board deliberations and actions. As student prizes, workshops). For more infor- revamp the U.S. RISM website, looking always, CAM welcomes thoughts and com- mation, please visit ams-net.org/chapters/ at other national sites—U.K., Ireland, and ments from members; please send them to me chapterfund.php or email committee chair France—as models, and providing links to ([email protected]). [email protected]. the RISM Central Office, MLA, and IAML. —Georgia Cowart —Sabine Feisst At the Vancouver Annual Meeting, the joint committee approved a two-year project to Committee on Career-Related Issues Committee on Committees enter data into RISM for the manuscripts of The Committee on Career-Related Issues Although people sometimes laugh when the Stephen Foster, Antonín Dvořák, Ethelbert (CCRI) sponsored four panels at the Van- name of this committee is mentioned, most Nevin, and Adolph Martin Foerster held at couver Annual Meeting: a Master Teacher quickly recognize its important function. the University of Pittsburgh. Following the Roundtable session on interdisciplinary Since the AMS has dozens of committees and project’s implementation, a call to other insti- teaching; one on “The Mid-Career Crisis”; upwards of four hundred committee mem- tutions to suggest similar projects not requir- and a double session devoted to career alter- bers, coordinating committee participation ing external funding will go out, the goal of natives outside academe and how musicologi- is a complex task. This committee is chaired which is that these pilot projects can serve as cal skills can be articulated to students and each year by either the Past President or the a catalyst for future, grant-funded projects on translated to the nonacademic world. President-Elect. The five committee members American music. During our committee meeting we planned pore over position vacancies, member rolls, Sarah Adams, director of the U.S. RISM sessions for next year’s conference and con- volunteers, and nominations, drawing up or- Office, reports that 1,500 new records for sidered how best to meet the wide range of dered lists of potential committee members manuscripts held in the U.S. have been career-related issues among the AMS mem- each spring. Invitations are sent in early sum- added into Series A/II in 2016. These include bership. We heard from independent scholar mer, and committees are finalized in August manuscripts from the Music and Houghton Tekla Babyak about how the Society might each year. libraries at Harvard University, the Pierpont better support independent scholars. Our I would like to express my deep appre- Morgan Library, and the Moravian Music discussion yielded a sense that local chapters ciation to those who have so generously said Foundation. Records of the holdings of the might be the best vehicle for this effort, and “yes” when the invitations have come—it is Music Treasures Consortium have now been we look forward to working with chapter rep- most gratifying to witness the commitments incorporated in RISM, along with digital im- resentatives on this important issue. Details of you all, and often your committee work is ages when available. The move to MUSCAT, about our Rochester sessions will appear in neither quick nor easy. The Board and AMS RISM’s new cataloging software, was com- the August AMS Newsletter. office do, however, try their best to make this pleted in November 2016. The committee also plans to implement service as drudge-free and rewarding as pos- —James P. Cassaro changes to the Annual Meeting “buddy sible. Thank you for your work! mixer” and CV and cover letter workshop to It is not too late to offer to serve on a com- Committee on the Annual Meeting make them as effective as possible. We know mittee next year. Send nominations and self- that the career development and job-seeking The AMS Rochester 2017 program committee nominations directly to me (eharris@mit. skills the CCRI provides each year serve an received about 700 proposals. The program edu). Identify one or more committees you’re important function for graduate students and will be finalized in mid-April; further details interested in joining, and kindly include a young professionals. The idea of offering out- of the Rochester timetable may be found CV. side, unbiased advice while also conveying to at ams-net.org/rochester/. The Committee —Ellen Harris job seekers best practices in innovative ways is on the Annual Meeting (CAM) continues crucial to success in an increasingly competi- Communications Committee to oversee the selection of study group and tive musicology job market both inside and committee guest speakers. This year CAM Since the Vancouver Annual Meeting, the outside of academia. As we work to imple- received and approved only one application, Communications Committee has been busy ment these initiatives, we need to hear from from the AMS Planning Committee on Race on a number of fronts. The Society’s two you so that we can address your most pressing and Ethnicity in the Profession, and will be semiannual lecture series—sponsored by the concerns. Please contact me (susan.key01@ looking at ways to encourage more applica- Library of Congress and the Rock and Roll tions in the future. Recent CAM discussions gmail.com). Hall of Fame and Museum (RRHOFM)— have addressed the size and scope of the An- —Susan Key have continued their successful programs. In nual Meeting, including ideas for revising Chapter Activities Committee October at the Library of Congress Dominic the abstract review process. Along with the McHugh (Sheffield University) presented “In Board, CAM will continue to consider pos- The Chapter Activities Committee wishes to the Workshop of Lerner and Loewe: Archi- sibilities for a more inclusive program. To this remind members of the opportunities that the val Sources for the Genesis of My Fair Lady,” end we are polling selected sister societies as Society offers for academic and professional and in December at the RRHOFM Steven to their number of sessions, number of con- development through the Chapter Fund. Baur (Dalhousie University) offered “Toward current sessions, length of sessions, and per- These include supporting half the cost of the a Cultural History of the Backbeat.” Both centage of proposals accepted. Together with trip to the Annual Meeting for student chap- speakers were received warmly and gave the  AMS Newsletter sort of stimulating and publicly accessible ter pages continue to increase their audiences, ulty members demonstrated a marked sec- talks that sustain these series. with 3,950, 2,650, and 3,900 subscribers/fol- ondary preference for alternative forms of Proposals for future lectures at both venues lowers respectively. meeting (such as arranging private meetings have been of such quality that speakers are —Roger Freitas with prospective students or inviting pro- already scheduled well into the future. (For spective students to program receptions or details about the spring and fall presentations, Committee on Cultural Diversity parties). Present and future programming at see p. 4.) We are very grateful to Jason Hanley Ten 2016 Eileen Southern awardees were the Annual Meeting also was discussed, in- (liaison at the RRHOFM) and Caitlin Miller welcomed at the Vancouver Annual Meeting cluding plans for a session at the 2017 Roch- (liaison at the Library of Congress) for the by previous award winners, past and present ester meeting titled “The Dissertation and gracious welcome they offer our speakers and holders of the Howard Mayer Brown Award, Your Job.” Other discussion items included: for their invaluable input into the selection and past and present members and support- revisiting the format for the annual graduate process. ers of the Committee on Cultural Diversity student reception (open reception style or The past several months have seen ma- (CCD) and Howard Mayer Brown Award job-fair style with staffed tables), whether to jor changes at the Society’s blog, Musicology Committee. We were delighted to have re- revive the Sunday morning meeting of direc- Now. As Ellen Harris explained in an email ceived an exceptionally high number of appli- tors of graduate study (which last took place last fall, the curatorship of the blog has been cants in 2016, and happy to report that they in 2007, “The Role of the Master’s Degree in significantly expanded. The group now in- came from all parts of North America. We Musicology”). cludes Ryan Raul Bañagale, Bob Fink, Andrea hope to increase this number still further with —Daniel J. DiCenso and Berthold Hoeckner Moore, and Susan Thomas. Under this team, the addition to the CCD website of “how-to” Musicology Now continues to engage both tips from previous winners. Watch for details Committee on the Publication of the academic community and general public at ams-net.org/committees/ccd/. American Music with lively and thoughtful posts once or twice Looking ahead, the CCD invites AMS MUSA, the AMS-sponsored forty-volume se- a week. Most recently these have included a members to continue spreading the word ries representing the full range of genres and consideration of public musicology on the about this important award. We hope to draw idioms in American Music, has been under- internet by Linda Shaver-Gleason, a consid- in applicants from a broader range of U.S. way since 1987. It continues strongly under eration of “George Michael’s Queer Mascu- and Canada post-secondary institutions. At the guidance of Executive Editor Andrew linity” from Matthew J. Jones, and a series the same time, we look forward to addressing Kuster. I am pleased to announce that two of “Quick Takes” on the score of Rogue One issues of diversity by co-hosting the panel ses- new volumes in the series Music of the United from James Buhler, Frank Lehman, Brooke sion, “Diversity through the Pipeline,” at the States of America (MUSA) will be ready for McCorkle, and Naomi Graber. Moving for- Rochester meeting in conjunction with the publication later this year. They are George ward, the curatorial team is considering a AMS Pedagogy Study Group and the Com- Whitefield Chadwick: The Padrone, edited by number of proposals to upgrade and enhance mittee on Women and Gender. Marianne Betz, and Joseph Rumshinsky: Di Musicology Now, including new layouts, more —Remi Chiu and Erika Honisch 1923 integrated multimedia, and possible harness- goldene kale ( ), edited by Michael Ochs. ing of social media. The team is continually Graduate Education Committee Editorial work continues to move forward looking for new voices on the blog; anyone with the MUSA editions of Eubie Blake and The Graduate Education Committee (GEC) Noble Sissle: Shuffle Along (1921), edited by interested in writing for Musicology Now or continues its work with directors of graduate recommending a possible blog topic or con- Lyn Schenbeck and Lawrence Schenbeck; studies to support graduate programs, current John Cage: Concert for Piano and Orchestra, tributor should contact the editorial collective graduate students, and prospective graduate Solo for Piano (realization by David Tudor), at [email protected]. I would es- students. The GEC met at the Vancouver An- edited by John Holzaepfel, and Songs from the pecially like to thank Drew Massey, who has nual Meeting and hosted a successful recep- British-Irish American Oral Tradition as Re- recently stepped down as Musicology Now cu- tion for prospective graduate students with corded in the Early Twentieth Century, edited rator, for his dedicated service since fall 2015. over eighty prospective students and directors by Norm Cohen, Carson Cohen, and Anne The Newsletter continues to flourish under of graduate study in attendance. Directors of Dhu McLucas. the committed editorship of James Parsons, graduate study announced their participation In 2016 COPAM commissioned several and the AMS-L discussion likewise remains in the reception ahead of the annual meeting new MUSA editions, including Orchestral active, relying on the dedication of its mod- and the list of participating institutions was Pieces of George Rapp’s Harmony Society, 1810– erators, Blake Howe (lead), Teresa Neff (past), published on the AMS web site ahead of the 1833, edited by Nikos Pappas, and Spirituals, and Nathaniel Lew (assistant). AMS-L cur- meeting, and feedback suggests that faculty edited by Sandra Graham. rently has 2,268 subscribers, about two hun- and prospective students found this year’s re- COPAM recently submitted a new grant dred more than last year. The past year has ception an improvement. At the committee proposal to the NEH to fund MUSA for the seen many lively discussions—most memo- meeting itself, discussion items included a re- years 2017–2020, and we anticipate hearing rably a thread on “music that sounds cold” view of the data from our survey of directors the results this summer. Take a look at our (February 2016), which generated well over of graduate study and prospective graduate new Facebook page and Twitter feed, face- a hundred responses. Other discussions have students. The aggregate data based on nearly book.com/musaeditions/ and @musaedi- been more heated, prompting the Commu- sixty responses showed a strong preference tions, if you get a chance. Full details about nications Committee to reevaluate AMS-L’s for continuing the reception for prospective MUSA are at our web site, ams-net.org/ posting guidelines and to consider alternative graduate students as the primary means of MUSA/. technologies for online discussion. (More in- facilitating communication between prospec- —Amy C. Beal formation will soon be forthcoming.) AMS- tive students and directors of graduate study. Announce and the AMS Facebook and Twit- However, as a subgroup of respondents, fac- continued on page  February 2017  Committee News David Beach, The Late Instrumental Music of Carolina (University of Illinois Press); sup- Franz Schubert: A Theorist’s Perspective (Uni- ported by the Lloyd Hibberd Endowment continued from page  versity of Rochester Press); supported by the Valerio Morucci, Baronial Patronage and Mu- Otto Kinkeldey Endowment Committee on the History of the sic in Renaissance and Early Baroque Rome Society Harriet Boyd-Bennett, The Politics of Opera in (Routledge); supported by the Gustave Re- Postwar Venice (Cambridge University Press); ese Endowment The Committee on the History of the Soci- supported by the AMS 75 PAYS Endowment ety continues its oral-history initiatives, and Lonán Ó Briain, Musical Minorities: The has secured agreements from many members Rogerio Budasz, Opera in the Tropics: The- Sounds of Hmong Ethnicity in Northern Viet- to record interviews. As always, the record- ater and music in early-modern Brazil (Oxford nam (Oxford University Press); supported by ings are transcribed, and the documents de- University Press); supported by the Lloyd the AMS 75 PAYS Endowment posited in the Society’s Archives at the Uni- Hibberd Endowment Nathan Platte, Making Music in Selznick’s versity of Pennsylvania. Please welcome our Joanne Cormac, Liszt and the Symphonic Hollywood (Oxford University Press); sup- new archivist, Liza Vick, University of Penn- Poem (Cambridge University Press); support- ported by the AMS 75 PAYS Endowment sylvania music librarian, and please extend ed by the Claire and Barry Brook Endowment warm thanks to outgoing archivist Richard Katherine Preston, Opera for the People: Eng- lish-Language Opera and Women Managers in Griscom. Jonathan De Souza, Music at Hand: Instru- Late 19th-Century America (Oxford Universi- We also maintain our new, dedicated com- ments, Bodies, and Cognition (Oxford Uni- ty Press); supported by the Claire and Barry mittee web page and a page therein dedicated versity Press); supported by the AMS 75 Brook Endowment to an inventory of current and former Society PAYS Endowment members’ papers; for both initiatives, we have Kelly St. Pierre, Bedřich Smetana: Myth, Mu- Joseph Dyer, The Scientia artis musice (1274) outgoing committee member Jim Zychowicz sic, and Propaganda (Boydell & Brewer); sup- of Hélie Salomon: Teaching Music in the Late to thank. Thanks, Jim! ported by the AMS 75 PAYS Endowment The Committee is also discussing several Thirteenth Century (Routledge); supported by additional initiatives, all dedicated to record- the Kenneth Levy Endowment Joshua Walden, Musical Portraiture: The Com- ing and celebrating the history of the Society position of Identity in Contemporary and Exper- Stefan Fiol, Recasting Folk: Music, Media, and and the practice of the discipline. These are: imental Music (Oxford University Press); sup- Social Mobility in the Indian Himalayas (Uni- ported by the Manfred Bukofzer Endowment • A partnership with other AMS committees versity of Illinois Press); supported by the and study groups. For example, a partner- AMS 75 PAYS Endowment Marianne Wheeldon, Debussy’s Legacy and the ship with the Committee on Career-Re- Construction of Reputation (Oxford Universi- Angela Fiore, Musica nelle istituzioni religiose lated Issues might illuminate some of the ty Press); supported by the Dragan Plamen- femminili a Napoli (1650–1750) (Peter Lang); ever-emerging alternatives to familiar aca- ac Endowment supported by the AMS 75 PAYS Endowment demic careers, where musicologists make In accordance with the Society’s procedures, important contributions to the discipline Andy Flory, I Hear a Symphony: Motown these awards were recommended by the Pub- within the context of a different kind of and Crossover R&B (University of Michigan lications Committee and approved by the professional work Press); supported by the Dragan Plamen- Board of Directors. Funding for AMS sub- • A partnership with local chapters ac Endowment ventions is provided through the National • A partnership between the committee and Endowment for the Humanities, the Andrew Jonathan Glixon, Mirrors of Heaven or Worldly Grove Music Online, specifically on the en- W. Mellon Foundation, and the generous Theatres?: Venetian Nunneries and Their Music tries by AMS members, perhaps updating support of AMS members and friends. Those (Oxford University Press); supported by the outdated entries, or adding new entries, interested in applying for AMS publication Margarita M. Hanson Endowment especially to capture crucial developments subventions are encouraged to do so. See the in the discipline, including new method- Dana Gooley, Sounding Side-ways: Improvisa- program descriptions for full details (ams-net. ologies and diverse perspectives on the col- tional Aesthetics in Nineteenth Century Music org/pubs/subvention.php). Deadlines are 15 lective musicological enterprise (Oxford University Press); supported by the August and 15 February each year. • Finally, a major conference or study day Gustave Reese Endowment —Caryl Clark devoted to a comprehensive “stock-taking” at this juncture in the discipline’s history. Erinn Knyt, Ferruccio Busoni and his Legacy Planning Committee on the Status It is envisioned that the conference would (Indiana University Press); supported by the of Race and Ethnicity in the be live-streamed, and the presentations AMS 75 PAYS Endowment Profession and colloquy published. Gerhard Kubik, Jazz Transatlantic I and II The AMS Board of Directors created a Plan- Society members are invited to contact the (University Press of Mississippi); supported ning Committee last summer to consider committee with ideas and suggestions. Visit by the Manfred Bukofzer Endowment issues of race, ethnicity, and the profession us at ams-net.org/committees/history/. of musicology. It is co-chaired by George Samuel Llano, Discordant Notes: Marginality —Anthony M. (Tony) Cummings Lewis (Columbia University) and Judy Tsou and Social Disorder in Madrid, 1850–1930 (Ox- (University of Washington); other members Publications Committee ford University Press); supported by the Otto are Naomi Andre (University of Michigan), Kinkeldey Endowment In fall 2016, the Publications Committee Mark Burford (Reed College), Bonnie Gor- awarded subventions to twenty-three books Stephen A. Marini, The Cashaway Psalmody: don (University of Virginia), Mark Katz for a total of $38,500: Transatlantic Religion and Music in Colonial (University of North Carolina at Chapel  AMS Newsletter Hill), Tammy Kernodle (Miami University), an implicit bias training session and work- Alison Furlong; Eduardo Hererra; Emily Alejandro Madrid (Cornell University), and ing with Joy H. Calico, Editor-in-Chief of Richmond Pollock; and Marysol Quevedo. Steven Swayne (Dartmouth College). JAMS, to produce an issue on critical race As we continue into our eleventh year, we The committee convened a special session theory. invite conversation among scholars across at the Vancouver Annual Meeting (and live- Obviously, there is much work to be done musicology’s subdisciplines and geopolitical streamed) titled “Race, Ethnicity, and the in the coming years. Thanks to everyone for routes. If you would like to join our email Profession.” Chaired by Lewis and Tsou, it your ideas for making the AMS a more inclu- list and learn more about our activities, please included short comments by Ellie Hisama sive society. visit ams-net.org/cwmsg. (Columbia University), Mark Burford, and — Judy Tsou —Andrea F. Bohlman Bonnie Gordon. (They are available at mu- sicologynow.ams-net.org/2016/11/colloquy- Committee on Technology LGBTQ Study Group race-ethnicity-and-profession.html.) A lively The Committee on Technology continues to In conjunction with the AMS Annual Meet- discussion ensued, with forty-three com- discuss new modes of scholarship, teaching, ing in Vancouver, the LGBTQ Study Group ments from the audience and online partici- and communication as they relate to musicol- organized the symposium “Race-ing Queer pants. The six major themes were: ogy, and indeed the humanities at large. The Music Scholarship.” Keynote speakers were • AMS Program and Award Committees Board recently approved our document AMS Alisha Lola Jones and Deborah R. Vargas, - More methodological diversity in evaluat- Best Practices in Digital Scholarship, which in- performers Teiya Kasahara (voice) and Rachel ing paper proposals and award publications cludes useful advice for publishers and editors, Iwaasa (piano), and thirteen scholarly papers - Encouragement for diverse and group university hiring and promotion committees, were presented in four sessions. Fifty people submissions graduate (and undergraduate) program direc- arrived early to attend symposium events, - Annual critical race theory session tors, and individual musicologists. Available which began the day before AMS, and includ- • Education/Training at ams-net.org/committees/technology/, the ed a session during the Society’s meeting. The - Toolkit to teach people about document provides links to other helpful program committee consisted of a represen- micro-aggression resources: indices of digital music projects, tative from the AMS, SMT, and SEM study - Free implicit bias sessions at AMS guidelines for fair use in the digital domain, groups dealing with gender and sexuality. The - Reading list on these issues guides for evaluating digital work, and perti- symposium was sponsored by the Univer- • JAMS nent conferences and workshops. sity of British Columbia and supported by a - JAMS could be a place for critical race/ At the Vancouver Annual Meeting, we con- $14,000 Social Sciences and Humanities Re- colonialism/bias scholarship sidered the growing need for training in digi- search Council grant from the Canadian gov- - JAMS could be more flexible on the length tal methods, the importance of accessibility ernment. See ams-lgbtq.org/race-ing-queer- of published articles to accommodate pa- and principles of Universal Design (www.udl- music-scholarship/ for full details. pers on racial and social justice issues center.org), and ideas for innovative uses of We awarded the Philip Brett Award for ex- - Need methodological diversity in peer digital technology at the Annual Meeting. We ceptional musicological work in the field of review welcome your views on these or any topics lesbian, gay, bisexual, and/or trans* studies to • Mentoring and Safe Spaces related to the committee’s charge. For more William Cheng for Just Vibrations: The Pur- - Need safe spaces for scholars of color to information, visit ams-net.org/committees/ pose of Sounding Good (2016) and to Christina discuss issues such as sexism, racism, and technology/. Sunardi for Stunning Males and Powerful Fe- ableism —Richard Freedman males: Gender and Tradition in East Javanese - Provide online comment boxes for people Dance (2015). who don’t want to speak in front of an Study Group News —Heather Hadlock and Stephan Pennington audience • Society History and Statistics Cold War and Music Study Group Music and Dance Study Group - Gather general society race and gender sta- At the Vancouver Annual Meeting the Cold The Music and Dance Study Group (MDSG) tistics and those on minority participation War and Music Study Group (CWMSG) had a full program in Vancouver, with three - Gather oral history from diverse members hosted an alternative-format panel, “Lost events in addition to our business meeting. Next steps: Repertories of the Cold War Era.” The session Two were collaborations with our colleagues • Working with the AMS Board to form focused on questions of Cold War canonicity from the SMT Dance and Movement Interest a permanent committee with a diverse and “lost music.” Joy H. Calico, Hyun Kyong Group. Rebecca Simpson-Litke led an excit- membership Hannah Chang, Brian Locke, and Lisa Coo- ing Salsa class for our combined membership, • Planning a critical race theory and music per Vest structured their presentations around and Matilda Butkas-Ertz convened members session for next year’s Annual Meeting. ten-minute listening sessions, after which Ali- of both societies to exchange ideas for build- Legal theorist Cheryl I. Harris (Univer- son Furlong and Danielle Fosler-Lussier con- ing a range of music-dance class syllabi. Our sity of California, Los Angeles), who pur- tributed a lively discussion that foregrounded evening panel, supported by an AMS grant, sues connections between racial theory, pedagogy and accessibility. presented Thomas DeFrantz (Duke Univer- civil rights practice, politics, and human The CWMSG celebrated its ten-year anni- sity) in a talk entitled “Asked and Answered: rights, will be the guest speaker. William versary in Vancouver with a happy hour. The Black Social Dance and its Musics.” Cheng (Dartmouth College) and Alisha newly elected committee—Andrea F. Bohl- Our plans for next year’s Rochester Annual Lola Jones (Indiana University) will be the man, chair; Anicia Timberlake; Michael Uy; Meeting include collaborating with the AMS respondents. Lisa Cooper Vest; and Alyssa Wells—offers LGBTQ Study Group on a panel to explore • Other nascent initiatives include working thanks on behalf of the entire CWMSG to intersections between dance studies and queer with AMS President Martha Feldman on the outgoing committee, Elaine Kelly, chair; continued on page  February 2017  Study Group News ideas, and inspire innovative approaches to call for papers deadline for the Rochester the traditional music history survey. Panel- 2017 PMSG session is 15 April 2017 (see continued from page  ists Vilde Aaslid, Ryan Bañagale, Gwynne ams-net.org/studygroups/pmsg). music studies, and holding an eighteenth- Kuhner Brown, and John Spilker tailored Daniel Goldmark has again agreed to century social dance workshop with live their talks to engage audience participation, host the PMSG Junior Faculty Symposium music led by Carol Marsh. discuss the limitations and strengths of the at Case Western Reserve University, which 2018 We welcome Megan Varvir Coe to the traditional survey, and assess the possibili- will take place in summer . PMSG steering committee as our new secretary ties and mechanisms for change. thanks the mentors who participated in 2016 and thank our co-founder and former sec- The next issue of the Journal of Music the successful workshops: Susan Fast, retary Sam Dorf for his amazing work since History Pedagogy is scheduled for Spring Mary Francis, Daniel Goldmark, Eric 2017 the study group’s inception. . The following two issues will address Hung, Tammy Kernodle, and Stephanie We invite dance-research enthusiasts to special topics to align music history peda- Shonekan. join our Facebook page and listserv, and gogy and the rapidly changing social and At the Vancouver PMSG business meet- contribute to our database of music and political environment. Rachel Mundy will ing members thanked Chair Eric Hung for dance bibliographic sources. Full details on guest edit an issue on Ecocriticism, and his dedicated service and his initiatives in all of our activities are available at ams-net. Maria Cristina Fava will guest edit “Teach- junior faculty mentorship and the develop- org/studygroups/mdsg/. We also welcome ing Music History in a Multicultural Envi- ment of bibliographic and pedagogic re- suggestions for future activities, conference ronment.” As always, we welcome not only sources. I was elected as his successor for a postings, and the like. Send your ideas to submissions of article-length essays, but two-year term. Mandy Smith was re-elected [email protected]. also shorter essays, roundtables, and work as web site administrator, and Jarryn Ha —Sarah Gutsche-Miller employing alternative formats. The JMHP will manage the PMSG Facebook page. editorial board recently instituted the posi- —Albin Zak Music and Disability Study Group tion of Associate Editor, to assist the Edi- Five additional AMS Study Groups have no The Music and Disability Study Group tor-in-Chief during their final year and take over as Editor-in-Chief the year following. report at this time: (MDSG) recently elected Jessica Holmes • Ecocriticism as co-chair, who will assist continuing JMHP questions may be addressed to Ste- phen Meyer, Editor-in-Chief (meyer2sc@ • Ibero-American Music chair Samantha Bassler with study group • Jewish Studies and Music administrative duties, including planning ucmail.uc.edu). The 2017 Teaching Music History Con- • Ludomusicology and organizing the session at the Roches- • Music and Philosophy ter Annual Meeting. MDSG Chairs serve ference will take place in Boston 9–10 June at Berklee College of Music. Organizers are For the latest news about all eleven AMS for three years, one year with a continuing Study Groups, please visit ams-net.org/ chair, one on their own, and another with a John Spilker and Alex Ludwig, while Sim- one Pilon and Alex Ludwig are overseeing studygroups/. Each study group maintains an newly-elected chair. Other new leadership email network and web page, and participates 2017 local arrangements. Trudi Wright is chair- roles for include secretary/treasurer at the Annual Meeting each year. Beth Keyes and blog editor James Deaville. ing the program committee. Conference Michael Accinno continues as social media information and the call for proposals may officer. be found at MDSG’s session topic for Rochester will teachingmusichistory.com/tmhc2017/. RILM News At the Vancouver PSG business meeting, be music, disability, and intersectionality; The AMS established the Lenore Coral Kimberly Beck Hieb was elected secretary- our call for papers is forthcoming (mu- Endowment fund in 2005 to help sup- sicdisabilitystudies.wordpress.com). We treasurer. We thank Kevin Burke for his ser- port the US-RILM office to continue its invite all who are interested in music and vice and leadership in this role. Two ad-hoc work: building our discipline’s most fre- disability studies to attend our Rochester committees have been formed: the Diver- quently used and respected bibliographic session, and to subscribe to and contribute sity and Inclusion Committee (co-chaired tool. More than 6,100 new records sent to the blog and DISMUS-L. To join, please by Sara Haefeli and Kunio Hara) and the to RILM Abstracts in 2016 came from visit our web site where you also will find Adjunct Support Committee (chaired by the US-RILM office at Cornell Univer- information about music and disability re- Reba Wissner). sity. I encourage readers to contribute to search, MDSG activities, mentorship net- —John Spilker the Lenore Coral Endowment and sup- works, and works-in-progress blog entries. port US-RILM’s vital work. For details —Samantha Bassler and Jessica Holmes Popular Music Study Group on how to contribute, please see ams- At the Vancouver Annual Meeting the Pop- net.org/endowments/coral.php. Pedagogy Study Group I also invite readers to visit rilm.org/ ular Music Study Group (PMSG) spon- submissions and submit abstracts of At the Vancouver Annual Meeting, the sored a noontime panel and an evening your publications. Alternatively, send Pedagogy Study Group (PSG) sponsored session devoted to musical artifacts. The them directly to Julie Schnepel at the an alternative format session, “Experiment- evening’s keynote address was delivered by US-RILM office: [email protected]. ing with the Canon: New Approaches to Jasen Emmons, Curatorial Director of the —Jessie Ann Owens, US-RILM the Music History Survey,” the purpose Experience Music Project, with the support Governing Board Delegate of which was to explore possibilities, share of the AMS Fund for Guest Speakers. The

 AMS Newsletter Papers Read at Chapter Meetings, 2015–16 Allegheny Chapter Anne Briggs (Wichita State University), Barry Wiener (Graduate Center, CUNY), 17 October 2015 “Fado: Origin Narratives and Female “‘Young Classicality’ [Junge Klassizität] and West Virginia University Azorean Immigrants” German Cultural Chauvinism” Matthew Baumer (Indiana University of Catherine Coppola (Hunter College), “Fear Brian F. Wright (Fairmont State University), Pennsylvania), “Who Benefits from a Benefit of Feminine Power: Hillary Clinton and the “Stigmatizing the Electric Bass in Jazz in the Concert? Music and Philanthropy in 1980s Queen of the Night” 1950s” Pittsburgh” David Hurwitz (Classicstoday.com), “The Vi- Mark Durrand (University at Buffalo, brato Monologues: Sexual Politics and Ex- SUNY), “The Menace of Music in Sergio pressive String Timbre” Leone’s Once Upon a Time in the West (1968): Capital Chapter 13 February 2016 Exploring Implications of Embodied Music 16–17 October 2015 Columbia University and a Musical Embodiment” University of Richmond Hyun Joo Kim (Indiana University), “Liszt’s Jointly with Southeast Chapter Jane Sylvester (Eastman School of Music, Conscientious and Creative Renderings University of Rochester), “Veiled Muse, Po- of Cimbalom Playing in his Hungarian Papers listed with Southeast Chapter. etic Collaborator: Infusions of Luise Hensel Rhapsodies” in Wilhelm Müller and Franz Schubert’s Set- Jane Hines (Princeton University), “Brahms 9 April 2016 tings of Die schöne Müllerin” the Modernist: Historical Influence in the American University Robert Butts (Montclair State University), “The Thousand Hurts of Fortunato: Trans- First Sextet” Anna Brashears (Catholic University of forming Gender Expectation in Adapting Matt Baumer (Indiana University of Pennsyl- America), “Focalization in Two Songs from Edgar Allan Poe’s Short Stories into Cham- vania), “‘Same as it ever was?’ The Content Schumann’s Kerner Liederreihe: Agony and ber Operas” of Undergraduate Music History Curricula Healing through the Act of Storytelling” 2011 2012 Alexander K. Rothe (Columbia University), in – ” Gretchen Carlson (University of Virginia), “Ruth Berghaus’s Vision of Wagner in the Ewelina Boczkowska and Randy Goldberg “Jazz Goes to the Movies: Improvised Film Frankfurt Ring Cycle (1985–1987)” (Youngstown State University), “Reinvent- Scores in Contemporary Cinema” Jeff Dailey (Five Towns College), “The Dance ing the Music History Core Sequence: Goals Matthew Franke (Howard University), “Be- of Heresy—Music for the Female Pope” and Strategies” yond Pastiche: The Descending Tetrachord Travis Stimeling (West Virginia University), in Massenet’s Manon” Martha Sullivan (Rutgers University), “Cold “Literacy, Critical Thinking, and the Gradu- Comfort: Musical Markers of Alterity and Justin T. Gregg (Georgetown University), ate Music History Classroom” the Transmission of Female Agency in “The Evolution of the Flute Family as the Rimsky-Korsakov’s Snegurochka” Jonathan Shold (University of Pittsburgh), ‘Outsider’ in Gustav Mahler’s Wunderhorn “Is Nothing Sacred? Rossini’s Mosè in Egitto Symphonies” John Covach (University of Rochester), “It’s a (1818) as a Secular Requiem” Man’s World? The Supremes in 1964” Thomas Rohde (Catholic University of Amer- Jon Churchill (Pennsylvania State Universi- ica), “Brazilian Nationalist Representation Barry Wiener (City University of New York), ty), “Vaughan Williams and Musical Safety: in the Text and Musical Setting of Heitor “Ursula Mamlok: The Path to the New Mu- The Locus Amoenus in Symphony no. 3” Villa‐Lobos’s Choros No. 10: ‘Rasga o coração’ sic, 1960–63” 19 March 2016 (Tear Open my Heart)” 30 April 2016 Chatham University Laura Youens (George Washington Univer- Center for Remembering and Sharing Antonella Di Giulio (University at Buffalo, sity), “The Sad Case of ‘Si par souffrir’” Vincent E. Rone (St. Peter’s University), “A SUNY), “Deictic Spaces and Form-Meaning Aaron Ziegel (Towson University), “Arthur Curious Case of Inculturation: Jean Lan- Pairings in Twentieth-Century Works” Nevin and the Singing Soldiers of Camp glais, Joseph Gelineau, and Vatican II” Laura Dallman (Indiana University), “The Grant: World War I, Vocal Camaraderie, William E. Hettrick (Hofstra University), Surface and Beyond: Quotation and Allu- and A Choir of 40,000” “The Saga of John J. Swick: A Colorful Epi- sion in Daugherty’s Orchestral Works” sode in the History of American Piano Man- Julie VanGyzen (University of Pittsburgh), Greater New York Chapter ufacturing and Music Trade Journalism” “Listening for Hope: Listening and Resis- Nicole Vilkner (Rutgers University), “The tance During the Occupation of France” 24 October 2015 Hunter College Urban Routes of Boieldieu’s La dame blanche Garreth Broesche (University of Houston), in Nineteenth-Century Paris” “Are Recordings Forgeries?” Eric Hung (Rider University), “The History Lawrence Ferrara (New York University), Adam Shoaff (University of Cincinnati), and Politics of Water through Music and Dance: The Mendelssohn Club of Philadel- “Counting Musical Elements: Corpus Anal- “Rousseauian Aesthetics and the Rebirth of ysis in Musicology” German Opera” phia’s Performance of Turbine” Styra Avins (New York, N.Y.), “Delving into Juan Fernando Velásquez (University of Pitts- Nathaniel Sloan (Fordham University), “Har- old Arlen and Tin Pan Politics” the Archives: Reassessing Brahms’ Letters burgh), “(Re)Sounding Urban: Symphonic and the Hunt for More” Bands, Modernity, and Public Space in Me- Jeff Dailey (Five Towns College), “Exploring dellín, Colombia (1863–1910)” the Meaning of Utopia, Limited ” continued on page  February 2016  Papers Read at Chapter Meetings Lynn Hooker (Indiana University), “The Trevor R. Nelson (Michigan State Universi- Girls of the Rajkó Ensemble: Gender, Race, ty), “Smyth in Context: Feminism, Morality, continued from page  and Music Education in State-Socialist and The Wreckers” Hungary” Gregory Walshaw (Emmanuel College, Uni- Reba Wissner (Montclair State University), Robert Kendrick (University of Chicago, versity of Toronto), “A Cry from the Soul: Outer Limits “ and The Musical Undermin- Newberry Library), “Update on Music Col- Charles Mingus, ‘Ecclusiastics,’ and Beneath ing of Women’s Agency” lections at The Newberry Library” the Underdog ” Thomas Kernan (Roosevelt University), “Re- Peter Moeller (Ohio State University), “Va- Mid-Atlantic Chapter examining the Relationship Between Social riety within Unity: Sanctus sanctorum Justice and Music at Roosevelt University’s exultatio” 17 October 2015 Chicago College of Performing Arts” Curtis Institute of Music Rachel McNellis (Case Western Reserve Uni- Lydia Snow (Northeastern Illinois Univer- versity), “Performance of the Visual and Par- Benjamin Krakauer (Temple University), sity), “Raising Hell Against Rankism: The ticipation in the Divine: Sacred Representa- “Innovations in Bluegrass Music during the Struggle for Adjunct Justice at Northeastern tion in Cordier’s Tout par compas” Nineteen Seventies: Negotiations of Musical Illinois University” Brian MacGilvray (Case Western Reserve Aesthetics and Social Values” Trent Leipert (University of Chicago), “The University), “Claude Le Jeune’s Subver- Ji Yeon Lee (City University of New York), Submerged Subject of Video-Opera: Fausto sion of musique mesurée in his Chansons on “Climax Structure in Verismo Operas” Romitelli’s An Index of Metals” Vanity” Katherine Kaiser (Allentown, Pa.), “Listening Andrea Keil (Bowling Green State Univer- Peter Graff (Case Western Reserve Universi- sity), “Music Toward Spiritualization: The ty), “Cleveland’s Lost Sheep: Russian Jewish and Voice in Early Musique Concrète” Transformative Process of Tone Eurythmy Immigrants and the Systematization of As- Kassandra Hartford (Muhlenberg College), and Augusta Read Thomas’s Eurythmy Etudes similation at the Globe Theater” “Listening to the Din of the First World for Solo Piano no. 1, ‘Still Life’” Ryan Ebright (Bowling Green State Universi- War” Lee Copenhaver and Gabriel Ellis (Grand ty), “Operatic Entrepreneurship and Icono- Aimee Gonzalez (University of Florida), Valley State University), “Music Video in clasm in Steve Reich’s The Cave” “Saints, Sons, and Sovereignty: Mouton’s a New Light: The Color of Music and the Stephen Meyer (University of Cincinnati), Gloriosa Virgo Margareta in the Court of Music of Color” “The Politics of Authenticity in Miklós Anne of Brittany” Nathan Landes (Indiana University), “Metal­ Rózsa’s Score to El Cid ” Lily Kass (University of Pennsylvania), “Brit- core and the Relative Nature of Mundane John Sienicki (Grand Rapids, Mich.), ish Patriotism Sung in the Italian Style” and Trangressive Subcultural Capital” “Schubert in Outer Space: Rare Examples of Molly McGlone (University of Pennsylvania), Nathan Reeves (Northwestern University), Iconic Western Music in Bollywood Films” “The Sounds of Philadelphia’s Class Divide: “Sirens in the Cloister: Disembodied Voic- Sara Gulgas (University of Pittsburgh), A Case Study of Music Education in West es of Power and Protest in Early Modern “Memories of an Imagined Past: Baroque 1950 1970 Philadelphia – ” Naples” Rock’s Postmodern Nostalgia” Scot Buzza (Xavier University), “Rhythmic Midwest Chapter Structure in the Compositional Process of Baldassare Galuppi” New England Chapter 3–4 October 2015 3 October 2015 John Romey (Case Western Reserve Univer- Roosevelt University Amherst College sity), “Seventeenth-Century Opera Parody at the Comédie-Française: Evidence for the Maia Perez (Boston University), “Arnold Ian Wentworth Nutting (Cincinnati, Oh.), Appropriation of a Street Practice” Dolmetsch against Antiquarianism: The De- “Beethoven, Hope, and Light: An Analysis velopment and Endurance of Period Instru- Lisa Feurzeig and Nikolaus Schroeder (Grand of Beethoven’s ‘An die Hoffnung’ op. 32 and ment Revival Ideologies” op. 94” Valley State University), “William Henry Pommer’s Musical Style: Cross-Relations of Ellen Exner (New England Conservatory/ Marian Wilson Kimber (University of Iowa), Genre, Ethnicity, and Individuality” University of South Carolina), “The Godfa- “‘Li’l Brown Baby’: Paul Laurence Dunbar, ther: Georg Philipp Telemann, Carl Philipp Wesley Newton (Wheaton College), “Basque Dialect Verse, and Musically-Accompanied Emanuel Bach, and the Family Business” Recitation by Women” Blues? Examining Ravel’s Authenticity through a Cultural Lens” Derek Strykowski (Brandeis University), Steven Wilson (University of Illinois), “A “Symphonies for Sale: How Composers and Amanda Ruppenthal Stein (Northwestern Voice for the Dispossessed: Diamanda Galás Publishers Negotiated the Style of Concert University), “Composing a Jewish Sym- and the Aesthetics of Pain” Music in the Long Nineteenth Century” phony: Leonard Bernstein’s Symphony no. David Kidger (Oakland University), “Music 1, ‘Jeremiah’” Mike Ford (Rutgers University), “Processes Education, Music Appreciation and Sym- of Spectralization: From Josquin’s Missa 29–30 April 2016 phony Concerts for Children in Greater L’homme armé super voces musicales to Haas’s Case Western Reserve University London from ca. 1920 to ca. 1939” Trio ex Uno” Christy Miller (University of Kansas), Jacek Blaszkiewicz (Eastman School of Mu- Melissa Goldsmith (Westfield State Univer- “‘Round and ‘Round Hitler’s Grave’: Folk sic, University of Rochester), “Enter the sity), “Bob Dorough’s Settings of Langston Music as Propaganda in The Martins and The Furnace: Morality and Social Space in Of- Hughes’s Poems in Lawrence Lipton’s Jazz Coys” fenbach’s La vie parisienne ” Canto: A Musical-Literary Exchange”

 AMS Newsletter 20 February 2016 Annalise Smith (Cornell University), “Direc- Miners’ Strike and the Making of Billy The Hartt School torial Influence at the Paris Opéra: The Case Bragg” of Devismes du Valgay” Joel Schwindt (Boston Conservatory of Mu- Nathan Tang (Lewis & Clark College), “Self- sic), “Why Striggio Was Not on Monte- Anne Briggs (Wichita State University), Identity, Vulnerability, and Introspection in verdi’s Side: Orfeo (1607), Academy Culture, “Fado and Female Azorean Immigrants” the Hip-Hop Renaissance” and the Staging of the ‘Artusi Controversy’” Lydia Hamessley (Hamilton College), “‘Shat- Samara Ripley (University of British Colum- Moira Hill (New Haven, Conn.), “Nothing tered Image’: Appalachian White-Trash bia), “A Singer as an Instrument: Mozart’s New Under the Sun: C. P. E. Bach’s Successor Femininities in the Songs of Dolly Parton” ariettes for Elisabeth Wendling” Schwenke and the Problem of Originality” Benjamin Piekut (Cornell University), Key- Harald Krebs (University of Victoria), “Two Ellen T. Harris (MIT), “George Frideric note Address: “Not So Much a Program of Beautiful Mornings: Josephine Lang’s Two Handel: A Life with Friends—The Archival Music, as the Experience of Music: Distrib- Settings of Reinhold Köstlin’s ‘Am Morgen’” Background” uted Authorship in the Merce Cunningham Marva Duerksen (Willamette University), Dance Company” Kirill Zikanov (Yale University), “Glinka’s “Reading and Hearing Emily Dickinson: Three Models of Instrumental Music” François de Médicis (Université de Montré- Poetic and Musical Prosody in Art-Song Set- al), “Human Perception and Transcendence tings 1920–2000” Catrina Flint de Médicis (Vanier College), in Maeterlinck and Debussy’s Pelléas et Mé- “Maurice Bouchor’s Little Wooden Actors at Guy Obrecht (Mount Royal University), lisande (Act III scene 3)” the Théâtre de la Marionnette (1888–1892)” “Empirical Musical Experience and the Self” Stephen Lett (University of Michigan), “Re- David Ferrandino (University at Buffalo, Jason Cullimore (University of Regina), ligious Music in Helen Bonny’s Typology of SUNY), “Ironic Masks, Randy Newman, “The ‘Digital Personality’: A Perspective on Music for LSD Psychotherapy” and the Aesthetics of Social Tolerance” Composing for Interactive Computer Music Silvia Lazo (Cornell University), “The Secret Systems” 8–9 May 2016 Nightingale: When Utterance and Silence Paul Sanden (University of Lethbridge), Massachusetts Institute of Technology Co-Exist. Susan Metcalfe-Casals and the “Liveness in a Digital Age: Redefinitions Jointly with New England Genesis of En Sourdine” of Liveness and Reconceptualizations of Conference of Music Theorists Seth Coluzzi (Brandeis University), “The First Performance” Songstress: The Fragmented History of Lu- Melody Chapin (Tufts University), “Opera cia Quinciani’s Monody of 1611” and Modernity in Brazil: Camargo Guarni- Pacific Southwest Chapter eri and Mário de Andrade’s Pedro Malazarte” Tessa MacLean (McGill University), “‘Family Time’ with the Schumanns: Bourgeois Con- 10 October 2015 David Schulenberg (Wagner College), “Be- structions in Liederalbum für die Jugend, op. University of California, Riverside tween Frescobaldi and Froberger: From Vir- 79” tuosity to Expression” Michael Kinney (McGill University), “‘You Beth M. Snyder (New York University), “Ver- Nona Monahin (Five Colleges Early Music need only do your duty under all circum- dammt und Verbannt: The Rehabilitation of Program, Mount Holyoke College), “A Tale stances’: Reconciling Clara Schumann’s Felix Mendelssohn-Bartholdy in the GDR of Three Sciolte: Triple Meters in the Danced Feminine Identity in Victorian Domestic and the 1959 Festwoche” Suites of Fabritio Caroso” and Public Spheres” Liselotte Sels (University of California, Santa Heather de Savage (University of Connecti- Rachel Avery (McGill University), “Looking Barbara), “Tracing the Radif: The Musical cut), “Before and After Debussy: Gabriel Back at the Home: L’Enfant et les Sortilèges as Landscape of Present-day Iran” Fauré’s Pelléas et Mélisande in New York and Engagement with Late Nineteenth-Century Steven Ottomanyi (California State Univer- Boston, 1902–12” French Domesticity” sity, Long Beach), “Paradigm Shifts: The Sean M. Parr (Saint Anselm College), “Ves- Search for Authenticity and the Question of tiges of Virtuosity: Origins of the French Performance Practice in Eighteenth-Century Coloratura Soprano” Northern California Chapter Colonial California” Erinn Knyt (University of Massachusetts Am- 16–17 April 2016 David J. Kendall (La Sierra University), “In- herst), “‘A History of Man and His Desire’: University of California, Santa Cruz verting the Story: Magellan’s Specter and Ferrucio Busoni and Faust” Jointly with Pacific Southwest Chapter Popular Resistance through Parody in Fili- David Ferrandino (University at Buffalo, Papers listed with Pacific Southwest Chapter. pino Comic Novelty Songs” SUNY), “Getting ‘Satisfaction’ from Others: Eric Davis (University of Southern Califor- Cover Songs, Irony, and the Rolling Stones” nia), “Buck Washington’s Blues: A Private Pacific Northwest Chapter Recording in Homage to Gershwin and Its New York State–St. 18–20 March 2016 Implications for the Score of Porgy and Bess” Lawrence Chapter University of Lethbridge Adriana Martinez Figueroa (Phoenix Col- lege), “Invented Roots and Far-Flung 30 April–1 May 2016 Bryn Hughes (University of Lethbridge), Branches: The Influence of the Seegers and State University of New York at Potsdam “The Effect of Backbeat on Metrical Hierar- the Lomaxes on American Popular Music” Gregory Johnston (University of Toronto), chy and Tempo Perception in Rock Music” “Heinrich Schütz’s Musical Gift to the Dana Wiley (University of Alberta), “What Wolfenbüttel Court: What the Partbooks Did (or Didn’t) You Do in the Strike? The Tell Us” Absence of the Folk Revival in the 1984 continued on page 

February 2016  Papers Read at Chapter Meetings Jung-Min Lee (Duke University), “Bartok’s Construal of a Cyclic Triptych in the First Influence on Isang Yun: Chromaticism and Three Melodies of the Ariettes” continued from page  Semitone Dyads” Charles Price (West Chester University of Martha Sprigge (University of California, Pennsylvania), “Let the Good Times Roll Katherine Reed (Utah Valley University), Santa Barbara), “Musical Grief at East Ger- from Lovin’ Sam Heard to Jimi Hendrix: “‘In Dreams’: Musical Appropriation and man State Funerals” Transmission and Transformation of a Loui- Audience Interaction in the Soundtracks of Leta Miller (University of California, Santa siana Blues Line on Commercial Recordings” David Lynch” Cruz), Keynote Address: “Musicology, Peda- Zachary Wiggins (Arizona State University), Michael D’Errico (University of California, gogy and Practice: Personal Reflections over “Serious Compositional Methods in Fats Los Angeles), “Programming Sound: Com- Forty Years” Waller’s London Suite” putational Thinking in Electronic Music” Margaret Jones (University of California, Ryan Raul Bañagale (Colorado College), Berkeley), “Plucking the Voice: Lute Tabla- “Reconstructing the Rhapsody in Blue Piano 20 February 2016 ture and Music Pedagogy at the Close of the Solo” Pomona College Sixteenth Century” Thomas Posen (University of New Mexico), Claire Thompson (University of California, “The Patterns of Grand Opera on Broadway: Daniela Levy (University of Southern Cali- Davis), “La donna del lago Goes to Brit- A Semiotic Approach” fornia, Los Angeles), “Singing on Screen: ain: Oysters, Ostrich Plumes, and Other Eileen Watabe (Colorado Mesa University), Opera for the Mass Public in Contemporary Nonsense” “Chorale for One: Personal Expression in America” Alison Maggart (University of Southern Cali- Nineteenth-Century Chorale Topic” Elisse C. La Barre (University of California, fornia), “‘Emil Schmorg’ or Till Eulenspie- Julie Hedges Brown (Northern Arizona Uni- Santa Cruz), “Radio Enchains Music: The gel? A Newly Discovered Cadenza by Rich- versity), “A Choreographic Re-hearing of 1940 ASCAP Radio War and Music Festival” ard Strauss” Schumann’s A-major String Quartet, First Kenneth H. Marcus (University of La Verne), Movement” “‘Every Evening at 8’: The Promenade Rocky Mountain Chapter Emily Loeffler (University of Northern Colo- Concerts and Cultural Hierarchy in Late- rado), “Alpenjäger in Schubert and Liszt Nineteenth-Century Boston” 22–23 April 2016 Lieder” Robert Wahl (University of California, Riv- University of New Mexico, Mesa del Sol Bettie Jo Basinger (University of Utah), erside), “The Same Old Song and Dance: Aperture Center “Mazeppa’s Wild Ride: Liszt’s Notions of Carlos Surinach and the American Commis- Jointly with Society for Music Program and Audience in the Symphonic sion Process” Theory, Rocky Mountain Chapter Poem and Transcendental Etude” David Brodbeck (University of California, and Society for Ethnomusicology, Steven Feld (University of New Mexico), Irvine), “Heimat is Where the Heart Is; or, Southwestern Regional Conference Keynote Address: “Hearing Heat: Acouste- How Hungarian Was Goldmark?” mology meets the Anthropocene” Panel Discussion: Susan Key (Chapman Sienna Wood (University of Colorado, Boul- University) and Kristi Brown-Montesano der), “Anti-Inquisition Propaganda at the (Colburn Conservatory of Music), “What Outbreak of the Dutch Revolt: Noé Faig- South-Central Chapter nient’s Chansons, madrigales et motetz” Else is Out There? Opportunities in Public 18–19 March 2016 Musicology” Christopher Bowen (University of North University of Georgia Carolina at Chapel Hill), “The Czech Vil- 16–17 April 2016 lage Triumphant: Bedřich Smetana’s The Naomi Graber (University of Georgia), University of California, Santa Cruz Bartered Bride in 1892 Vienna and Imperial “Genre Trouble: Final Boys, Action Hero- Jointly with Northern California Chapter Transnationalism” ines, and the Gendered Music of Violence” Bernard Gordillo (University of California, Angela Mace Christian (Colorado State Uni- Megan Whiteman (University of Tennessee), Riverside), “Son de Dios: Vernacular Masses versity), “Ludwig Berger, John Field, and the “Psychologically Witched: Women of the for the Family of God in Central America” Dissemination of the Nocturne Style” French Tragédie Lyrique” Eric Johns (University of California, River- Lindsey Macchiarella (University of Texas at Kaylina Madison (University of Kentucky), side), “Joaquin Nin-Culmell’s La Celestina: El Paso), “Skryabin’s Modernism: Process “Black Representation in The Emperor Jones” Embracing Regionalism in Francoist Spain” and Style in the Prefatory Action Sketches” Sarah Holder (University of Tennessee), “A Rachel Howerton (University of California, John T. Brobeck (University of Arizona), Life of Harmonious Dissonance: Explor- Riverside), “‘Flowers are my Music:’ A Re- “Mouton and the French Court Motet” ing the Work of Alice Fletcher through ception History of the Symphonie fantastique Michael B. Ward (University of Colorado, Intersectionality” in Victorian Britain” Boulder), “Who Am I? Riddling, Anonym- Morgan Rich (University of Florida), “Con- Matthew Buchan (University of California, ity, and a Song by William Byrd” structing a Narrative: Reexamining Theodor Riverside), “Jonny Greenwood’s ‘There Will Blake Cesarz (University of Arizona), “In the Adorno’s Alban Berg: Master of the Smallest Be Blood’: Sonic Collage, Parable of Envi- Temperament: An Analysis of Key Color in Link through Source Study” ronmental Crisis” Bach’s Well-Tempered Clavier ” J. Tyler Fritts (University of Memphis), Robert Wahl (University of California, River- Michael Oravitz (University of Northern “Reading Between the Lines of History and side), “Fleeing Franco: Expatriate Compos- Colorado), “The ‘Ariettes oubliées’ within Mythology: Towards a New Biography of ers in New York” Debussy’s Ariettes: An Argument for the Furry Lewis”

 AMS Newsletter James MacKay (Loyola University), “Another Daniil Zavlunov (Stetson University), “Opera Stewart Carter (Wake Forest University), Look at Chromatic Third-Related Key Rela- as Policy During the Reign of Nicholas I: “Marin Mersenne, His Followers, and the tionships in Late Haydn” The First Decade (1825–1835)” ‘Discovery’ of the Harmonic Series” Jeremy Grall (Birmingham-Southern Col- Gina Bombola (University of North Carolina Jeremy Sexton (Wake Forest University), lege), “Homages and Adaptations of Maurice at Chapel Hill), “Scandalous Sight, Sublime “Who is Fair Oriana?” Ravel’s Pavane pour une infante défunte in Sound: Opera and Film Censorship in I James Brooks Kuykendall (Erskine College), 1930s American Jazz and Classical Music” Dream Too Much (1935)” “Editorial Intervention in Bach’s ‘Passaggio Craig B. Parker (Kansas State University), Allan W. Atlas (City University of New York), Chorales’” “Edwin Gerschefski: Chameleon Composer “Vaughan Williams in the New York Cross- Julie Hubbert (University of South Carolina), from Georgia” fire: Olin and Harold v. Virgil and Paul” Keynote Address: “High Fidelity and Music Kenneth Kreitner (University of Memphis), Joanna Helms (University of North Carolina in New Hollywood Film” “The Tordesillas Perplex” at Chapel Hill), “The Anatomy of an Analy- Carolyn Carrier-McClimon (Furman Uni- Yvonne Kendall (Austin Peay State Univer- sis: Luigi Nono and Schoenberg’s Variations versity/Indiana University), “Nineteenth- sity), “Arbeau’s Orchesographie: Dance Music for Orchestra, op. 31” Century Albums and Collective Memory in of Renaissance France” Poster presentations: Robert Schumann’s ‘Erinnerung’ from the 68 Virginia Lamothe (Belmont University), Patricia Puckett Sasser and Vivian Tompkins Album für die Jugend, op. ” “Towards a Better Understanding of Martyr (Furman University), “The Birgit Krohn Jung-Min Lee (Duke University), “Word- Tragedies in Seventeenth-Century Rome” Albums: Amateur Music-Making in Late play and Fantastical Worlds in Unsuk Chin’s Michelle Meinhart (Martin Methodist Col- Nineteenth-Century Norway” Akrostichon-Wortspiel” lege), “‘It’s a Long Way to Tipperary . . .’ and Karl G. Feld (North Carolina State Universi- Paul Sommerfeld (Duke University), “Scor- Tennessee: Unlikely Musical Exchanges in ty), “Following Guido d’Arezzo’s Prologus in ing Star Trek’s Utopia: Musical Icons in Star the English Country House, 1914–1918” antiphonarium and Regule rithmice: Tracing Trek: The Motion Picture (1979) and Star Trek Catherine Greer (University of Tennessee), the First Transmissions of Modern Musical II: The Wrath of Khan (1982)” “Vorwärts! Specters of the Hitlerjugend in the Notation” Songs of the Freie Deutsche Jugend ” Gregory Thomas Martin (Catholic University Southern Chapter David Heinsen (University of Georgia), “Re- of America), “The Record and the Creation 19–20 February 2016 Signifying Goldberg : Hannibal Lecter’s Leit- of the Hip-Hop Culture: How Technology Palm Beach Atlantic University motif as an Affiliating Identification” Helped Create an African-American Musical Style” Andreas Giger (Louisiana State University), “Leoncavallo’s ‘Appunti’ and the History of Southeast Chapter Marya Orlowska-Fancey (University of North Carolina at Greensboro), “Fryderyk Cho- Pagliacci ” 16–17 October 2015 pin’s Etude in F Major, op. 10, no. 8 as a Morgan Rich (University of Florida), “Con- University of Richmond Descendant of the Improvised Free-Fantasia structing a Narrative: Reexamining Theodor Jointly with Capital Chapter Tradition” Adorno’s Alban Berg: Master of the Smallest Link through Source Study” Jennifer Walker (University of North Caro- 5–6 March 2016 lina at Chapel Hill), “The Politics of Pale- Duke University Christina Filis (Palm Beach Atlantic Univer- ography: Solesmes, Mocquereau, and the sity), “The Doxastarion of Markos Domes- Paléographie musicale ” Stephen Stacks (University of North Carolina tikos Notated in the New Analytical Meth- Ronit Seter (Jewish Music Research Centre), at Chapel Hill), “Warren County, Environ- od: A Critical Analysis of a Musical Legacy” “Steve Reich’s Tehillim: Reinventing Old- mental Justice, and the Mobilization of the Charles Brewer (Florida State University), Fashioned Orientalism and Israelism” Freedom Song” “‘The Beauty of Israel Is Slain’: William Bill- Robert Nosow (Jacksonville, N.C.), “Jacob Laura E. Kennedy (Furman University), ings’s Anthem for the Reinterment of Dr. Hobrecht and the May Fairs” “Shostakovich’s Two Versions of Movement Joseph Warren” Samuel J. Brannon (University of North Car- II for Symphony no. 8 (1943)” C. Megan MacDonald (Florida State Univer- olina at Chapel Hill), “The Book No One Nola Reed Knouse (Moravian Music Foun- sity), “Embodying Faith and Fandom: Songs Wanted to Read: Marketing Strategies in dation), “The Music of Francis Florentine of Identity in Depression-Era Gospel Sing- Franceschi’s Zarlino Editions” Hagen (1815–1907)” ing Communities” John Z. McKay (University of South Caro- Barbara Strauss (Moravian Music Founda- Maribeth Clark (New College of Florida), lina), “Musical Curiosities in Kircher’s Anti- tion), “Bringing Resources to Light” “Whistling’s Sonic Ambiguity and Its Im- pact on the Whistler’s Body” quarian Visions” Dave Blum (Moravian Music Foundation), Christina Taylor Gibson (Catholic University “Members of the Musenhof among the McKenna Milici (Florida State University), of America), “Mabel Dodge Luhan, Carlos Moravians” “‘Ain’t I Always Been a Good Husband?’: Male Characters as Keys to Portraying the Chávez, and Whirling Around Mexico” Laura D. Stevens (High Point University), Wayward Woman in Street Scene” Kristen M. Turner (North Carolina State “Unearthing Manuscripts in the Salem Col- University), “The Woman Behind the Man: legium Musicum Collection of the Moravian Candie Carawan and Women’s Contribu- Music Archives: Quartetto by Joseph Aloys tions to the Civil Rights Movement” Schmittbaur (1718–1809)” continued on page 

February 2016  Papers Read at Chapter Meetings Dongjin Shin (University of Florida), Joseph E. Jones (Texas A&M University- “Stravinsky’s Three Japanese Lyrics and the Kingsville), “Encultured Musical Codes continued from page  Concept of Two-Dimensional Music” in Bear McCreary’s Video Game and TV Michael Palmese (Louisiana State Univer- Soundtracks” Maria Cizmic (University of South Florida), sity), “John Adams and the Avant-Garde, Marusia Pola Mayorga (Texas Tech Universi- “Empathy, Ethics, and Film Music: Alfred 1971–72” ty) and Anny Zuñiga Santiago (Independent Schnittke and Larisa Shepitko’s The Ascent Artist), “100% Chamula!!: Transgressive (1977)” Identities and Musical Transculturalism in Southwest Chapter the Mexican South Border” Navid Bargrizan (University of Florida), 10 October 2015 “Mozart’s Don Giovanni as a Prototype for Miranda Bartira Sousa (University of Texas at Texas State University the Romantic German Tragedy” Rio Grande Valley), “Chiquinha Gonzaga: Jointly with the National Association Musician and Activist in the Brazilian Soci- Timothy Love (Louisiana State University), of Composers USA – Texas Chapter ety at the Twentieth-Century Turn” “Guilty until Proven Innocent: Thomas Da- vis and the Struggles of Irish Art Music” Brian Peterson (Shasta College), “Going to the Sources: Issues in Historical Performance Poster presentations: Carrie Danielson (Florida State Univer- Practice and Pedagogy in the Interpretation Layla Butler (University of Central Arkansas), sity), “‘Going to School and Winning the of Samuel Scheidt’s Tabulatura Nova (1624)” “Hans Gál (1890–1987) and Egon Wellesz Olympics’: A Musicological Examination Kimary Fick (University of North Texas), (1885–1974): Composers, Scholars, and of Childsongs at a Tallahassee Community “‘They Decorate their Heads with Many Exiles” Center Beautiful Things’: Herzogin Anna Amalia’s Carrie Evans (Texas Tech University), “Music Bryan Proksch (Lamar University), “Sousa’s Aesthetics and the Ideal Musical Kennerin” as Speech: How Video Game Musical Motifs Band Arrangements of Orchestral Works Peng Liu (University of Texas at Austin), Drive the Story” and/as Public Education” “Rethinking Sonata Form in Beethoven’s Brent Alan Ferguson (Independent Scholar), Douglass Seaton (Florida State University), Lyricism” “Instrument of Evil: Pipe Organ in Musical “Out of the Back Row: Ferdinand Hiller’s J. Cole Ritchie (University of North Texas), Themes of Video Game Antagonists” Views on Composing Applied to His String “Recent Jazz Arrangements of Western Art Quartets” Music as Foreignized Translations” continued on page 

CFPs and Conferences The AMS posts Conference and CFP notic- Conferences Teaching Music History es at three bulletin boards: see ams-net.org/ 9–10 June 2017 announce.php for complete listings and in- American Handel Society Berklee College of Music formation about subscribing to email notices. 6–9 April 2017 Medieval and Renaissance Music Hundreds have been posted since the August Princeton University 4–8 July 2017 2016 AMS Newsletter was published; a small Prague selection appears below. Society for Seventeenth-Century Music 20–23 April 2017 RMA Music and Philosophy Study Group Providence, R.I. 13–14 July 2017 Calls for Papers London Sign O’ The Times: Music and Politics Women’s Work in Music 20–23 April 2017 La danse française en Allemagne et son CFP deadline: 1 March 2017 EMP Museum, Seattle enseignement au début du XVIIIe siècle 4–7 September 2017 5–8 September 2017 Medieval Studies Bangor University Paris 11–14 May 2017 Women in the Creative Arts Kalamazoo, Mich. Royal Musical Association CFP deadline: 20 March 2017 7–9 September 2017 Music Encoding 10–12 August 2017 University of Liverpool 16 17 2017 Australian National University, Canberra – May Tours, France Gottfried Tauberts “Rechtschaffener American Women Composer- Tantzmeister” (Leipzig 1717): Canadian University Music Society Pianists: A Celebration of Amy Kontexte – Lektüren – Praktiken im 25–27 May 2017 Beach and Teresa Carreño Musikinstrumentenmuseum der Universität University of Toronto CFP deadline: 1 April 2017 20–23 September 2017 15–16 September 2017 Nineteenth-Century Music Leipzig 7 9 2017 University of New Hampshire, Durham – June Société française de musicologie: Vanderbilt University Italian Musicological Society “Thinking musicology today: objects, CFP deadline: 15 June 2017 Music and the Moving Image methods, and prospects” 20–22 October 2017 26–28 May 2017 23–25 November 2017 Lucca New York University Paris

 AMS Newsletter 75 years ago: 1941–42 American Musicological Society, Inc. • President Otto Kinkeldey’s address to the Statement of Activities for the Fiscal Year Ending members (29 December 1941; published in June 30, 2016 Papers of the AMS, 1946) looked forward Endowment: Fellowships, to the post-war status of musicology, iden- Current Awards, tifying four key areas: global cooperation Revenue operationsPublications Undesignated TOTALS among scholars; establishing the discipline Dues & subscriptions $ 393,650 $ 393,650 in academic institutions; supporting the Annual meeting $ 172,848 $ 172,848 publication of music and music scholar- Sales/Royalties $ 47,320 $ 4,095 $ 51,415 ship; and supporting the work of libraries Government grants $ 74,375 $ 74,375 to conserve and make available the materi- Contributions $ 23,123 $ 524,130 $ 547,253 als of musicology. Investment income $ 1,467 $ 97,081 $ 130,936 $ 229,484 • The Musical Quarterly continued to pub- Total revenue $ 615,285 $ 198,674 $ 655,066 $ 1,469,025 lish work first presented at AMS chapter and national meetings. In the January 1942 Expenses issue Curt Sachs reviewed Paul Henry Salaries & benefits $ 218,930 $ 58,724 $ 277,654 Láng’s Music in Western Civilization (1941): Subventions, Grants, Fwps $ 92,878 $ 118,836 $ 211,714 “at last we are given the book that we can Dues & subscriptions $ 3,900 $ 3,900 recommend to [those] who wish to see Publications $ 159,105 $ 6,383 $ 165,488 music in its proper place within the his- Professional fees $ 12,377 $ 12,377 tory of mankind without being bored by Annual meeting $ 118,884 $ 14,600 $ 133,484 technicalities.” Chapters $ 6,948 $ 6,948 Office expense $ 80,336 $ 11,118 $ 91,454 50 years ago: 1966–67 Unrealized loss in investment $ 64,678 $ 199,693 $ 264,371 Total expenses $ 600,480 $ 233,781 $ 333,129 $ 1,167,390 • Twenty-seven students at the University of Michigan presented a petition to the Change in Net Assets $ 14,805 $ (35,107) 321,937 $ 301,635 Board of Directors requesting permission to form a student chapter of the AMS. • The RILM indexing project proposed by Statement of Financial Position Barry S. Brook received support “in prin- June 30, 2016 ciple” from the Board. Endowment: • Edward Lowinsky proposed to the Board Fellowships, that two awards be initiated: the Kin- Current Awards, Assets OperationsPublications Undesignated TOTALS keldey, for an outstanding book, and the Einstein, for an outstanding article by a Cash $ 207,150 $ 207,150 scholar in early career stages. Accounts receivable $ 20 $ 20 Investments $ 1,564,805 $ 4,831,326 $ 6,396,131 25 1991 92 Equipment $ 25,658 $ 25,658 years ago: – Funds held in trust $ 22,426 $ 12,985 $ 35,411 • The last surviving founding member of the Total assets $ 229,596 $ 1,590,463 $ 4,844,311 $ 6,664,370 Society, Paul Henry Láng, died. • The Program Committee received 238 pro- Liabilities posals; they accepted 112 (48%). Accounts payable $ - $ - • The AMS Directory was expanded to two Deferred Income $ 7,610 $ 7,610 lines per member, so that it could include Funds held in trust $ 22,426 $ 12,985 $ 35,411 telephone, fax, and email address. D. Kern Holoman spearheaded the Society’s first Total Liabilities $ 30,036 $ 12,985 $ 43,021 email directory. • Lawrence Libin proposed and organized Net assets $ 199,560 $ 1,590,463 $ 4,831,326 $ 6,621,349 a new Society fellowship named in honor of Howard Mayer Brown and intended to Total Liabilities & Net Assets $ 229,596 $ 1,590,463 $ 4,844,311 $ 6,664,370 support minority graduate students. The AMS Council proposed to the Board that Total Liabilities & Net Assets, June 30, 2015: $ 6,329,927 the Society establish a Committee on Cul- tural Diversity. Doctoral Dissertations in Musicology • The Board approved the new series AMS Monographs under the leadership of Law- The DDM database maintained by the AMS is successful and continues to grow. Most rence Bernstein. members have linked their dissertation (in-progress or complete) and their member direc- • The Society for Seventeenth-Century Mu- tory entry; if yours is missing, send a note to the AMS and we will create the link. This sic was founded. provides a convenient subject-oriented tool for keyword-searching the member directory.

February 2017  Obituaries (and establishing the CBMR Library and Archives), performance (the Black Music The Society regrets to inform its members of the deaths of the following members: Repertory Ensemble, the Ensemble Kalinda Chicago), conference and educational events, David Breckbill, 19 November 2016 music aesthetics, including Abramo Basevi, and a global institutional partnership (Alton Michał Bristiger, 16 December 2016 Camille Durutte, Joseph Hoene-Wronski, Augustus Adams Music Research Institute in Henry-Louis de La Grange, 27 January 2017 Kurt Huber, Aleksiey Losiev, Mario Pilo, and St. Thomas, U.S. Virgin Islands). George Hollis, 28 January 2016 Boris de Schloezer; he had a real knack for As a scholar, Floyd expanded black music George Louis Houle, 7 January 2017 bringing such figures back to life and showing historiography to include interdisciplinary 1980 Lora Matthews Merkley, 1 October 2016 the contemporary importance and relevance inquiry. In he established the Black Mu- Richard Wang, 10 October 2016 of their work. sic Research Journal, the premiere journal de- Robert Lamar Weaver, 21 January 2017 Bristiger played a significant role in his voted to the study of black music, and served country’s musical life as an editor of journals as founding editor of the Music of the African Michał Bristiger (1921–2016) and organizer of conferences. From 1967 to Diaspora series at the University of California Press. Michał Bristiger, Corresponding Member of 2010, he was the editor-in-chief of Res Facta, In the 1990s he embarked on a scholarly the Society, died in Warsaw on 16 December the most substantial Polish periodical devoted agenda that reflected his widening theoretical 2016. to contemporary music, and one that coin- perspective. Three examples are the interdis- Born in 1921, Bristiger belonged to the gen- cided with the composition of art music in ciplinary journal Lennox Avenue: A Journal of eration condemned to annihilation by the Poland during a particularly creative period Interartistic Inquiry, the award-winning refer- Nazis; that he avoided the fate of ninety-eight in its history. During the 1970s and 1980s he ence book International Dictionary of Black percent of Polish Jews borders on the mirac- organized numerous Polish-Italian musico- Composers (1999), and the edited volume ulous. In 1943 he was evacuated from Nazi- logical conferences documented in the series Black Music in the Harlem Renaissance (1993), occupied Ukraine disguised as one of their Pagine: Argomenti musicali polacco-italiani which situates the relationship between black soldiers by the Italian army retreating after the (1972–89). Until the end, he remained fully concert music and the intellectual/artistic defeat at Stalingrad. He returned to Poland active both as a scholar and as a mentor to the movement. The Society for American Music in 1946 to continue medical studies begun in young generation: the seminars regularly or- awarded the latter the Irving Lowens Award 1940, and simultaneously took up the study of ganized by his De Musica association brought for Distinguished Scholarship in American music, becoming a medical doctor in 1951 and together many of the most talented young Music. In 1995, Floyd produced his most sig- completing his musicological studies in 1953. music scholars in the country. nificant work, The Power of Black Music: In- Bristiger taught at the University of Warsaw —Karol Berger terpreting Its History from Africa to the United from 1951 to 1970, when he was removed from Samuel A. Floyd, Jr. (1937–2016) States. his post by the Communist authorities in an Floyd was awarded Honorary Member- anti-Semitic and anti-intellectual purge de- Samuel A. Floyd, Jr., musician, educator, and ship by the American Musicological Society signed to sever all contacts between indepen- founding director of the Center for Black (2006), received the Lifetime Achievement dently-thinking teachers and students. From Music Research (CBMR), died at his home in Award from the Society for American Mu- 1970 until his retirement in 1991 he held a Chicago, Ill. on 11 July 2016. sic (2006), and the National Association of research position at the Institute of Art of the Born and raised in Tallahassee, Florida, he Negro Musicians’ Award for Distinguished Polish Academy of Sciences. attended Florida Agricultural and Mechanical Contributions to Music. Floyd accomplished Bristiger’s scholarly work included research University, where he received a B.S. degree. enormous amounts through his scholarship, on theoretical and historical aspects of the re- He earned a M.M.E and Ph.D. from South- teaching and administrative work, but he will lationships between music and words, the his- ern Illinois University. be remembered above all for his tireless men- tory of Italian vocal music in the seventeenth After completing his studies Floyd returned torship and support of many emerging schol- and eighteenth centuries, and the history of to Florida, where he worked as band direc- ars, musicians, and educators. music theory and aesthetics. His magnum tor at Smith-Brown High School in Arcadia, —Tammy L. Kernodle opus, Związki muzyki ze słowem [The Rela- Florida. In 1962 he joined the Florida A&M tionships of Music and Words, 1986], masterful- faculty as instructor and assistant director of Don Harrán (1936–2016) ly deploys the tools of structural linguistics as bands. He went on to teach at Southern Il- well as theoretical and historical musicology linois University (1964–1978) and Fisk Uni- Don Harrán, professor emeritus at the He- to analyze the verbal text of the vocal work versity (1978–1983). At Fisk, Floyd founded brew University of Jerusalem, died on 15 June in its multifarious relationships with the vocal and directed the Institute for Research in 2016. He was a Corresponding Member of line and to develop a theory of vocal form. Black American Music. This institution was the Society. Born in Cambridge, Mass., he Among his studies in the history of Baroque the prototype for CBMR, which he founded earned the baccalaureate in French from Yale Italian vocal music, one should single out his in 1983 at Chicago’s Columbia College. Al- University and the M.A. and Ph.D. in musi- work on the opera theater of Maria Kazim- though his CBMR work defined much of his cology at the University of California, Berke- iera Sobieska, the Polish Queen resident in Columbia College tenure, he also served as ley (1959, 1963). He settled in Israel, where his Rome from 1699 to 1714, for whom Domeni- Academic Dean and Interim Vice President presence was central to establishing musicol- co Scarlatti wrote no less than seven operas. of Academic Affairs and Provost. He retired ogy. He taught at the Hebrew University of Bristiger was also the author of numerous ar- in 2002 as Director Emeritus. Jerusalem from 1966 to 2004. He also held ticles (many collected in a volume, Transkryp- Through the CBMR, Floyd worked to visiting professorships at the University of cje [Transcriptions], 2010) devoted to half- or preserve and promote the music of the Afri- California, Los Angeles and Villa I Tatti. He completely forgotten figures in the history of can diaspora through a program of research received fellowships, grants, and awards from

 AMS Newsletter many organizations, including the American Papers Read at Chapter Meetings Kevin Mooney (Texas State University), Council of Learned Societies, the Newberry “‘Louise Tobin Blues’: Challenging Gender continued from page  Library, the Folger Shakespeare Library, the Stereotypes in Life and Music” American Philosophical Society, the Israel Megan Woller (University of Houston), “Bar- National Academy of Sciences, the Institute T. J. Laws-Nicola (Texas State University), bra Streisand and Film Musical Stardom in for Advanced Study (Princeton), the Univer- “Unraveling the Threads of Madness: Henry the Early 1970s” sité François Rabelais (City of Tours Medal), Russell’s ‘The Maniac’” Rachael Lester (Oklahoma City University), Oxford University (Donald Tovey Memorial Jeremy Scott Logan (Texas State University), “‘Everything in Its Right Place’: Christo- Prize), the American Academy of Arts and “Feminism and Synesthesia: A Case Study pher O’Riley and Arranging the Music of Sciences (Honorary Foreign Member), and on Amy Beach (1867–1944)” Radiohead” the Order of the Star of Italian Solidarity Jessica Stearns (University of North Texas), (Cavalier). Delphine Piguet (University of Oklahoma), “Notating a Community: Christian Wolff ’s Harrán’s research encompassed Renaissance “Music Appreciation Textbook Comparison: Coordination Neumes” and early Baroque music, music by Jewish Chronological Aspect v. the Experiential musicians, early Jewish female poets, the be- One” Jonathan Verbeten (Texas Tech University), ginnings of Hebrew music historiography in Nico Schüler (Texas State University), “Re- “An ‘Old Fashioned’ American Concerto: the eighteenth century, and modern Jewish discovering the Minstrel Music of Afri- Exploring Neo-Romanticism in Samuel Bar- art music. Among his always assiduous and can-American Composer Jacob J. Sawyer ber’s Concerto for Piano and Orchestra, op. passionate publications, translations, and (1856–1885)” 38” critical editions are: Musikologyah: techumim Joanna Zattiero (University of Texas at Aus- Poster presentations: u-megamot (1975; in Hebrew); The Anthologies tin), “Gaining Perspective on Public Mu- Andrew Fisher (Texas State University), “The of Black-Note Madrigals (1978–81); “Maniera” sicology Today: What Does it Look Like, Story in Video Games: Examining World of e il madrigale: una raccolta di poesie musi- Who is Practicing it, and How is it Valuable Warcraft for Narrative in Video Game Audio cali del Cinquecento (1980); Word-Tone Rela- to Different Demographics?” and Its Impact on Game Play” tions in Musical Thought: From Antiquity to Lecture-Recital: Joseph E. Jones (Texas A&M University- 1986 the Seventeenth Century ( ); In Search of Mario Aschauer (Sam Houston State Univer- Kingsville), “A Cross-Disciplinary Approach Harmony: Hebrew and Humanist Elements in sity), “Fortepiano Music around the Con- to Teaching Music History” Sixteenth-Century Musical Thought 1988 In ( ); gress of Vienna” Jeremy Scott Logan (Texas State University), Defense of Music: The Case for Music as Argued “The Prometheus Institute: A Center for by a Singer and Scholar of the Late Fifteenth 2 April 2016 Synesthesia” Century (1989); Sarra Copia Sulam: Jewish Trinity University Poet and Intellectual in Seventeenth-Century Nico Schüler (Texas State University), “Word- Michael Lively (Southern Methodist Uni- less Functional Analysis Revisited” Venice (2009); and Three Early Modern He- versity), “Multi-Linear Continuity, Musical brew Scholars on the Mysteries of Song (2015). Perception, and Renaissance Poly-Modality”

His magnum opus was his work on Salamone Timothy Duguid (Texas A&M University), The Society wishes to recognize the Rossi, which resulted not only in dozens of “Music Scholarship Online: Problems for Salamone Rossi, accomplishments of members who articles and the monograph Digital Musicology and a Potential Solution” Jewish Musician in Late Renaissance Mantua have died by printing obituaries in Kassie Kelly and Carl Leafstedt (Trinity Uni- (1999), but also the thirteen-volume critical the Newsletter. Obituaries will nor- versity), “The San Antonio Federal Orches- edition of Rossi’s entire oeuvre. mally not exceed 400 words and will tra of 1936–43: A Forgotten Link in the Mu- Harrán’s scholarship remains a model of sical Heritage of South Texas” focus on music-related activities such thorough, devoted, and tireless archival re- as teaching, research, publications, Xuan Qin (University of Texas at Austin), search impressively based on a command of grants, and service to the Society. “Ornaments and Improvisations: Early modern and ancient languages. He was an en- The Society requests that colleagues, thusiastic professor, committed to conveying Nineteenth-Century Bel Canto Singing in Bellini’s Norma” friends, or family of a deceased mem- the latest musicological discourses and meth- ber who wish to see him or her rec- odologies to his young students, elegantly and Jakob Reynolds (Texas Tech University), ognized by an obituary communicate always with a smile. “Blurred Boundaries: Chopin as Integrator that desire to the editor of the News- —Yossi Maurey of the Baroque and the Vernacular” letter. The editor, in consultation with the advisory committee named below, Musicology Now the academy and in the principal institutions will select the author of the obituary of music making around the world. and edit the text for publication. Musicology Now, the AMS blog, is curated It seeks to feature complementary, and con- A committee has been appointed by Ryan Raul Bañagale, Bob Fink, Andrea structively contradictory, voices; it operates to oversee and evaluate this policy, to Moore, and Susan Thomas. Written for the with editorial independence from the rest of commission or write additional obitu- general public, it seeks to promote the results the Society and the posts it publishes repre- aries as necessary, and to report to of recent research and discovery in the field sent the positions, research, and views of their the Board of Directors. The commit- of musicology (broadly construed), foster dia- respective authors alone unless otherwise not- tee comprises the executive director logue, and generate a better awareness of our ed. Contributions are encouraged. (chair), the secretary of the Council, discipline. Using links, images, and sound, it and one other member. references conversations within and around musicologynow.ams-net.org

February 2017  American Musicological Society New York University Nonprofit org. 194 Mercer Street, Room 404 U.S. Postage PAID New York, NY 10012-1502 Mattoon, IL Permit No. 217 Change service requested

Next Board Meetings Interested in AMS Committees? What I Do in Musicology The next meetings of the Board of Direc- The Committee on Committees would Are you a musicologist who is working in tors will take place 1–2 April in Philadel- be pleased to hear from members who a nonacademic environment? We’d like to phia and 8–9 November in Rochester. wish to volunteer for assignments to com- hear your story! If you are interested in mittees. Send your assignment request contributing to the AMS Newsletter column Meetings of AMS and Related and CV to committee chair Ellen Harris: “What I Do in Musicology,” please contact [email protected]. Societies editor James Parsons (JamesParsons@mis- souristate.edu). 2017: AMS Membership Totals 2016 For previous columns, see www.ams-net. 22 27 SAM: Montreal, – Mar. Current total membership (as of 30 Novem- org/WhatIDo/. CMS: San Antonio, 26–28 Oct. ber 2016): 3,202 (2015: 3,129). SMT: Arlington, 1–5 Nov. Newsletter Address and Deadline AMS: Rochester, 9–12 Nov. 2015 members who did not renew: 537 Items for publication in the next issue of SEM: Denver, 26–29 Oct. Institutional subscriptions: 773 (822) the AMS Newsletter must be submitted 2018: Breakdown by membership category by 15 May to the editor: 28 4 SAM: Kansas City, Feb– Mar. • Regular, 1,428 (1,409) James Parsons 11 13 CMS: Vancouver, – Oct. • Sustaining, 10 (9) AMS Newsletter Editor 1 4 371 377 AMS/SMT: San Antonio, – Nov. • Low Income, ( ) Missouri State University 15 18 778 767 SEM: Albuquerque, – Nov. • Student, ( ) [email protected] • Emeritus, 382 (330) Call for Nominations: • Joint, 61 (74) TheAMS Newsletter (ISSN 0402-012X) Session Chairs, AMS Rochester 2017 • Life, 68 (68) is published twice yearly by the Ameri- • Honorary and Corresponding, 89 (82) can Musicological Society, Inc. and Nominations are requested for Session • Complimentary, 15 (19) mailed to all members and subscribers. Chairs at the AMS Annual Meeting in Requests for additional copies of current Rochester, 9–12 November 2017. Please Membership Dues and back issues of the AMS Newsletter visit the web site (www.ams-net.org/roch- should be directed to the AMS office. ester) for full details. Self-nominations are Regular member * $120 All back issues of the AMS Newsletter welcome. Deadline: 1 April 2017. Sustaining member * $240 Income less than $30,000 $60 are available at the AMS web site: $45 www.ams-net.org/newsletter Please vote! Student member Emeritus member $60 Claims for missing issues must be AMS 2017 voting, which includes by- Joint member * $50 made within 90 days of publication laws changes published in the August Life member varies; ask for details (overseas: 180 days). 2016 AMS Newsletter, is open until 1 * 3-year payment option available Moving? Please send address changes to: May. Please review the election materi- Overseas, please add $20 for air mail de- AMS, New York University, 194 Mercer als and candidates, and cast your vote. livery. Students, please enclose a copy of St., Rm. 404, New York, NY 10012-1502 See p. 14 for more details. your current student ID. or [email protected].

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