AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLIII, NUMBER 2 August 2013 ISSN 0402-012X Pittsburgh: From Steel to LEED AMS Pittsburgh 2013 7–10 November www.ams-net.org/pittsburgh In the twenty-two years since the AMS last met in Pittsburgh in 1992, the city has worked to transform itself from a Rust Belt survivor to a city focused on banking, technology, and the environment. The transition is not yet complete, nor is the fossil fuel economy finished. Evidence of the city’s industrial past remains in the coal-fired power plants that dot the region, in the historical mansions in Shadyside, and in the arts, where foundations and family money established and continue to support institutions and museums. Many of these institutions are looking toward the future. Emblematic for this transition is the Reid/VisitPittsburgh David Credit: Pittsburgh Opera (celebrating its seventy- The three rivers of Pittsburgh fifth season), which recently purchased and es, rehearsal spaces, and costume shops. The or biking. The Port Authority operates an renovated a factory built in 1869 for its offic- restoration took a path that is becoming the extensive bus network as well as two light standard in the “new” Pittsburgh: architects rail lines (known as “the T”). Until 7 p.m., preserved historic features but completely buses are free within the “Golden Triangle” In This Issue… revamped its environmental footprint, re- (from the Point to 11th Street/Ross Street). sulting in a highly efficient building that re- From Gateway Station, one block east of the President’s Message ...... 2 ceived the silver level of LEED (Leadership hotel, one can ride the T gratis under the Al- What I Do in Musicology . . . . .4 in Energy and Environmental Design) certi- legheny to the North Side to visit PNC Park, President’s Endowed Plenary Lecture . 5 fication. Visitors can see hundreds of LEED Heinz Field, the Andy Warhol Museum, the Executive Director’s Message . . . .5 buildings in Pittsburgh, including the David Car­negie Science Center, the Manchester Awards, Prizes, Honors ...... 6 L. Lawrence Convention Center and three Craftsmen’s Guild (jazz), and the Rivers Ca- AMS Public Lectures ...... 9 new wings of the Phipps Conservatory in the sino. Going the opposite direction, one can AMS / Newberry Library Oakland neighborhood. Along with its ex- ride free for three stations but must pay $2.50 Short-Term Fellowship . . . . . 9 otic plants and spectacular glass sculptures by to cross the Monongahela to Station Square, ACLS Annual Meeting 2013 . . . 10 Dale Chihuly, the Phipps has become a leader a renovated train station with shopping and News from the AMS Board . . . .10 in green building. Oakland has many other restaurant options, as well as the dock for the Pittsburgh Performances . . . . . 11 attractions, including the Carnegie Museums Gateway Clipper river cruises. On Saturday, Pittsburgh Program Selection . . .12 of Art and Natural History, the Carnegie Li- the Captain’s Dinner Dance Cruise boards Chapter News, News Briefs . . . .12 brary, and the Stephen Foster Memorial. at 5:30 p.m. and returns at 9 ($55, www.gate- 13 Pittsburgh Preliminary Program . . With its rivers, hills, and tunnels, Pitts- wayclipper.com). Also at Station Square is the 22 Committee News ...... burgh’s geography can be fascinating to Monongahela Incline, a funicular operating 2014 24 AMS Milwaukee ...... navigate. Directly in front of the Wyndham since 1870; a fantastic view of the city awaits Study Group News ...... 26 Grand, our conference venue, is Point State at the top of Mt. Washington (formerly “Coal CFPs, Conferences ...... 29 Park with the Fort Pitt Museum. From the Hill”). There are several bus options to get to Legacy Gifts ...... 30 park, the Three Rivers Heritage Trail Sys- Oakland; see the trip planner at www.portau- Grants, Fellowships ...... 30 tem runs along both sides of all three rivers thority.org. Obituaries ...... 31 with fantastic views to enjoy while walking continued on page  President’s Message: Three New AMS Initiatives (Public and Private)

Good news this summer comes in threes. concert-goers. After considering various 3. New endowed plenary lecture at the To detail them one by one: possibilities we agreed at our March 2013 Annual Meeting. As I reported in my mes- 1. New AMS Member Directory. Well, meeting to launch an official AMS blog, sage in last February’s AMS Newsletter, I this initiative is not quite “new,” having which we dubbed Musicology Now. To get discovered in my New Orleans dinner with been announced in these pages in 2011 by this project underway we agreed that we the other music society presidents that we then-president Anne Walters Robertson. needed someone of uncommon initiative, have been the only society that does not As you have already been notified by Bob entrepreneurial creativity, and scholarly have a regular plenary lecture at the An- Judd, rather than simply providing our distinction; someone who had demonstrat- nual Meeting. The AMS sponsors lectures contact information, the new AMS Mem- ed both an ability to communicate with a at the Library of Congress and at the Rock ber Directory makes it possible to upload general public and web literacy; someone and Roll Hall of Fame and Museum, but all kinds of information, including photos, with both the energy and also the time to we have done nothing of the kind for our- curricula vitae, and links to personal web undertake a project such as this. selves since the early 1990s, when there was sites, databases, and blogs. One of its most I am delighted to report that D. Kern a tradition of an annual presidential address important features is the ability it provides Holoman has accepted the Board’s invita- that took place at the business meeting. In us to list research interests. This tool will tion to become the inaugural curator of the years before the proliferation of awards, help us to be better aware of the range of Musicology Now. Kern has all of the de- it had been possible for the president to our collective interests and to track the sired attributes and then some. Among hold forth for a lengthy scholarly address. shifts of those interests from year to year. his entrepreneurial efforts, he co-founded The Board’s enthusiasm for this idea blos- It will also be enormously useful for the 19th-Century Music, he was a guiding force somed quickly into what will be called the Committee on Committees in seeking to in the creation of AMS-L in the mid- AMS President’s Endowed Plenary Lecture, balance the scholarly representation on the 1990s, his two latest books (a biography of an event made possible by the philanthrop- Society’s committees. Please make use of ic altruism of Elaine Sisman and her hus- it (and please let us know how we might band Martin Fridson. Their inspired choice improve it). Directory + Blog + for the first recipient of this honor is Rich- 2. New AMS blog. In the February 2012 ard Crawford (in future years the selection AMS Newsletter, Anne Walters Robertson Endowed Plenary Lecture of the plenary lecturer will be made by the also announced a quest to improve the way Board). The lecture will take place at the we as a society “do” public musicology. The end of the first afternoon of papers, Thurs- Charles Munch, and The Orchestra: A Very discussion of what that might mean occu- day from 5:30 to 6:30, and will exit directly Short Introduction) reach a wide audience, pied the Board at a retreat in New Orleans into the Thursday evening reception. The he has been a tireless mentor of graduate in March 2012. It also reverberated through intent is to provide an occasion that brings and undergraduate students … and af- numerous postings to AMS-L in June 2011, together as many members of the Society ter forty years of teaching, he is retiring. in a healthy debate about our relevance and as possible for a moment that is at once in- visibility to the world at large. Prodded by Asked to provide two or three sentences tellectually stimulating and socially festive. an email from Bill Meredith lamenting to describe the new blog, he sums it up For those who are unable to be there in per- our relative invisibility, many—includ- in these words: “Musicology Now is a blog son, we intend to film the lecture and make ing me—identified the variety of ways in from the American Musicological Society, it available on our web site. which individual members have success- written by its members for the general The new directory, the blog, and the en- fully made an impact outside of academia public. It seeks to promote the results of dowed plenary lecture are each in their own and professional journals. Not to rehash recent research and discovery in the field of way steps toward a Society that is better able those emails, which are archived and there- music history, foster colloquy, and generate to comprehend the breadth and diversity of fore still available, but Bill’s basic point is enthusiasm for the subject matter. Using its members and their varied interests. In correct: we can do better. An exploration links, images, and sound, it references con- the earliest decades, when the membership of some best practices will take place at this versations within and around the academy was numbered in the hundreds, this was ac- fall’s Annual Meeting in Pittsburgh, with and in the principal institutions of music complished by the Journal. The AMS News- an evening session sponsored by the Com- making around the world.” He reports letter emerged in 1971 to convey different mittee on Communications and the Com- that the prototype is up and running and sorts of information to a field and a Society mittee on Career-Related Issues entitled may be reviewed by communicating with then in rapid expansion. More recently the “Beyond the Academy: Musicology in the him at [email protected]. The AMS-L, our web site, and the first online Real World” (see p. 23 for more details). launch is expected at the beginning of the directory added new means of communi- The Board wanted to find a way to com- academic year 2013–14, and members who cation. Outreach and enhanced self-aware- municate what it is we do in language that would like to propose a blog entry for the ness (which we might think of as “inreach”) would be accessible to constituencies we early weeks should submit it to the same promote each other. want to reach, including performers and email address. —Christopher Reynolds

 AMS Newsletter AMS Pittsburgh 2013 ranged a concert by the venerable early music burgh Public Theater, where Sam Shepherd’s ensemble Sequentia, which last performed for True West will be playing. continued from page 1 the AMS at the Boston meeting in 1981. The Weather. In early November western Penn- group will present “Frankish Phantoms,” ex- sylvania is pleasantly cool, with average highs Pittsburgh cuisine has historically leaned ploring the music of the Carolingian court, just above fifty and lows in the mid-thirties. towards filling blue-collar fare, with the Pri- on Saturday evening in Trinity Episcopal Ca- On average, the city receives some precipita- manti Bros. “Strip” sandwich (topped with thedral (see p. 11 for further information). The tion every other day. No weather condition French fries) its best-known example. In the Performance Committee has also arranged a will prevent Steelers fans from tailgating be- Cultural District near the hotel, however, concert of big band music by Mary Lou Wil- fore the 1 p.m. home game with the Buffalo there are many excellent kitchens turning out liams, recently published in the MUSA series Bills on Sunday. every sort of modern dish. A best bet near the (see p. 23), which will take place on Thursday Ancillary Meetings. Organizations with hotel is Market Square, planned as the center evening. On Friday and Saturday nights the ties to the AMS continue to participate en- of town in 1764 and now a piazza ringed by Pittsburgh Symphony Orchestra will perform thusiastically during the Annual Meeting. restaurants of all price categories. The Strip (a Prokofiev’s Violin Concerto no. 1 with Ara- This year, the American Bach Society, Ameri- narrow piece of land along the Allegheny just bella Steinbacher, along with Sheherazade and can Beethoven Society, American Brahms east of downtown) has far more to offer than Leonardo Balada’s Symphony no. 6, conduct- Society, American Handel Society, Ameri- Primanti’s, with boutique grocers and inven- ed by Rafael Frühbeck de Burgos. On Satur- can Institute for Verdi Studies, Early Music tive new restaurants. Across the Monongahela day, the Pittsburgh Opera will perform The America, Forum on Music and Christian is Carson Street, home of many popular bars Magic Flute (in English). At the Manchester Scholarship, Lyrica Society, Mozart Society and fine eateries. Beer lovers can head to the Craftsmen’s Guild on Friday and Saturday, of America, North American British Music Penn Brewery on the North Side, the Church Paul Winter will return to his early jazz days Studies Association, Society for Eighteenth- Brew Works in a decommissioned Catholic with his Sextet, revisiting charts from 1960 to Century Music, and Society for Seventeenth- church in the Strip, or the huge Munich- 1963. Also in the Cultural District is the Pitts- owned Hofbräuhaus near Carson Street on continued on page  the river, all of which brew their own. The Program. This year’s program features Annual Meeting Hotel and Travel Information fifty-five formal sessions, in addition to seven alternative-format sessions and, new this year, TheWyndham Grand Pittsburgh Downtown, 600 Commonwealth Place, was opened by one poster session. Subject areas represent the Conrad Hilton in 1959 as part of the Gateway Center project that remade the Point into an full range of work in the field. Ecomusicology, office park. With over seven hundred rooms, it has unobstructed views of the rivers on three disability studies, and Latin American topics sides. Rates are $144 per night for up to five people, plus tax (allow 14%). Complimentary made strong showings last year at the New internet access is available in all conference attendee guest rooms. Orleans meeting, and this year they continue Reservations may be made either through the meeting web site or by telephone: (800) to grow. Other areas well represented on this 996-3426 (group code “American Musicological Society”). Conference rates are valid year’s program are minimalism, opera (across through 6 October, subject to availability. periods), and early-twentieth-century mod- Air Travel. Pittsburgh International Airport (PIT) is served by Air Canada, AirTran, ernism (across Europe, North America, and American, Delta, Frontier, Jet Blue, Southwest, United, and US Airways. The airport is Latin America). Round-table discussions (in nineteen miles west of the conference hotel on I-376, a twenty-five- to forty-five-minute alternative-format sessions) review the impact journey by car depending on the traffic. Ground transportation is on either side of the bag- of the politics of difference and of post-colo- gage claim area, with private cars on the parking lot side and taxis, vans, and buses on the nial studies on musicology, as well as launch other side. Taxi fares to the hotel run around $40–45, with no extra charge for cab sharing. enterprising new projects in sound studies Super Shuttle offers van service for $24 per passenger ($46 round trip), with no sharing and the cultural study of musical instruments. discount. The Port Authority’s 28X Airport Flyer Bus leaves from door no. 6 every thirty Daytime performances include a concert minutes on the hour and half hour (except for an afternoon stretch of 4:35, 5:10, 5:40, 6:10, of English Restoration solo sacred music, a 6:40, 7:10, and 7:35) and arrives across the street from the conference hotel forty to forty-five lecture-recital of eighteenth-century lute mu- minutes later; the fare is $3.75 (bills and coins only, no change given). The Flyer returns to sic, and an open reading session of “number the airport from the hotel at ten and forty minutes after the hour, from 4:40 a.m. to 11:10 pieces” by John Cage. In addition to panels p.m. organized by AMS committees and Study Trains and Buses. Amtrak’s Capitol Limited and Pennsylvanian Lines stop in Pittsburgh Groups, evening sessions include “Music and daily, connecting the city to Chicago, Washington, D.C., and New York City. Trains ar- Disability on Screen” and a reconsideration of rive at Union Station, 11th and Liberty. Greyhound’s bus terminal is across the street, and Thomas Morley as theorist and teacher. The Megabus stops a block away at 10th and Penn. All three stations are about three quarters of traditional opening reception on Thursday a mile from the hotel. will begin at 6:30 p.m. (one hour later than Driving directions. A downtown area map and links to detailed driving directions are usual), as it will be preceded by the inaugural available at the Hotel and Travel Information web page. Parking rates at the Wyndham AMS President’s Endowed Plenary Lecture at Grand: valet parking with in/out privileges at $28 per night, or self-service parking at $20 5:30 (see p. 5). Whet your appetite by brows- per night but no in/out privilege. Other parking is available near the hotel at 300 Liberty ing the Preliminary Program (pp. 13–22) for Ave ($20/day, $5/day on weekends); see www.downtownpittsburgh.com/getting-around/ more details! parking for further options. Special Performances. With the help of Additional information. The Hotel and Travel Information page found at the AMS web Pittsburgh’s Renaissance & Baroque concert site (www.ams-net.org/pittsburgh/travel-info.php) provides full travel information. series, the Performance Committee has ar- August 2013  “What I Do in Musicology”: Thoughts from the Field

In the second installment of our new column profit formed by a small group of performers focusing on public musicology and careers out- and educators (including fellow musicologist side the traditional tenure-track faculty line, Mark Clague) to spearhead a series of projects we hear from Susan Key, who has adapted commemorating the two hundredth anniver- an essay originally published in the Bulletin of sary of The Star-Spangled Banner. Along with the Society for American Music. If you are in- various partner institutions, we are develop- terested in contributing to this column in the ing educational resources, exhibits, record- future, please contact AMS Newsletter editor ings, and conferences. (Check out our web Andrew H. Weaver ([email protected]) with a site at www.starspangledmusic.org; we’d love brief description of your contributions to public to have you involved!) musicology. What do I love about engaging with the For me, the process of building a career out- world beyond academe? It’s the opportunity side academe was part necessity, part choice. to see the impact of scholarship in action— As a later-in-life Ph.D. with a family, I had to work with museums, public libraries, per- less flexibility than someone with a more forming arts organizations, and media com- traditional profile. I also confess that I was panies on projects that reach a broad public. spoiled by living in great places: first Wash- I firmly believe that not only our scholarship ington, D.C., then the San Francisco Bay but also our culture would be strengthened Susan Key by more awareness of the intersecting worlds area. Even so, I was in the second year of a town can’t support a band? It would be a hol- of performance, education, academe, and three-year appointment at Stanford when I low victory indeed if our efforts resulted ex- took a one-quarter leave to coordinate the public policy. While musicologists have made clusively in intellectual enrichment for those San Francisco Symphony’s American Mav- great efforts to be inclusive in our scholarship privileged few behind ivy-covered walls. ericks Festival. My assumption that I would and curricula, we need to ask ourselves tough I have talked to many young musicologists return to Stanford and continue my career questions about the implications of how ex- in academe soon gave way to the realization clusive our field remains in practice. How who are intrigued by the possibilities of “pub- that I was enjoying the SFS way too much socially significant is it to opine polysyllabi- lic musicology” but who are discouraged by for that! For twelve years I worked at the SFS cally about the need to expand “the canon” the continuing reality that tenure decisions in in a variety of roles: speaking, writing, and when only the wealthiest boys and girls in this most universities give lip service to “outreach” designing exhibits, adult education courses, country have any awareness of—and thus any but are actually based on publication. I ap- and web and education components of the access to—music within any canon except the plaud the AMS for beginning this conversa- Symphony’s multi-media Keeping Score proj- most commercial? How socially responsible is tion and hope that the Society will go further ect. I am now Executive Director of the Star- it to teach a course on hip-hop at an elite uni- and take a lead role in challenging this prac- Spangled Music Foundation, a 501(c)(3) non- versity while the school district in the same tice.

AMS Pittsburgh 2013 ET 1 November): $135 ($75, student/retired); continued from page  Late/Onsite: $155 ($85 student/retired). AMS members receive a conference registration Century Music will hold public meetings or form via U.S. mail; a PDF version, as well as receptions. Additionally, the standard array of online registration, is available at the web site. receptions and parties will take place over the Child Care. If a sufficient number wish to course of the weekend. Details can be found arrange child care, the AMS office will assist in the Preliminary Program (pp. 13–22), and in coordinating it. Please contact the AMS of- announcements from the membership about fice if this is of interest. meetings events can be found at the meeting Scheduling. Please contact the AMS office web site. to reserve rooms for private parties, recep- Interviews. A limited number of rooms at tions, or reunions. Space is limited, so please the conference hotel will be available for job communicate your needs as soon as possible. interviews during the meeting. To reserve a The Pittsburgh meeting web site provides fur- room, please consult the web site or contact ther information. the AMS office. Job candidates can sign up via the web or (if spots are still available) at Student Assistants. The AMS seeks stu- the interview desk in the hotel. AMS policy dents to help during the conference in return prohibits interviews in private rooms without for free registration and $11 per hour (six appropriate sitting areas. hours minimum). If this is of interest, please Registration. Conference registration fees: see the web site or contact the AMS office. Early (until 5 p.m. ET 30 September): $105 —Matthew Baumer VisitPittsburgh Credit: ($45, student/retired); Regular (until 5 p.m. Local Arrangements Chair Pittsburgh’s Grand Concourse, Station Square

 AMS Newsletter Richard Crawford to Deliver Inaugural Plenary Lecture

As announced in the President’s Message (see America’s Musical Life: A History (2001). The of Charleston, p. 2), this year’s Annual Meeting in Pittsburgh latter spawned a textbook version, An Intro- South Carolina, will inaugurate the AMS President’s Endowed duction to America’s Music (2001), republished the opera Porgy Plenary Lecture, which will be held Thursday in 2013 in an expanded and revised second edi- and Bess has a at 5:30 p.m., immediately preceding the tradi- tion with Larry Hamberlin. Serving the AMS libretto by Du- tional opening reception. This year’s speaker as President in 1982–84, he has chaired the Bose Heyward, is Richard Crawford. Society’s Committee for the Publication of song lyrics by Crawford, a native of Detroit, attended American Music since 1985, and since 1993 he Heyward and Ira Richard Crawford public schools there, learning to play both has also served as editor-in-chief of the Soci- Gershwin, and the alto and tenor saxophone in an attempt to ety’s national series of scholarly editions, Mu- music by George Gershwin. On 20 October emulate Lester Young on the latter and Paul sic of the United States of America (MUSA), 1935, shortly after the Theatre Guild mounted Desmond on the former. He attended the which now has twenty-five volumes in print. the opera’s first New York production at the University of Michigan, receiving a bachelor’s Reflecting his youthful interest in early Amer- Alvin Theatre on Broadway, the composer de- degree in music education (1958), a master’s ican sacred music, he co-authored with David clared in a New York Times article that he had in music history and literature (1959), and a P. McKay William Billings of Boston, which called his work a folk opera because he con- Ph.D. in musicology (1965). From 1962 un- won the AMS’s Kinkeldey Award in 1975. He sidered it a folk tale, meaning that the people til his retirement in 2003, he taught at the also completed American Sacred Music Im- in it “naturally would sing folk music.” Not- University of Michigan School of Music, prints 1698–1810: A Bibliography (1990), begun ing a crucial choice he had faced, Gershwin with stints as a visitor at Brooklyn College, by Allen P. Britton and Irving Lowens. His explained that “when I first began work on CUNY (1974) and the University of Cali- year as Bloch lecturer at Berkeley helped to the music I decided against the use of original fornia, Berkeley (1985). During that time he direct his attention to the broader sweep of folk material because I wanted the music to supervised more than two dozen Ph.D. dis- American music making, the result being The be all of one piece. Therefore I wrote my own sertations. American Musical Landscape (1993/2000). He spirituals and folksongs.” The lecture, cen- A founding member of the Sonneck Society is now writing a biographical study entitled tered upon selected numbers and moments in for American Music (now Society for Ameri- Summertime: George Gershwin’s Life in Music. Porgy and Bess, will explore the artistic impact can Music) in 1974, he twice won that group’s The lecture he will give in Pittsburgh is enti- of Gershwin’s decision to write his own spiri- Irving Lowens Book Award, for The Core Rep- tled “Mr. Gershwin’s Catfish Row Spirituals.” tuals rather than selecting them from preexis- ertory of Early American Psalmody (1984) and Set in an African American neighborhood tent oral and written sources.

Executive Director’s Message The AMS regularly receives requests for in- The AMS would like to develop means to universities doing to help their Ph.D.s land formation on job placement and hiring, and answer discipline-specific questions related to nonacademic jobs? Time will tell, but the idea we would like to be able to point to reliable the NCES data. Third, the statistics regarding of crowdsourcing has great appeal, and we’re information. What are the job placement sta- job placement need to be established and cod- monitoring this initiative closely. tistics according to demographics such as race ified over time in annual installments. Since Finally, in 2012 the AMS agreed to support and gender? How does our discipline com- the AMS regularly publishes vacancy notices efforts by the American Academy of Arts and pare with other humanities disciplines? We on its bulletin boards, we have a toehold on Sciences (AAAS) to meet the critical need for do not have good answers to these questions. the information, but much more can be done. data regarding the state of the humanities. Plans are afoot, however, to improve our un- Regarding the latter, the AMS 2009 survey Their Humanities Indicators project (HIP; derstanding of who we are as a discipline and of departments conducted by the Graduate see www.humanitiesindicators.org) has set what the job prospects are for those consider- Education Committee was a good beginning ambitious goals to provide scholars, policy- ing musicology as a degree program. makers, and the public with a comprehensive Three levels of information are required. Our need for data picture of the state of the humanities, from The first is basic demographics. We have con- primary to higher education to public hu- ducted periodic demographic surveys of the manities activities. The collection of empiri- membership (See the August 2002 and 2007 (see the summary in the February 2010 AMS cal data is modeled after the National Science AMS Newsletters for summaries). The pic- Newsletter). We may find ways to regularize Board’s Science and Engineering Indicators and ture gleaned from what we know is helpful and improve this survey in future. Recently, creates reliable benchmarks to guide future enough that we want to continue this in some a new blog at the Chronicle of Higher Edu- form; we are planning another iteration of the cation has taken to crowdsourcing to address analysis of the state of the humanities. As the survey this fall. Second, we need to improve this area: the Ph.D. Placement Project (www. AAAS points out, “without data, it is impos- our understanding of the current situation in chronicle.com/blogs/phd/). The project’s sible to assess the effectiveness, impact, and American higher education. The U.S. Depart- goals are to gather reliable data about job needs of the humanities.” The next data roll- ment of Education’s National Center for Ed- placements for Ph.D.s: who gets jobs? where out from the HIP is due late this year, and we ucation Statistics (NCES) gives an excellent are they? which doctoral programs are doing eagerly look forward to seeing how musicol- picture of academia overall, but discipline- well at placing their Ph.D.s in tenure-track ogy fits into the larger picture of the state of specific information is lacking or unrefined. positions, which not so well? and what are the humanities in higher education.

August 2013  tion “Musical Descents: Creating and Recre- Awards, Prizes, and Honors ating Hell in Italian Opera, 1600–80.” AMS Chapter Student Awards AMS Awards and Prizes 2013 “Early Singspiel Adaptations of Mozart’s Da Ponte Operas at the Viennese Court-Theater The Capital Chapter presented the Irving Three doctoral candidates in musicology re- (1798–1819).” Lowens Award for Student Research to ceived Alvin H. Johnson AMS 50 Disserta- Douglas Buchanan (Peabody Conservatory) tion Fellowship Awards for 2013–14: Hyun A grant from the Jan LaRue Travel Fund was for “Rhetoric Rethought: Affektenlehre in Kyong Chang (University of California, Los awarded to Sara Pecknold (Catholic Uni- Context.” Angeles), “Musical Encounters in Korean versity of America) to conduct research for The Greater New York Chapter presented the Protestantism: A Trans-Pacific Narrative”; her dissertation “‘On lightest leaves do I fly’: student paper prize to Nicholas J. Chong Emily Frey (University of California, Berke- Redemption and the Renewal of Identity in (Columbia University) for “Beethoven’s Fa- ley), “Russian Opera in the Age of Psycho- Barbara Strozzi’s Sacri musicali affetti (1655).” logical Prose”; and Jeremy Strachan (Univer- vorite Theologian? Johann Michael Sailer, sity of Toronto), “Music, Communications, TheJanet Levy Fund for independent schol- the Missa Solemnis, and the Question of Place: Udo Kasemets and Experimentalism in ars supports travel and research expenses for Beethoven’s Faith.” 1960s Toronto.” independent scholars. In late 2012, Byron The Midwest Chapter presented the A-R Avior received a Levy Grant for the book pro­ Howard Mayer Brown Fellowship Editions Award to Brian MacGilvray (Case The is ject “Schoenberg’s Writings on Aesthetics and presented by the Society to promising minor- Western Reserve University) for “Shaping the Interpretation in Performance,” and in early Memento Mori: Froberger’s Méditation faite ity graduate students pursuing a doctoral de- 2013 Sheryl Kaskowitz received a Levy Grant 2013 14 sur ma morte future and Seventeenth-Century gree in music. The – fellowship recipi- for work on the book project tentatively titled Matthew D. Morrison Vanitas Art” and the Indiana University Press ents are (Columbia “A Collective Songprint: Communal Singing Roseen Giles Award to Jeremy Zima (University of Wis- University) and (University of in American Culture.” Toronto). One of the recipients accepted the consin-Madison) for “Strauss’s Intermezzo: A New Look at the German ‘Artist-Opera.’” award on an honorary basis. A grant from the Harold Powers World Grants from the M. Elizabeth C. Bartlet Travel Fund was awarded to Cesar Favila The New York State–St. Lawrence Chapter Fund for research in France were awarded to (University of Chicago) for research on his presented the student paper prize to Amanda Alexandra Kieffer (Yale University) to con- dissertation “Music in Early Modern Concep- Lalonde (Cornell University) for “The Music duct research on her dissertation on French tionist Convents of New Spain (1610–1790).” of the Living Dead.” musical culture ca. 1890–1910, and Erin Ma- A grant from the Ora Frishberg Saloman The Northern California Chapter and the Pa- her (University of North Carolina, Chapel Fund for musicological research was award- cific Southwest Chapter presented the Ingolf Hill) for research for her dissertation “Mil- ed to Jeremy Zima (University of Wisconsin- Dahl Memorial Award to Valerio Morucci haud in the United States.” Madison) to conduct research for his disserta- (University of California, Davis) for “Secular The inaugural grant from the Virginia and tion “Aesthetics and Economics of the Ger- Patronage at the Orsini Court: Music, Poetry, George Bozarth Fund for musicological man Artist-Opera, 1912–34.” and the Rhetoric of Early Monody.” research in Austria was awarded to Marie- The Pacific Northwest Chapter presented the AMS Teaching Fund Hélène Benoit-Otis (University of Montreal) A grant from the was Best Student Paper prize to Juliana Madrone Eric Hung for research on music propaganda during the awarded to (Westminster Choir (University of Colorado) for “Utile dulci: Third Reich. College, Rider University) for the project “In- Constructing a Swedish Identity.” corporating Local Musics in the Undergradu- A grant from the William Holmes/Frank ate Music History Curriculum.” The South-Central Chapter presented the Rey D’Accone Endowment for travel and re- M. Longyear Student Paper Award to Sarah search in the history of opera was awarded A grant from the Eugene K. Wolf Travel Dietsche-Ford (University of Memphis) for to Martin Nedbal (University of Arkansas) to Fund was awarded to Aliyah Shanti (Prince­ “F the President: Reactions to George W. study archival materials to support his project ton University) for research on her disserta- Bush in Popular Music.” The Southeast Chapter presented the Student Presentation Award to Samuel Brannon (Uni- versity of North Caro- lina, Chapel Hill) for “‘Full of a Thousand Beautiful and Graceful Inventions’: The Compi- lation of Gardano’s 1545 Willaert Motet Print.” The Southern Chapter presented the award for Hyun Kyong Chang Emily Frey Jeremy Strachan best paper read by a stu- AHJ AMS 50 Fellow AHJ AMS 50 Fellow AHJ AMS 50 Fellow dent to Toni Casamas-  AMS Newsletter sina (Florida State University) for “Poetry, NEH for “American Vernacular Music Manu- Art, and Music: Lied Sources in Nineteenth- scripts, ca. 1730–1910,” a project that will digi- Century Düsseldorf.” tize, catalogue, and provide web-based public access to approximately 250 music manu- The Southwest Chapter presented the Hewitt- scripts held by the Center for Popular Music Oberdoerffer Award to Jonathan Sauceda at Middle Tennessee State University. (University of North Texas) for “Opera and Society in Early-Twentieth-Century Argen- Suzanne G. Cusick (New York University) tina: Felipe Boero’s El matrero.” received an ACLS Fellowship for “Men Hear- ing Women in Medicean Florence.” Other Awards, Prizes, and Honors Drew Edward Davies (Northwestern Uni- Karen Ahlquist (George Washington Uni- versity) received the inaugural J. M. Thom- versity) won the 2013 Irving Lowens Article son Prize for the best article by an early career Award from the Society for American Music scholar published in Early Music for “Villan- for “Musical Assimilation and ‘the German Roseen Giles cicos from Mexico City for the Virgin of Gua- Howard Mayer Brown Fellow Element’ at the Cincinnati Sängerfest, 1879,” dalupe” (2011). Musical Quarterly (2011). Emily M. Gale (University of Virginia) won Micaela K. Baranello (Princeton University) the 2013 Mark Tucker Award for outstanding received a Mellon/ACLS Dissertation Com- student paper presented at the Annual Meet- pletion Fellowship for “The Operetta Empire: ing of the Society for American Music for Viennese Music Theater and Austrian Iden- “Sentimental Songs for Sentimental Men.” tity, 1900–35.” Kate Galloway (Memorial University of Barbara Barry (Lynn University) received a Newfoundland) won the 2013 Cambridge fellowship from the Institute for Music Re- University Press Award for outstanding paper search at the School of Advanced Studies of presented by an international scholar at the the University of London, to pursue work Annual Meeting of the Society for American on the paradigm of Possible Worlds and the Music for “Sounding and Composing the Many Worlds Interpretations in theoreti- Harbour: Recontextualizing and Repurpos- cal physics, explored in her book ‘Lebewohl’: ing the Soundscape and Sense of Place in the Reconstructions of Death and Leave-taking in Harbour Symphony.” Matthew D. Morrison Howard Mayer Brown Fellow Music (2013). Edmund J. Goehring (University of Western Festival: Musical Encounters in Poland from Margaret Bent (University of Oxford) was Ontario) received an NEH Summer Stipend the Cold War to the Twenty-First Century.” elected to membership in the American Phil- for “A Troubling Genius: Early Mozart Re- osophical Society. ception and Modern Music Historiography.” Sheryl Kaskowitz (Providence College) won the 2013 Wiley Housewright Dissertation Marianne Betz (Hochschule für Musik und Glenda Goodman (University of Southern Award from the Society for American Music Theater Leipzig) received the Adrienne Fried California) received an ACLS New Faculty for “As We Raise Our Voices: A Social Histo- Block Fellowship from the Society for Ameri- Fellowship for “American Identities in an ry and Ethnography of ‘God Bless America,’ can Music for “G. W. Chadwick’s The Padrone Atlantic Musical World: Transhistorical Case 1918–2010” (Harvard, 2011). (1913) or: Opportunities and Obstacles for Studies.” She also won the 2012 Richard L. Opera in Boston.” Morton Award for the best essay in the Wil- Karl Kügle (Utrecht University) was elected liam and Mary Quarterly by an author who Christensen Visiting Fellow at St. Catherine’s Philip Bohlman (University of Chicago) has was a graduate student at the time of first College, Oxford University, for Trinity Term 2013 14 been awarded a – Guggenheim Fellow- submission, for “‘But they differ from us in 2014. In 2012, he was elected a member of the ship for “Music after Nationalism.” sound’: Indian Psalmody and the Soundscape Academia Europaea, a European-based, non- Patrick Bonczyk (Michigan State University) of Colonialism, 1651–75” (October 2012). governmental network of scholars acting as an won the 2013 Irene Alm Memorial Prize for Bruce Gustafson (Franklin & Marshall Col- academy on a global scale. outstanding student paper presented at the lege) was named an Honorary Member of the Lewis Lockwood (Harvard University) was Annual Conference of the Society for Seven- Society for Seventeenth-Century Music. elected to membership in the American Phil- teenth-Century Music for “Temple-Musick: William E. Hettrick osophical Society. Exploring the Musical Metaphor in George (Hofstra University) re- 2013 Herbert’s The Temple.” ceived the Curt Sachs Award from the Deirdre Loughridge (University of Califor- American Musical Instrument Society “in nia, Berkeley) received an ACLS New Faculty Joy H. Calico (Vanderbilt University) was recognition of his distinguished contributions Fellowship for “Technologies of the Invisible: elected to the Executive Board of the Ger- as professor of music, author of books and ar- Optical Instruments and Musical Romanti- man Studies Association and has joined the ticles on musical instruments, editor of criti- cism.” Editorial Board of the Brecht Yearbook/Brecht cal scholarly editions, president of the Society, Andrei Pesic (Princeton University) received Jahrbuch. and editor of its Journal and its Newsletter.” a Mellon/ACLS Dissertation Completion Dale Cockrell (Vanderbilt University) re- Lisa Jakelski (Eastman School of Music, Fellowship for “The Enlightenment in Con- ceived a Humanities Collections and Refer- University of Rochester) received an NEH ence Resources grant of $127,956 from the Summer Stipend for “The Warsaw Autumn continued on page  August 2013 

AMS Fellowships, Awards, and Prizes Robert M. Stevenson Award Descriptions and detailed guidelines for all Eugene K. Wolf Travel Fund for outstanding scholarship in Iberian music AMS awards appear in the AMS Directory for European research Deadline: 1 May and on the AMS web site. Deadline: 1 March Philip Brett Award Publication subventions are drawn from Alfred Einstein Award of the LGBTQ Study Group for outstanding the AMS 75 PAYS, Anthony, Brook, Bu- for an outstanding article by a scholar in the work in gay, lesbian, bisexual, and trans- kofzer, Hanson, Hibberd, Jackson, Kerman, early stages of her or his career sexual/transgender studies Picker, Plamenac, and Reese Funds. Applica- Deadline: 1 May Deadline: 1 July tion deadlines are 15 February and 15 August each year. Otto Kinkeldey Award MPD Travel Fund to attend the Annual Meeting Janet Levy Travel and Research Fund for an outstanding book by a scholar beyond Deadline: 25 July for independent scholars the early stages of her or his career Deadline: 1 March Deadline: 1 May Thomas Hampson Fund M. Elizabeth C. Bartlet Fund Lewis Lockwood Award for research and publication in classic song Deadline: 15 August for research in France for an outstanding book by a scholar in the Deadline: 1 March early stages of her or his career Noah Greenberg Award Deadline: 1 May William Holmes/Frank D’Accone Fund for outstanding performance projects 15 for research anywhere Music in American Culture Award Deadline: August Deadline: 1 March for outstanding scholarship in music of the Eileen Southern Travel Fund Jan LaRue Travel Fund United States to attend the Annual Meeting Deadline: 1 May for European research Deadline: 1 June Deadline: 1 March Claude V. Palisca Award Paul A. Pisk Prize Harold Powers World Travel Fund for an outstanding edition or translation for an outstanding paper presented by a for research anywhere Deadline: 1 May graduate student at the Annual Meeting Deadline: 3 October Deadline: 1 March H. Colin Slim Award Ora Frishberg Saloman Fund for an outstanding article by a scholar be- Howard Mayer Brown Fellowship for research anywhere yond the early stages of her or his career for minority graduate study in musicology Deadline: 1 March Deadline: 1 May Deadline: 15 December Teaching Fund Ruth A. Solie Award Alvin H. Johnson AMS 50 for innovative teaching projects for an outstanding collection of essays Dissertation-year Fellowships Deadline: 1 March Deadline: 1 May Deadline: 15 December

Awards, Prizes, and Honors Medieval Venice and its Maritime Colonies, article of a music-bibliographic nature for 1204–1450.” “Gustav Mahler’s Second Century: Achieve- continued from page  ments in Scholarship and Challenges for Re- Alanna Ropchock (Case Western Reserve search,” Notes 67/3 (2011): 457-482. University) received a Fulbright grant to Ger- cert: The Concert Spirituel and Religious Mu- many for the 2013–14 academic year to pursue sic in Secular Spaces, 1725–90.” research on her dissertation, “The Body of Hilary Poriss (Northeastern University) re- Christ Divided: Josquin’s Missa Pange lingua Guidelines for Announcements ceived an ACLS Fellowship for “Writing a in Reformation Germany.” of Awards and Prizes Musical Life: Pauline Viardot.” Kay Kaufman Shelemay (Harvard Universi- Michael J. Puri (University of Virginia) re- ty) was elected to membership in the Ameri- Awards and honors given by the Society ceived a 2013–14 Fellowship from the Na- can Philosophical Society. are announced in the Newsletter. In addi- tional Humanities Center for a book on cos- James Steichen (Princeton University) re- tion, the editor makes every effort to an- mopolitanism in the music and thought of ceived a Mellon/ACLS Dissertation Comple- nounce widely publicized awards. Other Maurice Ravel. tion Fellowship for “George Balanchine in announcements come from individual submissions. The editor does not include Iain Quinn (Western Connecticut State Uni- America: Institutions, Economics, and Aes- versity) received an award from the Music & thetics of the Nonprofit Performing Arts, awards made by the recipient’s home in- 1933 54 Letters trust to fund materials for an edition – .” stitution or to scholars who are not cur- of the complete anthems of John Goss (A-R Judith Tick (Northeastern University) won rently members of the Society. Awards Editions). the 2013 Lifetime Achievement Award from made to graduate student members as a the Society for American Music. result of national or international compe- Jamie Greenberg Reuland (Princeton Uni- titions are also announced. The editor is versity) received a Mellon/ACLS Disserta- James L. Zychowicz received the Music Li- always grateful to individuals who report tion Completion Fellowship for “Sounding brary Association’s Richard S. Hill Award for honors and awards they have received. Resemblances: Music and Ritual in Late- the best article of music librarianship or best  AMS Newsletter AMS / Library of Congress AMS Co-Sponsors Short-Term Lecture Series Fellowship at the Newberry Library

The next AMS / Library of Congress Lecture will take place in the Chicago’s Newberry Library will partner with the AMS to offer a Coolidge Auditorium at noon on Tuesday 24 September. Kendra Pres- short-term fellowship to a Society member for research at the library ton Leonard (Loveland, Ohio) will present a lecture entitled “Meaning beginning in academic year 2014–15. The fellowship recipient will re- and Myth in Louise Talma’s First Period Works.” ceive $2,000 to fund a one-month research period. Kendra Preston Leon- Post-doctoral scholars and Ph.D. candidates from outside the Chica- ard writes, “The Library go area who have a specific need for research in the Newberry collection of Congress houses the are eligible. (The Newberry is authorized by the Department of State Louise Talma Collec- to issue DS-2019 forms, which can be used by international scholars tion, the largest collection to secure a J-1 visa for the period of their research.) Applicants must of the materials of this be members of twentieth-century com- the AMS in poser (1906–96). I have good standing uncovered a significant amount of new informa- at the time that tion on Talma’s life, career, applications are compositional processes, submitted to the and works in the Collec- Newberry and tion, including previously throughout the unknown or ‘lost’ compo- duration of the sitions and materials illu- fellowship. Fel- Kendra Preston Leonard minating the development lowship recipi- of Talma’s three major compositional periods, her influences, and the ents are required Chicago’s Newberry Library impetus behind several works. In this lecture, I will examine Talma’s to be in residence youth and early musical training and their implications in the context continuously at the Newberry during the term of the award. of her earliest works, a number of unpublished songs and a work for The Newberry staff will select the fellow as part of its short-term chamber orchestra. I will frame this by addressing two myths about fellowship review process. Applications will be evaluated on the signifi- Talma and her career and provide new archival findings that help ex- cance of the proposal, the applicant’s ability to complete the proposed plain this part of Talma’s life and inform recurring tropes in these and project, and the appropriateness of the proposed project to the New- later works. berry’s collection. For information about the Newberry’s core collec- “The first myth involves Talma’s family history. Because Talma her- tion, see www.newberry.org/core-collections. For information about self actively discouraged interviewers from asking about her childhood, the Newberry’s music collection, see www.newberry.org/music. even supplying them with inconsistent and incomplete information, it 15 2014 is easy to understand how accounts of it have become distorted. I will Applications are due January for research conducted between 1 2014 30 2015 uncover secrets in Talma’s past that will help us understand the mean- July and June . Information about the Newberry’s short- ings behind Talma’s earliest songs, which set melancholy and grief- term fellowship program is available at www.newberry.org/short-term- filled texts about the loss of beauty, the need for secrecy, and the pain fellowships. The Newberry-AMS Short-Term Fellowship will continue of silent mourning. in future years. “The second myth maintains that Talma’s interest in composition began when she attended the Conservatoire Américain de Fontaine­ bleau in 1926 to study piano and harmony, and was encouraged there AMS / Rock and Roll Hall of Fame and Museum by Nadia Boulanger to return the next year as a composition student. Lecture Slated for 25 September However, Talma had already begun working seriously with Harold Brockway and Percy Goetschius at the Institute of Musical Art (later The next AMS / Rock and Roll Hall of Fame and Museum 2013 the Juilliard School). Her earliest extant works suggest that Talma was (RRHOFM) Lecture, postponed from Spring , will take 25 developing a more avant-garde approach to composition before un- place September in the Foster Theater of the RRHOFM, dergoing Boulanger’s regimen. I will demonstrate the ways in which Cleveland, Ohio. Loren Kajikawa (University of Oregon) will Talma’s compositional approaches were influenced by Boulanger’s present a lecture entitled “Before Rap: DJs, MCs, and Pre-1979 training and how Talma later moved away from her mentor’s rules as Hip Hop Performances.” See the February 2013 AMS Newsletter, she developed her own compositional voice. Ultimately, the analysis p. 15, or www.ams-net.org/RRHOFM-lectures/ for full details. of the connections between Talma’s inspirations for and approaches to Spring 2014 Lectures her early works will contribute to a fuller understanding of her later life and career.” AMS/LC Lecture: Tuesday 22 April 2014: Nancy Newman (Uni- The Communications Committee welcomes proposals from AMS versity at Albany, SUNY) will speak on the Germania Musical members interested in giving a lecture as part of this distinguished Society. series, which is intended to showcase research conducted using the AMS/RRHOFM Lecture: Date TBA: Christopher Doll (Rut- extraordinary resources of the Library of Congress Music Division. All gers University) will present “Nuclear Holocaust, the Kennedy lectures are available as webcasts. Links to the webcasts and applica- Assassination, and ‘Louie Louie’: The Unlikely History of Sixties tion information can be found at www.ams-net.org/LC-lectures. The Rock and Roll.” application deadline is 1 December 2013. August 2013  ACLS Annual Meeting 2013 The annual meeting of the American Council their complementary rather than competitive tability) of such massive online courses and of Learned Societies (ACLS) brought over two natures. He believes the “two cultures” are not candid about expense, pedagogical problems hundred attendees to Baltimore, 9–10 May the sciences and humanities, as C. P. Snow as- (inadequate class discussion, thinness of peer 2013, close to half of whom were delegates or serted in the 1950s, but rather those on either grading, better fit for STEM courses than for executive officers of the constituent societies. side of the “digital divide,” and those with humanities), and possible administrative or AMS members in attendance included John diverse sources of information vs. those with even legislative meddling. Graziano (SAM delegate), Richard Leppert but a single purveyor. Democracy demands ACLS President Pauline Yu continues to (ACLS Board), and Susan McClary (ACLS access to knowledge, and “the fourth ‘R’ is be an immensely important and visible advo- Board chair emerita). Reality.” cate for the humanities. In her address to the In the 2012–13 fellowship competition, the This year’s Haskins Prize Lecturer was Council, she stressed that humanistic knowl- ACLS awarded $14.5 million to 270 domestic Robert Alter, the ground-breaking scholar edge offers the means for inquiring into value, scholars and $740,000 to forty-six scholars of the Bible as literature, whose talk (“A Life and she noted the deep connections between based outside the U.S. Over three thousand of Learning”) revealed the astonishing turns scholarly research in the liberal arts and the applications were submitted to the twelve a career can take in response to student in- public good in a civil society. As a member terests. Next year, as already announced, the categories of fellowships that support scholars of the Commission on the Humanities and speaker will be pioneering ethnomusicologist at all stages of their careers. The number of Social Sciences, she also previewed the con- awardees and dollar expenditure were some- and longtime AMS member Bruno Nettl. clusions of its report, “The Heart of the Mat- what lower than last year, as assets declined The longest session was a panel devoted ter,” officially released in June (available at the by two percent, but applications declined as to the rationale, implementation, and im- American Academy for Arts & Sciences web well. The New Faculty Fellows program has plications of MOOCs (massive open online site, www.amacad.org) and since widely pub- unfortunately come to an end, and several courses), because the Executive Committee licized. other programs face renewal challenges. The of the Delegates decided last September that ACLS needs to find sources of funding be- their challenges for the humanities were pro- Finally, as ACLS committee chair I attended yond Mellon and has begun to develop prom- found. Moderated by James J. O’Donnell, the launch event for that report, an evening at 19 ising partnerships in East Asia, though not for the new chair of the ACLS Board, who noted the U.S. Capitol Visitors Center on June. its central programs. that “Sunrise Semester” on network television In contrast to the generalities and committee- The humanities’ best friend in Washington, from 1957 to 1971 might have been the proto- driven blandness of the report itself, most of Jim Leach, stepped down as chair of the NEH type, the session featured three speakers who the speakers—in person and in the airing of a shortly before the annual meeting but was have respectively taught a MOOC (Jeremy new short film by Commission member Ken nonetheless willing to delineate the “State of Adelman of Princeton), researched MOOCs Burns—sought to convey what they found the Humanities” as luncheon speaker. A mis- for the California State system (Jennifer Sum- inspiring in the study of literature, art, phi- conceived cleavage between the humanities mit of Stanford), and sponsored MOOCs losophy, and music: the very heart of what is and STEM (science, technology, engineering, (Howard Lurie of edX). Each was simulta- missing from “The Heart of the Matter.” mathematics) fields, he argued, has obscured neously upbeat about the value (and inevi- —Elaine Sisman

Richard Griscom Appointed News from the AMS Board

AMS Archivist The AMS Board met in Pittsburgh in March 2013. In addition to reviewing reports from the officers and committees of the Society Richard Griscom has been ap- and reviewing nominations and appointments to committees and pointed archivist of AMS, succeed- Society positions, the Board: ing Marjorie Hassen, who served since 1989. Griscom is head of the • Approved a proposal to establish a plenary lecture at the Annual 5 Otto E. Albrecht Music Library at Meeting (see p. ). the University of Pennsylvania and • Agreed to a proposal for D. Kern Holoman to direct a new AMS previously was head of the music blog-style web site oriented to the general public (see p. 2). libraries at the University of Lou- isville (1988–97) and the University • Agreed to reprint currently out-of-print editions of the collected of Illinois (1997–2004). He is a past works of Johannes Ockeghem and William Billings. editor of the Music Library Associa- • Approved revised procedures for the Program Committee for tion’s quarterly journal, Notes, and 2014 (see pp. 22 and 24). is currently editor of the MLA’s • Approved a jointly-sponsored short-term fellowship at the New- Index and Bibliography Series. His Richard Griscom berry Library (see p. 9). 1994 book The Recorder: A Research AMS Archivist and Information Guide, written • Agreed to form an ad-hoc committee to consider whether Study with David Lasocki, was named a Choice Best Academic Book Groups should be accorded formal acknowledgment in its By- and is now in its third edition (2011). laws.  AMS Newsletter Performances in Pittsburgh The AMS Pittsburgh 2013 Performance Com- tion of the continental music he so loved, Sylvius Leopold Weiss (1687–1750). He will mittee received sixteen proposals and selected particularly Italian solo motets. By the end of perform the allemande by both composers as four to be performed at the Annual Meeting. the century, English composers Purcell, Blow, well as several other pieces. On Thursday night, Ted Buehrer, Profes- and Croft were writing their own solo motets An open reading session of large-scale sor of Music at Kenyon College and editor in the Italian style. The music performed on “number pieces” by John Cage on Saturday at of the recent MUSA volume Mary Lou Wil- this concert is drawn primarily from Harmo- 12:30 will be presented by the Eclectic Labora- liams: Selected Works for Big Band, will direct nia Sacra (1714), which includes works by the tory Chamber Orchestra (David Gerard Mat- the Indiana University of Pennsylvania Jazz aforementioned English composers as well as thews, Artistic Director, and Alan Tormey, Band in a performance of music from that works by Roman composers Carissimi and Associate Creative Director). The event will edition. Mary Lou Williams (1910–81), a na- Bonifatio Gratiani. take place at Bellefield Hall on the Univer- tive of Atlanta who considered Pittsburgh to On Saturday at 12:15, a lecture-recital en- sity of Pittsburgh campus (with bus service be her home, was earning a living playing titled “Fortunate Love: Timbre, Texture, and provided). The concert features Twenty-Eight, piano on the black vaudeville circuit by the Tessitura in the Gallot/Weiss Renderings of Seventy-Four, and 101, pieces by Cage that age of twelve. As a member of her husband ‘L’Amant Malheureux’” will be presented by occupy an important place in late-twentieth- Andy Kirk’s band, she began to arrange and lutenist Christopher Wilke. His presentation century American music. The concert offers compose music that was performed by Kirk as demonstrates important ways in which tim- an opportunity to experience this music in well as such important band leaders as Duke bre functioned as a vital consideration when a live setting. The open reading session will Ellington and Benny Goodman. In 1977, composing and performing lute music. As he include members of the Eclectic Laboratory Williams joined the faculty at Duke Universi- explains, “Unlike mensural notation, [lute Chamber Orchestra, guest musicians from ty, holding the post until her death. The IUP tablature] ciphers do not indicate abstract the Pittsburgh area, and any AMS member band will perform several of her works dating pitch information to be realized in whatever who wishes to participate. This opportunity is from 1929 to 1968. way deemed suitable to the performer; rather, especially timely in light of the recent celebra- A 2:00 concert on Friday afternoon at Trin- tablature graphically illustrates the hand’s tions of the Cage centennial. ity Episcopal Cathedral features male soprano physical movements. For non-lutenists, this Committee members Matthew Baumer, Robert Crowe and organist Peter Sykes, who makes it a ‘hidden,’ yet highly nuanced vehi- Steven Swayne, Kenneth Hamilton, and I in- will perform a concert entitled “From Caris- cle for the transmission of eighteenth-century vite you to attend (and participate in) what simi to Croft: The Influence of the Italian ideas about tone color.” Wilke demonstrates are sure to be exciting, interesting, and enjoy- Solo Motet in English Sacred Solo Music of this point with reference to the allemande able concerts. the Restoration.” Charles Stuart’s return to “L’Amant Malheureux” by Jacques Gallot (ca. —Catherine Gordon-Seifert England in 1660 also marked the introduc- 1625–ca. 1695) and a reworking of the piece by Performance Committee Chair Sequentia Saturday 9 November, 8 p.m. Trinity Episcopal Cathedral, 328 Sixth Avenue Unreserved seating: $25, $20 (student/retired) tire spectrum of medieval music. Based on meticulous and original research, intensive rehearsal, and long gestation, Sequentia’s virtuosic performances are compelling and surprising in their immediacy; they strike the listener with a timeless emotional connection to our own past musical cultures. Sequentia will present the program “Frankish Phantoms: Echoes from the Carolingian Palaces,” in which they explore the musical world of the Carolingian clan. Much is known about Christian li- turgical chant under the Franks, but Bagby, using all of the available manuscript sources and reconstructing lost melodies with the col- laboration of musicologist Sam Barrett (University of Cambridge) and others, will bring back to life lost musical works from a gold- en age of European song, when scholars and poets from England, Spain, France, and Germanic lands flourished under these enigmatic Sequentia: Benjamin Bagby, Norbert Rodenkirchen, Wolodymyr Smishkewych and powerful rulers. Bagby’s colleagues Norbert Rodenkirchen and Wolodymyr Smishkewych are veterans and long-time collaborators In partnership with Pittsburgh’s Renaissance & Baroque concert se- with Sequentia. Instrumentalist Rodenkirchen has been an integral ries, the AMS will host Sequentia for their first appearance at our part of their “Lost Songs Project.” Vocalist Smishkewych has ap- Annual Meeting since 1981. Sequentia is one of the world’s most peared since 2000 with the Sequentia ensemble of men’s voices. respected and innovative ensembles for medieval music. Under the Concert tickets are available via the Pittsburgh conference registra- direction of Benjamin Bagby, for over thirty-five years Sequentia has tion form: $25 ($20 student/retired), or at the door ($30). See www. brought to life innovative concert programs that encompass the en- ams-net.org/pittsburgh/concerts/ for further information.

August 2013  Pittsburgh Program Selection Russian and Hungarian In April the Program Committee met in sessions. The overall acceptance rate, about Musicologists Invited to Philadelphia for two and a half days to select thirty percent, indicates that our Annual Pittsburgh Special Session and assemble the program for the upcoming Meeting remains exceptionally selective. Annual Meeting in Pittsburgh. This year’s Throughout the weekend the committee For the third year in a row, the AMS committee included Mark Everist, Robert discussed ways in which the selection process has arranged for distinguished scholars Fink, Marina Frolova-Walker, Christine Getz, and the overall design of the conference could from abroad to attend the Annual Meet- Diana Hallman, and Richard Will (chair, potentially be improved. What balance do we ing. Our guests in 2013 will be Professor 2014), and I thank them warmly for putting seek between individual free papers and the- Liud­mila Kovnatskaya (Russia) and Dr. in overtime both evenings. We could not have matic or collaborative sessions, and how can Lóránt Péteri (Hungary). Prof. Kovnats- done our work without the speedy and precise our selection process help achieve such a bal- kaya, who teaches at the St. Petersburg work of Bob Judd, who provided indispens- ance? How do we weigh the advantages and Conservatory, is the author of ground- able support through all stages of this com- disadvantages of the program’s high selectiv- breaking monographs on Benjamin plex, multi-stage process. ity? How can the procedures of the commit- Britten (1974) and twentieth-century We received 708 proposals, including in- tee be revised to ensure the fairest evaluation British music (1986). More recently, she dividual papers, formal sessions (two or four of proposals? These issues have been discussed has produced important publications on papers), alternative-format sessions (90 min- in consultation with the Committee on the Dmitri Shostakovich as well as on musi- utes or 180 minutes), and evening panels. This Annual Meeting over the past year, and some cal ties between Russia and Great Brit- represents an increase of about seven percent of the resulting changes are reflected in the ain. Dr. Péteri is a Reader in Musicology on the previous year’s total. All proposals were Call for Papers for the 2014 meeting (see also at the Liszt Academy of Music. His ar- read anonymously and scored by the indi- the report from the Committee on the An- ticle “Form, Meaning, and Genre in the vidual members of the committee before we nual Meeting, p. 22). Society members are Scherzo of Mahler’s Second Symphony” arrived in Philadelphia to discuss them. We encouraged to voice their views on the design appeared in Studia Musicologica in 2009. accepted 178 individual papers, one of which of the program and the selection process as we He is also the author of several articles belongs to a poster session. Out of fifteen al- continue to work on a system that is fair and on Hungarian musical and musicologi- ternative-format proposals we accepted seven, satisfying to all. cal life under state socialism, including and from nine Formal Session proposals we —Dana Gooley an extensive study of Zoltán Kodály and accepted one four-paper and two two-paper Program Committee Chair socialist cultural politics (2007). During a special lunchtime session on Friday 8 November, Prof. Kovnatskaya and Dr. Chapter News ucdavis-today/2013/march/08-teaching-prize. Péteri will speak about musicology in html. Russia and Hungary during the Cold On 16 February 2013, the Greater New York War. This promises to be a stimulating The Institute for Advanced Study, a com- Chapter sponsored an opera education and highly informative event. munity of scholars focused on intellectual in- panel during its Winter Meeting at the Met- Prof. Kovnatskaya’s and Dr. Péteri’s quiry free from teaching and other university ropolitan Opera Guild. The purpose of the visits are part of an AMS outreach ini- obligations, invites applications from scholars panel was to encourage dialogue concerning tiative to facilitate further interaction of all nationalities for membership for up to opera education. Some questions that arose with our colleagues in other countries. a year, either with or without a stipend. Resi- include: Who are we educating and why? Is it This program began in 2011, when four dence in Princeton is required, and members’ not opera education so much as opera evange- scholars from China joined us in San only other obligation is to pursue their own lism? Should new operas be populist? How is Francisco, and it continued last year in research. Eligibility requirements are a Ph.D. the delivery of opera in HD changing the way New Orleans, where we hosted two mu- and substantial publications. Application operas are written and produced? How should sicologists from Latin America. deadline is 1 November 2013. Details: www. opera be introduced to youth? Details: ams- hs.ias.edu. gny-announcements.blogspot.com/2013/04/ opera-education-panel-summary-of.html. historic radio broadcasts. Each show features Internet Resources rich narrative, oral histories and interviews, News Briefs clips of historic musical recordings, and live News musical performances by the Jim Cullum Jazz Two AMS members were recently honored RILM announces the launch of RILM Ret- Band. Details: riverwalkjazz.stanford.edu. with substantial teaching awards from their rospective Abstracts of Music Literature on Archive of Seventeenth-Century home institutions. On 27 February 2013, the EBSCO platform. This comprehensive The Giuseppe Gerbino was awarded the Lenfest music bibliography covers music literature as Madrigals and Arias provides freely down- Distinguished Faculty Award from Columbia far back as the early 1800s, including journals loadable critical editions for study and per- University, an award totaling $75,000. In addi- that continued to be published after 1950. formance. Details: www.ascima.bham.ac.uk. tion, on 8 March 2013, AMS president Chris- Details: www.rilm.org. topher Reynolds was presented with the 2013 Oxford Music Online has been named a UC Davis Prize for Undergraduate Teaching On 1 January 2013, The Stanford Univer- Webby Award Official Honoree in the catego- and Scholarly Achievement, an award in the sity Archive of Recorded Sound began con- ry of Best Writing (Editorial) by the Interna- amount of $45,000. Details: news.columbia. tinuous web streaming of the Riverwalk Jazz tional Academy of Digital Arts and Sciences. edu/oncampus/3070 and www.ucdavis.edu/ programs consisting of more than 350 hours of Details: winners.webbyawards.com/2013/.  AMS Newsletter AMS ANNUAL MEETING Pittsburgh, 7–10 November 2013 Preliminary Program (as of 16 July 2013)

Loren Kajikawa (University of Oregon), “Before Rap: DJs, MCs, and Pre- WEDNESDAY 6 November 1979 Hip-Hop Performances” 2:00–8:00 AMS Board of Directors Amanda Sewell (Traverse City, Mich.), “On ‘Collage’ as Term and Con- cept in Sample-Based Hip-Hop” 9:00–5:00 Third New Beethoven Research Conference Edward Wright (University of Toronto), “The ‘Live Set’: Analog Perfor- mance Practice as Composition in Techno and House Music” THURSDAY 7 November Philosophical Interventions 9:00–7:00 Registration & Speaker Ready Room Alexander Rehding (Harvard University), Chair 1:00–6:00 Exhibits Wayne Alpern (Mannes College of Music), “Tonal Inequality and Musical 7:30–9:00 Meeting Worker Orientation Justice” Michael Gallope (University of Minnesota), “Félix Guattari’s ritournelle, 8:00–12:00 AMS Board of Directors Schumann’s Fantasiestücke, and the Musical Interiors of Creaturely Life” 9:00–12:00 Third New Beethoven Research Conference Holly Watkins (Eastman School of Music, University of Rochester), “To- ward a Posthumanist Organicism” 11:00–1:30 Society for Seventeenth-Century Music, Governing Board Golan Gur (Humboldt University of Berlin), “Musical Experience in the Age of Technique: Günther Anders’s Existential Phenomenology of 12:00–2:00 Membership and Professional Music” Development Committee Politics, Performance, and Spectacle 12 00 2 00 : – : Mozart Society of America Board Charles Garrett (University of Michigan), Chair THURSDAY AFTERNOON SESSIONS Jessie Fillerup (University of Richmond), “Robert Heller’s Magical Mys- tery Tour” 2:00–5:00 John Koegel (California State University, Fullerton), “Christopher Co- lumbus, Nero, and the Queen of Sheba: The Ringling Bros. and Barnum Roundtable: Critical Organology & Bailey Circus Spectacles as Musical Theater” Emily I. Dolan (University of Pennsylvania), Chair Leta Miller (University of California, Santa Cruz), “Opera as Politics: The Social History of San Francisco’s War Memorial Auditorium” Joseph Auner (Tufts University), Eliot Bates (University of Birmingham), J. Q. Davies (University of California, Berkeley), Jonathan De Souza David C. Paul (University of California, Santa Barbara), “Fairground Fan- (University of Western Ontario), Bonnie Gordon (University of Virgin- tasies: Sheet Music, Dime Novels, and the World’s Columbian Exposi- ia), Ellen Lockhart (Princeton University), Deirdre Loughridge (Univer- tion” sity of California, Berkeley), Thomas Patteson (University of Pennsylva- Social Tensions in Sixteenth-Century Music nia), Annette Richards (Cornell University) Giovanni Zanovello (Indiana University), Chair Opera Displacements Vanessa Blais-Tremblay (McGill University), “‘The Ways’ [‘I Modi ’] of Gundula Kreuzer (Yale University), Chair Black-Note Erotica” Tamsin Alexander (University of Cambridge), “Showing Paris How It’s Remi Chiu (Loyola University Maryland), “Madrigals, Mithradatium, Done: Glinka’s A Life for the Tsar in Nice, 1890” and the 1576 Plague of Milan” Alexandra Amati-Camperi (University of San Francisco), “Adapting to Nicholas Johnson (Butler University), “Hermeticism in Prague: The Cul- Changing Conditions: Rossini’s Neapolitan Cambiale di matrimonio” tural Roots of Philippe de Monte’s Compositional ‘Crises’” Harriet Boyd (University of Oxford), “Modernizing Opera: Stravinsky’s Jeffrey Levenberg (Princeton University), “The ‘Gesualdo Controversy’ The Rake’s Progress, Venice 1951” Averted: Reconsidering Giovanni d’Avella’s Regole di Musica” Francesca Vella (King’s College London), “Simon Boccanegra and the 1881 Women and Institutions in the Nineteenth Century Milan Exposition” Ruth Solie (Smith College), Chair Performance and Aesthetics in Popular Music Candace Bailey (North Carolina Central University), “The Music Book as Justin Williams (University of Bristol), Chair Signifier of Antebellum Culture” Brian Jones (University of North Carolina, Chapel Hill), “Process-Orient- Maribeth Clark (New College of Florida), “Whistling as Women’s Work in ed Aesthetics in Rock Analysis” the United States, 1887–1936”

August 2013  Laurie McManus (Shenandoah University), “‘New Paths’: The Reception 8:00 Indiana University of Pennsylvania Jazz of Wagner by the Allgemeiner Deutscher Frauenverein” Band Michael Joiner (University of California, Santa Barbara), “The Influence Music of Mary Lou Williams of Women and Gender on the Acceptance of Music in the American Ted Buehrer (Kenyon College), Director Academy” 9:30–11:00 Student Reception World War II: Propaganda and Resistance Annegret Fauser (University of North Carolina, Chapel Hill), THURSDAY EVENING SESSIONS Chair 8:00–11:00 Elizabeth Dister (Washington University in St. Louis), “Remembering France, Remembering Honegger: Music Dedicated to Joan of Arc under Commemoration and Revival Vichy” Sponsored by the Jewish Studies and Music Study Group Colette Simonot-Maiello (Brandon University), “Opera as Resistance: Richard Taruskin (University of California, Berkeley), Chair Francis Poulenc’s Les Mamelles de Tirésias and the Vichy Regime” Brian Locke (Western Illinois University), “The Ass and His Shadow (1933): Amy Lynn Wlodarski (Dickinson College), “Two Witnesses, One Kad- 2009 Anti-Fascist Satire and Cosmopolitan Self-Mockery in an Interwar Czech dish: Reflections on the Pisar-Bernstein Revival ( )” Jazz Revue” Tina Frühauf (Columbia University),“Reviving Prewar Memories: The Emily Richmond Pollock (Massachusetts Institute of Technology), “Opera Louis Lewandowski Festival in Berlin as a Space for Commemoration” by the Book: Defining Music Theater in the Third Reich and After” Thomas J. Kernan (University of Cincinnati), “Setting Gettysburg: Jew- ish-American Identity in Jacob Weinberg’s Lincoln Commemorations” Lillian Wohl (University of Chicago), “‘Para que no perdamos la memoria’: THURSDAY AFTERNOON SHORT SESSIONS The Politics of Memory, Jewish Heritage, and Musical Commemoration at the Associación Mutual Israelita Argentina (AMIA) in Buenos Aires” 2:00–3:30 Yael Sela-Teichler (Max Plank-Institut für Bildungsforschung), “Who Remembers? The Musical Commemoration of Moses Mendelssohn in Left and Right in the 1970s Berlin, 1786 and 2012” Alexander Stewart (University of Vermont), Chair From Landscapes to Cityscapes: Shaping the Sonic Ge- ography of Place Siel Agugliaro (Università di Siena), “The Enlightened Factory: La Scala and Its Concerts in Milanese Factories (1974–79)” Sponsored by the Ecocriticism Study Group Walter Aaron Clark (University of California, Riverside), “Paco de Lucia’s Denise Von Glahn (Florida State University), Chair and Respon- Entre dos aguas and the Politics of Rehabilitation in Franco’s Spain” dent 3:30–5:00 Robert Fallon (Carnegie Mellon University), “The Sounds of Steel and Seventeenth-Century Instrumentalists Emeralds: Musical Representations of Pittsburgh’s Industrial and Green Identities” Alexander Silbiger (Duke University), Chair Kate Galloway (Memorial University of Newfoundland), “Sensing and Composing Acoustic Environments: Sensory History and Emplaced Michael Bane (Case Western Reserve University), “French Noble Ama- Memory in Derek Charke’s Tundra Songs and Nanook of the North” teurism and the Aesthetic of Ease: The Case of Francesco Corbetta’s ‘Royal Guitar’” Dana Gorzelany-Mostak (Dickinson College), “From Plains to Hope: Sounding the South in the Presidential Campaigns of Jimmy Carter and Andrew Woolley (Bangor University), “‘Without basses’: Tune Books, Bill Clinton” Dancing Master-Violinists, and Memory Culture in Late Seventeenth- Century England” Travis Stimeling (West Virginia University), “The American Midwest as Industrial Wasteland in the Music of Uncle Tupelo, Son Volt, and Wilco” Music and Disability on Screen 4:30–5:30 Development Committee Fred Maus (University of Virginia), Chair 4:45–5:30 Committee on Career-Related James Deaville (Carleton University), Stephanie Jensen-Moulton (Brook- Issues Conference Buddy Mixer lyn College, CUNY), Jeannette DiBernardo Jones (Boston University), Kendra Preston Leonard (Journal of Music History Pedagogy) 5:30–6:30 AMS President’s Endowed Plenary Lecture: Popular Music of the Rust Belt “Mr. Gershwin’s Catfish Row Spirituals” Sponsored by the Popular Music Study Group Richard Crawford (University of Michigan) (see p. 5) John Covach (University of Rochester), Chair 6:30–7:30 Popular Music Study Group Christopher L. Collins (University at Buffalo, SUNY), “Ministry of Dis- sent: The Ecocriticism of Al Jourgensen” Business Meeting Ian MacMillen (Oberlin College), “Affect, Becoming, and Whiteness in 6:30–8:00 Opening Reception Professional South Slavic Tamburitza Bands, from Pittsburgh to Chicago” Eric Hung (Westminster Choir College of Rider University), “The Sounds 7:30–9:30 Journal of Seventeenth-Century of Asian American Trauma: Memorializing the Murder of Vincent Chin Music, Editorial Board in Detroit, 1982”  AMS Newsletter Music, Sound, Affect diana University), Ryan Skinner (Ohio State University); Lisa Jakelski (Eastman School of Music, University of Rochester), Organizer Sponsored by the Music and Philosophy Study Group Eighteenth-Century Music and Aesthetics A Tribute to Robert Murrell Stevenson (1916–2012) Nina Treadwell (University of California, Santa Cruz), Chair Sponsored by the Ibero-American Music Study Group Regina Compton (University of Rochester, Eastman School of Music), Walter Aaron Clark (University of California, Riverside), Chair “The Tyrant’s Wife and the Continuo Player: Using Recitative to Read Handel’s Operatic Characters” Marcelo Campos Hazan (University of South Carolina), Cristina Magaldi (Towson University), Grayson Wagstaff (Catholic University of Ameri- Keith Chapin (Cardiff University), “The Neo-Classical and the Rhetori- ca), Respondents cal Sublime: Gellert’s and C. P. E. Bach’s Musical Renditions of Gellert’s Geistliche Oden und Lieder (1757)” John Koegel (California State University, Fullerton), “Robert Murrell Ste- venson (1916–2012)” Jonathan Lee (University of California, Berkeley), “Sentimentalism, Latitudinarianism, and the Man of Feeling in Handel’s Joseph and his Walter Aaron Clark (University of California, Riverside), “Robert Steven- Brethren” son’s Inter-American Music Review: Thirty Years of Landmark Publishing” Steven Zohn (Temple University), “Morality, German Cultural Identity, Craig B. Parker (Kansas State University), “Robert Stevenson as Teacher, and Telemann’s Faithful Music Master ” Mentor, and Friend” European Film FRIDAY 8 November William Rosar (University of California, San Diego), Chair Ewelina Boczkowska (Youngstown State University), “Chopin in Film: 8:30–6:00 Registration & Speaker Ready Room Music, Politics, and Memory in Poland, 1944–91” 8:30–6:00 Exhibits Per F. Broman (Bowling Green State University), “Ingmar Bergman’s Sub- lime Failure: Music, Madness, and the Hour of the Wolf ” 7:00–8:45 Chapter Officers Hannah Lewis (Harvard University), “‘The Music Has Something to Say’: 7:00–8:45 Committee on Career-Related Issues The Musical Revisions of L’Atalante (1934)” 7:00–8:45 Committee on Communications Stephen Meyer (Syracuse University), “Suoni nuovi/Suoni antichi: Mario Nascimbene’s Biblical Epic Film Scores” 7:00–8:45 History of the Society Committee French Opera, Entrepreneurs, and Culture, 1870–1930 7:30–8:45 Alvin H. Johnson AMS 50 Dissertation Fellowship Committee Jane Fulcher (University of Michigan), Chair 7:30–8:45 Graduate Education Committee Katharine Ellis (University of Bristol), “Lessons of a Theatre Director: Hyacinthe-Olivier Halanzier (1819–96) and Opera in France” 7:30–8:45 Program Committees for the 2013 Cesar Leal (University of Kentucky / University of the South), “Gabriel and 2014 Annual Meetings Astruc and the Théâtre des Champs-Élysées: A Representation of Parisian 7:30–8:45 Student Representatives to AMS Council Culture” Louis Epstein (University of Massachusetts, Amherst), “Christophe Colomb 7:30–9:00 American Brahms Society Board and France’s Official Discovery of Darius Milhaud” Jann Pasler (University of California, San Diego), “Race and the Pre-Mod- FRIDAY MORNING SESSIONS ern between the Wars: La musique ancienne et moderne from Algiers to Casablanca” 9:00–12:00 Jewish Representations Ballet and the Modern Joshua Walden (Peabody Conservatory, Johns Hopkins Univer- Wayne Heisler, Jr. (College of New Jersey), Chair sity), Chair Matilda Ann Butkas Ertz (University of Louisville), “Uncle Tom’s Cabin in Daniel R. Melamed (Indiana University), “J. S. Bach’s Christmas Oratorio Italy: Music and Story in the Ballet Bianchi e negri” BWV 248 and the Jews” Gavin Williams (University of Cambridge), “Excelsior as Mass Ornament: Daniel Goldmark (Case Western Reserve University), “The Musical Roots Ballet and the Reproduction of Gesture” of The Jazz Singer ” Timothy Cochran (Muhlenberg College), “Metric Dislocation and Crisis Robert Waters (Seton Hall University), “Searching for American Identity: in Prélude à l’après-midi d’un faune” Nationalism and Anti-Semitism in American Music Societies, 1918–39” Rebecca Schwartz-Bishir (University of Michigan), “The Rite’s Moves: Ronit Seter (Peabody Conservatory, Johns Hopkins University), “Of Ideo- Physical Motion in Le sacre du printemps” logical Stereotypes, Biases, and Israelism in Steve Reich’s Tehillim” New World Transformations Cross-Border Encounters in the Global South: A New Look at Cold War Cultural Diplomacy Glenda Goodman (University of Southern California), Chair Sponsored by the Cold War and Music Study Group Drew Edward Davies (Northwestern University), “‘Mexican Minerva’: Myth and Erudition in a Coronation Ode for Charles III of Spain” Susan Thomas (University of Georgia), Chair Myron Gray (University of Pennsylvania), “Renaud de Chateaudun’s Carol A. Hess (University of California, Davis), Respondent ‘Queen of France’ and the Royalist Lament in Federal Philadelphia” Danielle Fosler-Lussier (Ohio State University), Eduardo Herrera Todd Jones (University of Kentucky), “Handel in Early America and the (University of Illinois at Urbana-Champaign), Marysol Quevedo (In- Politics of Genteel Reception” August 2013  Jennifer C. H. J. Wilson (Graduate Center, CUNY), “The New Orleans Lisa Jakelski (Eastman School of Music, University of Rochester), French Opera Company in New York City, June–September 1845: Per- Chair forming ‘Modern Opera’” Liudmila Kovnatskaya (Saint Petersburg Conservatory), “Self-censorship during the Cold War and Beyond: Experience of Self-Knowledge through FRIDAY MORNING SHORT SESSIONS Memoirs and Diaries by Prof. Mikhail Druskin” Lóránt Péteri (Liszt Academy of Music), “Hungarian Musicology under 9:00–10:30 State Socialism: Institutions, Informal Networks, Scholarly Projects, and Ideologies” Music, Discipline, and Institutions in the Nineteenth Century 3:30–5:00 AMS/MLA Joint RISM Committee David Gramit (University of Alberta), Chair Trevor Herbert (Open University), “A Legacy of Orphans: The British FRIDAY AFTERNOON CONCERT Military and the Music Profession in the Long Nineteenth Century” Kailan Rubinoff (University of North Carolina, Greensboro), “Towards a 2:00–3:30 Revolutionary Model of Music Pedagogy: The Paris Conservatoire and the Disciplining of the Musician, ca. 1795–1820” Recital: Carissimi to Croft: The Influence of the Italian Sources and Scribes Solo Motet in English Sacred Solo Music of the Restora- Robert Nosow (Jacksonville, N.C.), Chair tion Robert Crowe (Boston University), Soprano; Peter Sykes (Boston Jessica Chisholm (Youngstown State University / Grove City College), University), Organo Portativo “Cambridge University Ms 4405(9), a Missing Jubilate Deo upon the Square of In Exitu, and Evidence for the Continuation of a Fifteenth- Century English Compositional Practice” FRIDAY AFTERNOON SESSIONS Michael Phelps (New York University), “Du Fay the Scribe?” 10:30–12:00 2:00–5:00 Beyond “Isorhythm” Audio-Vision Sean Gallagher (New England Conservatory), Chair James Buhler (University of Texas at Austin), Chair Emily Zazulia (University of Pittsburgh), “What Was Rhythm?” David Cosper (New Zealand School of Music), “The Sonic Camera: Vi- sual Models of Contemporary Jazz Composition” Anna Zayaruznaya (Yale University), “What Is a talea?” Mary Simonson (Colgate University), “‘Visual Symphonies,’ Live Perfor- Mahler mance, and the Cinematic Avant-Garde” Karen Painter (University of Minnesota), Chair Jeremy Strachan (University of Toronto), “McLuhan’s Music: Acoustic Space and Udo Kasemets’s Trigon ” Thomas Peattie (Boston University), “Sonic Mapping and Mahler’s Mo- Alexandra Wilson (Oxford Brookes University), “Puccini and the Period bile Subject” Film: Constructing the Past through Operatic Fantasy in A Room with a Anna Stoll Knecht (New York University), “Beckmesser in a New Light: View and Atonement ” Die Meistersinger in Mahler’s Seventh Symphony” Domesticating Music in the U.S. Melissa De Graaf (University of Miami), Chair 12:00–1:30 Committee on Cultural Diversity Annual Reception Beau Bothwell (Columbia University), “Alexander Maloof’s Musical Mod- el for Arab-American Nationalism” 12 15 1 15 : – : Committee on Career-Related Issues, Session Lydia Hamessley (Hamilton College), “Elizabethan Music in 1930s Amer- I: “Surviving the Guilt: A Conversation on ica: Music in Paul Green’s Symphonic Drama The Lost Colony (1937)” Work/Life Balance” Lars Helgert (Catholic University of America), “Lukas Foss’s American Kathryn Welter (Composers Conference), Chair Cantata: A ‘Lover’s Quarrel’ with America” 12:15–1:45 Eighteenth-Century Music Editorial Board Joshua Plocher (University of Minnesota), “Curating New Musical Ameri- ca: Lincoln Center’s 1976 ‘Celebration of Contemporary Music’” 12:15–1:45 JAMS Editorial Board Institutional Cultures in the Middle Ages 12:15–1:45 Mozart Society of America, General Meeting Jeremy Llewellyn (Schola Cantorum Basiliensis), Chair 12:15–1:45 Music and Philosophy Study Lisa Nielson (Case Western Reserve University), “Musician Narratives and the Literary Performance of Musical Identity in the Early Abbasid Group Business Meeting Courts” 12:15–1:45 Society for Seventeenth-Century Margot Fassler (University of Notre Dame), “Dunstan of Canterbury: Music Business Meeting Many Lives Expressed in a Musical Office” Sarah Long (Michigan State University), “The Construction of Confra- 12:15–1:45 Musicology in Russia and Hungary ternity Devotions at the Cathedral of Tournai in the Fourteenth and Fif- during the Cold War teenth Centuries”  AMS Newsletter Emma Dillon (King’s College London), “Remembering to Forget: Music, 3:30–5:00 Conversion, and the Early Cistercian Experience” Critical Perspectives on Postwar Modernism Music, Diplomacy, and Social Networks in the Long Eighteenth Century Tiffany Kuo (Mount San Antonio College), Chair Emily Abrams Ansari (University of Western Ontario), Chair Amy Bauer (University of California, Irvine), “Genre as émigré: The Re- turn of the Repressed in Ligeti’s Second Quartet” Nicholas Mathew (University of California, Berkeley), Respondent Trent Leipert (University of Chicago), “Cold Monsters: Luigi Nono and Rebekah Ahrendt (Yale University), Mark Ferraguto (Pennsylvania State the Inhuman” University), Estelle Joubert (Dalhousie University), Damien Mahiet (Denison University) Restaging Opera Wendy Heller (Princeton University), Chair Nineteenth-Century Instrumental Music Carlo Lanfossi (University of Pennsylvania), “Rehabilitating Agrippina on Kenneth Hamilton (Cardiff University), Chair the Opera Seria Stage between Venice and Milan” Paul Berry (Yale University), “Grief and Transformation: Brahms’s First Martin Nedbal (University of Arkansas), “Between the Court and the Sub- Violin Sonata in Clara Schumann’s Hands” urbs: Die Zauberflöte’s Aesthetic Background and Early Viennese Recep- April L. Prince (Loyola University New Orleans), “(Re)Considering the tion in View of the Opera’s 1801 Court-Theater Production” Priestess: Clara Schumann, Historiography, and the Visual” Scott Messing (Alma College), “Schubert’s Marche militaire in War and Peace” 5:00–6:30 Graduate Education Committee Reception Marie Sumner Lott (Georgia State University), “Musical Style as Com- for Prospective Graduate Students mercial Strategy in Nineteenth-Century String Chamber Music” 5:00–6:30 Journal of Musicology Board Soviet and Post-Soviet Identities 5:00–6:30 Rice University Alumni Reception Marina Frolova-Walker (University of Cambridge), Chair 5:00–7:00 University of Illinois Reception Kevin Bartig (Michigan State University), “Music History for the Masses: for Alumni and Friends Reinventing Glinka in Post-War Soviet Russia” 5:15–6:15 Committee on Career-Related Issues, Session Elena Dubinets (Seattle Symphony), “‘Other’ Russians: Émigré Compos- II: “Search Committee, What Do You Want ers in a Globalizing World” from Me?” Peter Schmelz (Washington University in St. Louis), “The Devil and Aero- Olga Haldey (University of Maryland), Chair bics: Alfred Schnittke Confronts the Popular” 6:45–7:45 Committee on Career-Related Issues, Session Joan Titus (University of North Carolina, Greensboro), “Dmitry Shosta- kovich and his Girlfriends ” III: “New Teaching Philosophies: A Master Teacher Roundtable” What’s the Difference? Colin Roust (Roosevelt University), James Sindhumathi Revuluri (Harvard University), Chair Maiello (Vanderbilt University), Co-Chairs Olivia Bloechl (University of California, Los Angeles), Nina Eidsheim 5:30–6:30 Singing from Renaissance Notation (University of California, Los Angeles), Melanie Lowe (Vanderbilt Uni- hosted by Early Music America versity), Gayle Murchison (College of William and Mary), Carol J. Oja Valerie Horst, Director (Harvard University), Ruth Solie (Smith College), Gary Tomlinson (Yale 5:30–7:30 University of North Carolina at University), Judy Tsou (University of Washington) Chapel Hill Alumni Reception 6:00–7:00 Society for Eighteenth-Century FRIDAY AFTERNOON SHORT SESSIONS Music, General Meeting 6:00–7:30 W. W. Norton Reception 2:00–3:30 6:00–8:00 Boston University Reception Materializing Puccini 6:00–8:00 Florida State University College Gabriel Dotto (Michigan State University), Chair of Music Alumni Reception 6:30–8:00 Oxford University Press Reception Erin Brooks (Colburn School), “‘It was sung as Mme. Bernhardt might have spoken it’: Tosca, Music, and Sarah Bernhardt” 7:30–8:00 Music and Dance Study Group W. Anthony Sheppard (Williams College), “Puccini and the Music Boxes” Business Meeting Minimalism: Alternative Histories 8:00 Pittsburgh Symphony Orchestra Rafael Frühbeck de Burgos, conductor, Ryan Dohoney (Northwestern University), Chair Arabella Steinbacher, violin David Chapman (Rose-Hulman Institute of Technology), “Improvisation, Rimsky-Korsakov, Scheherazade ; Watermelons, and Steve Reich’s Piano Phase” Balada, Symphony No. 6; Cecilia Sun (University of California, Irvine), “Recording as History: Tony Prokofiev, Violin Concerto No. 1 Conrad and the Sound of Early Minimalism” Heinz Hall, 600 Penn Avenue August 2013  9:00–11:00 Eastman School of Music Alumni Reception From Objectives to Methodology: Models for Teaching 9:00–12:00 University of Chicago Alumni Reception Music History to Undergraduates 9:00–12:00 University of Pittsburgh and Hawaii Sponsored by the Pedagogy Study Group Alumni and Friends Reception J. Peter Burkholder (Indiana University), Moderator 10:00–10:30 Pedagogy Study Group Business Meeting James R. Briscoe (Butler University), “Personal Integration and Owner- 10:00–12:00 Columbia University Department ship: Music History as Musicology” of Music Reception Matthew Baumer (Indiana University of Pennsylvania), “Identifying and Prioritizing the Objectives for Undergraduate Music History Courses” 10 00 12 00 : – : Harvard Music Reception Kevin R. Burke (Franklin College), “Assessing the Role of Music History 10:00–12:00 Society for Christian Scholarship in the General Studies Curriculum” in Music Reception Recent Research in Music and Disability Studies 10:00–12:00 LGBTQ Study Group Party Sponsored by the Music and Disability Study Group Stephanie Jensen-Moulton (Brooklyn College), Blake Howe FRIDAY EVENING SESSIONS (Louisiana State University), Moderators

7:00–9:00 Christopher Macklin (University of Illinois at Urbana-Champaign), “Plague as a ‘Disabled Other’ in Early Modern Music” Gesualdo Between Art and Artifice Samantha Bassler (Rutgers University, Newark / Westminster Choir Col- Sponsored by the Lyrica Society for Word-Music Relations lege), “Music and Disability in Early Modern England: A Case Study in Mad Songs” Paul-André Bempéchat (Center for European Studies, Harvard Stefan Sunandan Honisch (University of British Columbia), “Disability, University), Chair Self-Formation, and the Educative Function of Musical Performance” Alexandra Amati-Camperi (University of San Francisco), Zhuqing­ (Les- Neil Lerner (Davidson College), “Listening to Disabled Veterans in Three ter) Hu (Amherst College), Lydia Rilling (Freie Universität Berlin) Hollywood Films: The Big Parade( 1925), Pride of the Marines (1945), and 8:00–10:00 The Best Years of Our Lives( 1946)” How to Sound Gay: David M. Halperin in Conversation with Ryan Dohoney SATURDAY 9 November Sponsored by the LGBTQ Study Group Nina Treadwell (University of California, Santa Cruz) and Emily 8:30–5:00 Registration & Speaker Ready Room Wilbourne (Queens College, CUNY), Co-Chairs 8:30–6:00 Exhibits 8:00–11:00 Beyond the Academy: Musicology in the Real World 7:00–8:45 Committee on Women and Gender Sponsored by the Communications and Career-Related Issues 7 00 8 45 committees : – : Publications Committee Carol A. Hess (University of California, Davis), Eric Hung (Rider 7:00–9:00 A-R Recent Researches Series University), Drew Massey (Binghamton University, SUNY), Editors’ Breakfast Moderators Gabriel Boyers (Schubertiade Music / Primary Source), Jason Hanley 7:00–9:00 Journal of Music History (Rock and Roll Hall of Fame and Museum), Deane Root (University of Pedagogy Editorial Board Pittsburgh), Barbara Haws (New York Philharmonic), Libby van Cleve (Yale University) 7:00–9:00 Web Library of Seventeenth- Music and Dance Studies Century Music Editorial Board Sponsored by the Music and Dance Study Group 7:30–8:30 American Institute for Verdi Studies Board Daniel Callahan (University of Chicago), Chair Panelists: Carlo Caballero (University of Colorado, Boulder), Tomie Hahn 7:30–8:45 Committee on Cultural Diversity (Rensselaer Polytechnic Institute), Rebecca Harris-Warrick (Cornell Uni- versity), Tamara Levitz (University of California, Los Angeles), Marian 7:30–9:00 Alexander Street Press Breakfast Reception Smith (University of Oregon) 7:30–9:00 Society for Eighteenth-Century Ecomusicology Listening Room 2013 Music Board of Directors Sponsored by the Ecomusicology Study Group 7:30–9:00 Journal of Musicological Mark Pedelty (University of Minnesota), Chair Research Editorial Board Justin Burton (Rider University), Michael Baumgartner (Cleveland State University) 7:45–8:45 American Bach Society Editorial Board

 AMS Newsletter SATURDAY MORNING SESSIONS Morgan M. Rich (University of Florida), “Theodor Adorno and Alban Berg: The Crossroad Between Kant and Beethoven” 9:00–12:00 Opera and Voice in Nineteenth-Century France Poster Session: The Complete Theoretical Works of Jo- Mark Pottinger (Manhattan College), Chair hannes Tinctoris: A New Digital Edition J. Q. Davies (University of California, Berkeley), “‘Voice, Voice, Voice’” Jeffrey J. Dean (Birmingham Conservatoire) David Kasunic (Occidental College), “Tubercular Singing” The Gendered Soundscape Sarah Hibberd (University of Nottingham), “Rossini’s Siège : An Archaeol- Lisa Barg (McGill University), Chair ogy of the Senses” Helena Kopchick Spencer (University of Oregon), “‘Un jardin rempli de Tara Rodgers (University of Maryland), Joseph Auner (Tufts University), jolies femmes’: Intimate Gardens and Gendered Space in French Grand Mara Mills (New York University), Andra McCartney (Concordia Uni- Opera (1828–48)” versity), Pauline Oliveros (Deep Listening Institute) How Frankish, How Roman? Discerning the Origins and Race and Politics in the U.S. Development of Gregorian Chant Carol J. Oja (Harvard University), Chair Margot Fassler (University of Notre Dame), Chair Jennifer DeLapp-Birkett (Ithaca, N.Y.), “Decoding the FBI’s File on Aaron Copland” Benjamin Brand (University of North Texas), “Barbarous Franks or Treacherous Romans? The Creation and Transmission of the Earliest Of- Daniel E. Mathers (University of Cincinnati), “More than Child’s Play: fice Responsories for the Sanctorale” Aaron Copland and Tin Pan Alley” Daniel DiCenso (College of the Holy Cross), “Revealing Rubrics: New Christopher Lynch (DePauw University), “Reconstructing the First 1942 Evidence of Distinct Layers of Roman and Frankish Influence in the Ear- Broadway Opera: The Revisions to Porgy and Bess” liest Sources for the Mass Proper” Kristen Turner (University of North Carolina, Chapel Hill), “‘For the Mu- Thomas Kelly (Harvard University), “The Paschal Vigil in Medieval Rome” sical Elevation of a People’: The Theodore Drury Grand Opera Company Crosses the Color Line” Luisa Nardini (University of Texas at Austin) and Rebecca Maloy (Univer- sity of Colorado, Boulder), “Musical Hybridization in the Roman Mass for the Dead” SATURDAY MORNING SHORT SESSIONS Margins and Peripheries 9:00–10:30 Rachel Cowgill (Cardiff University), Chair Joanna Bullivant (University of Nottingham), “Musical Communists and Music in the Age of Animanities British Society: The Case of Alan Bush” James Currie (University at Buffalo, SUNY), Chair Graham Raulerson (University of California, Los Angeles), “‘One More Max Hylton Smith (University of Pittsburgh), “Depth Psychology and Train to Ride’: Hobo Recording Artists and the Hobo Renaissance” Genre in Stephen Sondheim’s Into the Woods” David Gramit (University of Alberta), “The Business of Music on the Pe- Jonathan Shold (University of Pittsburgh), “Why Listen to Animals? The ripheries of Empire: A Turn-of-the-Century Case Study” Human-Animal Limit in Blended New Age Nature Recordings” Adalyat Issiyeva (McGill University), “From Oriental Other to Stigma- tized Brother: Ethnographic Concerts at the Service of Empire” Travel and Migration in the Early Modern Era Marketing and Branding Contemporary Music Erika Honisch (University of Missouri, Kansas City), Chair Phil Ford (Indiana University), Chair Scott Edwards (Harvard University), “Linguistic Plurality and Italian Song in Sixteenth-Century Central Europe” Peter Kupfer (Southern Methodist University), “‘And Then There’s the All- New Hyundai Sonata’: The Cultural Values of Classical Music in TV Jonathan Glixon (University of Kentucky), “Shall We Go to the Opera or Advertising” to Church? A Visitor’s Guide to Music in Baroque Venice” Mark Samples (Millikin University), “Timbre and Legal Likeness: The 10:30–12:00 Case of Tom Waits” John Pippen (University of Western Ontario), “Virtuosity, Friendliness, The Concert Spirituel and Branding of an American New Music Ensemble” Jacqueline Waeber (Duke University), Chair Jessica Wood (Durham, N.C.), “Selling ‘Bach to Rock’: Classical Compos- Andrei Pesic (Princeton University), “The ‘Dangerous’ Concert: Rigorist ers as Marketing in the Age of Hip Consumerism” Critiques of Religious Music in a Secular Context” Modernism and Modernizations Beverly Wilcox (University of California, Davis), “The Widow Royer’s Daniel Grimley (University of Oxford), Chair Music Collection: Bricolage and Repertoire at the Concert Spirituel” Joel Haney (California State University, Bakersfield), “Musicking in the Remediations ‘Between’: Player-Directed Form and Contemporaneity in Hindemith’s Duo Sonatas” William Cheng (Harvard University), Chair Lauren Holmes Frankel (Yale University), “The Preacher, the Farmer, and Christopher Morris (University College Cork), “Opera Comes to the Proj- the National Opera: Creating the Finnish Opera Boom” ects: The Politics of Site-Specific Performance” Mark Martin (University of California, Los Angeles), “‘The Desiccated Bettina Varwig (King’s College London), “Beware the Lamb: Staging Remains of Tradition’: Sibelius and Adorno” Bach’s Passions” August 2013  12:00–2:00 American Handel Society Board Faith and Fantasy, 1800–1840 12:00–5:00 Committee on the Publication of Nicholas Mathew (University of California, Berkeley), Chair American Music, Luncheon Francesca Brittan (Case Western Reserve University), “Fantasy, Philology, 12:15–1:15 North American British Music Studies and the Romantic Inferno” Association Business Meeting Nicholas J. Chong (Columbia University), “Beethoven’s Theologian: Jo- hann Michael Sailer, the Missa Solemnis, and the Question of Beethoven’s 12:15–1:45 Committee on Career-Related Issues, Faith” Session IV: “Publishing a Book-Length Deirdre Loughridge (University of California, Berkeley), “Beethoven’s Project: People in the Know Tell All” Phantasmagoria” James Zychowicz (A-R Editions), Chair Maria Rose (Répertoire International de Littérature Musicale), “New 12:15–1:45 AMS Council Insights into Beethoven’s ‘Waldstein’ Sonata, Op. 53: A Showpiece for Paris?” 12:15–1:45 Haydn Society of North America Producing Minimalist Opera 12:30–2:00 Friends of Stony Brook Reception Ryan Minor (Stony Brook University), Chair SATURDAY AFTERNOON CONCERTS David Gutkin (Columbia University), “Meshing with the Eternal Present: Allegory, Actuality, and History in Robert Ashley’s Operas” 12:15–1:45 Sasha Metcalf (University of California, Santa Barbara), “The Future of American Opera? Harvey Lichtenstein’s Role in Promoting Philip Glass” Lecture-recital: Fortunate Love: Timbre, Texture and Alice Miller Cotter (Princeton University), “Sketches of Grief: John Ad- Tessitura in the Gallot/Weiss Renderings of “L’Amant ams’s On the Transmigration of Souls and the Writing of Doctor Atomic ” Malheureux” Paul Schleuse (Binghamton University, SUNY), “Reviving Einstein: Race, Christopher Wilke (Nazareth College), lute Gender, and Interpretation in Einstein on the Beach, 1976–2012” 12:30 Psalm Settings and Politics An Open Reading Session of Large-­Scale “Number Andrew H. Weaver (Catholic University of America), Chair Pieces” of John Cage Peter Bennett (Case Western Reserve University), “Hearing King David at Eclectic Laboratory Chamber Orchestra: David Gerard Mat- the Court of Louis XIII: Psalm Settings from the Musique de la Chambre thews, Artistic Director; Alan Tormey, Associate Creative Director and the Rise of the ‘Absolute’ Monarchy” Derek Stauff (Indiana University), “Psalm 83, Confessional Strife, and the Leipzig Convention of 1631” SATURDAY AFTERNOON SESSIONS Stacey Jocoy (Texas Tech University), “‘Welcome to all the Pleasures’: The 2:00–5:00 Political Motivations of the St. Cecilia’s Day Celebrations” Race, Nation, and Theater in Latin America The Ars Antiqua Tala Jarjour (University of Notre Dame), Chair Leo Treitler (Graduate Center, CUNY), Chair Jonathan Sauceda (University of North Texas), “Opera, Culture, and Class Gregorio Bevilacqua (University of Southampton), “Notation and Trans- in Early Twentieth-Century Argentina: Felipe Boero’s El Matrero” mission ‘from the Time of Perotin the Great’? Manuscript 1471 of the Bernardo Illari (University of North Texas), “Alberto Williams (1852– Médiathèque of Troyes” 1962), Occidentalist: Music, Liberalism, and the Nation in Argentina Jennifer Saltzstein (University of Oklahoma), “Cooperative Authorship in around 1900” the Thirteenth-Century Motet” Alejandro L. Madrid (Cornell University), “National and Post-National Kathleen Sewright (Winter Springs, Fla.), “Matthias Flacius Illyricus and Transfigurations in Julián Carrillo’s Opera Matilde” a Lost Source of Thirteenth-Century French Polyphony” Susan Thomas (University of Georgia), “Lyric Blackface from Havana’s Katherine Kennedy Steiner (Princeton University), “Polyphony and Lit- Stages to Latin American Screens: The Cinematic Transformation of the urgy for the Keledei at Medieval St. Andrews” Cuban Zarzuela” Edward Said and Music Studies Today Virtuosity and Performance Brigid Cohen (New York University), Moderator Anne MacNeil (University of North Carolina, Chapel Hill), Kofi Agawu (Princeton University), Rachel Beckles Willson (Royal Hollo- Chair way, University of London), James Currie (University at Buffalo, SUNY), Dario Sarlo (Library of Congress), “Studying Concert Performances: The Sindhumathi Revuluri (Harvard University), Michael Figueroa (Univer- Iconic Career of Jascha Heifetz” sity of Chicago) Lindsey Strand-Polyak (University of California, Los Angeles), “Virtù e The Nightingale Virtuoso: Giuseppe Colombi, Private Spectacle, and Social Standing at Rachel Mundy (University of Pittsburgh), Chair the Este Court” Craig Monson (Washington University in St. Louis), “‘Le pene sofferte Robert Fallon (Carnegie Mellon University), Elisabeth Le Guin (Universi- per Te son glorie, vittorie d’un’Alma ch’ha fe’: Bodily Mortification in ty of California, Los Angeles), Andra McCartney (Concordia University) Convent Choir Lofts”

 AMS Newsletter SATURDAY AFTERNOON SHORT SESSIONS SATURDAY EVENING SESSIONS 2:00–3:30 8:00–11:00 Song Tracks Graduate Education in the Digital Age: Challenges and Opportunities Robert Walser (Case Western Reserve University), Chair Sponsored by the Graduate Education Committee Ross J. Fenimore (Davidson College), “Desires in Conflict: Madonna, Sexual Propriety, and Singing ‘Like a Virgin’ in the 1980s” Mary Ann Smart (University of California, Berkeley), Moderator S. Alexander Reed (Ithaca College), “Burning Down Freedom’s Road: The Michael Scott Cuthbert (Massachusetts Institute of Technology), Carol Strange Life of ‘Brown Baby’” Muller (University of Pennsylvania), Don Michael Randel (University 3:30–5:00 of Chicago), Tara Rodgers (University of Maryland), Zachary Wallmark (University of California, Los Angeles) Sonic Illusions Towards a New View of Thomas Morley as Theorist and Albin Zak (University at Albany, SUNY), Chair Teacher Ming-Lun Lee (University at Buffalo, SUNY), “Opera Recording as Audio Jessie Ann Owens (University of California, Davis), John Milsom Drama: A Study of John Culshaw’s Stereophonic Production Notes for (Liverpool Hope University), Co-Chairs the 1958 Decca Recording of Benjamin Britten’s Peter Grimes” Bonnie Blackburn (University of Oxford), Denis Collins (University of Marissa Steingold (University of California, Los Angeles), “Auto-Tune: Queensland), Ruth DeFord (Hunter College, CUNY), Theodor Dumi- Coming Clean” trescu (University of Utrecht / University of California, Davis), Leofranc Holford-Strevens (University of Oxford), Cristle Collins Judd (Bowdoin College), Davitt Moroney (University of California, Berkeley), Paul 5:30–7:00 AMS Business Meeting and Schleuse (Binghamton University, SUNY), Jeremy Smith (University of Awards Presentation Colorado, Boulder) 7:30–8:00 CUNY Graduate Center Reception 10 7:00–9:00 Duke University Alumni Reception SUNDAY November 8:30–12:00 Registration & Speaker Ready Room 7:30–9:00 North American British Music Studies Association Reception and Musicale 8:30–12:00 Exhibits 7:00–8:45 AMS Board of Directors 8:00 The Sequentia Ensemble(see p. 11) 7:00–8:45 Performance Committee 8:00 Pittsburgh Symphony Orchestra (see p. 17) SUNDAY MORNING SESSIONS 8:00 Pittsburgh Opera 9:00–12:00 The Magic Flute French Opera, 1680–1790 Benedum Center, 803 Liberty Ave. David Charlton (Royal Holloway, University of London), Chair 9:00–11:00 AMS Dessert Reception Antonia L. Banducci (University of Denver), “How Do You Solve a Prob- lem Like Quinault’s Amadis?” 9:00–11:00 Indiana University Reception Blake Stevens (College of Charleston), “Transpositions of Spectacle and 9:00–12:00 University of California at Time: The Entr’acte in the Tragédie en musique” Berkeley Alumni Reception Margaret Butler (University of Florida), “On the Origins of ‘Operatic Re- form’ at Parma: Rameau, Traetta, and the Tradition of Adaptation in the 10:00–1:00 Cornell Reception 1750s” John A. Rice (Rochester, Minn.), “Staging at the Paris Opéra in the 1780s 10:00–1:00 Princeton University Department as Seen through the Eyes of a Cellist in the Orchestra” of Music Reception Historiography 10:00–1:00 Stanford Reception Matthew Gelbart (Fordham University), Chair 10:00–1:00 UCLA Musicology Alumni Reception David Blake (Stony Brook University), “Homo Omnivorus: Inclusiveness, Popular Music, and the Class Borders of University Taste” 10:00–1:00 University of Cincinnati, College- Bryan Proksch (Lamar University), “Croatian Tunes and Slavic Paradigms: Conservatory of Music Reception Forging the ‘Modern Anglophone Haydn’” 10:00–1:00 University of North Texas Alumni Reception Linda Shaver-Gleason (University of California, Santa Barbara), “Presen- tations of Felix Mendelssohn in George Grove’s Dictionary as Reflections 10:00–1:00 University of Pennsylvania Party of the English Musical Renaissance” Kristy Johns Swift (University of Cincinnati), “Donald Jay Grout and ‘The 10:00–1:00 Yale Party Lunatic Fringe’” August 2013  International Politics in the Twentieth Century think’: Film Form, Musical Meaning, and the Cinematic Auditorium of the Post-Vietnam Combat Movie” Amy Beal (University of California, Santa Cruz), Chair Jessica Getman (University of Michigan, Ann Arbor), “Music and the Hyun Kyong Chang (University of California, Los Angeles), “The Poli- Metaphoric Alien in Star Trek” tics of Exilic Suffering: The Formation of Cold War Cosmopolitanism Alexandra Roedder (University of California, Los Angeles), “A Compari- in South Korea” son of the Japanese and American Scores for Kiki’s Delivery Service, and Aaron Judd (Yale University), “Mapping Music History: Mountains, Bor- the Theoretical Implications Therein” ders, and the Emergence of Modern Space in Chinese Composition, 1425–1989” Music as Resistance Abby Anderton (Baruch College, CUNY), “Denazifying Beethoven: The Barbara Milewski (Swarthmore College), Chair American Cultural Agenda in Postwar Berlin” Stephanie N. Stallings (Los Angeles, Calif.), “The Pan-American Associa- Christina Bashford (University of Illinois at Urbana-Champaign), “‘If I tion of Composers (1928–34) and the Dawn of U.S. Musical Diplomacy” practice I can make a fair show’: The Power of the Violin in the Ballykin- lar Internment Camp during the Anglo-Irish War (1919–21)” Modernism and Aesthetics María Natalia Bieletto Bueno (University of California, Los Angeles), Klára Moricz (Amherst College), Chair “Crusades for Beauty: The Mexican Council of Culture against the Peo- ple’s Music Shows” Alexandra Kieffer (Yale University), “Sound and Symbol: Anxieties of Lis- Andrea F. Bohlman (University of North Carolina, Chapel Hill), “Hearing tening in Debussyism” Beyond the Censor: Music and Oppositional Agency in Polish Indepen- William Fulton (Graduate Center, CUNY), “Stravinsky’s Ebony Concerto, dent Culture, 1977–90” Atomized Listening, and the Importance of Missing Voices” Cindy Bylander (San Antonio, Tex.), “Charles Ives and Poland’s Stalowa Beth Snyder (New York University), “Hearing the Utopian/Composing Wola Festival: Inspirations and Legacies” the Utopian: Ernst Bloch’s Aesthetic Theory and Discourse about Music in Early Postwar East Germany” Order and Disorder in Early Music David Walters (Marmara University), “‘Le sérialisme est un existential- David Crook (University of Wisconsin-Madison), Chair isme’: An Examination of the Role of Existentialism in the Post-War Transformation of the Serial Principle” Geneviève Bazinet (McGill University), “What’s in a Rubric? Liturgical Music, Jews, and Others Assignments in Pierre Attaingnant’s Motet Series” Rebecca Cypess (Rutgers, State University of New Jersey), “Keeping Time David Josephson (Brown University), Chair with Girolamo Frescobaldi’s Toccate e partite . . . libro primo (1615–16)” Yoel Greenberg (Bar Ilan University), “The Dance around the Golden Michael Dodds (University of North Carolina School of the Arts), “Modal Calf: Schoenberg’s Moses und Aron and Fin-de-siècle Anti-Semitic Im- Orderings in Renaissance and Baroque Keyboard Cycles” agery” Asher Vijay Yampolsky (University of Southampton), “Carolingian Con- Armin Karim (Case Western Reserve University), “‘My People, What ceptions of Mode: Exploring Modal Significance and Signification” Have I Done to You?’: A History of the Good Friday Reproaches” Revisiting the Risorgimento Kirsten Paige (University of California, Berkeley), “The Nightingale, the Owl, and the Jew in the Thornbush: Reassessing Walther’s Trial Song in Mary Ann Smart (University of California, Berkeley), Chair Die Meistersinger ” Douglas L. Ipson (Southern Utah University), “‘Ispirazione Religiosa e Wayne Heisler, Jr. (College of New Jersey), “Slonimsky’s Held” Nazionale’: Reconsidering Verdi’s Nabucco in Its Political Context” Music and the Moving Image Francesco Izzo (University of Southampton), “Defining the Islamic ‘Oth- Robynn Stilwell (Georgetown University), Chair er’ in the Late July Monarchy: Verdi’s Jérusalem in Context” Cormac Newark (University of Ulster), “Opera as History: Rovani’s Cento Gregory Camp (University of Auckland), “‘What’s This Music?’: The Per- anni (1856–64)” formance of Recordings in the Films of Wes Anderson” Claudio Vellutini (University of Chicago), “The Costs of Singing: Politics Todd Decker (Washington University in St. Louis), “‘It’s over now I and Opera Discourse in Restoration Vienna”

Committee News AMS-Music Library Association libraries, particular consideration might be Committee on the Annual Meeting Joint RISM Committee given to whether local historical societies or special collections in smaller public libraries Over the past year the Committee on the An- The Joint RISM Committee continues its ef- may include manuscripts that fall within the nual Meeting (CAM) closely reviewed the fort to identify music manuscripts in Ameri- purview of RISM A/II (sources dating from Annual Meeting Call for Papers and Program can collections that do not appear in the A/ the seventeenth through the nineteenth cen- Committee procedures, and proposed to the II database (opac.rism.info). The U.S. RISM tury). Please contact Sarah Adams at the U.S. Board a number of significant changes. They Office at Harvard University and the Joint RISM Office ([email protected]) if were accepted at the Board’s March 2013 RISM Committee encourage scholars to help you have knowledge of materials or collec- meeting and are slated for implementation identify individual manuscripts and collec- tions in the United States that have not yet for the 2014 AMS/SMT Annual Meeting in tions that are not represented in the A/II da- been cataloged for RISM. Milwaukee (see p. 24). Modifications to the tabase. In addition to academic and research —Daniel F. Boomhower Call for Papers for individual proposals are  AMS Newsletter intended to encourage authors to keep in Committee on Communications on professional development for underrepre- mind the wide range of areas of specializa- sented minorities in academia. Last but not tion represented on the program committee. Public musicology—the presentation and en- least, this year the CCD moved the ESTF The individual proposals category has been gagement of musicological research outside application deadline to June 1. We received expanded for the first time to include poster academia and historically informed perform- eighteen applications (the smaller number session proposals for material better suited to ers—has long been a goal of the AMS. In the reflecting the fact that Pittsburgh is an AMS- this mode of graphic presentation. There are past quarter century, many musicologists, only meeting, whereas for New Orleans we also several clarifications for proposals for for- performers, scholars in other fields, journal- had applicants from all three societies), and mal sessions, evening panel discussions, and ists, and arts administrators have engaged in we will announce the results of the competi- alternative-format sessions. various forms of public musicology beyond tion in the early fall. The substantial revisions to the Program program notes and pre-concert lectures. —Roe-Min Kok and Mitchell Morris Committee procedures, developed by CAM Despite all this activity, we currently lack a in consultation with current and past pro- theoretical foundation to the field of public Committee on the Publication of gram chairs, respond to challenges of fairly musicology and an evaluation of which strat- American Music egies work best for different audiences and and efficiently evaluating the large number The Committee on the Publication of Ameri- proposals that are submitted. (For Pittsburgh circumstances. For this reason, the Committee on Com- can Music (COPAM) is pleased to announce Program Chair Dana Gooley’s report on this the publication in April 2013 of a new vol- 12 munications and the Committee on Career- year’s process, see p. .) The two-stage selec- ume in the series Music of the United States tion process described in the Call for Papers is Related Issues jointly will be presenting a Friday evening session at the Pittsburgh An- of America (MUSA): Mary Lou Williams: designed to allow the committee to focus its Selected Works for Big Band (MUSA 25), ed- efforts on the set of proposals that have proven nual Meeting entitled “Beyond the Academy: Musicology in the Real World.” In the first ited by Theodore E. Buehrer. Mary Lou Wil- to be the most difficult to evaluate. Previous liams (1910–81) was a jazz pianist, composer, chairs report that out of the approximately part of the session, panelists will discuss the 1 and arranger, with a career that spanned five seven hundred proposals submitted each year, following questions: ) What is public musi- cology? 2) Is public musicology necessary, and decades. The eleven selections in this volume there is general consensus about the hundred represent her work for big band, tracing her strongest as well as the approximately three what role should the AMS play in increasing public musicology? 3) What can public mu- development across her career: six works for hundred that will not be accepted. The hard- Andy Kirk (1929–38), three for Duke Elling- est work comes with determining which of sicology learn from such established fields as 4 ton (Scorpio, 1946; Lonely Moments, 1947; and the remaining proposals should be chosen for public history and public science? ) How do I become a public musicologist? Can it be an Gravel (Truth), 1967), one for Dizzy Gillespie the available eighty to one hundred slots. (In the Land of Oo-Bla-Dee, 1949), and finally In order to make the initial reading load extension of, or an alternative to, an academic career? Aries Mood (1968), composed for the Danish less daunting for committee members, the Radio Jazz Orchestra. The edition is based on new procedures include a first stage in which Afterwards, panelists will give ten-minute presentations on successful examples in dif- a variety of source materials, including manu- proposals are anonymously evaluated by the script scores and parts, and (where no written program chair and three randomly selected ferent areas of public musicology, including museum/performing arts center exhibitions music survives) transcriptions from record- committee members. For the second stage, ings. The edition and accompanying essay the full committee then considers all those and events, newspaper/magazine articles and blogs written for lay audiences, digital ar- shed new light on this gifted yet still relatively proposals that receive strong rankings. In unknown giant of American jazz. Big band 2005 the Board approved the practice of re- chives, and oral history. —Andrew Dell’Antonio aficionados can look forward to hearing some vealing names of authors at the end of the of this music performed live at the Pittsburgh selection process to help the Program Com- Committee on Cultural Diversity Annual Meeting, in a concert directed by mittee form topically balanced sessions and Buehrer. 2012 adjust the balance between senior and ju- In the Committee on Cultural Diver- Several exciting projects are in MUSA’s im- nior scholars on the program. The number sity (CCD) received thirty-four applications mediate pipeline. Over the next few months, of papers selected after the initial blind-read for the Eileen Southern Travel Fund (ESTF) MUSA will be preparing for publication No- has varied considerably over the years; for awards. Of these, we selected twelve awardees, ble Sissle and Eubie Blake’s Shuffle Along (1921, example, the CFP for the 2011 San Francisco two of whom presented papers in New Or- edited by Rosalyn Schenbeck), a landmark in meeting left open the possibility of as many as leans. Our Friday reception was very well at- the history of black music and the Broadway forty. As the increasing number of proposals tended, and we hope it will continue to serve has made acceptance ever more competitive, as an annual “meet-and-greet” for under- musical, and George Whitefield Chadwick’s the Board at its November meeting approved represented minorities attending the annual opera The Padrone (edited by Marianne Betz). a CAM proposal to limit potential additional meeting. Other activities recently undertaken COPAM is also pleased to welcome a new acceptances after the reveal to five. As before, by the CCD include a survey of past ESTF Executive Editor of MUSA, Dexter Edge. no paper accepted during the blind-read will recipients—all respondents spoke highly Edge started the position at the beginning be removed from the program after names are about the Fund’s impact on their professional of March 2013, coming to the University of revealed. development and careers—and, recently, the Michigan from Boston. He holds a Ph.D. in CAM and the Board will closely monitor setting up of a Facebook site to encourage music history from the University of South- the efficacy of these revised procedures and re- networking among underrepresented minori- ern California, where he wrote his dissertation port back to the membership in a year; until ties in musicology. In the near future, we are “Mozart’s Viennese Copyists” (2001) under then we welcome your suggestions and com- planning to assemble a “Virtual Library” with the supervision of Bruce Alan Brown. Edge ments. two online bibliographies: one encompassing —Joseph Auner topics in music and race, the other focusing continued on page  August 2013  Annual Meeting, Milwaukee, Wisconsin, 6–9 November 2014 Call for Papers rationale, and 350 words for each constitu- courses are presented. Joint session proposals Deadline: 5 p.m. EST, ent proposal. will be considered as a unit by the program 15 January 2014 Length of presentations: Forty-five min- committees of the AMS and the SMT, and utes are allotted for each individual proposal will be programmed only if accepted by both The 2014 Annual Meeting of the AMS will and constituent Formal Session proposal. committees. Proposals must include 1) a ses- be held jointly with the Society for Music The length of presentations is limited to thir- sion rationale, and 2) abstracts for each paper Theory (SMT) in Milwaukee, Wisconsin, ty minutes in order to allow ample time for on the session. The session rationale must from Thursday 6 November to Sunday 9 No- discussion. identify the proportion of participants from vember. The Program Committee welcomes Evening panel discussions. Evening panel each society. Paper abstracts included in a proposals for individual papers or poster discussions are intended for more informal joint session proposal are components of the presentations, formal sessions, evening panel exchange of ideas. They can cover a wide session proposal as a whole, and will not be discussions, sessions using alternative for- range of topics: for example, they may ex- considered for individual presentation. All mats in all areas of scholarship on music, and amine a central body of scholarly work, in- proposals will be evaluated anonymously and sessions held jointly with the SMT. Please vestigate a methodology or critical approach, should contain no direct or indirect signal of read the guidelines carefully: proposals that or lay the groundwork for a new research authorship. Maximum length: 350 words do not conform will not be considered. direction. Evening panels should comprise for the rationale, and 350 words for each Proposals will be accepted according to the participants’ brief (no more than ten min- constituent paper. following five categories: utes) position statements, followed by gen- Papers will be allocated forty-five minutes Individual proposals. Proposals should eral discussion among panelists and audi- each, thirty minutes for the paper and fifteen represent the presentation as fully as possi- ence. Evening panel proposals should outline minutes for discussion. Proposals may be ble. A successful proposal typically articulates the rationale and issues behind the proposal, for sessions of ninety minutes (two papers) the main aspects of the argument or research identify the panelists and describe the activi- or three hours (which in addition to a maxi- findings clearly, positions the author’s contri- ties envisioned, explain why each panelist has mum of four paper proposals may include bution with respect to previous scholarship, been chosen, and identify the duration of the one or two respondents.) and suggests the paper’s significance for the session (90 minutes or three hours). Maxi- Joint sessions of Alternative Format are musicological community, in language that mum length: 500 words. also encouraged. Alternative Format sessions is accessible to scholars with a variety of spe- Daytime sessions using alternative for- might include: performance and scholar- cializations. mats. Examples of alternative formats in- ship, discussion of an important publication, Proposals for poster sessions should follow clude, but are not limited to, sessions com- a debate on a controversial issue, “flipped” the guidelines for submission of individual bining performance and scholarship, sessions papers, “lightning talks,” or the like. Pro- proposals, and include an explanation of the discussing an important publication, sessions posals for Alternative Format joint sessions content and goals of the graphic presenta- featuring debate on a controversial issue, and should outline the intellectual content of the tion. Technical guidelines for posters will be sessions devoted to discussion of papers post- session, the participants and their society af- distributed with acceptance information. ed online before the meeting. Sessions may filiations, and the structure of the session. As Proposals will be evaluated anonymously be proposed by an individual or group of in- with the joint session Paper Panels, joint ses- and should contain no direct or indirect sig- dividuals, a Study Group, a smaller society sions of Alternative Format should include nal of authorship. Maximum length: 350 that has traditionally met during the Annual a balance of participants from the two soci- words. Meeting, or an AMS committee wishing to eties. Proposals will be considered as a unit Formal Sessions. An organizer represent- explore scholarly issues. Position papers de- by the two program committees and will be ing several individuals may propose a Formal livered as part of alternative-format sessions programmed only if accepted by those com- Session, either a full session of four papers, should be no more than ten minutes long. mittees. Proposals may be for sessions of or a half session of two papers. For this pro- Proposals for alternative-format sessions ninety minutes or three hours. Maximum posal, organizers should prepare a rationale, should identify the participants, outline the length: 1000 words. explaining the importance of the topic and intellectual content of the session, describe Proposals for joint session Paper Panels and the proposed constituent papers, together the structure of the session, and identify the joint sessions of Alternative Format should with the names of the organizer, partici- duration of the session (90 minutes or three be submitted via a shared web site to be an- pants, respondent (if applicable), and a sug- hours). Maximum length: 1000 words. nounced closer to the submission deadline. gested chairperson. The organizer should Joint sessions. For this meeting the Pro- Program Committee procedures: The also include a proposal for each paper, which gram Committees of the two societies invite Program Committee will evaluate and dis- conforms to the guidelines for individual proposals for joint sessions, bringing together cuss individual paper and poster proposals proposals above. Formal Session proposals participants from both societies. These may anonymously (i.e., with no knowledge of will be considered as a unit and accepted or take the form of a joint session Paper Panel or authorship) using a two-stage process. All rejected as a whole. The proposed session’s a joint session of Alternative Format. Guide- proposals are initially evaluated on a scale consistency and coherence is an important lines for both are set out below. from zero to five by the chair and three ran- part of the evaluation process. Paper abstracts A joint session Paper Panel is a session domly selected members of the committee. included in a formal session proposal will not that includes a balance of participants from Their scores are collated and averaged, and be considered for separate individual presen- the two societies and in which multiple ap- the proposals ordered accordingly. Proposals tation. Maximum length: 350 words for the proaches, methodologies, or framing dis- ranked in the top half are then evaluated by

 AMS Newsletter Committee may remain submits different proposals to the AMS or confidential. SMT and more than one is accepted, only Application restric- one of the papers may be presented. tions. No one may ap- Submission procedure. Proposals must pear on the Milwaukee be received by 5 p.m. EST, 15 January 2014. program more than Electronic proposal submission is encour- twice. An individual may aged. Please note that electronic proposal deliver a paper and ap- submission ceases precisely at the deadline. pear one other time on In order to avoid technical problems with the program, whether submission of a proposal, it is strongly sug- participating in an eve- gested that proposals be submitted at least ning panel discussion or twenty-four hours before the deadline. Due alternative-format ses- to the volume of proposals received, propos- Credit: Milwaukee DCD Milwaukee Credit: sion, functioning as a als received after the deadline cannot be con- Milwaukee Art Museum chair-organizer of a for- sidered. A FAQ on the proposal submission mal session, or serving as the entire committee. The scores are again process is available at the web site, and those a respondent, but may not deliver a lecture- collated, averaged, and ranked accordingly, planning to submit proposals are encour- recital or concert. Participation in extra-pro- after which the committee meets to discuss aged to review the information posted there. grammatic offerings such as interest-group final selection. During this meeting, the Those unable to submit a proposal electroni- meetings or standing committee presenta- committee first selects roughly two hundred cally should contact the AMS office by 10 tions (e.g., the Committee on Career-Relat- presentations, including Formal Sessions and January 2014 regarding accommodation pro- Alternative Format sessions. The committee ed Issues) does not count as an appearance for this purpose. cedures. then reveals authors of proposals, after which Receipts will be sent to all who submit pro- it may, at its discretion, select no more than Only one submission per author will be ac- posals by the beginning of February 2014. five additional presentations. Knowledge of cepted. Authors who presented papers at the AMS committees and Study Groups; authorship facilitates the work of the com- 2013 AMS meeting may not submit propos- Affiliated Societies. Sessions organized by mittee in forming topically balanced sessions als for the 2014 meeting. Organizers of eve- and improving the balance between senior ning panel discussions or alternative-format such groups are not reviewed by the Pro- and junior scholars on the program. sessions may not also present a formal paper gram Committee. They should contact Rob- Authors for all submissions that are cho- in the same year or in the preceding one, but ert Judd at the AMS office to schedule their sen will be invited to revise their proposals participants may do so. Authors may not meetings. for the Program and Abstracts, distributed at submit the same proposal to both the AMS —Richard Will the meeting; the version read by the Program and SMT program committees. If an author Program Committee Chair

Call for Performances AMS office or at www.ams-net.org/milwau- casionally modest subsidies are available for kee); 2) a proposed program, listing repertory, performance-related expenses. Please see the Deadline: 15 January 2014 performer(s), and the duration of each work; application cover sheet for proposal submis- 3) a list of audio-visual and performance sion details. Materials must arrive at the AMS The AMS Performance Committee invites needs; 4) a short (100-word) biography of office no later than 5 p.m. EST, 15 January proposals for concerts, lecture-recitals, and each participant named in the proposal; 5) for 2014. Due to the high volume of applications, other performances and performance-related concerts, a one-page explanation of the sig- exceptions cannot be made to this deadline, events during the 2014 Milwaukee Annual nificance of the program or manner of perfor- so plan accordingly. Receipts will be sent to Meeting. The committee encourages propos- mance; for lecture-recitals, a description (two those who have submitted proposals by the als that demonstrate the Society’s diversity of pages maximum) explaining the significance deadline, and the committee will communi- interests, range of approaches, and geographic of the program or manner of performance, cate its decisions by 15 April. and chronological breadth. We welcome per- and a summary of the lecture component, —Catherine Gordon-Seifert formances that are inspired by or comple- including information about the underlying Performance Committee Chair ment new musicological finds, that develop research, its methodology, and conclusions; a point of view, or that offer a programmatic 6) audio or visual materials (twenty min- focus. Performances related to the meeting’s utes maximum) that are representative of the venue are especially encouraged. program and performers. An individual may Call for Nominations: Session Freelance artists as well as performers and not present both a paper and a performance Chairs, AMS Milwaukee 2014 ensembles affiliated with colleges, universi- (or lecture-recital) at the meeting. If an indi- Nominations are requested for Session ties, or conservatories are encouraged to sub- vidual submits proposals to both the Program Chairs at the AMS Annual Meeting in mit proposals. Available times for presenta- Committee and the Performance Committee Milwaukee, 6–9 November 2014. Please tions include lunch hours, afternoons, and and both are selected, s/he will be given an visit the web site (www.ams-net.org/mil- Thursday evening, 6 November 2014. early opportunity to decide which invitation waukee) for full details. Self-nominations Required application materials include: 1) to accept and which to decline. Although the are welcome. Deadline: 17 March 2014. an application cover sheet (available from the AMS is unable to offer a fee to artists, oc- August 2013  Committee News On Saturday evening, 9 November, the Alexander J. Fisher, Music, Piety, and Pro- GEC will present a panel discussion entitled paganda: The Soundscapes of Counter-Reforma- continued from page  “Graduate Education in the Digital Age,” tion Bavaria (Oxford University Press); sup- with speakers Michael Scott Cuthbert, Carol ported by the Hanson Endowment was formerly Senior Editor of Carl Philipp Phil Ford, Dig: Sound and Music in Hip Emanuel Bach: The Complete Works (a project Muller, Don Michael Randel, Tara S. Rodg- ers, and Zachary Wallmark. Issues to be ad- Culture (Oxford University Press); supported of the Packard Humanities Institute), and he by the AMS 75 PAYS Endowment has taught at dressed include digital resources and their impact on research and writing, the pros and Sumanth Gopinath, The Ringtone Dialectic Cardiff Uni- (MIT Press); supported by the AMS 75 PAYS cons of online teaching and MOOCs (mas- versity, Loui- Endowment sive open online courses), instructional tech- siana State Katherine McQuiston, We’ll Meet Again: nologies in the classroom, and the role of the University, and Musical Design in the Films of Stanley Kubrick internet and social media in building a career. the University (Oxford University Press); supported by the of Memphis. We hope to see many of you at one or both AMS 75 PAYS Endowment Edge is widely of these events. Sonia Seeman, Sounding Roman: Music and regarded as —David Grayson and Mary Ann Smart Performing Identity in Western Turkey (Oxford one of the University Press); supported by the AMS 75 Dexter Edge world’s lead- Howard Mayer Brown Fellowship PAYS Endowment MUSA Executive Editor ing experts on Committee: Call for Applicants Mary Simonson, Body Knowledge: Perfor- the analysis and evaluation of manuscript mance, Intermediality, and American Enter- and printed musical sources, and he has pub- The AMS strongly encourages eligible gradu- tainment at the Turn of the Twentieth Century lished widely on musical sources and docu- ate students in their first and second year of (Oxford University Press); supported by the ments pertaining to Mozart and musical life study to apply for the Howard Mayer Brown AMS 75 PAYS Endowment in Vienna in the second half of the eighteenth Fellowship. The fellowship is intended to in- Katherine Spring, Saying It With Songs: and the first quarter of the nineteenth cen- crease the presence of minority scholars and Popular Music and the Coming of Sound to tury. He is also an accomplished classical and teachers in musicology, and supports one year Hollywood Cinema (Oxford University Press); supported by the AMS 75 PAYS Endowment jazz pianist and has worked as a piano teacher, of graduate work for a student at a U.S. or Alexandra Vazquez, Listening in Detail: Per- vocal coach, and accompanist in a variety of Canadian university who is a member of an formances of Cuban Music (Duke University styles, including jazz, Broadway, pop, cabaret, historically underrepresented group. All who Press); supported by the AMS 75 PAYS En- and classical. In addition to Mozart, musical have completed one year of full-time graduate dowment sources, documents, and editing, his research work may hold the fellowship. Carol Vernallis, Unruly Media: YouTube, Since the application deadline each aca- interests include jazz, the history of black Music Video, and the New Digital Cinema music in the United States, American musi- demic year is in December of the previous (Oxford University Press); supported by the cal theater, the history of the piano and piano year, even those who began their graduate Bukofzer Endowment playing, the history of singing, music cogni- study a few months prior to the deadline may Nicholas Wilson, The Art of Re-enchant- tion, the biological evolution of music, and apply. If you supervise or are aware of suitable ment: Making Early Music Work in the Modern the digital humanities. candidates, please encourage them to submit Age (Oxford University Press); supported by COPAM thanks Dorothea Gail for her an application. See www.ams-net.org/fellow- the AMS 75 PAYS Endowment excellent work as MUSA’s Executive Editor ships/hmb.php for full details. Questions? In accordance with the Society’s proce- from 2010 until 2012, and we wish her all the Send me a note: [email protected]. dures, these awards were recommended by best for her future career. —Charles Carson the Publications Committee and approved —Dexter Edge by the Board of Directors. Funding for AMS Publications Committee subventions is provided through the National Graduate Education Committee Endowment for the Humanities, the Andrew The Graduate Education Committee (GEC) In Spring 2013, the Publications Committee W. Mellon Foundation, and the generous will sponsor two events at the Pittsburgh An- awarded subventions for thirteen books for a support of AMS members and friends. Those 21 000 nual Meeting. On Friday 8 November, the total of about $ , . They include the fol- interested in applying for AMS publication GEC will host its annual reception for pro- lowing: subventions are encouraged to do so. See the Gurminder Kaur Bhogal, Details of Con- spective graduate students from 5:00 to 6:30 program descriptions for full details (www. sequence: Ornament, Music, and Art in Paris, ams-net.org/pubs/subvention.php). Next p.m. This will be an opportunity for prospec- 1890–1925 (Oxford University Press); support- deadlines: 15 August 2013, 15 February 2014. tive students to meet faculty and students ed by the AMS 75 PAYS Endowment —Judith Peraino from the schools they are considering and Mark J. Butler, Playing with Something that to become familiar with graduate programs Runs: Technology, Improvisation, and Composi- across the country. Directors of graduate pro- tion in Electronic Music Performance (Oxford Study Group News grams in musicology will also have an oppor- University Press); supported by the Reese En- Cold War and Music Study Group tunity to introduce themselves to prospective dowment students and to each other. The committee Kevin Donnelly, Occult Aesthetics: Synchro- The Cold War and Music Study Group co-chairs will contact schools with graduate nization in Sound Cinema (Oxford University (CWMSG) is looking forward to the upcom- programs at the end of August to make ar- Press); supported by the AMS 75 PAYS En- ing Annual Meeting in Pittsburgh, where we rangements for the event. dowment will sponsor an alternative-format session en-  AMS Newsletter titled “Cross-Border Encounters in the Glob- sions: “The Ecomusicology Listening Room” The JSMSG also looks forward to a pro- al South: A New Look at Cold War Cultural (ELR) and “The Nightingale.” This second ductive business meeting following the paper Diplomacy.” This panel will bring together a edition of the ELR will build on the engaging session, at which we hope to continue our dis- diverse panel of scholars to launch a collective and well-attended session of the same name cussion of collaboration with colleagues and discussion of issues that are at the core of our held in New Orleans (see www.ecosong.org, counterpart groups in other scholarly societ- subfield: how music has been used to exercise as well as the story in the February 2013 AMS ies. soft power; how competing individual, state, Newsletter). In “The Nightingale” session, the —Rebecca Cypess and corporate interests have shaped musical voice of the nightingale is the touchstone for life; and how the composition and perfor- a broader discussion about our ways of listen- Music and Dance Study Group mance of music has been used to establish ing to nature and about the limitations of The establishment of the AMS Music and borders, as well as to cross them. Danielle traditional discourse about human aesthetic Dance Study Group (MDSG), proposed by Fosler-Lussier, Eduardo Herrera, Marysol identity; the panel will feature three human Sarah Gutsche-Miller, Samuel Dorf, Daniel Quevedo, and Ryan Skinner will present, and one (virtual) avian participants. Callahan, and Marian Smith, was unani- Carol Hess will respond, and Susan Thomas The ESG maintains an open door policy, mously approved by the AMS Board and will chair. and all are welcome to attend our events. Visit announced at the 2012 AMS Business Meet- CWMSG members will also be interested our web page to join our email list, consult ing in New Orleans. The research interests in a special lunchtime session on Friday 8 resources (such as the dynamic Ecomusicol- of its members span topics from the Middle November: two visiting scholars from East- ogy Bibliography), explore news of interest Ages to the present, include myriad genres Central Europe—Liudmila Kovnatskaya (St. (such as recent Calls for Papers from Music and understandings of dance, and embrace Petersburg Conservatory) and Lóránt Péteri and Politics and the Indiana University Press methodologies as diverse as archival studies, (The Liszt Academy of Music)—will pres- series, “Music, Culture, Nature”), and view dance reconstruction, and critical theory. The ent their work on musicology in Russia and archives of our activities. MDSG unites this diverse community of Hungary during the Cold War. Kovnatskaya —Aaron S. Allen dance-interested scholars in order to promote and Péteri’s visit is sponsored by the AMS, as a cross-pollination of ideas, to advocate for part of an outreach initiative to enable small Ibero-American Music Study Group the study of dance across the humanities, and groups of international scholars to attend the Susan Thomas will take over as coordinator to provide a platform for presenting research Annual Meeting; the CWMSG leadership as- of the Ibero-American Music Study Group at at meetings of the AMS and other societies. sisted the AMS Board in arranging this ses- this year’s Annual Meeting in Pittsburgh. We All AMS members interested in dance are sion (see p. 12 for further details). thank Susan for agreeing to shoulder this im- warmly encouraged to join the group. Please All are welcome to attend these events. portant responsibility! visit the MDSG web site (www.ams-net.org/ Please join us! —Walter A. Clark studygroups/mdsg), where you can sign up —Lisa Jakelski Jewish Studies and Music Study for the group and its email list, learn about upcoming conferences and other events, and Ecocriticism Study Group Group view our ever-growing membership list, bibli- ography, and links to dance-related resources. The Ecocriticism Study Group (ESG) is Building on the themes and methodologies 2012 Our inaugural evening session, “Music and pleased to announce a revised web site avail- discussed in its session in New Or- Dance Studies,” will take place on Friday 8 able at www.ecomusicology.info, which hosts leans, the Jewish Studies and Music Study November at 8:00 p.m. Six distinguished the Spring 2013 edition (volume two, num- Group (JSMSG) will present a session at the scholars will briefly review how they came to ber one) of the Ecomusicology Newsletter. Our Pittsburgh Annual Meeting on the theme focus on music and dance, which challenges conference web site (www.ecomusicologies. of “Commemoration and Revival.” Dealing and rewards they have encountered, and how org) will continue to host information from with case studies from the late eighteenth cen- previous and current discussions have shaped the events inaugurated in New Orleans, tury through the present day, and from Eu- their work. Each panelist will then offer a which will continue in Brisbane, Australia, for rope, the United States, and Latin America, vision of how future research might produc- Ecomusicologies 2013 (held on 22 November the speakers will explore the negotiation of tively engage and contribute to music stud- in conjunction with the International Music time and memory, and the ways that past and ies, dance studies, and conversations across Council’s Fifth World Forum on Music). present converge in the realm of music. Amy the humanities. Our six speakers include Following on our myriad outings and events Lynn Wlodarski reflects on an alternate text four AMS regulars: Carlo Caballero, Rebecca in New Orleans, the ESG will be busy again for Bernstein’s Kaddish symphony written by Harris-Warrick, Tamara Levitz, and Marian at the 2013 Annual Meeting in Pittsburgh. At a Holocaust survivor, Tina Frühauf addresses Smith. Joining them will be Tomie Hahn, our business meeting we will hold an elec- a Berlin festival honoring a major nineteenth- the chair of the Society for Ethnomusicolo- tion to replace outgoing chair Aaron Allen. century Jewish musical figure, Thomas J. Ker- gy’s Dance, Movement, and Gesture Section, The ESG will host a Thursday evening session nan considers a twentieth-century American- and Susan Manning, the chair of the “Dance entitled “From Landscapes to Cityscapes: Jewish composer’s settings of texts by Abra- Studies in/as Humanities” Mellon Founda- Shaping the Sonic Geography of Place.” That ham Lincoln, Lillian Wohl follows music’s tion initiative. Daniel Callahan will moderate session will be paired with an excursion on role in Jewish institutional identity in Buenos the discussion between panelists and audience Thursday morning prior to the start of the Aires, and Yael Sela-Teichler compares the members. We hope that you join in this lively Annual Meeting; during that outing partici- performance of an eighteenth-century ora- and productive exchange before dancing over pants will engage with the collisions, conflu- torio with a recent restaging. Together these to the Friday night parties. ences, and collaborations between Pitts- five papers present an array of approaches to —Daniel Callahan burgh’s landscapes and cityscapes. The ESG is commemoration that address in depth the in- also involved with two alternative-format ses- tersection of musicology and Jewish Studies. continued on page  August 2013  Study Group News guest edited by Martin Scherzinger, contains 30 October 2013. The workshop, entitled essays by a number of MPSG members, in- “Teaching Music History and Allied Courses continued from page  cluding Amy Cimini, James Currie, Michael for Non-Specialists and Graduate Students,” Gallope, Jennifer Heuson, Brian Kane, Jairo aims for a broad audience with such topics Music and Disability Study Group Moreno, Gavin Steingo, Martin Scherzinger, as “Teaching Film Music,” “Teaching Music At the 2013 Annual Meeting in Pittsburgh, the and Stephen Decatur Smith. Second, Speak- in its Social Context,” “Teaching Writing Music and Disability Study Group (MDSG) ing of Music: Addressing the Sonorous (2013) in Music History and Allied Courses,” and will host a workshop on four papers: Stefan is a collection of essays reflecting on the re- “Teaching the American Musical Theater.” Honisch’s study of blind piano performance, lationship between music and language from Presenters include Nathan Platte, Colin Samantha Bassler’s examination of metaphors the perspective of music studies, philosophy, Roust, Mary Natvig, Steven Cornelius, Carol of music and disability in Elizabethan Eng- literary studies, and political theory. Hess, and Jessica Sternfeld, with moderator land, Christopher Macklin’s study of music Both our evening panel session and our Todd Sullivan. Questions about the work- and plague, and Neil Lerner’s investigation of daytime business meeting at the AMS Annual shop can be directed to CMS Board Repre- representations of disabled veterans in Hol- Meeting will be devoted to the theme “Music, sentative for Musicology John Koegel or PSG lywood film. The workshop, which will be- Sound, Affect.” Recent scholarship in fields Program Chair Sandra Yang, who proposed gin with a general introduction to the field as diverse as history, political theory, urban the workshop to the CMS. of Disability Studies, will be moderated by studies, theology, literature, and art history At the AMS Annual Meeting in Pittsburgh, MDSG co-chairs Stephanie Jensen-Moulton has been motivated by a conception of affect the PSG’s Friday evening session will address and Blake Howe. To facilitate group discus- as something prior to or apart from meaning, the topic “From Objectives to Methodol- sions, papers will be posted on the MDSG conceptual rationality, or conscious subjectiv- ogy: Models for Teaching Music History to web site in advance of the meeting. ity. In sessions designed to foster conversa- Undergraduates.” Panelists James Briscoe, The MDSG has recently created both a tion, we have invited speakers to reflect criti- Kevin Burke, and I will examine the role of Facebook page (www.facebook.com/groups/ cally upon the significance for music studies music history within the music curriculum musicanddisability/) and a blog (musicdis- of this “affective turn” in the humanities. and in the context of university education as abilitystudies.wordpress.com), which com- Our sessions will provide a forum to consider a whole, and we will establish through survey plement the more general Disability and Mu- which new avenues of research the turn to af- data which objectives music history instruc- sic web site (smt.esm.rochester.edu/dismus/), fect can open for music studies, as well as how tors currently endorse. J. Peter Burkholder active since the inception of the Society for an affective turn could help us conceptualize will moderate. The business meeting that fol- Music Theory Interest Group. The Facebook old questions, problems, or themes. They will lows will include the election of a new chair. page serves as a forum for announcements also provide occasion to think critically about Secretary Christina Fuhrmann will accept about upcoming events and forthcoming the specific challenges that the study of music, nominations for chair until 23 October; email scholarship, while the blog will have several sound, and affect might pose for one another. her at [email protected]. uses, including guest posts, announcements The MPSG invites you to visit our new The Teaching Music History Conference is of new scholarship, and links to the Work tumblr at musicandphilosophy.tumblr.com. now slated for June 2014 in Chicago, Illinois. and Family Group’s separate but connected This site, maintained by Ted Gordon, serves Stay tuned for further details of what we hope blog. We encourage any Facebook users to as a source of information about events and will be a significant and stimulating confer- join “Music and Disability: The SMT Interest publications pertaining to music and philoso- ence. Group and AMS Study Group.” phy, as well as internet resources of interest to Finally, the second issue of the third vol- In addition to its promotion of scholarship, our members. ume of the Journal of Music History Pedagogy the MDSG maintains an active role in pro- If you have questions about the MPSG, has been published, with articles on Bloom’s viding professional support to scholars. The or if would like to join its mailing list, taxonomy and the monochord, a roundtable recently formed Work and Family Group please contact Stephen Decatur Smith, on the practice and pedagogy of jazz history seeks ways to connect scholars with resourc- [email protected]. in the twenty-first century, and reviews of the es—including each other—to help with the —Stephen Decatur Smith Taruskin/Gibbs textbook, the Smithsonian many complicated issues that can arise when Jazz Anthology, and two books decrying the living with and/or caring for a disabled fam- Pedagogy Study Group state of higher education. It is available to all ily member, whether a parent, spouse, or The Pedagogy Study Group (PSG) celebrates at www.ams-net.org/psg. child. We have also created an ad hoc com- the announcement that AMS members have —Matthew Baumer mittee to review the Society’s current acces- approved the revision of the Society’s Object Popular Music Study Group sibility guidelines and to ensure that they are Statement to include teaching. We welcome followed at the annual meetings. For more this recognition of such an important activ- At our 2012 meeting in New Orleans, the information, please contact Blake Howe and ity and extend our thanks to the many people Popular Music Study Group (PMSG) adopt- Stephanie Jensen-Moulton. who shepherded this effort, including Mat- ed by-laws, and in accordance with them, we —Stephanie Jensen-Moulton and Blake Howe thew Balensuela, the members of the AMS have held formal elections for leadership posi- Music and Philosophy Study Group Council, and Past President Anne Walters tions. We welcome aboard chair Eric Hung, Robertson. webmaster Mandy Smith, and secretary-trea- The Music and Philosophy Study Group Along with the College Music Society’s surer Joanna Love. The PMSG has also orga- (MPSG) would like to call attention to two Musicology Advisory Committee, the PSG nized an exciting session for this year’s meet- recent publications dealing with music and is pleased to announce that it will co-sponsor ing in Pittsburgh, entitled “Popular Music of philosophy. First, a recent issue of Contem- a pre-conference workshop at the CMS Na- the Rust Belt.” We hope to see you there! porary Music Review (vol. 31, no. 5/6, 2012), tional Conference in Boston on Wednesday —S. Alexander Reed

 AMS Newsletter CFPs and Conferences Music, Marxism, and the Frankfurt School Società Italiana di Musicologia CFP Deadline: 31 December 2013 18–20 October 2013 The AMS has implemented a new internet 2–4 July 2014 Foggia Conservatory of Music University College, Dublin site to list conferences and CFPs that is easy to Women and the American search and sort. See musicologyconferences. Jewish Music and Jewish Identity Musical Landscape xevents.sas.ac.uk for further details concern- 1 2014 CFP Deadline: March 21–26 October 2013 ing listings presented here; additional confer- 19 21 2014 – October University of Redlands ences are listed at the web site. Youngstown State University To subscribe to email notification regarding The Baroque Legacy: Past and musicology conferences, see www.ams-net. Conferences Present in Hispanic America and org/announce.php. Central and Eastern Europe Staging Operatic Anniversaries 23–26 October 2013 10 September 2013 Grand Valley State University, Allendale Calls for Papers Oxford Brookes University Retrospect and Prospect: Chinese The Staging of Verdi & Wagner Operas “Beyond the Semitone”: A Symposium on Composers in the Age of Globalization 13–15 September 2013 Tuning, Scale Systems, and Microtonality CFP Deadline: 16 August 2013 Centro Studi Opera Omnia Luigi Boc- in Historical and Contemporary Contexts 4–7 December 2013 cherini, Pistoia 24–27 October 2013 Chinese University of Hong Kong University of Aberdeen Royal Musical Association Society for Eighteenth-Century Music Annual Conference Benjamin Britten at 100: An / Haydn Society of North America 19–21 September 2013 American Centenary Symposium CFP Deadline: 1 September 2013 Institute of Musical Research, London 24–27 October 2013 28 February–2 March 2014 Training “Early” Musicians Illinois State University, Normal Moravian College, Bethlehem, Pa. in the Age of Recordings Britain and the British in World Culture: 23–24 September 2013 Gesualdo 400th Anniversary Conference Celebrating Benjamin Britten’s Centenary Israel Conservatory of Music, Tel Aviv CFP Deadline: 6 September 2013 31 October–1 November 2013 23–24 November 2013 Enchanted Modernities: Theosophy Rimsky-Korsakov St. Petersburg State Con- University of York (UK) and the Arts in the Modern World servatoire Restaging the Song: Adapting 25–27 September 2013 University of Amsterdam Music and Concentration Camps Broadway for the Silver Screen 7–8 November 2013 CFP Deadline: 10 September 2013 Movement—In History, Art, and Being Council of Europe, Strasbourg 14–16 May 2014 26–28 September, 2013 University of Sheffield Duquesne University, Pittsburgh Hobsbawm, Newton und Jazz 15–16 November 2013 Verge Conference: Arts and Narrative Medieval and Renaissance Studies Johannes Gutenberg Universität, Mainz CFP Deadline: 15 September 2013 26–28 September 2013 6–9 March 2014 Trinity Western University, Langley, BC Music and Metamorphosis New College of Florida, Sarasota Music and Minimalism 17–21 November 2013 3–7 October 2013 Queensland Conservatorium, Griffith Uni- American Bach Society versity CFP Deadline: 1 October 2013 California State University, Long Beach 1–4 May 2014 Sources of Identity: Makers, Owners and The Musical Worlds of Polish Jews, Kenyon College, Gambier, Oh. Users of Music Sources Before 1600 1920–1960: Identity, Politics and Culture 4–6 October 21013 17–19 November 2013 Montpellier 8 University of Sheffield Arizona State University, Tempe CFP Deadline: 1 October 2013 20–21 March 2014 Verdi’s Third Century: Italian Opera Today The String Quartet from 1750 to 1870: Saint Hugh’s College, Oxford 9–13 October 2013 From the Private to the Public Sphere New York University 29 1 2013 Society for Christian Scholarship in Music November– December The Renewal of Sacred Music and the Centro Studi Opera Omnia Luigi Boc- CFP Deadline: 1 October 2013 Liturgy in the Catholic Church cherini, Lucca 20–22 February 2014 13–15 October 2013 Trinity Christian College, Palos Heights, Ill. Church Music Association of America, St. Gender and Creation in the Society for Seventeenth-Century Music Paul History of Performing Arts 12–14 December 2013 CFP Deadline: 1 October 2013 Britten: A Century of Inspiration Ecole des Hautes Etudes en Sciences Socia- 4–6 April 2014 17–19 October 2013 les, Paris San Antonio Texas Tech University, Lubbock Nineteenth-Century Music International Musicological Society It Was 50 Years Ago Today!: An CFP Deadline: 14 October 2013 East Asian Regional Association International Beatles Celebration 18–21 June 2014 18–20 October 2013 7–9 February 2014 University of Toronto Taipei Pennsylvania State University, Altoona August 2013  AMS Legacy Gifts He published numerous articles on a wide va- riety of nineteenth-century topics, as well as Grants and Fellowships editions of Italian symphonies in the first half Many grants and fellowships that recur on Rey M. Longyear of the nineteenth century. He is also remem- annual cycles are listed at the AMS web site: bered for his faithful encouragement of music (1930–1995) www.ams-net.org/grants.php. research at the University of Kentucky, where Grants range from small amounts to a fellowship and lecture series are named in full-year sabbatical replacement stipends. his honor. The list of programs includes the follow- Rey Morgan Longyear (1930–1995) completed Rey Longyear was a lifelong member of the ing: his M.A. in musicology at the University of AMS, together with his wife Katherine Marie • American Academy in Berlin North Carolina in 1954, and Eide Longyear (1914–2007). • American Academy in Rome his Ph.D. (“Daniel-François- (Her dissertation [Eastman Esprit Auber (1782–1871): School of Music, University • American Academy of Arts & Sciences a Chapter in French opera of Rochester] on the music • American Antiquarian Society comique”) at Cornell Uni- of Henry F. Gilbert was • American Brahms Society versity in 1957. He taught at completed in 1968). Upon the University of Southern Rey Longyear’s death, • American Council of Learned Societies Mississippi and beginning in Katherine arranged for a • American Handel Society 1960 the University of Ken- $10,000 disbursement from • Berlin Program for Advanced German tucky, where he remained his estate in support of the and European Studies until his death. AMS 50 Dissertation-Year • Camargo Foundation His research was oriented Fellowship Endowment. to nineteenth-century top- In the eighteen years since • Columbia Society of Fellows in the Hu- ics. His book in the Prentice the bequest was received it manities Hall music history series has grown to about $25,000 • Delmas Foundation Ninteenth-Century Roman- and provides significant • Deutscher Akademischer Austauschdienst ticism in Music (1969) was support for the AHJ AMS • Emory University, Fox Center for Hu- popular and appeared in two 50 fellowship program in manistic Inquiry further editions (1973, 1988). Rey M. Longyear perpetuity. • French Ministry of Foreign Affairs: Chateaubriand Scholarship 75 Years Ago: 1938 25 Years Ago: 1988 • Fulbright U.S. Scholar Program • The Society received a grant of $5,000 • Mary Lewis presented to the Board a pro- • Guggenheim Memorial Foundation Fellowships from the Carnegie Corporation in support posal to establish two AMS committees to of the planned 1939 International Con- help integrate students, members who are • Harvard University Center for Italian gress in New York. involved in the work of other societies, and Renaissance Studies • At its business meeting, the Society agreed minorities into the activities of the Society. • Humboldt Foundation Fellowships to assist prominent scholars and perform- • Institute for Advanced Study, School of ers from abroad who sought positions in • Five musicologists from the Soviet Union Historical Studies the U.S. because of political conditions in were special guests at the Baltimore An- their own countries. nual Meeting as part of an exchange agree- • International Research & Exchanges ment coordinated by Malcolm H. Brown Board 50 Years Ago: 1963 and Claude Palisca. Charles Hamm, Mar- • Kurt Weill Foundation for Music • The Committee on Music in Secondary garet Murata, Anthony Newcomb, Janet • Liguria Study Center for the Arts and Education (Claude Palisca, Chair) met Schmalfeldt, and Robert Winter planned Humanities extensively. Their goal was to help music to travel to the USSR. • Monash University, Kartomi Fellow- teachers develop greater competence in ship music literature, history, theory, and analy- • President Lewis Lockwood opined that sis materials; the committee recommended “the bridges to ethnomusicology are firm. • National Endowment for the Humani- developing new teaching materials and It looks as if it is only a matter of time be- ties aids of all kinds, and organizing and im- fore the organization of our professional • National Humanities Center Fellow- plementing summer training institutes for life reflects the broad peopling of the field ships secondary teachers. with travelers from both sectors, mingling • Newberry Library Fellowships • George Rochberg’s extensive review of with one another on a regular and produc- • Rice University, Humanities Research George Perle, Serial Composition and Ato- tive basis” (AMS Newsletter, August 1988, Center nality (1961) was published in the Fall issue p. 3). of JAMS. • Social Science Research Council • The Society for Ethnomusicology declined • The newly formed Committee on Career • University of London, Institute of Mu- an AMS overture suggesting a merger, re- Options began to establish a list of persons sical Research sponding that it was “not propitious at this trained in musicology and employed in • Yale Institute of Sacred Music time.” music-related but nonacademic positions.  AMS Newsletter Obituaries in the mid-1940s when both were members of the King’s Chapel Choir at Columbia. The Society regrets to inform its members of the deaths of the following members: Early on, Norma taught music in pub- lic schools, worked in the University of Ronald Cross, 21 February 2013 Sewall Potter, 26 March 2013 North Carolina Library, and was an editor Ursula Kirkendale, 17 January 2013 Irwin Shainman, 8 July 2013 at Vanderbilt University Press. When Bob Edward Lerner, 19 March 2013 Norma Wright Weaver, 10 August 2012 joined the University of Louisville faculty in 1975, Norma served as a staff accompanist Ursula Kirkendale (1932–2013) Ursula and Warren Kirkendale (ordinarius in the School of Music. Very generous with emeritus, University of Regensburg) were her time, Norma was also in these years an inspiring mentor for some of Bob’s graduate Ursula Kirkendale, a scholar deeply grounded happily married for fifty-four years, and their students and a volunteer reader for the blind. in German humanistic tradition, died in Mu- mutual scholarly interests and discipline con- James Haar, a fellow graduate student in nich on 17 January 2013. Born in Dortmund, tinuously contributed to one another’s re- Chapel Hill in 1950, remembering the plea- she studied musicology, classical archeology, search and publications. An ample selection sure of Bob and Norma’s welcoming friend- and art history at the universities of Munich, of their articles (translated into English, up- ship (then and thereafter), has described her Vienna, and Bonn. In 1961 she was awarded dated, and indexed) appeared in 2007: Music “vigorous forthrightness” and how she “let the doctorate in historical musicology summa and Meaning: Studies in Music History and it be known that nothing in the Southern cum laude in Bonn. Her dissertation, “An- the Neighbouring Disciplines. Their bibliogra- phies are published in a Festschrift in their Part of Heaven could match her native New tonio Caldara: Sein Leben und seine vene- York.” Calvin Bower, Bob’s first graduate zianisch-römischen Oratorien,” was pub- honor, Musicologia Humana (1994), as well as 2012 student, has written, “Of wonderful Norma lished in 1966 (a revised English edition ap- in Rivista Italiana di Musicologia ( ). On 7 May 2013, a Latin Requiem for her, spon- I recall most of all her vitality and her sassi- peared in 2007), and for this she was named ness. She was one of the most honest persons honorary member of the Gesellschaft zur sored by Prince Sforza Ruspoli, was celebrat- ed by the archivist-librarians of the Vatican, I have ever known: there were no pretenses.” Herausgabe von Denkmäler der Tonkunst in Cardinal Farina and Archbishop Bruguès, in Later, in Louisville and Urbana, my hus- Österreich. In 1968 Kirkendale received the Santa Maria in Trastevere in Rome, where band and I, too, experienced the pleasure of Einstein Award for her article “The Ruspoli the couple has resided for twenty-six years. Norma’s warm friendship, unabashed candor, Documents on Handel” (JAMS, 1967), and Colleagues are invited to donate their pub- and firm preference for blended whiskey, all thereafter she continued to pursue her inter- lications, including offprints, to the Fondo infused with savvy humor. Norma Weaver ests in the eighteenth century, particularly 10 2012 Kirkendale in the Biblioteca Vaticana. died of a stroke on August . We miss the “Nachleben der Antike” and the relation- —Calvin M. Bower her deeply. ship between classical rhetoric and music. —Susan Parisi Kirkendale held teaching positions at Norma Wright Weaver (1923–2012) the University of Southern California, the Norma Weaver was engaged for sixty years University of California Santa Barbara, and in research and writing on Florentine music Policy on Obituaries Duke University, and in 1969 she was ap- of the late sixteenth to the mid-nineteenth pointed associate professor at Columbia The Society wishes to recognize the centuries, work she carried out with her hus- University. At the end of a year in Rome as band, Robert Lamar Weaver, in a collabora- accomplishments of members who fellow of the American Council of Learned tion that was truly a joint endeavor. She is have died by printing obituaries in the 1970 71 Societies ( – ), she suffered a debilitat- probably best known for their co-authored Newsletter. Obituaries will normally ing stroke, which impaired her speech and two-volume 1,417-page A Chronology of Mu- not exceed 400 words and will focus on right hand. While she was forced to give up sic in the Florentine Theater, 1590–1750 (1978); music-related activities such as teaching, teaching, she by no means retreated from her 1751–1800 (1993). Norma was also a principal research, publications, grants, and ser- scholarly pursuits. A steady stream of publi- researcher for The Music Library of a Noble vice to the Society. The Society requests cations continued through the first decade of Florentine Family: A Catalogue Raisonné of that colleagues, friends, or family of a the twenty-first century. Especially notable Manuscripts and Prints of the 1720s to the 1850s deceased member who wish to see him among these was her inquiry into the roots of collected by the Ricasoli Family, now housed or her recognized by an obituary com- Bach’s Musical Offering, the essential source in the University of Louisville Music Library, municate that desire to the editor of the of which she discovered in classical rhetorical a volume that also includes essays by Rob- Newsletter. The editor, in consultation writings: “The Source of Bach’s Musical Of- ert Weaver (2012). A Festschrift, Music in the with the advisory committee named be- fering: TheInstitutio oratoria of Quintilian” Theater, Church, and Villa: Essays in Honor low, will select the author of the obitu- (JAMS 33, 1980). of Robert Lamar Weaver and Norma Wright ary and edit the text for publication. The larger German-speaking community Weaver, was published in 2000. A committee has been appointed to became acquainted with Kirkendale’s lat- A native New Yorker, Norma graduated oversee and evaluate this policy, to com- est archival researches into Handel’s years in from Hunter College with a Bachelor’s degree mission or write additional obituaries as Rome through a television production by the in music and English in 1943 and received a necessary, and to report to the Board of 2006 Zweites Deutsches Fernsehen in , Hän- Master of Arts degree in music and music Directors. The committee comprises the del in Rom, directed by Olaf Brühl. Through education at Columbia University Teachers’ executive director (chair), the secretary College the following year. An avid chorister judicious editing, Kirkendale is heard to of the Council, and one other member. speak in this film. throughout her life, Norma met her husband

August 2013  American Musicological Society Bowdoin College Nonprofit org. 6010 College Station U.S. Postage PAID Brunswick ME 04011-8451 Mattoon, IL Permit No. 217 Address service requested

Society Election Results Changes to AMS By-laws Next Newsletter Deadline The results of the 13 election of AMS In balloting held in early 2013, the AMS officers and the Board of Directors: membership voted in favor of all proposed Items for publication in the next issue by-laws changes. The Society’s revised object of the AMS Newsletter must be sub- President: Ellen T. Harris statement is “The object of the Society shall mitted by 1 December to: Secretary: Michael C. Tusa be the advancement of scholarship in the vari- Directors-at-Large: ous fields of music through research, learning, Andrew H. Weaver Gregory Barnett and teaching. The Society shall be operated AMS Newsletter Editor Susan Boynton as a nonprofit corporation exclusively for this Catholic University of America object.” Other minor changes pertaining to Bruce Alan Brown [email protected] administration were made. See www.ams-net. org/by-laws-amendments-2012-11.php for de- The AMS Newsletter (ISSN 0402- Next Board Meetings tails. 012X) is published twice yearly by the The next meetings of the Board of Direc- American Musicological Society, Inc. Meetings of AMS and Related tors will take place 6 November in Pitts- and mailed to all members and sub- burgh, and 1 March 2014 in Milwaukee. Societies scribers. Requests for additional cop- 2013: ies of current and back issues of the AMS Newsletter should be directed to CMS: 31 Oct.–3 Nov., Cambridge, Mass. the AMS office. AMS Enhanced Directory SMT: 31 Oct.–3 Nov., Charlotte, N.C. 7 10 The new AMS online Directory includes fea- AMS: – Nov., Pittsburgh, Pa. All back issues of the AMS Newsletter tures such as photo and document uploads, SEM: 14–17 Nov., Indianapolis, In. are available at the AMS web site: research interests, publication citations, and 2014: personal links. Nearly five hundred mem- www.ams-net.org/newsletter SAM: 5–9 Mar., Lancaster, Pa. bers have added information in the past few CMS: 29 Oct–2 Nov., St. Louis, Mo. Claims for missing issues must be weeks. If you haven’t updated your Directory AMS/SMT: 6–9 Nov., Milwaukee, Wis. made within 90 days of publication entry yet, please do! Log in at www.ams-net. SEM: 13–16 Nov., Pittsburgh, Pa. (overseas: 180 days). org and follow the link.