AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLVIII, NUMBER 1 February 2018 ISSN 0402-012X Diverse, Vibrant, Progressive—San Antonio in 2018 Rochester Reflections AMS/SMT San Antonio 2018 at the Grand Hyatt on the River Walk, you Largest. Smallest. First. Last. Although most 1–4 November can catch any of the VIVA buses very nearly of those attending the Rochester 2017 Annual ams-net.org/sanantonio at your doorstep, and from there the whole Meeting probably did not realize it, this was city is open to you. an event of many superlatives. This is an exceptional year to visit San Anto- If you can build extra time into your stay, Because we had two hotels and the Con- nio. 2018 marks the tricentennial of the city’s you might want to take advantage of the vention Center to work with, we were able founding, with a generous offering of events, weather and spend some time outdoors at to add two paper sessions to every time slot, exhibitions, and opportunities to serve. the spacious and peaceful San Antonio Bo- which meant that in terms of the number Of course people lived in South Texas be- tanical Garden or the quirky and storied of papers, this was the largest AMS Annual fore 1718, but in that year the San Antonio de Japanese Tea Garden. Or you might want to Meeting ever. There was a splendid variety of Béxar Presidio and Mission San Antonio de visit some of the city’s impressive museums. papers, ranging from Old Hispanic chant to Valero, now known the world over as the Ala- The Witte Museum will offer two special music and events of the second decade of the mo, were established. The Alamo is surely the exhibitions in support of the tricentennial: twenty-first century. Topics covered people city’s most popular tourist destination, but Confluence and Culture: 300 Years of San An- and music from six continents (somehow, any longtime resident of Bexar County will tonio History, which promises “seven immer- we missed Antarctica again), employing a tell you that you haven’t seen anything until sive galleries” featuring, among many other stunning variety of methodologies and ap- you’ve visited the other four missions: Con- things, the fiddle that Davy Crockett played proaches, once again demonstrating the wide cepción, San José, San Juan, and Espada. All at the Battle of the Alamo; and Gathering range of scholarship embraced by the Society. five missions were granted UNESCO World at the Waters: 12,000 Years of People, which Opera, as always, received a good deal of at- Heritage status in 2015. With an average early focuses on how “climate shifts” over twelve tention, but so did gender and race, experi- November temperature in the upper 60s, millennia impacted the changing population mental music, popular music, and contem- you can walk or take a B-Cycle rental along of prehistoric Texas. The San Antonio Mu- porary music. On the other hand, those who the whole mission trail. The city also runs a seum of Art boasts significant collections of have worried that the golden oldies, medieval VIVA bus to the missions, as it does to most ancient Egyptian, Greek and Roman, Asian, and Renaissance, were on the decline, were major tourist draws in town. If you’re staying and Latin American art, and the McNay Art encouraged by the good number of well- Museum, in addition to featuring important attended sessions in those areas, with a sig- works from various traditions, is host to the nificant percentage of the papers presented In This Issue… Tobin Collection of Theatre Arts, which in- by young scholars. Adding to the variety were President’s Message ...... 2 cludes more than 9,000 items with a focus on sessions, mostly in the evening, organized by AMS Public Lectures ...... 4 scene and costume design. the ever-increasing number of study groups President-Elect Suzanne G. Cusick . 5 If the phrase theatre arts piques your inter- and committees, responsible, respectively, for Two New Awards ...... 5 est, you should know that San Antonio cur- eleven and ten sessions. AMS Forum ...... 5 rently has two opera companies: Opera San While most of the daytime slots were occu- Awards, Prizes, Honors ...... 6 Antonio and Alamo City Opera. Although pied by traditional paper sessions, there were Treasurer’s Message ...... 11 2018–19 seasons have yet to be announced, several alternative format sessions, and a few JAMS Confidentiality Guidelines . . 11 the city is also home to the San Antonio innovations, including two sessions employ- Rochester Post-Conference Survey . 11 Symphony, the Classical Music Institute ing the new seminar format, in which the pa- San Antonio Location Update . . .12 Chamber Orchestra, the San Antonio Cham- pers were circulated in advance and discussed Elections 2018 ...... 13 ber Music Society, the San Antonio Inter- at the meeting by panelists and audience News Briefs ...... 15 national Piano Competition, and the SOLI members. Conferences ...... 16 Chamber Ensemble. In addition, the AMS/ I would like to thank the members of the Committee News ...... 17 SMT conference will sponsor some special Program Committee, Thomas Christensen, Study Group News ...... 20 programming, including the concert “España Carol Hess, Elizabeth Keathley, James Para- Papers Read at Chapter Meetings . 23 Antigua, Nueva España,” with sixteenth- and kilas, Annie Randall, and Anna Zayaruznaya, Financial Statement ...... 29 seventeenth-century music from Spain and for their outstanding work in putting this Obituaries ...... 30 Mexico performed by the Austin Baroque program together. Next year’s committee, Grants, Awards, Fellowships . . . 31 continued on page  continued on page  President’s Message

In November 2017 the eighty-third meeting new media platforms, film, HD screening, we were in the home town of the Eastman of the American Musicological Society took YouTube, and mobile networks. School of Music. Indeed, no account of the place in Rochester, New York. A large flank of Rochester also saw the implementation of occasion would be complete without drawing musicologists, some 1,600 strong, went off to our new seminar format. Papers were circu- attention to the open rehearsal and panel dis- a mid-size city and made outsize strides in the lated in advance for seminars on “New Intel- cussion (sponsored by the Committee on the scope and ambition of the profession. Some- lectual Histories of Music” and “The Rubble Annual Meeting) that took place around Vic- thing special was in the air. The meeting had Arts: Music after Urban Catastrophe.” Not toria Bond’s 2001 opera Mrs. President, staged a memorable spirit of conviviality, geniality, least remarkable were evening sessions, many in the year of the one hundredth anniversary sponsored by our vibrant array of thirteen and solidarity, notwithstanding some chal- of the granting of women’s right to vote in study groups, which ranged from public lenges with the two hotels. Notable among its New York state where Susan B. Anthony musicology, Russian music, intersectionality, highlights were three brilliant talks by three was headquartered when she was president women. On Thursday afternoon, a standing disability, Jewish studies, and musical play to of the National American Women’s Suffrage room only crowd convened for the President’s Rancière, film music, cold war studies, lib- Association. Endowed Plenary Lecture, richly conceived eralism, and queering dance musics. An ad- It was a great pleasure for the leadership of and elegantly delivered by Past President and ditional highlight was the special roundtable AMS to be able to announce in Rochester sev- Columbia Professor Elaine Sisman on the “Zarlino at 500,” marking the five hundredth eral major initiatives of our membership. The topic of “Working Titles, Sticky Notes, Red anniversary of Zarlino’s birth. Besides all this, 2017 Threads,” a lecture that explored historically the entire annual meeting was prefaced by two generosity of our members led in to a the reflexive relationship between titling of full-scale conferences in their own right, one significant increase in the Lenore Coral fund, music and musical meaning. On Friday eve- on new Beethoven research and one on music which supports the work of RILM. It also led 1789 1914 ning, in a lecture sponsored by the Planning journalism and the French press, – . to the inauguration of the Women and Gen- Committee on Race and Ethnicity, critical Year after year, committees also make sub- der Endowed Lecture, likewise completed in race studies scholar Cheryl Harris spoke with stantial contributions to the proceedings. The 2017, along with a quilt whose making sup- force and eloquence about the complicity of Committee on Career-Related Issues does ported the effort and was raffled off in Roch- colorblindness in the current surge of white yeoman’s service in staging multiple sessions ester. Special thanks are due to all who made 2017 nationalism. And on Saturday morning, Su- (four in ), with this year’s ranging from those happen, through substantial donations issues of work/life balance to getting tenure san McClary delivered a stirring address for of time and money. 2018 will already see more the inaugural occasion of the Women and exciting initiatives by our members: the im- Gender Endowed Lecture on the theme of a memorable spirit of conviviality, plementation of an award for scholarship in women representing women in music. geniality, and solidarity critical race studies, generously endowed by There were striking innovations in various Judy Tsou and David Carlson, with support disciplinary areas too. Within the wide reach to maintaining a research agenda at a teach- from members of the board, and an award on of global musicology, talks were given on Lat- ing-intensive university, as well as a “career research on the musical press, generously en- in American phonography, slavery in Africa, bootcamp.” The Committee on Cultural Di- dowed by H. Robert Cohen as the H. Robert Europe, and the Americas; explorations of the versity joined forces with the Committee on Cohen/RIPM award (see p. 5). Both awards Black Atlantic, South Africa, and East Asia; Women and Gender and the Pedagogy Study mean more opportunities to recognize and and migrant musics involving Cuba, Ger- Group to convene a critically important ses- reward outstanding work by members of our many, Chile and the Andes, as well as talks sion on “Diversity through the Pipeline,” the profession. on noncanonical aspects of Europe, includ- Graduate Education Committee a session Before closing, let me add my profound ing religious practices among the Basque and on “The Dissertation and Your Job,” and the thanks to a number of outstanding contribu- Bearnaise populations of southwest France Committee on Technology a session on “Ac- tors to the success of the annual meeting: to and musical representations of slaves in Lasso. cess, Sustainability, Education, and Schol- Jonathan Glixon and his committee for as- Materiality played an important role, nota- arly Communication” surrounding digital sembling the majority of the program; to bly in relation to voice (with respect to voice technologies. boxes, music boxes, and marionette opera) our tireless and ever good-humored executive An important innovation for this meet- director Bob Judd for planning and running and to techné and technology (e.g. Laurie An- ing was an open workshop on implicit bias, the meeting so beautifully along with his staff derson’s voices of clones and Debussy’s toys). micro-aggression, and cultural humility, insti- Katie VanDerMeer and Christian Botta, plus Also at issue were music’s relationships to do- tuted by the board with encouragement from a host of local volunteers; to our exemplary mains as diverse (and often novel) as listening, the Planning Committee on Race and Ethnic- gender, war, psychiatry, the grotesque, noise, ity (now a permanent board committee) and local arrangements chair Michael Alan An- space, nostalgia, the avant-garde, blackness, run by Rochester’s M. K. Gandhi Institute derson; and to our outstanding performance television, humor, race, and transnationalism; for Nonviolence. Attendees, myself included, committee chaired by Christina Baade and to styles and genres as different as Motown, found it eye-opening, indeed transformative, her committee members Michael Alan An- Lied, hip hop, oratorio, jazz, opera, spirituals, and strongly supported the idea of retaining derson, Laurie Stras, and Stephen Zohn. It conductus, contemporary pop, string quar- such a workshop as an annual offering. takes a village to stage the annual meeting, tets, and punk; and to media as wide-ranging The meeting was also rich in perfor- and we have the best possible village to do it. as electronic instruments, online liveness, mances—hardly a surprise considering that —Martha Feldman

 AMS Newsletter San Antonio 2018 People from the east and west coasts occasionally forget that San Antonio is the nation’s seventh-largest city, so I encourage readers to continued from page  take a closer look. It’s easy to visit a city like San Antonio and to be Orchestra in the beautiful San Fernando Cathedral, founded in 1731 swept off your feet by the historic sites, the vibrant events, the unique by a group of families from the Canary Islands. food. But given our current political climate, I think it’s also impor- Music in San Antonio means much more than traditional concert tant to point out that the San Antonians I know don’t think of them- music, of course. After all, this is the city where in 1936 Robert John- selves as residents of a party town or a tourist destination. They care son recorded half the tracks that would make him famous (in Room about and act on real-world problems. Our recently elected mayor, 414 of downtown’s Gunter Hotel, now the Sheraton Gunter). It’s also Ron Nirenberg, signed the list of Mayors Against LGBTQ Discrimi- the city where a decade later Raoul Cortez would establish the first nation on his first day in office. Since Nirenberg’s election the city has full-time Spanish-language radio station in the United States owned started to work with academic and corporate partners to develop SA and operated by a Mexican American. So you might want to take Climate Ready, a civic climate action and adaptation plan. San An- a look at programming offered by the Carver Community Cultural tonio has been at the forefront of the fight against Texas’s “sanctuary Center, with its emphasis on “African and African-American heri- cities” law, and its Haven for Hope campus is a national model for tage,” or the Guadalupe Cultural Arts Center, with its focus on “the recovery-oriented care related to homelessness. Take a look, therefore, Latino experience.” And I would be remiss not to mention the Blue at the website of Pride Center SA or the city’s Office of Sustainabil- Star Arts Complex, San Antonio’s “first and longest-running venue ity, or consider the service opportunities listed on the SanAntonio300 for contemporary art,” where you can regularly experience experimen- page. You’ll start to get a sense of that other dimension of the city: the tal music and multimedia works and sip an expertly brewed cup of one that tourists typically miss, the one that challenges stereotypes coffee. and reminds you of the perseverance of our capacity for good. Since I’ve mentioned coffee, you should know that in 2017 UNES- The conference itself should merit your close attention. The Pro- CO designated San Antonio a “Creative City of Gastronomy,” only gram Committee is chaired by Carol Hess; the Performance Com- the second in the U. S. to receive this distinction. You’ll have plenty mittee by Laurie Stras; and the Local Arrangements Committee by of culinary riches to choose from along the unforgettable Riverwalk, Kevin Salfen (AMS) and Jenny Beaver (SMT). The meeting website, adjacent to our meeting. But bus, bike, or take a walk north along ams-net.org/sanantonio, will be worth monitoring regularly from the river, and you’ll be at the Pearl, a repurposed brewery and one now till November. Watch for updates on the program, session chairs, of the most exciting places to visit in the city, with a farmers market travel, registration, roommate and conference buddy matching, and every Saturday morning, distinctive shopping, and a variety of excel- student activities, as well as for further details of local happenings as lent restaurants offering everything from vegan/vegetarian at Green the time for our annual gathering approaches. Important: if you are to barbecue at The Granary, from Mexican street food at La Gloria thinking of scheduling a small meeting or reception in conjunction, to house-made charcuterie at Cured. You may have heard a piece on communicate with Katie VanDerMeer at the AMS officeas soon as NPR in the last year about Mike Sutter, a journalist who wrote about possible to ensure a location at the venue. dining at a different San Antonio taqueria every day of2017 , consum- Ultimately, there’s something for everyone to love in San Antonio, ing something like 1,400 tacos in the process; you can find his list of and the local arrangements committee is delighted to have this chance the best twenty-five taco restaurants in town online if you want a taste to help you find it. of what the locals can’t resist. —Kevin Salfen

Rochester 2017 continued from page  publishers, and AMS committees, as well as the opening reception, the student reception, and the revived AMS Dance on Friday evening. chaired by Carol Hess, will have, in some ways, an even more complex Rochester was the smallest city to host an Annual Meeting in thirty- task: 2017 was the last year of the thirty-minute paper; with the switch five years (since Ann Arbor in 1982), with both advantages (easy trip to twenty-minute papers in San Antonio, increasing the number sig- to a very manageable airport) and disadvantages. Those who took the nificantly, the Rochester meeting will hold the record for the most effort to explore, however, found some beautifully restored public and papers for only one year. commercial buildings, interesting old churches, attractive historic I also would like to note the two fascinating and thought-provok- neighborhoods, intriguing industrial archeology, and a spectacular ing endowed lectures, the inaugural Women and Gender Endowed waterfall, all within a mile of the convention center. There was also a good variety of restaurants (I had three excellent dinners) although Lecture, presented by Susan McClary, and the President’s Endowed they required a bit of a walk or ground transportation. The shortage Plenary Lecture, presented by Elaine Sisman. Both were delivered to of nearby lunch venues, however, led to what I believe is another AMS standing-room-only crowds. first, organized by Local Arrangements Liaison Michael Alan Ander- The Performance Committee, chaired by Christina Baade, along son: food trucks brought in just for us (including one serving what is a with Michael Alan Anderson, Laurie Stras, and Steven Zohn, assem- rarity south of the border, poutine); thanks, Michael! bled a wonderful variety of concerts and performances both at noon Bob Judd and the AMS staff did a wonderful job weaving together and in the evening, ranging from solo recitals to symphonies, from the many strands needed to make the meeting a success (and stitching Renaissance to contemporary. them back together when necessary). As always, the Rochester meeting was enlivened, by a large number See you all next November in San Antonio! of social events, including numerous receptions hosted by universities, —Jonathan Glixon

February 2018  AMS / Library of Congress Lecture Series The next AMS/Library of Congress Lecture will take place in Moreover, Bernstein ultimately understood, and capitalized on, his Washington D.C., in the library’s Madison Building, Montpelier conducting as a transfer of erotic power and pleasure between a con- Room at 7 p.m. on Tuesday, 15 May 2018. Daniel M. Callahan (Bos- ductor, musicians, and audience. ton College), will present “Bernstein Conducting Himself.” Countering his critics, I further demonstrate that Bernstein prac- Callahan describes his lecture ticed conducting as a deliberate choreography indicative of his musi- as follows: “Drawing on unpub- cal empathy—not as ‘exhibitionistic’ ‘histrionics.’ Bernstein’s podium lished materials in the Library movements and expressive affect for scores often remained consistent of Congress, oral histories, and across decades. The examples I draw on include previously unseen films, my lecture explores the footage of Bernstein’s final conducting appearance in 1990, when, physicality of Leonard Bern- though physically exhausted and less than two months away from his stein’s onstage conducting, in- death, he conducted Beethoven’s Seventh Symphony relying on a cho- cluding the role of sexuality from reography long stored in his muscle memory. As the musical commu- Bernstein’s and his critics’ per- nity celebrates Bernstein’s hundredth anniversary in 2018, it might also spectives. A college sophomore fully appreciate his conducting as both carefully choreographed and in 1937, Bernstein saw Dimitri instructively shameless.” Mitropoulos conduct and fell Daniel Callahan is an Assistant Professor in the Department of Mu- in love. Mitropoulos provided a model of discreet, content ho- sic at Boston College. He received his PhD at Columbia University, Daniel M. Callahan mosexuality as well as athletic, and was a Mellon Postdoctoral Fellow in Music at the University of leap-filled conducting. Around this time, Bernstein also began to plan Chicago. He is currently completing a book, The Dancer from the Mu- a musical on James M. Cain’s hardboiled novel Serenade, about a tenor sic, on the use of music in American modern dance. His article on the whose life is destroyed by a powerful gay conductor. Initially worried intersection of the personal partnership and creative collaboration of that his own homosexuality would destroy his career prospects, Bern­ John Cage and Merce Cunningham, “The Gay Divorce of Music and stein, as he grew in fame and years, became increasingly immune to Dance,” will appear this summer in the Journal of the American Musi- criticism of his ‘flamboyant’ onstage conducting and offstage conduct. cological Society. AMS / Rock and Roll Hall of Fame and Museum Lecture Series The next AMS/Rock and Roll Hall of Fame and Museum Lecture differences that set them apart. Joel continues this tradition, conjuring will take place in the library and archives of the RRHOFM, Cleve- geography and space, as well as delimiting boundaries inclusively and land, Ohio, 17 May 2018. Joshua S. Duchan (Wayne State University) exclusively, through both his lyrics and his musical choices. will present “Billy Joel and the American Musical Landscape.” This lecture addresses two kinds of places found in Joel’s songs, geo- Duchan describes his lecture graphical (specifically the American West and New York) and social or as follows: “Billy Joel (b. 1949) cultural (suburbia). Material drawn from several personal interviews is one of the best-selling popular with the composer informs the analyses of representative works, il- musicians in the United States, lustrating their connections to broader traditions in American music, whose accolades include Gram- such as the use of Tin Pan Alley forms and jazz harmonies in ‘New my awards, induction into the York State of Mind.’ Moreover, one finds, in songs like ‘No Man’s Rock ’n’ Roll Hall of Fame, and Land’ (1993), that Joel’s work just as often illuminates the profound the 2014 Gershwin Award from social and cultural changes affecting American life in the second half the Library of Congress. Yet his of the twentieth century. Thus, Joel’s music offers a commentary on work is rarely discussed in schol- American life and culture rooted in both his personal experience and arship on American popular mu- the time during which it was composed.” sic. One of the most prominent Joshua S. Duchan is Associate Professor of Music at Wayne State topics Joel addresses in his work University. He is the author of a number of articles and two books, is place. His first solo album, Powerful Voices: The Musical and Social World of Collegiate A Cappel- Joshua S. Duchan Cold Spring Harbor (1971), bears la (2012) and Billy Joel: America’s Piano Man (2017). In 2016 he co- the title of a suburban New York town, while songs such as ‘Say Good- organized, with Ryan Bañagale, the conference “‘It’s Still Rock and bye to Hollywood’ and ‘New York State of Mind’ (1976) are inextrica- Roll to Me’: The Music and Lyrics of Billy Joel.” bly linked to specific locales, a trend that continues on later albums. Moreover, his public persona is also defined by a sense of place, as he is regularly identified (and identifies) as a Long Islander, a New Yorker, Fall 2018 Lectures and as the New York analog of New Jersey’s Bruce Springsteen. The two series continue in fall2018 . Further details will be pub- Of course, the American musical landscape has long been a window lished at the website and in the August 2018 AMS Newsletter. into its cultural landscape, and recent scholarship on the relationship Are you interested in presenting a lecture at one of the AMS between music and place has highlighted the way the former invokes series? Information on how to apply is available at the respective and evokes the latter while also anchoring social, cultural, and political beliefs, embodying the bonds that bring people together as well as the websites, where webcasts of all past lectures may also be found.

 AMS Newsletter President-Elect Suzanne G. Cusick Two New Awards Suzanne G. Cusick, Professor of Music on the Faculty of Arts and Science at New York Univer- sity, has published extensively on gender and sexuality in relation to the musical cultures of ear- Critical Race Studies Award ly modern Italy and of contemporary North America. Cusick’s 2009 monograph Francesca Cac- Through the generosity of members of cini at the Medici Court: Music and the Circulation of Power (Chicago) received the “Best Book” the AMS Board of Directors, Judy Tsou, award of the Society for the Study of Early Modern Women. Since 2006, she has also studied and David Carlson, the AMS is pleased the use of sound and sexual shaming in the to announce this new award. It will hon- detention and inter- rogation of prison- or each year outstanding musicological ers held during the twenty-first-century’s work in the field of critical race and/or “war on terror,” work for which she won the critical ethnic studies. Eligible works in- Philip Brett Award of the American Mu- clude published articles, books, editions, sicological Society in 2007. Cusick’s schol- or other scholarly entities that best ex- arly work has been supported by grants emplify the highest qualities of original- from the National Endowment for the ity, interpretation, theory, and commu- Humanities and the American Council nication in this area. of Learned Societ- ies, and she has been a Fellow at both Villa I Tatti, the Harvard Work published during the preceding Center for Italian Re- naissance Studies, and three calendar years will be eligible for at Harvard’s Charles Suzanne G. Cusick Warren Center for consideration. The nomination deadline Studies in American History. Her undergraduate teaching has been recognized by university- is 1 May, in accordance with other AMS wide prizes at both the University of Virginia (1995) and NYU (2011). She is an Honorary awards. See the website for full details: Member of both the American Musicological Society and the Society for Ethnomusicology. ams-net.org/awards/CRS.php

Inaugural NYU / AMS Lecture: H. Robert Cohen/RIPM Award Vijay Iyer in Conversation with Daphne Brooks Through the generosity of H. Robert On 1 February, an audience of about eighty ings have appeared in Journal of Consciousness Cohen, the AMS is pleased to announce attended the inaugural NYU/AMS Lecture. Studies, Wire, Music Perception, Jazz Times, this new award. It will honor each year Vijay Iyer, celebrated composer, pianist, and the Journal of the Society for American a publication related to the goals of the and scholar, participated in a wide-ranging Music. Daphne Brooks, well known for her Retrospective Index to Music Periodi- conversation with multidisciplinary scholar books Bodies in Dissent: Spectacular Perfor- cals (RIPM), a long-standing enterprise Daphne A. Brooks at NYU’s Kimmel Center. mances of Race and Freedom, 1850–1910 (2006) internationally recognized as one of the The event is the first in a series to be held at and Jeff Buckley’s Grace (2005), led a series of primary tools for research in music and NYU, the new home of the AMS. The enthu- questions that met at the intersections of mu- musicology. The award will honor each siastic audience included students from NYU sic-making, race, gender, the culture industry, year a work of scholarship of excep- and other institutions, AMS members, and and the academy. tional merit based upon eighteenth-, others who were just curious to learn and hear For more information about this and fu- nineteenth-, and twentieth-century peri- more of Vijay Iyer. His twenty-three albums ture lectures in the series, see ams-net.org/ odical literature related to music. Works have been issued on the ECM label; his writ- NYU-Lectures. eligible for this award include, but are not limited to, books, articles, or wide- The New AMS Forum on Humanities Commons ly-disseminated databases focusing on one or more journals, music critics and 2 Engine for Interdisciplinary Collabo- The Society is transitioning from AMS-L to ) criticism, reception history, critical and rations. the newly created AMS Forum on Humani- HC has many sub-groups, which cultural histories (e.g. of nationalism, 400 ties Commons (HC). Now with over discuss nearly any subject one might be in- genres, race, gender, class), and issues of members, the forum is growing daily. terested in (e.g., “Digital Humanists,” “Mu- access and preservation. The AMS Forum serves three functions: sic and Sound,” and, if you are so inclined, Work published during the preceding 1 Scholarly Communication. ) The AMS “Classical Influences on HBO’s Game of three calendar years will be eligible for Forum serves as an ideal locus for discussion. Thrones”). HC’s breadth of subjects and consideration. The nomination deadline One of its major advantages is its sustainabil- range of scholars is unsurpassed. is 1 May, in accordance with other AMS 3 Alternative to For-Profit Online Aca- ity and potential for growth. HC was started ) awards. See the website for full details: demic Websites. as an offshoot of the Modern Language As- HC serves as a repository for ams-net.org/awards/cohen-RIPM.php. sociation’s MLA Commons, and has since your own scholarship as an alternative to sites expanded to include a wide range of scholars like academia.edu. Users’ work is indexed by and humanities disciplines. HC currently has Google Scholar and each item receives a DOI Commons,” which is pinned to the top of our 12,000 members in all. (Digital Object Identifier), which provides a Discussion page, for more details.) The AMS Forum has features such as easy persistent (permanent) link to the item’s loca- We’re excited about the shift to HC, but searching of archived posts and flexible email tion on the internet, thus avoiding the prob- only participation in the Forum will make it integration, so changing from AMS-L does lem of broken links with outdated URLs. (See work! See ams-net.org/forum and sign up to not mean sacrificing email communication. the post “Making the Most of Humanities join the conversation. —Mark A. Davidson

February 2018  Awards, Prizes, and Honors

Honorary Members honorary citizen of the city of Benevento (It- aly), Chevalier de l’Ordre des Arts et Lettres Thomas Forrest Kelly is Morton B. Knafel of the French Republic, and a Fellow of the Professor of Music at Harvard University. A American Academy of Arts and Sciences, the graduate of University of North Carolina at American Academy in Rome, and the Me- Chapel Hill, he holds the A.M. and Ph.D. dieval Academy of America. He received an (1973) from Harvard. Two years in France al- honorary doctorate from the University of lowed him to earn degrees from the Schola North Carolina at Chapel Hill in 2017. Cantorum in Paris and the Royal Academy of Malena Kuss is Professor Emeritus of Musi- Music. He has held Fulbright, NEH, ACLS, cology, University of North Texas (1976–99), and Rome Prize fellowships. Before going and former Vice President of the Internation- to Harvard he taught at Oberlin Conserva- al Musicological Society (2009–17). She holds tory (where he served as acting Dean of the a Ph.D. in Historical Musicology from the Conservatory); at the Five Colleges in Mas- University of California, Los Angeles (1976) sachusetts; and at Wellesley College. He has and a MM in Piano Performance from South- also taught at the École Pratique des Hautes ern Methodist University (1964). Internation- Études, The Pontifical Institute of Sacred Mu- ally recognized for her research on the music sic in Rome, the Conservatorio di Musica San of Alberto Ginastera (1916–83), with whom Malena Kuss Pietro a Majella of Naples, and the Pontifical she studied composition for six years in Bue- Ambrosian Institute in Milan. nos Aires, Kuss has published extensively on Archives, and Documentation Centres (Sec- Kelly has focused principally on medieval opera in Latin America, oral and written mu- retary, Bibliography Commission, 1984–90), music and on the performance of music of sical traditions in comparative cultural con- and the American Musicological Society the past. He is co-editor, with Mark Everist, texts, and music historiography from a global (member and chair, Stevenson Award Com- of the forthcoming Cambridge History of Me- perspective. mittee, 2008–09; 2018–21; member and juror, dieval Music. Among other books, he is the Building from compositional evidence AMS 50, 1996–99). 2015 author of Capturing Music ( ); Early Mu- as primary source, and drawing from land- 2011 Christopher Reynolds is Distinguished Pro- sic: A Very Short Introduction ( , translated marks of revisionist historiography and lit- fessor of Music at the University of Califor- into German and Hungarian); First Nights erary criticism to challenge epistemological 2000 nia, Davis. He received a B.A. from the Uni- ( , translated into Korean and Chinese); scaffoldings anchored in paradigms of center 2004 versity of California, Riverside (1973) and a First Nights at the Opera ( ); The Exultet and periphery and concomitant subalternity, 1996 Ph.D. from Princeton (1982). He has held in Southern Italy ( ); and The Beneventan her research centers on the poetics of subver- 1989 visiting professorships at Yale, Stanford, and Chant (awarded the Otto Kinkeldey sion to confront “the imperialism of context” UC Berkeley, and in Germany at Heidel- Award), which has recently appeared in a (González Echevarría). History and myth berg and Goettingen. His research has been revised Italian translation. He has served on interact with the masterstory in Performing supported by fellowships from the American the AMS Council and chaired the Kinkeldey Beliefs (2004) and Performing the Caribbean Philosophical Society, the NEH (twice), the and Greenberg award committees. Kelly is an Experience (2007), two books that involved contributions by more than a hundred schol- ars from thirty-six countries and place partic- ular emphasis on music in social contexts and instruments as cultural artifacts. As Consult- ing Curator at the MIM/Phoenix, Kuss built a collection of over 1,500 instruments and de- signed forty-three exhibits (2008–10). Recognitions include the Platinum Konex Award for lifetime achievement (Buenos Ai- res, 2009); Individual Membership in the In- ternational Music Council (1999); the “Jesús C. Romero” Chair in Musicology sponsored by Mexico’s Instituto Nacional de Bellas Artes (1997); and Fulbright-Hays, NEH, ACLS, Mellon, and Paul Sacher Stiftung grants. An affinity with musicology as broadly de- fined coalesced in collaborations with the International Music Council associated with UNESCO (The Universe of Music: A His- tory, 1983–97) and service to the Interna- tional Musicological Society (2007–17), the International Association of Music Libraries, Thomas Forrest Kelly Christopher Reynolds  AMS Newsletter Humboldt Foundation, and the Villa I Tat- University of Michigan. She received her ti in Florence (including two residencies). He M.A. at Columbia University (1977) and her has been editor of AMS Studies in Music, and M.I.L.S. from the University of Michigan was a founding editor of Beethoven Forum. (1987), where she also studied music theory. He served as President of the AMS in 2013– In the course of her pioneering work on 14, and was recently elected to the American race and gender in music, Tsou co-edited Academy of Arts and Sciences (2016). the award-winning Cecilia Reclaimed, pub- Throughout his career Reynolds has ex- lished articles on racial representation in sheet plored ways in which musical works engage music and opera, and authored “Women in other musical works, arguing in numerous Music” for AmeriGrove, for which she edited studies of music from the fifteenth century hundreds of articles. She also served on the to the twentieth that structural modelings editorial board of JSAM. In the library realm, and motivic allusions have always been com- she worked on the copyright of online-only mon compositional tools. His article, “Porgy music, leading to the Copyright Office’s man- and Bess: An ‘American Wozzeck’,” in JSAM date to the Library of Congress to collect this (2007), won the H. Colin Slim award from kind of music, and published “Ether Today, the AMS as well as the Kurt Weill Prize. He Gone Tomorrow” in Notes (2016). As Presi- has published three books, Papal Patronage dent of IAML-US, she collaborated with the and the Music of St. Peter’s, 1380–1513 (Univer- Music Library Association to merge the two sity of California, 1995), Motives for Allusion: organizations, for which she won the Papak- Context and Content in Nineteenth-Century hian Special Achievement Award of MLA in Music (Harvard, 2003), a finalist for a Kin- 2013. She served as President of the Society for Ruth HaCohen keldey Award, and Wagner, Schumann, and American Music (2013–15), receiving SAM’s at the Institute for Advanced Study in Prince­ the Lessons of Beethoven’s Ninth (University Distinguished Service Award in 2017. At the ton (2011), and a resident at the Rockefeller of California, 2015). Over the past twenty- University of Washington, she acquired a Foundation, Bellagio (2012). HaCohen is a five years Reynolds has collected nearly 6,500 massive collection of opera vocal scores and board member of the Van Leer Institute Je- songs composed by women from the 1790s to archives, the latter with letters of Puccini, rusalem, the Polyphony Foundation, and has the 1950s. His article “Documenting the Ze- Rossini, Viardot, Britten, and others, from also served as a board member of the Jerusa- nith of Women Song Composers: A Database collector William Crawford III. Through- lem Symphony Orchestra and of the Balzan of Songs Published in the United States and out her career, Tsou has bridged connections Project “Towards a Global History of Music.” the British Commonwealth, ca. 1890–1930,” between RILM and music library groups in HaCohen investigates the modes by which in Notes (2013), won the Richard S. Hill Taiwan, China, and elsewhere. Within the music participates in shaping the emotional, Award from the Music Library Association. AMS, she has served on the Council, the religious, social, and political worlds, as a editorial board of JAMS, the Membership Judy Tsou is librarian emerita at the Univer- source for conflict and a medium for recon- and Professional Development Commit- sity of Washington Libraries, where she was ciliation and compassion in changing his- tee, the Music in American Cultures Award long Head of the Music Library and Affiliate torical and cultural contexts. Opera, oratorio, Committee, the Committee on the Status of Assistant Professor in Music History. Previ- song, film, and cantorial music are the arenas Women, the Board Nominating Committee, ously she worked at the University of Cali- of her studies, deploying varied methodolo- and the Committee on Race and Ethnicity, fornia, Berkeley, Duke University, and the gies and conceptual frames. Her publications and as the AMS delegate to the National Re- include Tuning the Mind: Connecting Aesthetic cording Preservation Board of the Library of Theory to Cognitive Science; The Arts in Mind: Congress. Pioneering Texts of a Coterie of British Men of Letters (2003 both with Ruth Katz); The Music Libel against the Jews (Kinkeldey, 2011); Com- Corresponding Members posing Power, Singing Freedom: The Interplay Ruth HaCohen is the Artur Rubinstein Pro- of Music and Politics in the West (2017, in He- fessor of Musicology at the Hebrew Universi- brew, with Yaron Ezrahi). Currently she is at ty of Jerusalem. She graduated in musicology work on a project entitled “Job’s Voices and and Jewish thought and received her Ph.D. in the Death of God.” Musicology at the Hebrew University (1992) Liudmila Kovnatskaya is professor at the St. where she has later held various posts, in- Petersburg Conservatory and Senior Research cluding Head of the Ph.D. Honors Program Fellow at the Russian Institute of Art Histo- and the School of the Arts and Director of ry. She received her first degree and a Ph.D. the German-Israeli Martin Buber Society of from the Leningrad Conservatory (1965 and Fellows. Winner of the Kinkeldey Award, the 1970), where she had studied music history Polonsky Prize, and Israel Scientific Founda- with Mikhail Druskin and organ with Isaiya tions Grants, she has been a visiting scholar as Braudo. She received her Doctor of Art His- St. John’s College, Oxford (1996–7), a fellow tory, the highest research degree in Russia, of the Wissenschaftskolleg, Berlin (2004–5), from the State Institute for Art Studies in a fellow at the Cogut Institute for the Hu- manities, Brown University (2008), a visitor Judy Tsou continued on page  February 2018  with Olga Digonskaya), and a seven-volume edition of the complete works of Mikhail Druskin (2007–). Kovnatskaya is an Honored Art Worker of the Russian Federation. She has organized concerts, opera premieres, and festivals, and supervised over fifty students’ MA diplomas and PhD dissertations. She has served on the editorial boards of Tempo and Opera musicologica, as consultant on The New Grove Dictionary of Music and Musicians, been a board member of the St. Petersburg Com- posers Union and Pro Arte Foundation, and served on the program committee of the sev- enteenth International Congress of the IMS and the Directorium of the IMS (2002–07 and 2012–17), and chaired the Regional As- sociation for Eastern Slavic Countries of the IMS. Maria Teresa Linares holds a Master’s degree in Literature from the University of Havana Liudmila Kovnatskaya (1980) and a Doctorate Honoris Causa from Maria Teresa Linares the University of the Arts/ Instituto Superi- Honors and Awards or de Arte (1996), awarded long after she had lore of the Academy of Sciences, where she car- attained recognition as a towering scholar of ried out field research and taught courses. As continued from page  traditional and urban popular music at na- Director of the Museo Nacional de la Música 1984 97 Moscow (1988). Best known for her research tional and international levels. A musicolo- ( – ), where she promoted publications on Britten (Benjamin Britten, 1974, was one gist, philologist, pedagogue, and archivist, Li- and concerts of archival holdings, she estab- of the first monographs on the composer ever nares set out to preserve Cuba’s musical mem- lished a gallery of Cuban instruments that published), British music (Twentieth-Centu- ory in nearly a hundred field recordings that includes the collection of Fernando Ortiz. In ry English Music, 1986), and Shostakovich, served as basis for the subsequent transcrip- addition to teaching and lecturing in Europe, Kovnatskaya is also author of numerous arti- tion and analysis of oral traditions of Hispan- Africa, the Caribbean, and Central and South cles on Soviet music history (particularly that ic and African ancestry (EGREM, 1973–84). America, Linares’s contribution has been of Leningrad), music culture, reception of In addition to theoretical writings on race widely recognized. Prestigious awards include music, and history of musicology, including and class relationships that pioneered a valo- an Honorary Membership from Cuba’s Acad- 2010 her works on LASM (the Leningrad Associa- rization of urban popular music (a term she emy of Sciences ( ); the National Prize for 1999 tion of Contemporary Music), Igor Stravin- coined in Cuba), she contributed pathbreak- Research in Culture ( ); the International 2000 sky, and Mikhail Druskin. ing studies of décima and punto in rural rep- Research Award “Fernando Ortiz” ( ); the Books edited, collected, and introduced by ertoires and transcultural links between Cuba Orden Félix Varela from the State Council 2000 Kovnatskaya include the first Russian transla- and Spain. In La música y el pueblo (1974) she ( ), Cuba’s highest recognition for intel- tion of Arnold Schoenberg’s letters, a ground- documents Cuban cultural pluralism and its lectual achievement; the Premio Nacional de 2006 breaking collection of scholarly articles integration in iconic genres, stressing their re- Música ( ); and the title of Heroína del 2005 Shostakovich: Between a Moment and Eternity, ception and interactions abroad. Trabajo de la República de Cuba ( ), the the three-volume edition Shostakovich in Len- With her husband, Cuban composer and highest honor for a citizen. ingrad Conservatory, 1919–30, as well as Dmitry musicologist Argeliers León (1918–91), Linares Shostakovich: Studies and Materials (2005–12, founded the Institute of Ethnology and Folk-

Roger Moseley Thomas Patteson John Troutman Calvin Bower Kinkeldey Award Winner Lockwood Award Winner MAC Award Winner Palisca Award Winner  AMS Newsletter Leonora Saavedra Philip Bohlman Goffredo Plastino JoAnn Taricani Stevenson Award Winner Solie Award Winner Solie Award Winner Greenberg Award Winner

AMS Awards and Prizes The Ruth A. Solie Award for a collection of stages of her or his career was presented to An- essays of outstanding merit was presented to drea F. Bohlman (University of North Caro- The Otto Kinkeldey Award for a book of ex- Philip V. Bohlman (University of Chicago) lina at Chapel Hill) for “Solidarity, Song, and ceptional merit by a scholar beyond the early and Goffredo Plastino (Newcastle Universi- the Sound Document,” Journal of Musicology. stages of her or his career was presented to ty), eds., for Jazz Worlds / World Jazz (Univer- The Roland Jackson Award for an article of Roger Moseley (Cornell University) for Keys sity of Chicago Press). to Play: Music as a Ludic Medium from Apollo exceptional merit in the field of music analy- to Nintendo (University of California Press). The Robert M. Stevenson Award for out- sis was presented to Danuta Mirka (Univer- standing scholarship in Iberian music, in- sity of Southampton) for “The Mystery of the The Lewis Lockwood Award for an out- cluding music composed, performed, cre- Cadential Six-Four,” in What is a Cadence? standing book by a scholar in the early stages ated, collected, belonging to, or descended ed. Neuwirth and Bergé (Leuven University of her or his career was presented to Thom- from the musical cultures of Spain, Portugal, Press, 2015). as Patteson (Curtis Institute of Music) for and all Latin American areas in which Span- Instruments for New Music: Sound, Technolo- The Noah Greenberg Award for outstand- ish and Portuguese are spoken, was presented ing contributions to historically aware per- gy, and Modernism (University of California to Leonora Saavedra (University of Califor- Press). formance and the study of historical perform- nia, Riverside) for “Carlos Chávez’s Polysemic ing practices was presented to JoAnn Tari- The Music in American Culture Award for Style: Constructing the National, Seeking the cani (University of Washington) for the proj- a book of exceptional merit that both illumi- Cosmopolitan,” Journal of the American Musi- ect “An Antidote against Melancholy (1661): 2015 nates some important aspect of the music of cological Society ( ). Soundscape for a Coronation.” the United States and places that music in a TheH. Colin Slim Award for an outstanding rich cultural context was presented to John The Paul A. Pisk Award for an outstanding article by a scholar beyond the early stages of paper presented by a graduate student at the W. Troutman (Smithsonian Institution) for her or his career was presented to Sumanth Kika Kila: How the Hawaiian Steel Guitar Annual Meeting was awarded to Alexander Gopinath (University of Minnesota) and Cowan (Harvard University) for “Eugenics at Changed the Sound of Modern Music (Univer- Anna Schultz (Stanford University) for “Sen- sity of North Carolina Press). the Eastman School: Music Psychology and timental Remembrance and the Amusements the Racialization of Musical Talent.” TheClaude V. Palisca Award for best edition of Forgetting in Karl and Harty’s ‘Kentucky,’” or translation was presented to Calvin M. Journal of the American Musicological Society . The AMS Teaching Award for outstand- ing work in innovative teaching in the music Bower (University of Notre Dame) for The The Alfred Einstein Award for an article of Liber Ymnorum of Notker Balbulus (Henry exceptional merit by a scholar in the early continued on page  Bradshaw Society).

Anna Schultz Sumanth Gopinath Andrea F. Bohlman Danuta Mirka Slim Award Winner Slim Award Winner Einstein Award Winner Jackson Award Winner February 2018  Edward Klorman (McGill Uni- versity) received an ASCAP Deems Taylor/Virgil Thomson Award for Mozart’s Music of Friends: Social In- terplay in the Chamber Works (2016). Lawrence Kramer (Fordham Uni- versity) received an ASCAP Deems Taylor/Virgil Thomson Award for The Thought of Music( 2016). Yvonne Liao (University of Oxford) received the Royal Musical Associa- tion’s 2017 Jerome Roche Prize for Alexander Cowan Elizabeth Wells Allison McCracken “‘Die gute Unterhaltungsmusik’: Pisk Award Winner Teaching Award Winner Brett Award Winner Landscape, Refugee Cafés, and Sounds of ‘Little Vienna’ in War- Honors and Awards Malcolm Bilson (Cornell University) re- time Shanghai,” The Musical Quar- ceived the 2017 Curt Sachs Award from the continued from page  terly (2016). American Musical Instrument Society in rec- history/music appreciation classroom was ognition of his advocacy of the fortepiano. Deirdre Loughridge (Northeastern Universi- ty) received the Kenshur Prize from the Cen- presented to Elizabeth A. Wells (Mount Al- Vasili Byros (Northwestern University) re- ter for Eighteenth-Century Studies at Indi- lison University) for “Foundation Courses in ceived the Society for Music Theory’s Out- Music History: A Case Study,” Journal of Mu- ana University for Haydn’s Sunrise, Beethoven’s standing Publication Award for “Prelude on a Shadow: Audiovisual Culture and the Emer- sic History Pedagogy (2016). Partimento: Invention in the Compositional gence of Musical Romanticism (2016). The Thomas Hampson Award supporting Pedagogy of the German States in the Time of 2015 Alejandro L. Madrid (Cornell University) research and publication in classic song was J. S. Bach,” Music Theory Online ( ). received the Royal Musical Association’s 2017 presented to Marquese Carter (Indiana Uni- Tim Carter (University of North Carolina at Dent Medal. versity) for his dissertation, “‘The Black Ma- Chapel Hill) has been named an Honorary donna’: Exploring the Art Songs of Florence Member of the Royal Musical Association. Project director Nicholas Mathew (Univer- B. Price.” Davide Ceriani received a 2017–18 Library sity of California, Berkeley) has received an of Congress John W. Kluge Center Research NEH Preservation Assistance Grant to pre- The Philip Brett Award, presented by the Fellowship for the project “Defining Italian serve and sustain the music department’s his- LGBTQ Study Group of the AMS for excep- Cultural Identity in American Urban Cen- torical and rare musical instrument collection. tional work in the field of gay, lesbian, bisex- ters through Opera from Mass Migration to ual, and transgender/transsexual studies, was Jason Rosenholtz-Witt (Northwestern Uni- World War II, 1881–1941.” presented to Allison McCracken for Real Men versity) has received the Dr. Gudrun Busch Don’t Sing (Duke University Press). Mark Ferraguto (Pennsylvania State Uni- Stipendium from the Herzog August Biblio- versity) received the Music & Letters 2016 thek, Wolfenbüttel, for Musical Networks in Other Awards, Prizes, and Honors Westrup Prize for the article “Representing the Veneto, 1550–1650, and the Gladys Krieble Russia: Luxury and Diplomacy at the Razu- Delmas Foundation Grant, Venetian Research Celia Applegate (Vanderbilt University) was movsky Palace in Vienna, 1803–15” (2016). Program, for Singing at the Edge of the Veneto: named a 2017 Fellow at the Institute for Ad- Giovanni Cavaccio in Bergamo, 1598–1626. Christina Fuhrmann (Baldwin Wallace Uni- vanced Study, Princeton. versity) received the North American British Douglas Shadle (Vanderbilt University) Paul-André Bempéchat (Harvard Universi- Music Studies Association’s Diana McVeagh received an ASCAP Deems Taylor/Virgil ty) was named Honorary Fellow of the Royal Prize for Best Book on British Music for For- Thomson Award for Orchestrating the Nation: Chapel and Academic Orchestra at Uppsala eign Opera at the London Playhouses, from Mo- The Nineteenth Century American Symphonic University, Sweden. zart to Bellini (2015). Enterprise (2015).

News from the AMS Board lems, for example the current concern utes are restricted from general view for with regard to society finances. Questions a period of twenty years. The AMS Board of Directors works hard and matters for decision both small and • Two new awards to be implemented in to manage the Society’s many different large come before the board regularly. Last 2018: the H. Robert Cohen/RIPM and activities. This often involves making November’s board meeting materials ex- Critical Race Studies awards (see p. 5). decisions based on reports the board has tended to 250 pages of materials. • Planning to update the guidelines for solicited from society committees, such Important items arising from that meet- ethical conduct, last updated in 1997. as the Committee on the Annual Meet- ing include: • Planning to move the AMS web- ing’s recommendations to move to shorter • A new policy limiting access to previ- site to Your Membership, a commer- paper lengths (to be implemented in fall ous board meeting minutes, due to cial membership-management web 2018). Some of the board’s work involves confidentiality and privacy concerns: platform used by many other ACLS strategizing to address concerns or prob- moving forward, board meeting min- organizations.

 AMS Newsletter Treasurer’s Message I am pleased to report the good news that for investments, we withdraw a portion every market, where our funds increased on average the fiscal year ending 30 June 2017 our en- year and spend it on our many endowed en- 17.5%. As a result, the value of our endow- dowment achieved an investment return of deavors, which include our fellowships, travel ment has now passed the $7 million mark, +11.1%. The exciting significance of this is that and research grants, publication subventions, and the portion of the endowment that sup- we can dispense this year well over $200,000, special lectures at the Annual Meeting, and ports our AHJ AMS 50 and Howard Mayer more than ever before, to the recipients of our awards for the best books, articles, editions, Brown fellowship programs has, for the first fellowships, grants, and prizes. translations, collections of essays, pedagogical time, surpassed $2 million. Before discussing our investments in more resources, performance projects, and gradu- A special aspect of our endowment program detail, I would like to mention that the fi- ate-student papers. While we may face chal- of which all of us in the Society can be proud nances of the AMS fall into two separate lenges in our operating funds, we are fortu- is that the majority of these funds goes to sup- areas: our operating funds (see p. 29 for the nate to have benefited from strong long-term port our students, younger faculty, indepen- report from Bob Judd on this aspect of Soci- performance within the endowment. dent scholars, and those among us without ety finances) and our endowment. The oper- Our 11.1% gain for fiscal year2017 amounts ating funds come mainly from dues, the An- to over $700,000. In addition, as I write on institutional assistance for travel to the An- nual Meeting, and sales of our publications. 1 January 2018, we have increased another nual Meeting. A full 59% of our endowment This income covers the costs of our salaries 7.5% during these final six months of the is earmarked for members of these groups. for staff and publishing JAMS, and to a lesser year. Within the portfolio, our bond funds Only 1%, represented by the Kinkeldey and extent it supports our committees, chapters, returned 3.2% during the fiscal year. In these Slim awards, is targeted specifically for schol- board of directors, and so forth. Our endow- days of extremely low interest rates, this is ars beyond the early stages of their careers. ment, on the other hand, is funded by your one-third more than the yield on the bench- The40 % that remains is available to anybody. charitable gifts, which we invest for long-term mark ten-year Treasury bond. Our significant —James Ladewig growth in stock and bond funds. From these investment gains, however, were in the stock

JAMS: New Confidentiality Guidelines for Materials under Consideration AMS Rochester Post-Conference Survey The JAMS Editorial Board, in consultation conversations with colleagues, publishing with the University of California Press and or circulating any part of an unpublished Following the 2017 Annual Meeting, confer- the AMS Board of Directors, and guided by manuscript, or making use of original re- ence attendees received a short survey. This the leading organizations in academic pub- search without permission; year (unlike last), it was sent only to confer- lishing, has developed some guidelines for • Disclose potential conflicts of interest; ence attendees (1,562 individuals). 602 valid all participants in the submission, review, • Commit to remaining unbiased in their responses were received, an overall response and publication of articles in the Journal. assessments; rate of 38.4%. The margin of error is there- The double-blind peer review process is of • Provide professional critique in a con- fore +/- 3.1% (or 19 times out of 20). Re- paramount importance to JAMS, and that structive manner. sponses are summarized below. process functions only when all parties act How much of the meeting? A peer reviewer may choose to reveal their Most attendees in a collaborative spirit of good faith and were present for Thursday, Friday, and Satur- identity. Authors of article submissions will: mutual respect. JAMS adheres to the Ethical day (82.5%); the individual day breakdown Guidelines for Peer Reviewers set forth by • Treat peer reviews as confidential cor- was 86.6% Thursday, 97.5% Friday, 95.7% the Committee on Publication Ethics, and respondence. Although it is common Saturday, 57.1% Sunday. 16.7% attended uses the following model: the process is dou- practice for an author to consult with a Wednesday preconference events. ble blind; the editor mediates all interactions colleague or mentor about responding Concerts. 9 7 between reviewers and authors; peer reviews . % attended one or more noon- to peer reviews, the content of reviews time concerts, and 16.5% attended eve- are not published; peer review is facilitated should not be circulated or published, ning concerts. by the journal; and the review is owned by including on social media, unless an au- Balance. 82 1 the author of the peer review. thor receives permission from the peer . % felt the balance between pan- el discussions and papers was “about right” The JAMS Editorial Board expects all par- reviewer, through the editor. ties to follow the guidelines below regarding (“too many”: 8.5%; “not enough”: 9.5%). The editor and Editorial Board must confidentiality, which are in keeping with Online Resources. 75.6% used the PDF recommendations for best practices from • Hold reviews in confidence. The editor program; online announcements: 56.3%; the Association of University Presses and may consult with members of the Edito- the conference app: 38.1% (2016: 18.6%). At shared by related music societies. rial Board, and those members are bound least one online resource was used by 89.6% Peer reviewers will: to hold those consultations in the same of respondents. confidence. Liked Most / Would Change. 81.9% of par- • Treat article manuscripts and all com- ticipants responded to “liked most.” The most munications with JAMS related to peer The editor reserves the right to edit peer frequently identified “like” was the program review work as strictly confidential. This reviews for tone, clarity, and concision, itself (21.9%), 8.5% specifically mentioning includes refraining from commenting on and for the protection of the reviewer’s the manuscript on social media and in anonymity. continued on page  February 2018  Location of the 2018 AMS/SMT Annual Meeting Diversifying Music Academia: On 11 and 13 January, the boards of the So- Separately, the board also felt that the cost Strengthening the Pipeline ciety for Music Theory and the American of relocating would be highly disproportion- Musicological Society each held meetings to ate to the impact we might have in doing so. San Antonio Preconference, 31 Octo- discuss the location of the 2018 annual joint Better, the board reasoned, to stand with the ber–1 November meeting in light of Texas House Bill 3859, many LGBTQ community members and projectspectrummusic.wordpress.com “The Protection of Rights of Conscience for their allies in San Antonio than take an action “Diversifying Music Academia: Child Welfare Services Providers,” which al- with little effect on the offending parties. This Strengthening the Pipeline” is devoted lows child welfare providers to discriminate decision comports with the position advocat- to the issues of diversity and inclusion against LGBTQ individuals in adoption cases ed by the San Antonio Local Arrangements in musicology, music theory, and ethno- based on their own “sincerely held” religions Committee, which has asked us to keep the musicology. Led by Project Spectrum, a convictions. (Some members may remember meeting in San Antonio. coalition of faculty members and gradu- a bill floated in the Texas legislature denying Expressing our solidarity with the LGBTQ transgender persons the right to use bath- community will take a variety of forms, to be ate students, this event seeks to explore rooms. That bill failed last summer.) Each so- sorted out in the coming months by a newly why in music academia it remains diffi- ciety was motivated to think about the issue appointed AMS Ad Hoc Planning Commit- cult for racially, economically, and sexu- not by any formal call to move the meeting tee on the San Antonio Meeting, which will ally minoritized people to finish gradu- away from San Antonio but by the scruples coordinate with a parallel ad hoc SMT com- ate degrees, seek gainful employment, of many members, including board members. mittee. The AMS Ad Hoc Committee, to be and—when applicable—get tenure. Like so many dilemmas we face in America chaired by Vice President and Chair of the Workshops, panels, and keynote presen- and around the world today, this one present- Committee on the Annual Meeting Georgia tations will take place onWednesday af- ed us with a tough choice. Would staying in Cowart, will be made up of additional rep- ternoon through Thursday afternoon San Antonio mean bringing ourselves and our resentatives from the Program Committee, prior to the AMS/SMT San Antonio business to a state whose adoption law allows the Committee on Cultural Diversity, the meeting. In addition, several events orga- discrimination in a way that a great many find LGBTQ Study Group, and the Local Ar- nized by Project Spectrum will take place repellant and unacceptable? Do reasons for rangements Committee. It will explore such during the meeting at the conference ho- moving the meeting justify the crippling costs possibilities for the annual meeting as com- tel. For more information and updates, that would be incurred, and would doing so munity action and protest and a special ses- please visit our website or contact Proj- really allow our voices heard on the ground in sion addressing the kinds of issues raised for ect Spectrum (projectspectrummusic­@­ the state of Texas? A goodly number of AMS musicologists by discriminatory laws; more gmail.com). Undergraduates, graduate members have weighed in on both ques- information will be added to the San Antonio students, and faculty alike are encouraged tions, expressing themselves eloquently on website (ams-net.org/sanantonio) as the com- to attend. the AMS-List or the AMS Forum. We have mittee develops plans. Additionally, members heard about reasons of conscience that will will be given the opportunity to donate to prevent some members from attending. We LGBTQ activist groups when they register Senior Members: New Way to have heard why other members want to keep for the meeting. For those opting for reasons Reduce Taxes with Charitable the meeting in San Antonio. And we have of conscience not to attend, we hope to have Contributions heard heartbreaking stories about discrimina- more live streaming, online handouts, and tion experienced by members in various sites videoed sessions, within financial and legal If you have reached 701/2 years of age and where AMS meetings have been held, includ- limits. need to withdraw the taxable Required ing Texas. —Martha Feldman Minimum Distribution from your re- In view of a number of factors, each soci- tirement account, you can now make ety’s board voted unanimously, with consider- Annual Meeting Criteria for Site your charitable contribution from that able ambivalence, to remain in San Antonio Selection distribution and it will be excluded from as the only viable course of action. There’s no your taxable income. These “Qualified denying that the prohibitive expense of mov- Annual Meeting sites are chosen by the Com- Charitable Distributions” (QCD) are ing the meeting and the logistical challenges mittee on the Annual Meeting, together with not required to be itemized, because that such a change would have involved were the Executive Director, Board of Directors, they reduce your adjusted gross income: among the factors leading to the board’s deci- and professional meeting planners. Bookings especially beneficial in light of the new sion. In addition to the difficulty of finding for hotels, conference centers, etc., are made itemization rules under the new tax re- another hotel at this late date (per standard about four and a half years in advance of the form. A lower AGI could help avoid the practice, hotels are booked four and a half Annual Meeting. 3.8% Medicare surtax, reduce taxable years in advance for our annual meetings), The Society tries to explore the diversity of Social Security benefits, and increase the there would have been a penalty and addi- the U.S. and Canada by moving around the amount of other deductible expenses. tional expenses estimated at $250,000 to do country in a flexible regional rotation. Factors There are rules and limitations, so (as so. This is money the AMS cannot afford. such as access, cultural considerations, facility always) be sure to consult your tax ad- AMS operating funds are low these days (as size, affordability, and availability all come in visor. The AMS is a501 (c)(3) nonprofit 29 Bob Judd explains elsewhere; see p. ). If to play as well. fully eligible for charitable contribu- the AMS financial picture gives the impres- Our next few meetings will be held in Bos- tions; whatever your age, your contribu- sion that the Society is well-heeled, it’s only ton (2019), Minneapolis (2020), and Chicago tions to the AMS benefit musicologists because of its endowment funds, whose uses (2021). For more information, see ams-net. young and old. are strictly limited by law. org/annual.php.  AMS Newsletter AMS Elections 2018 Officers and members of the board of birec- JUDY TSOU Research areas: Frescobaldi; Italian instru- 16 tors are elected each year according to the Head Emerita, Music Library, and Affiliate mental and keyboard music of the th and 17 procedures set forth in the Society’s bylaws. Assistant Professor, Music History, Univer- th centuries; early keyboard notations In 2018, the board presents to the member- sity of Washington Publications: “The Use of Open Score as a ship two candidates for vice president, a single Solo Keyboard Notation in Italy, ca. 1530– candidate for treasurer, and six candidates for Degrees: IMLS, Michigan, 1987; MA, Co- 1714,” in A Compendium of American Musi- director-at-large, three of whom are to be lumbia, 1977; BA, Skidmore, 1975 cology, ed. Arias et al. (Northwestern, 2001); elected. The balloting is electronic and avail- Research areas: Intersection of gender and Editor, 19 vols., Italian Instrumental Music able at the AMS website (login required); a race in opera and musical theater; rights for of the Sixteenth and Early Seventeenth Centu- paper ballot may be obtained from the office online-only music; sound, digital, and paper ries (Garland, 1987–95); “Bach and the Pri- upon request. Voting closes 1 May. Results are music archives ma prattica: The Influence of Frescobaldi on a announced in the August AMS Newsletter. Fugue from the WTC,” JM (1991); “The Ori- Responsibilities of board officers and mem- Publications: “An Archive and a Collection gins of Frescobaldi’s Variation Canzonas Re- bers are outlined in the bylaws and handbook of Rare Music Scores: The William Crawford appraised,” in Frescobaldi Studies, ed. Silbig- (available at the website), and include manag- III Collections,” MLA Notes (2017); “Ether er (Duke, 1987); “Luzzaschi as Frescobaldi’s ing all Society policies and procedures as well Today, Gone Tomorrow: 21st Century Sound Teacher: A Little-Known Ricercare,” Studi as all its fiduciary obligations. Recording Collections in Crisis,” MLA Notes 1981 (2016); “Composing Racial Difference in Ma- Musicali ( ) Candidates for Vice President dama Butterfly,” in Rethinking Difference in Awards: ACLS grant (1986); ACLS fellowship Music Scholarship, ed. Bloechl et al. (Cam- (1982) MARY HUNTER bridge, 2015); “‘I Am Not Sure We Should Have a Woman in the Position’: Hiring Prac- Administrative experience: Chair, various Professor of Music, Bowdoin College tices in the Mid-Twentieth-Century Amer- search committees, University of Rhode Is- land Department of Music (1990–2010); Degrees: PhD, Cornell, 1982; BA, Univ. of ican Academy,” Women and Music (2015); General Editor, Italian Instrumental Music of Sussex, 1974 co-ed. (with Cook), Cecilia Reclaimed (Illi- nois, 1994) the Sixteenth and Early Seventeenth Centuries Research areas: History and ideology of per- (30 vols, Garland, 1987–95). Has maintained formance; late eighteenth-century opera and Awards: AMS Honorary Member (2017); So- an interest in the financial world for over thir- chamber music; Mozart; Haydn ciety for American Music Distinguished Ser- ty years; as an active investor monitors the vice Citation (2017); Music Library Associa- markets on a daily basis Publications: “Reflection and the Classi- tion Papakhian Special Achievement Award cal Musician: Practice in Cultural Context” (2013); Fellow of the Doreen B. Townsend AMS activities: Treasurer (2000–18); Board (with S. Broad), in Musicians in the Mak- Center for the Humanities at UC Berkeley of Directors (2000–18); Chair, Finance Com- ing, ed. Gaunt, Rink and Williamon (Ox- (1996–97); Susan Koppelman Award for best mittee (2000–18); Development Committee ford, 2017); co-ed. (with R. Will), Engag- feminist editing, Cecilia Reclaimed (1995) (2004–18); Editor, AMS Newsletter (1987–90) ing Haydn: Culture, Context and Criticism Administrative experience: (Cambridge, 2012); Mozart’s Operas: A Com- Society for Candidates for Director-at-Large panion (Yale, 2008); “To Play as if from the American Music, President (2013–15); MLA Board of Directors (2011–13 and 1994–96); Soul of the Composer: The Idea of the Per- JOHANN S. BUIS former in Early Romantic Aesthetics,” JAMS IAML-US, President (2008–11); SAM, Long (2005); The Culture of Opera Buffa in Mozart’s Range Planning Committee (2010 and 2000); Associate Professor of Musicology, Wheaton Vienna: A Poetics of Entertainment (Prince- JSAM (2008–11), JAMS (2006–09), and College (Illinois) 1999 WAM (2003–06), editorial boards ton, ) Degrees: Doctor of Arts (Musicology), Ball Awards: Bowdoin College, Sabbatical Sup- AMS activities: Co-chair, Race and Ethnic- State Univ., 1992; MMus, Ball State Univ., plement (2004, 2010); AMS Otto Kinkeldey ity in the Profession (2017–present); Chair, 1983; BEd., Univ. of the Western Cape, Award (2000); National Humanities Cen- Board Nominating (2014); Music in Amer- 1979; University Teacher’s Licentiate in Mu- ter (1991); American Philosophical Society ican Culture Award (2009–11, chair 2011); sic, Univ. of South Africa, 1979; Licentiate, (1988); NEH (1983) Chair, Membership and Professional Devel- Trinity College London (Oboe), 1978; Li- opment Committee (2003–06); Commit- centiate, Trinity College London (Record- Administrative experience: AMS Studies in tee on the Status of Women (1994–98, chair er), 1977; BMus, Univ. of Cape Town, 1976; 2003 08 Music, Editor ( – ); Bowdoin College, 2001–03) Higher Diploma in Education, Univ. of Cape 1997 2010 Music Department Chair ( – ); Jour- Town, 1976 nal of Musicological Research, Editor (1993–98); Candidate for Treasurer Cambridge Opera Journal, Editor (1998–2003) Research areas: Early music revival move- JAMES LADEWIG ment; reception history of black American AMS activities: Chair, Committee on Wom- music in Africa; music and politics; cultur- 2017 Professor Emeritus, University of Rhode en and Gender ( –present); Slim Award al theories and musical aesthetics; black mu- 2014 16 Island Committee ( – ); Program Committee sic aesthetics (2012); Kinkeldey Award Committee (2010– Degrees: PhD, UC Berkeley, 1978; MA, UC 11); AMS Board of Directors (2002–04) Berkeley, 1973; BM, Northwestern, 1971 continued on page  February 2018  Candidates “Petrucci’s Publics for the First Motet Prints,” Renaissance Society of America: Chair, Dig- in Making Publics in Early Modern Europe, ed. ital and Electronic Media Committee and continued from page  Wilson (Taylor & Francis, 2010); The Motet Member, Board of Directors (2017–present); Publications: “Music and Dance Make Me in the Age of Du Fay (Cambridge 1999); “Mu- Haverford, Bryn Mawr, and Swarthmore Col- Feel Alive: From Mandela’s Prison Songs and sic for the Doge in Early Renaissance Venice,” leges Digital Humanities Initiative, Director Dances to Public Policy,” Torture Journal Speculum (1992) (2013–15) (2013); “Black Music Research and Musicol- Awards: Visiting Professor, Villa I Tatti (2017); AMS activities: Chair, Technology Com- ogy: Some Problems and Solutions Consid- Teaching Award, Doctoral level, Northeast- mittee (2016); JAMS Digital Scholarship and ered,” in Musikkonzepte—Konzepte der Musik- ern Association of Graduate Schools (2017); Multimedia Editor (2013–16); JAMS Edito- wissenschaft, ed. W. Ruf and K. Eberle (2000); Thomson Award for Excellence in Graduate rial Board (2010–12); Chair, Committee on co-author, Shout Because You’re Free! The Afri- Teaching & Supervision, McGill (2015); Co- Professional Development (2006–08); AMS can American Ring-Shout Tradition in Coastal PI, SIMSSA: Single Interface for Music Score Council (1990–92) Georgia (Univ. of Georgia, 1998); “Early Mu- Search and Analysis, SSHRC (2014–21); PI, sic and Paul Hindemith (1895–1963) in the ELVIS: Electronic Locator of Vertical Inter- TAMMY L. KERNODLE United States: A Centenary Evaluation,” Col- val Successions, Digging into Data Challenge Professor of Musicology, Miami University lege Music Symposium (1996); “The Compos- Grant, NEH and SSHRC (2012–14) (Ohio) er as Early Music Performer. Hindemith and Early Music: An American Encounter,” Early Administrative experience: McGill Univ., Degrees: PhD, Ohio State, 1997; MA, Ohio Music America (1996) Schulich School of Music: Interim Dean State, 1993; BM, Virginia State Univ., 1991 (2016–17); Associate Dean, Research and Ad- Awards: Communitas Fellow, Calvin College 19 20 ministration (2011–16); Director of Graduate Research areas: th- and th-century Af- (2011); Leland Ryken Award for Excellence in Studies in Music (2009–10, 2001–03) rican American music (popular and concert); Teaching in the Humanities (2005); Rocke- gender and performance; 20th-century Amer- feller Foundation Post-doctoral Fellow (1995– AMS activities: Publications Committee ican music; jazz 96); NEH Summer Institute Fellow (1992); (2010–15); Review Editor, JAMS (2004–08); Fulbright Fellow (1982–83) Performance Committee (2001–03); Local Publications: “Singing and Swinging in the Arrangements Committee, Annual Meet- Heartland: Black Women Musicians Making Administrative experience: Wheaton Col- ing (1993); AMS Committee on the Status of Music in the Midwest during the Jazz Age,” lege, Area Head, Music History (2006–pres- Women (1986–89) in Staking Claims: The Fluid Boundaries of ent); SDG Music Foundation, Chair, Board Suffrage and Jim Crow in the Heartland, ed. 2012 17 of Directors ( – ); Society for Christian RICHARD FREEDMAN Hill (Univ. of Kentucky, 2016); “Black Wom- Scholarship in Music, President (2011–13); en Working Together: The Politics of Valida- Society for American Music, Chair, Program Professor of Music and John C. Whitehead tion in Jazz,” BMRJ (2014); “Diggin’ You Like Committee (2002); Univ. of Georgia, Direc- Professor of Humanities, Haverford College Those Ol’ Soul Records: Meshell Ndegeocel- tor, African Studies Program (1996–97) lo and the Expanding Definition of Funk in Degrees: PhD, Univ. of Pennsylvania, 1987; Post Soul America,” American Studies (2013); AMS activities: Committee on the History MA, Univ. of Pennsylvania, 1983; BM, Univ. “I Wish I Knew What It Meant to be Free: of the Society (2017–present); Development of Western Ontario, 1979 Nina Simone and the Redefining of the Free- Committee (2015–17); Board of Directors Research areas: Renaissance France; music dom Song of the 1960s,” JSAM (2008); Soul (2013–14); Chair, AMS Council Nominat- printing and patronage; digital humanities on Soul: The Life and Music of Mary Lou Wil- ing Committee (2008); Co-Chair, Commit- liams (Northeastern, 2004) tee on Cultural Diversity (1996–2003; chair, Publications: Music in the Fifteenth and Six- 2002–03) teenth Centuries (Norton, 2012); The Lost Voic- Awards: Effective Educator Award (2014); es Project (Haverford College, 2011–14); Les Langston Hughes Visiting Professor, Univ. of JULIE E. CUMMING livres des chansons nouvelles de Nicolas Du Che- Kansas, (2012); Nellie Craig Women’s Studies min (Programme Ricercar, Centre des études Research Scholar Award (2009); Alljazz.com, Associate Professor, Schulich School of Mu- supérieures de la Renaissance, Université de “Best Jazz Books of the Year 2004” for Soul on sic, McGill University François-Rabelais, Tours, France, 2008–10); Soul: The Life and Music of Mary Lou Williams Degrees: PhD, UC Berkeley, 1987; MA, UC The Chansons of Orlando di Lasso and their Administrative experience: Jazz Perspectives, Berkeley, 1982; BA, Barnard College, Colum- Protestant Listeners: Music, Piety, and Print in Media Review Editor (2015–present); Mi- bia Univ., 1980 Sixteenth-Century France (Rochester, 2001) ami Univ.: University Promotion and Tenure Research areas: The motet; the madri- Awards: Programme transatlantique de col- (2015–present), Committee on Faculty Rights gal; Renaissance improvisation and compo- laboration en humanités numériques, Mellon and Responsibilities (2016–present), Vice sitional process; history of the book; digi- Foundation-Fondation maison des sciences President of Association of Black Faculty and tal humanities de l’homme (2014–17); NEH, Scholarly Edi- Staff (2005–06) tions Grant (2011–14); ACLS, Digital Inno- Publications: “The Origins of Pervasive Imi- AMS activities: Committee on the Sta- vations Fellowship (2011–12); NEH, Digital tation” (with P. Schubert), in Cambridge His- tus of Race and Ethnicity in the Profession Humanities Start-Up Grant (2008–10) tory of Fifteenth-Century Music, ed. Berger and (2016–present); Committee on the Publica- Rodin (2015); “From Two-Part Framework Administrative experience: Haverford Col- tion of American Music (2014–present); AHJ to Movable Module,” in Medieval Music in lege: Associate Provost for Curricular Devel- AMS 50 Committee (2009–12); AMS Coun- Practice: Studies in Honor of Richard Crocker, opment (2015–present); Director, John B. cil (2007–09); Cultural Diversity Committee ed. Peraino (Am. Inst. of Musicology, 2013); Hurford ’60 Humanities Center (2004–07); (2001–03)  AMS Newsletter JUDITH A. PERAINO Research areas: Mexico; United States; News Briefs 19th and 20th centuries; nationalism; exoti- Professor of Music, Cornell University cism; Marxism Degrees: PhD, UC Berkeley, 1995; MA, UC Michael Ochs’s full-score edition of Di gold- Publications: “The Socialist Politics of The Berkeley, 1990; BA, Chicago, 1987 ene kale (The Golden Bride), a 1923 Yiddish Wave (Redes), a Film by Carlos Chávez and operetta by Joseph Rumshinsky, appeared in Research areas: Queer theory and popular Paul Strand” (Twentieth-Century Music, forth- 2017 as no. 27 of MUSA (see p. 18). This is music; medieval song; punk rock coming); ed., Carlos Chávez and His World the first publication of any of several thou- (Princeton, 2015; Spanish transl., El Colegio Publications: sand such works dating from the 1880s to the “Mick Jagger as Mother,” Social Nacional, Mexico, 2018); “Carlos Chávez and 2015 1950s. Ochs’s work on this score formed the Text ( ); “David Bowie, Andy Warhol, and the Myth of the Aztec Renaissance,” in Carlos 2012 basis of eighty Off-Broadway revival perfor- the Art of Posing,” Qui Parle ( ); Giving Chávez and His World; “Carlos Chávez’s Poly- mances in 2015–16 by the National Yiddish Voice to Love: Song and Self-Expression from the semic Style: Constructing the National, Seek- Theatre Folksbiene. Troubadours to Guillaume de Machaut (Ox- ing the Cosmopolitan,” JAMS (2015); “Span- 2011 Details: ams-net.org/MUSA ford, ); Listening to the Sirens: Musical ish Moors and Turkish Captives in fin de siècle Technologies of Queer Identity from Homer to Mexico: Exoticism as Strategy,” Journal of The third annual Historical Notation Boot- Hedwig (California, 2006); “Re-Placing Me- Musicological Research (2014) camp (HNB) will be held the week of 6–10 dieval Music,” JAMS (2001) August 2018 at Yale’s Beinecke Rare Book and Awards: AMS Robert Stevenson Award Awards: Manuscript Library, again organized by An- Cornell University, Outstanding Ed- (2017); NYPL Short Term Research Fellow- drew Hicks and Anna Zayaruznaya. HNB is ucator, Merrill Presidential Scholars Program, ship (2016–17); UCMEXUS Short Term 2006 2005 open to graduate students in all fields of study, ( ); Philip Brett Award ( ) Grant (2006, 2009, 2014, 2015); Cátedra Jesús as well as undergraduates headed into gradu- Administrative experience: C. Romero, Mexico City (2016) Cornell Univer- ate study. No previous knowledge of historical 2015 sity: LGBT Studies Program Director ( – Administrative experience: UC Riverside, notation will be assumed, but experience with present); Director of Graduate Studies, De- Chair, Music Department (2016–present); modern notation is required. Online applica- 2004 10 2016 17 partment of Music ( – ; / ) INBA, Mexico City, Director, Coordinación tions will be accepted beginning 1 April 2018. AMS activities: Publications Committee Nacional de Música (1997–98); CENIDIM, Details: blogs.cornell.edu/hnb (2010–12; chair, 2013); Editorial Board, Mexico City, Director (1985–88) 2011 16 2008 JAMS ( – ); Program Committee ( ); AMS activities: AHJ AMS 50 Committee 2007 11 Co-Chair, LGBT Study Group ( – ); (2016–present); JAMS Editorial Board (2011– 2003 05 Committee on Status of Women ( – ) 13, 2014–16); Co-Chair, Committee on Cul- tural Diversity (2010–12); Membership and LEONORA SAAVEDRA Professional Development (2011–12); Robert Associate Professor of Music, University of Stevenson Award (2006–07; chair, 2008) California, Riverside Degrees: PhD, Univ. of Pittsburgh, 2001; Maîtrise en Musicologie, Paris IV-Sor- bonne, 1979 Richard Taruskin, Professor Emeritus, Uni- versity of California, Berkeley, received the AMS Council Election 2018 Internet Resources News 2017 Kyoto Prize in Arts and Philosophy. This The Center for Beethoven Research (Boston distinguished prize is awarded by the Inamori Last November at the Rochester Annual Foundation of Japan to individuals who have Meeting, the Society formally voted to University) has published online Robin Wal- The Critical Reception of Beethoven’s contributed significantly to the scientific, change the method of election to AMS lace’s Compositions by His German Contem- cultural, and spiritual betterment of human- Council from an internal procedure poraries (op. 125), which provides English kind. Taruskin is the first musicologist to be (voting by Council only) to a more so honored. open procedure: the entire membership translations of the German-language recep- votes. For the first time, the annual AMS tion of Beethoven’s Ninth Symphony up to The NEH Summer Institute Culture in the 1830 Council election is open to everyone. . It is a continuation of the translation Cold War is scheduled for 17 June to 14 July Nominations for AMS Council closed project begun by the University of Nebraska 2018 and includes musicologists Joy Calico, 1999 2001 in mid-January. The Council Nominat- Press ( ; ). Elaine Kelly, and Johanna Yunker. It explores Details: ing Committee is now reviewing nomi- bu.edu/beethovencenter/ the role of the visual arts, music and film in nations and preparing a slate of candi- The Library of Congress has made available socialist modernity. Topics under consider- dates to be approved by the Board of a new online collection of early American ation will present compelling historical per- Directors at their next meeting (early sheet music that includes music printed or spectives on issues being raised in classrooms April). The election itself is scheduled ‘copied in manuscript’ in the United States or today, based on the case of East Germany. Sti- for mid-April and will be available to the colonies through 1820. pend is provided; German language skills are members for only two weeks. Members Details: loc.gov/collections/ not required. will receive email notices accordingly. early-american-sheet-music Details: cultureinthecoldwar.com Details: ams-net.org/council Deadline: 1 March 2018 continued on page  February 2018  Post-Conference Survey responses were as follows: part-time adjunct Internet Resources News (4.9%), full-time academic seeking to change continued from page  continued from page  (4.9%), full-time non-academic position the diversity and breadth of programming. (3.5%), independent scholar (3.4%), full-time Répertoire International de Littérature Mu- Additional likes: networking/meeting with adjunct (2.6%), library position (1.8%) and sicale has assumed ownership of The Index friends and colleagues/collegiality (21.7%), all others (1.6%). to Printed Music, the world’s only source high-quality papers (14.0%), the plenary or for searching individual pieces of music con- 54 6 43 9 endowed lectures (7.5%), the location (5.5%), Gender: male ( . %); female ( . %); oth- tained in printed collections, sets, and series. the increased focus on diversity and inclu- er (1.5%) Details: rilm.org/news/journal.php?id=98 sion (5.1%), the venue (4.1%), and concerts/ Age: 29 or under (22.0%); 30–39 (29.5%); TheJosquin Research Project has announced performances (2.4%); 7.1% mentioned some 40–49 (15.5%); 50–59 (12.5%); 60–69 (13.2%); a new analysis-tool initiative, including re- other item. 70 or older (7.2%). fined dissonance and imitation analysis filters. 86.2% of participants responded to “would The tools are also available for pieces not on change.” The most frequently identified sug- Race/Ethnicity: The survey included stan- the JRP. Details: josquin.stanford.edu. gestions concerned the venues or location dard US Census questions on race and eth- (70.8%). Additional “would change” items: nicity. Percentages are given as a percent of The Great American Songbook Foundation the scheduling (13.5%), commonly either responders to both questions, with non-re- has published the Meredith Willson Digital a concern about similar topics scheduled at sponders and those responding “prefer not to Collection, bringing a trove of historic mate- the same time or a dislike of evening sessions, answer” omitted. 3.3% percent of respondents rials online. The project is the result of a col- lack of food/beverage near the site (12.9%), identified as Hispanic or Latino, 96.7% did laboration between the Songbook Founda- the programming (6.2%), and sound bleed not; 87.0% identified only as white. 96.1% tion and HistoryIT. (5.4%). 4.8% expressed other concerns. identified with only one race, and the re- Details: songbook.historyit.com Demographic information collected in the mainder identified with two or more races. Open Access Musicology responses follows. is a new peer- Those identifying as one race were as follows: reviewed, open-source, online scholarly and Career stage: 43.4% of respondents held sta- White (88.8%), Asian (3.5%), Black or Afri- pedagogical resource published digitally by ble, full-time teaching positions; 14.5% were can American (1.6%), American Indian and Lever Press. first- to fourth-year students;13 .4% other Alaska Native (0.4%) and Other (1.8%). Details: acm.edu/professional_development/ students, and 6.0% retirees. The remaining —Evan Cortens project/89/open-access-musicology

Conferences The AMS posts Conference and CFP notic- Music Encoding Conference Medieval and Renaissance Music es at three bulletin boards: see ams-net.org/ 23–24 May 2018 5–8 July 2018 announce.php for complete listings and in- University of Maryland, College Park Maynooth University formation about subscribing to email notices. Canadian University Music Society Over three hundred have been posted since Répertoire International 23 25 2018 the August 2017 AMS Newsletter was pub- – May d’Iconographie Musicale (RIdIM) MacEwan University, Edmonton lished; a small selection appears below. 9–12 July 2018 American Musical Instrument Society Canterbury Beyond Genre: Jazz as Popular Music 23–26 May 2018 International Association April 19-21, 2018 Bethlehem and Nazareth, Pa. Case Western Reserve University of Music Libraries Music & the Moving Image 22–27 July 2018 Society for Seventeenth-Century Music 24–27 May 2018 Leipzig 19–22 April 2018 New York University University of Colorado Boulder North American British Music Tonal Structures in Early Music at 20 Studies Association 2 3 2018 Historical Keyboard Society – June 30 July–1 August 2018 Brandeis Univ., Waltham of North America Utah State University, Logan 9–12 May 2018 Teaching Music History Ann Arbor Royal Musical Association 8–9 June 2018 13–15 September 2018 Medieval Studies Congress / Indiana State Univ., Terre Haute University of Bristol International Machaut Society Rethinking Music in France 10–13 May 2018 during the Baroque Era Moravian History & Music Kalamazoo Paris/Versailles/Royaumont, Moravian College, Bethlehem 20 23 2018 11–13 October 2018 Music between China and the – June West in the Age of Discovery Nineteenth-Century Music Italian Musicological Society Chinese Univ. of Hong Kong 2–4 July 2018 19–21 October 2018 14–16 May 2018 Univ. of Huddersfield Bolzano  AMS Newsletter Committee News AMS-Music Library Association Committees on Technology and on Race and diversity within the Society and its profes- Joint RISM Committee Ethnicity in the Profession. The CAM has re- sional activities, will explore issues relating to cently reviewed a list of criteria for the selec- scholarly publishing. We are especially excited At the Rochester Annual Meeting, RISM Ex- tion of annual meeting sites, shared elsewhere about this collaboration, the first of its kind ecutive Committee members John H. Roberts in this Newsletter and on AMS website. We among the CCRI’s activities, and look for- and Christoph Wolff reported to our commit- have also discussed and have begun to imple- ward to forging new connections and opening tee that the Union of German Academies, the ment ways of making the annual meeting new avenues for discussion on all the issues funding agency for the international RISM more vibrant and welcoming. Some of these that affect our professional lives. We look for- office, will terminate its support. That might were mentioned in the August 2017 AMS ward to seeing you at our sessions. continue to 2025, but no further. RISM needs Newsletter. In addition, suggestions from the —Margaret Butler permanent financial support, even if no more membership obtained through a variety of data is entered into its system, since it must means will be reviewed and recommendations Committee on Committees maintain the servers on which the data is made to the Board, who will make the annual Since the AMS has dozens of committees and stored, as well as preserve the data itself. program a focus of their spring retreat. Final- some three hundred committee members, Sarah Adams, director of the U.S. RISM of- ly, the committee will liaise with the newly coordinating committee participation is a fice at the Harvard University music library, appointed ad hoc committee on the San An- complex task. This committee is chaired each reported that the office’s principal activity tonio meeting to address special concerns year by either the past president or the pres- has been to learn how to use effectively the raised by the Texas legislature’s recently passed ident-elect. Its five members review position project’s new cataloging system, MUSCAT, bill discriminating against LGBTQ couples vacancies, the member list, volunteers, and and to assist in the training of other librar- in same-sex adoption. As always, we invite nominations, drawing up ordered lists of po- ies’ staffs. In2017 , 350 new U.S. manuscript your thoughts and suggestions; please address tential committee members each spring. They records were contributed to the database, in- them to me ([email protected]). take seriously the mandate established by the cluding all those held at the Pierpont Morgan —Georgia Cowart board in 2016 regarding fair practice and Library. The Moravian Music Foundation has Committee on Career-Related Issues representation (ams-net.org/administration/ completed work on seventeen of their twenty FairPracticeRepresentation.php). Invitations collections. A new project requested by Za- In keeping with our commitment to provide to serve are sent in early summer, and com- waya (zawaya.org), an organization that pro- spaces for dialogue on the varied professional mittees are finalized in August each year. motes Arabic art, music, and culture, will add issues AMS members face, the Committee The Society would like to express its deep manuscript records of Arabic popular music on Career-Related Issues (CCRI) sponsored appreciation to those who have so generously to the database. an array of sessions at the Rochester Annual said “yes” when the invitations have come— The committee continues work on several Meeting that were wide ranging in scope. it is most gratifying to witness the commit- projects and initiatives: creating a dedicated Our themes dealt with the tenure process, ments of you all, and often your committee homepage for U.S. RISM, and continuing juggling research and heavy teaching loads, work is neither quick nor easy. The board the cataloging of nineteenth-century manu- and negotiating balance in careers involv- and AMS office do, however, try their best to scripts of Stephen Foster, Antonín Dvořák, ing performance-centered disciplines. The make this service as drudge-free and reward- Ethelbert Nevin, and Adolph Foerster held at seven panelists participating in our session ing as possible. the University of Pittsburgh. on pedagogy, representing a variety of back- It is not too late to offer to serve on a com- —James P. Cassaro grounds and pedagogical experiences, offered mittee next year. Send nominations and self- Committee on the Annual Meeting a stimulating array of strategies on student nominations directly to committee chair engagement. Our Saturday Career Bootcamp Suzanne G. Cusick (suzanne.cusick.ams@ After the annual meeting each year, the Com- featured round-table discussions on topics gmail.com). Identify one or more commit- mittee on the Annual Meeting meet by email pertinent to the needs of early-career mem- tees you’re interested in joining, and kindly and/or teleconference to review the program bers, and the “buddy mixer” jump started this include a CV. and other aspects of the meeting. A summa- year’s popular Conference Buddy Program, ry of this year’s discussion was presented to long a highlight of the committee’s activities. Communications Committee the Board; a more formal report, along with We are at work planning our San Antonio Over the past six months, the committee has recommendations for future meetings, will events. The newly created subcommittee on overseen and implemented several important be submitted in advance of the April Board contingent labor in musicology will provide changes to the way the Society communi- retreat. The San Antonio 2018 program com- a forum for discussion of issues affecting ad- cates, both internally and externally. Among mittee received a over 750 proposals in Janu- junct and nontenure-track faculty. A panel the most important of these has been the ary. As in the recent past, the large number of discussion sponsored by this subcommittee launch of the AMS Forum on Humanities submissions makes abstract selection a daunt- will focus on advocacy, offering strategies for Commons (HC), a discussion site destined ing task, and the CAM is overseeing a survey those who hold contingent labor positions as to replace the venerable AMS-L by the time of abstract-review software programs for im- well as those who support them. Other ses- of the next annual meeting. Elsewhere in this plementation in 2019. The committee contin- sions will explore pedagogical issues and ca- Newsletter, Mark Davidson—initial adminis- ues to oversee the selection of guest speakers reers in fields outside academe. A collabora- trator of the Forum and one of the architects for study groups and committees; this year we tive session with Project Spectrum, a student- of its adoption—explains the site and many received and approved applications from the run, interdisciplinary initiative to promote continued on page  February 2018  Committee News tor, Nathaniel Lew became lead moderator; At the committee meeting, the GEC Michael D’Errico joined as assistant modera- thanked out-going co-chair Berthold Hoeck- continued from page  tor, and Teresa Neff cycled off the team. The ner for his three years of leadership and service of its accompanying features now available to most lively recent discussions have concerned and welcomed incoming co-chair Francesca us on the Humanities Commons platform. the value and fate of foreign language exams Brittan, who will serve alongside returning The editorial team of Musicology Now, the in musicology graduate programs (around co-chair Daniel DiCenso during the upcom- blog of the AMS, has undergone its own sig- fifty posts in November), a topic that gener- ing year. Looking forward, the committee is nificant changes. While Bob Fink stepped ated several heated exchanges and also spun assessing the most recent graduate student re- down from the team, Brandi Neal, Marysol off into related topics; suggestions for an in- ception and planning another student panel Quevedo, and Chris Smith signed on, joining terdisciplinary course on visual art and music for San Antonio (and beyond); and studying existing team members Andrea Moore and (forty-two posts in March); and discussion concerns raised by Society members about Susan Thomas. Musicology Now has continued of works containing offstage instruments recent changes to undergraduate curricula, its “Quick Takes,” the most recent a discus- (twenty-five posts in September). The AMS-L graduate student preparedness, and the re- sion of television and film, focusing on music currently has 2,378 subscribers, slightly more cently passed federal tax reform and its im- and sound in the much-discussed Mother! by than last year. Readers are reminded, howev- pact on graduate education. Darren Aronofsky and in David Lynch’s cult er, that the AMS-L will permanently cease to —Daniel J. DiCenso television show “Twin Peaks.” Musicology operate at the end of October 2018. AMS-L Now has also featured book previews and the subscribers are encouraged to join the AMS Committee on the Publication of announcement of the Music and Social Jus- Forum as the conversation shifts to that plat- American Music tice series from University of Michigan Press. form over the course of the year. Among its other duties, COPAM serves as In the vein of social justice, the blog has pub- As reported in the last issue, James Parsons the editorial board for MUSA, the AMS- lished pieces concerning the racial upheaval in has agreed to serve another three-year term as sponsored forty-volume series representing Charlottesville in August 2017 (Bonnie Gor- Newsletter editor. He reports that things are the full range of genres and idioms in Ameri- don) and has viewed Mozart through the lens going well. We appreciate his efforts. can Music, vetting proposals for critical edi- of the continually unfolding sexual harass- —Roger Freitas tions and tracking their publication. We are ment reckoning in music and media (Kristi Committee on Cultural Diversity very pleased to announce the publication of Brown-Montesano). The team continues to two volumes in 2017, a 1923 Yiddish oper- seek fresh and exciting research in innovative Members and friends of the Committee on etta and a 1912 verismo-influenced American formats and media that is valuable to the field Cultural Diversity (CCD) welcomed nine opera: and to the general public. Anyone interested Eileen Southern Travel Grant recipients to • MUSA 27 Joseph Rumshinsky: Di goldene in contributing should contact the team at last year’s Annual Meeting. They were chosen kale, edited by Michael Ochs [email protected]. from a pool of nineteen applicants. The CCD • MUSA 28: George Whitefield Chadwick: The Society’s two semiannual lecture se- updated the application process for the 2017 The Padrone, edited by Marianne Betz ries—sponsored by the Library of Congress cycle of awards to be more transparent and We encourage AMS members to read about (LC) and the Rock and Roll Hall of Fame friendly to inexperienced grant applicants. these important works, use the editions in and Museum (RRHOFM)—continue to be The success rate is high, so please encourage class, and explore possible performances in vibrant. In October at the LC, Randall Gold- your students to apply next spring. consultation with the volume editors. berg presented “The Kishineff Massacre and The CCD also co-hosted the panel “Di- At present, thirteen additional MUSA vol- Domestic Musical Practice in America.” At versity Through the Pipeline” with the AMS umes have been accepted by COPAM. The the RRHOFM, Tammy Kernodle offered Pedagogy Study Group and the Committee committee will continue to consider new “Hope for a New Tomorrow: Transcendence on Women and Gender. Thanks are due to proposals, but will look critically at whether and Resistance in the Gospel Blues of Nina our speakers, who gave valuable personal they would cover genres that are not repre- Simone, Aretha Franklin, Mavis Staples, and insights into topics such diversifying hiring sented to date. Those wishing to submit pro- Roberta Flack.” For information about the practices, pedagogy, accessibility, and creating 4 posals should examine the contents of the next LC and RRHOFM lectures, see p. . opportunities for disadvantaged scholars. present published series and consult with the The committee strongly encourages inter- —Remi Chiu and Emily Wilbourne ested members to propose talks to either of COPAM chair regarding volumes in progress. 2018 2019 these series. They offer friendly and high-pro- Graduate Education Committee In and , MUSA anticipates the file opportunities to share what we do with publication of several new editions: Eubie audiences outside the Society. Instructions At the Rochester Annual Meeting the Gradu- Blake and Noble Sissle: Shuffle Along (1921), for proposals are available at the links above, ate Education Committee coordinated two edited by Lyn Schenbeck and Lawrence and the deadline for consideration in the next events, a panel discussion entitled “The Dis- Schenbeck; John Cage: Concert for Piano and round is 15 January 2019. We are very grate- sertation and Your Job” and the now-annual Orchestra, Solo for Piano (realization by David ful to Caitlin Miller (liaison at the LC) and reception for prospective graduate students. Tudor), edited by John Holzaepfel; Stephen Jason Hanley (liaison at the RRHOFM) for Both events were well attended. The recep- Sondheim: Follies (Orchestrations by Jonathan their invaluable input into the selection pro- tion broke two records: it marked the largest Tunick), edited by Jon Alan Conrad; and cess and for the warm welcome they offer our number of programs represented (just under Aaron Copland: Appalachian Spring (Original speakers. fifty schools) and the largest number of pro- Ballet Version), edited by Jennifer DeLapp- Last November, the estimable moderating spective students in attendance (eighty signed Birkett and Aaron Sherber. team of the AMS-L rotated membership in its in, though more likely attended). The GEC Amy Beal has completed her term as usual way: Blake Howe became past modera- will continue to refine the format and venue COPAM chair and Gayle Sherwood Magee for the Reception. has completed her term as MUSA co-Editor-  AMS Newsletter in-Chief. We heartily thank them both for University Press); supported by the Margarita Joseph Straus, Broken Beauty: Musical Mod- their generous service to the Society. Beal will M. Hanson Endowment ernism and the Representation of Disability replace Magee, working together with Mark (Oxford University Press); supported by the Tom Ewing, Bill Monroe: The Life and Mu- Clague as co-editor of the MUSA volumes. Otto Kinkeldey Endowment sic of the Blue Grass Man (University of Il- Visit the MUSA website (ams-net.org/ linois Press); supported by the Otto Kin- David Temperley, The Musical Language of MUSA) for our most recent publications keldey Endowment Rock (Oxford University Press); supported by and to learn more about the series and future the Manfred Bukofzer Endowment plans. Barbara Haggh-Huglo, Recollecting the Vir- —Leta Miller gin Mary in Music: Du Fay’s Chant across Five Tara Browner and Thomas Riis,Rethinking Centuries, 2 vols.: Study and Editions (Amer- American Music (University of Illinois Press); Publications Committee ican Institute of Musicology); supported by supported by the Lloyd Hibberd Endowment the Martin Picker Endowment In Fall 2017, the Publications Committee Sarah Weiss, Ritual Soundings: Women Per- awarded subventions to twenty-nine books Tala Jarjour, Chanting Blessed Edessa: Syriac formers and World Religions (University of Il- for a total of $44,000. They include the Spirituality and The Economy of Musical Aes- linois Press); supported by the Lloyd Hib- following: thetics (Oxford University Press); supported berd Endowment by the AMS 75 PAYS Endowment Marié Abe, Resonances of Chindon-ya: Sound, Jason Yust, Organized Time: Rhythm, Tonality, Space, and Sociality in Contemporary Japan Kate Kennedy, Literary Britten: Words and and Form (Oxford University Press); support- (Wesleyan University Press); supported by the Music in Benjamin Britten’s Vocal Works (Boy- ed by the AMS 75 PAYS Endowment AMS 75 PAYS Endowment dell & Brewer); supported by the AMS 75 In accordance with the Society’s procedures, Naomi André, Black Opera in the United PAYS Endowment these awards were recommended by the Pub- States and South Africa: History, Power, En- Katherine In-Young Lee, Dynamic Korea and lications Committee and approved by the gagement (University of Illinois Press); sup- Rhythmic Form (Wesleyan University Press); Board of Directors. Funding for AMS sub- ported by the Manfred Bukofzer Endowment supported by the AMS 75 PAYS Endowment ventions is provided through the National Kyle Barnett, Sound Business: The Transforma- Frank Lehman, Hollywood Harmony: Analyz- Endowment for the Humanities, the Andrew tion of the U.S. Recording Industry (University ing Wonder in American Film Music (Oxford W. Mellon Foundation, and the generous of Michigan Press); supported by the AMS 75 University Press); supported by the AMS 75 support of AMS members and friends. PAYS Endowment PAYS Endowment The AMS subventions program is for two constituents. For individuals, they are intend- Catherine Bradley, Polyphonising Plainchant: Katherine Meizel, Multivocality: An Ethnogra- ed to defray costs not normally covered by Compositional Process in the Thirteenth Cen- phy of Singing On the Borders of Identity (Ox- publishers; examples include costs related to tury (Cambridge University Press); supported ford University Press); supported by the Man- illustrations, musical examples, facsimiles, ac- by the Kenneth Levy Endowment fred Bukofzer Endowment companying audio or audio-visual examples, Tina Bucuvalas, Greek Music in America: A Patrick B. Mullen, Right to the Juke Joint: A and permissions fees. For publishers, they Reader (University Press of Mississippi); sup- Personal History of American Music (Univer- are intended to reduce the retail price of the ported by the AMS 75 PAYS Endowment sity of Illinois Press); supported by the Lloyd book or resource. Proposals from scholars at James Buhler, Theories of the Soundtrack (Ox- Hibberd Endowment all stages of their careers are welcome. Proj- ford University Press); supported by the Gus- Jennifer Ronyak, Intimacy, Performance, and ects that make use of new technologies are tave Reese Endowment the Lied (Indiana University Press); supported encouraged. See the guidelines for full details by the AMS 75 PAYS Endowment (ams-net.org/pubs/subvention.php). Dead- Christopher Chowrimootoo, Middlebrow lines are 15 August and 15 February each year. Modernism: Britten’s Operas and the Great Di- Jacquelyn E. C. Sholes, Allusion as Narrative —Anna Maria Busse Berger vide (University of California Press); support- Premise in Brahms’s Instrumental Music (Indi- ed by the AMS 75 PAYS Endowment ana University Press); supported by the AMS Committee on Race and Ethnicity 75 PAYS Endowment Rita McAllister and Christina Guillaumier, This year, the planning committee co-chairs Rethinking Prokofiev (Oxford Univer- Michael B. Silvers, Voices of Drought: The Poli- worked with President Martha Feldman to sity Press); supported by the Otto Kin- tics of Music and Environment in Northeastern form a permanent Committee on Race and keldey Endowment Brazil (University of Illinois Press); supported Ethnicity. Of the planning committee, co- chairs George Lewis and Judy Tsou and Board Lee Rothfarb and Christoph Landerer, Edu- by the Dragan Plamenac Endowment liaison Mark Burford will continue serving in ard Hanslick’s On the Musically Beautiful: A Danielle Sofer, “Breaking Silence, Breaching the permanent committee. New members are New Translation (Oxford University Press); Censorship: ‘Ongoing Interculturality’ in Al- Jacqueline Avila, Nina Eidsheim, Alisha Lola supported by the Gustave Reese Endowment ice Shields’s Electronic Opera Apocalypse” Jones, Maureen Mahon, and Judith Peraino; Michael D. Doubler, Dixie Dewdrop: The (American Music); supported by the AMS 75 there are also two student members: Devon Uncle Dave Macon Story (University of Illi- PAYS Endowment Borowski and Matthew Santana. The co- nois Press); supported by the Dragan Plamen- Anna Stoll Knecht, Mahler’s Seventh Sympho- chairs wish to thank the outgoing members ac Endowment ny (Oxford University Press); supported by of the planning committee: Naomi André, Bonnie Gordon, Mark Katz, Tammy Kerno- Ross W. Duffin, Some Other Note: The Lost the AMS 75 PAYS Endowment Songs of English Renaissance Comedy (Oxford continued on page  February 2018  Committee News Committee on Technology efforts to invite conversation among scholars across musicology’s subdisciplines and geo- continued from page  The Committee on Technology continues political routes. If you would like to join our to discuss new modes of scholarship, teach- dle, Alejandro Madrid, and Steven Swayne. email list and learn more about our activities, ing, and communication in our discipline, The five areas of emphasis for the committee please visit our website: ams-net.org/cwmsg. and throughout the humanities. At the 2017 remain the same: scholarship, atmosphere, —Andrea F. Bohlman Annual Meeting, we held a special open ses- pedagogy, professional development, and sion in which we shared short position papers Ecocriticism Study Group governance. on a set of key issues, including resources for The Planning Committee organized a suc- the development of digital skills, questions of The Ecocriticism Study Group held two cessful session on critical race studies on Fri- sustainability for digital work, the need for events at the Rochester Annual Meeting: an day afternoon during the Rochester Annual accessibility for all readers and listeners, and engaging panel of presentations and discus- Meeting. The keynote speaker was Cheryl the place of technology at the Annual Meet- sions surrounding the recently published Current Directions in Ecomusi- I. Harris, the Rosalind and Arthur Gilbert ing. During this session breakout groups dis- Routledge title cology CDE Foundation Chair in Civil Rights and Civil cussed these themes in detail, and contributed ( ), and a business meeting. Cur- Liberties at the UCLA School of Law. Her to a collective set of notes for further com- The panel presentation “A Dialogue on rent Directions in Ecomusicology talk was “The Sound and the Fury: From Col- mittee elaboration. We invite you to revisit ,” organized by orblindness to White Nationalism.” Reflect- the session and the notes at: sites.google.com/ Jessica Schwartz, brought together four of the ing on the 2016 presidential election, Harris haverford.edu/amstechnologycommittee/ contributors to the edited volume as well as saw a hegemonic investment in whiteness as rochester-panel. two respondents to examine the current state of the subdiscipline of ecomusicology. Editor far from unique to conservative or reaction- We are pleased to announce that the com- Aaron S. Allen offered a general introduction ary politics, but a foundational element of mittee will host another session at the 2018 to CDE, while contributors Eric Drott, Mark national identity, and a consistent theme in San Antonio Annual Meeting, “More than Pedelty, Denise Von Glahn, and Allen gave legal and political discourse. The two respon- Scores: Musicology and Metadata,” with short presentations on their chapters. dents were William Cheng (Dartmouth Col- guest speaker Carl Stahmer, Director of Data All authors noted various ways that their lege) and Alisha Lola Jones (Indiana Univer- and Digital Scholarship, University Library, University of California, Davis. Stahmer’s approaches and research had changed in the sity). The consensus was that this session was years since originally writing their CDE es- useful for musicologists in studying race and talk is supported by the AMS Fund for Guest Speakers at the Annual Meeting. says, highlighting the dynamic state of eco- ethnicity, engaging some of the tools and lan- musicology as a discipline constantly adapt- guage that Harris offered. The Committee on Meanwhile we welcome your inquiries or suggestions about how we might advance ing to new transdisciplinary practices, ideolo- the Annual Meeting has accepted the Com- gies, and methodologies. Kerry Brunson and mittee on Race and Ethnicity’s plans to hold your teaching and research. —Richard Freedman Jacob A. Cohen offered responses that synthe- a similar session at the San Antonio Annual sized aspects of the four contributors’ works Meeting, inviting George Lipsitz, Professor and opened pathways for further dialogue, at of Black Studies and Sociology at UC-Santa Study Group News which point Schwartz moderated a lively dis- Barbara, as keynote speaker. Cold War and Music Study Group cussion among audience and panelists. Main President Martha Feldman reported that talking points included how ecomusicologists the Board has established an award for schol- At the 2017 Annual Meeting, our Study Group and others in the environmental humanities arship in critical race studies with the board (CWMSG) hosted an alternative-format pan- can engage with those in science fields, and members themselves donating the first year’s el, “Whither ‘the Cold War’ in Music Stud- how ecomusicology might include more dis- award. The following committee members ies Today?,” that addressed the currency of parate voices, especially those outside of aca- will serve on the Award Subcommittee: Mark the Cold War as an analytical lens for music demia who are often on the front lines of en- Burford, Nina Eidsheim, George Lewis, Mau- studies. Papers by Masha Kowell, Ian Mac- vironmental activism. This led to a discussion reen Mahon, and Judith Peraino. The award Millen, and Rachel Tollett raised questions about notions of discipline, notions of field, has a two-year look back and can be for an ar- of periodization and geography through a fo- and how we can be part of a larger constella- ticle, monograph, edition, or other scholarly cus on films, while a second set of papers on tion of discussions with related communities. work. There will be one award per year. (See diplomacy and collaborative performance by At the business meeting, outgoing chair this Newsletter, p. 5, for more details.) Marysol Quevedo and Anne Searcy addressed Kate Galloway brought attention to the new mobility studies. Peter Schmelz and Kira special issue of the Journal of Music History Next Steps: Thurman offered responses while Nicholas Pedagogy (8/1, 2017) on “Teaching Ecomu- Tochka led open discussion, synthesizing the sicology,” guest edited by ESG former chair Over the next few months the committee panel’s themes in a brief statement. Rachel Mundy. It provides an excellent re- will be planning its San Antonio session, con- The CWMSG also convened a brown- source for educators interested in incorporat- ferring with the Committee on Career-Re- bag lunch to facilitate informal conversation ing ecomusicological thinking or lessons into lated Issues and the Committee on Cultural among its members and to reach out to schol- their teaching. As Mundy noted, the articles Diversity on joint initiatives, exploring ways ars new to our work. Members of the current foreground intersectionality and emphasize to promote scholarship in critical race theory, committee (Andrea F. Bohlman, chair; Anicia that listening with/to nature involves listen- and begin the hard work of gathering data re- Timberlake; Michael Uy; Lisa Cooper Vest; ing with race, gender, disability, or other so- lated to the AMS, race and ethnicity, and the and Alyssa Wells) would be delighted to hear cial issues. state of the profession. from those interested in becoming involved The group also elected new officers to two- —Judy Tsou in our group. In 2018, we will continue our year terms: Jacob Cohen and Jessica Schwartz

 AMS Newsletter will serve as co-chairs, and Aaron Allen will research project, please visit the Contact page ue archiving the Study Group’s history with serve as Secretary/Treasurer. We look forward on our website. member interviews, perhaps in conjunction to another productive slate of events at the To learn more about our activities, read with the upcoming thirtieth anniversary of 2018 San Antonio meeting. or submit blog posts, or join our mailing the Study Group’s founding. —Jacob A. Cohen list, please visit the group’s website, fol- In 2018, we will organize a joint event with low us on Twitter (@CorpsSonore), or find the Queer Resource Group of SMT at the History of Theory Study Group us on Facebook (facebook.com/groups/ joint AMS/SMT Annual Meeting. Some of historyofmusictheory). our members who also belong to SEM are —Andrew Hicks discussing a two-part event that could bridge The History of Theory Study Group was the AMS/SMT and SEM meetings. proud to inaugurate its formal recognition Jewish Studies and Music Study For information about the Study Group, as an AMS Study Group with two events at Group please visit ams-lgbtq.org. All are welcome to the 2017 Annual Meeting. The kick-off event join our listserv at [email protected]. was a pre-AMS conference, “Instruments At the 2017 Annual Meeting the Jewish Study —Heather Hadlock of Music Theory,” at the Eastman School and Music Group began with a session cel- of Music. With nearly eighty registered at- ebrating the winners of its second Recogni- Ludomusicology Study Group tendees, the conference featured keynotes by tion Awards. The Cambridge Companion to David Catalunya (University of Würzburg), Jewish Music, ed. Joshua Walden (2015) won At the Rochester Annual Meeting, the Ludo- Gabriela Currie (University of Minnesota), for an Exceptional Book in Jewish Studies musicology Study Group (LSG) hosted a and Alexander Rehding (Harvard Univer- and Music. Edwin Seroussi’s “Sacred Song thought-provoking evening session devoted sity), eleven papers by scholars in all career in an Era of Turmoil: Sephardic Liturgical to Music, Gaming, and Identity. Kate Gal- stages, and a concert of fourteenth- and Music in Southeastern Europe at the Turn of loway, Katherine Rogers, and Brent Fergu- fifteenth-century keyboard music performed the 20th Century,” Musica Judaica (2015–16), son and Torrey-Jeanne Laws-Nicola spoke on by David Catalunya on a hammered clavi- won for an Exceptional Article. These awards digital soundscape and spatiality, technomas- simbalum, reconstructed from the descrip- are offered annually, and nominations and culinity in novelty pop songs, and the use of tion by Henri Arnaut de Zwolle in a manu- self-nominations are welcome for 2018. For the pipe organ in Japanese games, leading to script now held by the Bibliothèque natio- details, please see jewishstudiesandmusic.org. vibrant discussion in the Q&A. During our nale de France (MS lat. 7295). Our Annual Our session continued with the panel “Jew- business meeting, the LSG elected Michael Meeting session featured five more papers ish Studies, Music, and Biography,” with pre- Austin (Howard University) and Dana Plank on “Instruments, Diagrams, and Notation sentations by Howard Pollack, David Joseph- (Ohio State University) as the group’s new in the History of Music Theory.” Additional son, Evan Rapport, Ralph Locke, Amy Lynn co-chairs. information, including the program and Wlodarski, and Lily E. Hirsch. The LSG always welcomes new members, abstracts, is available at the conference web- The Study Group’s board currently is and encourages those interested to visit our site (instrumentsofmusictheoryconference. planning the 2018 panel. To join us, please website or write to gamemusicstudies@gmail. wordpress.com). The con­ver­sations and schol- send an email to jewish-studies-and- com to learn more about our activities and arly exchange left our heads buzzing with new [email protected] or check upcoming conferences or to join the mailing ideas, and we invite members of the study us out on Twitter: @JSMStudyGroup. list. group to share ideas for future events, espe- —Mark Kligman —Dana Plank cially as we plan activities for next year’s joint LGBTQ Study Group Music and Dance Study Group AMS/SMT meeting in San Antonio. Please submit thoughts to the History of Theory At the 2017 Annual Meeting, the LGBTQ As mentioned above in the LGBTQ report, email address (historyofmusictheory@gmail. Study Group co-presented a joint evening that Study Group and the Music and Dance com). New members are always welcome! session titled “Queering Dance Musics” with Study Group (MDSG) collaborated on an We also would like to draw attention to the Music and Dance Study Group. With evening session at the Rochester Annual the History of Theory Study Group and In- some seventy-five individuals in attendance, Meeting. In addition, Carol Marsh presented terest Group website (historyofmusictheory. the session began with three papers by Kyle a historical dance workshop by with live mu- wordpress.com). In addition to bibliogra- Kaplan, Lisa Barg, and Lauron Kehrer and sic from Baroque violinist Lydia Becker. All phies and a list of recent dissertations, the site continued with a keynote talk on “Learning events were well attended. features an active blog curated and edited by Queerness” by Clare Croft, ending with a We are pleased to announce that our plans Stephanie Probst (Harvard University) and roundtable on “Queer Social Dance Sounds, for next year likely will include an evening Leon Chisholm (Deutsches Museum, Mu- Practices, and Spaces.” session on Dance, Music, and Digital Hu- nich). Recent posts include “Researching the At the Society’s business meeting in Roch- manities, and we are hoping for a workshop Transfer of Central-European Music Theory ester, we awarded the Philip Brett Award for on Mexican traditional or folklórico dance. and Composition Treatises to China” (Gesine exceptional musicological work in the field We also welcome Chantal Frankenbach as Schröder), a report on our recent conference, of lesbian, gay, bisexual, and/or trans* stud- our new co-chair with Matilda Ertz, and “Teaching Solfège in Socialist East Germany” ies to Alison McCracken for her book Real thank Sarah Gutsche Miller for her many (Anicia Timberlake), and “Chromatic Scale Men Don’t Sing: Crooning in American Cul- years of expertly chairing the group that she Construction in Ancient China” (Guang- ture (Duke University Press, 2016). We also co-founded in 2012. Megan Varvir Coe con- ming Li). We are keen to have blog submis- reviewed proposed updates to the group’s by- tinues as secretary. sions from scholars in all career stages; if you’d laws, and thanked outgoing board members. As always, we invite dance-research en- like to test out an idea, publicize a recent or Kyle Kaplan shared his reconstruction of past thusiasts to join our group. Like our Face- upcoming event, or summarize an on-going board officer lists, and we agreed to contin- continued on page  February 2018  Study Group News in the Chinese film Hero. Our membership Wright, John Spilker, and Sara Haefeli, each then ratified bylaws and elected Kate Gallo- of whom presented pedagogical examples continued from page  way as our incoming co-chair. We extend our from their music history course design, class- thanks to outgoing co-chair Kendra Leonard, room delivery, and campus outreach. Panel- book page, then visit our website or Google the original founder of this study group. ists and attendees then formed small groups group (both accessed from ams-net.org/ We welcome new members, and encourage to explore strategies, questions, and concerns studygroups/mdsg/). If you would like to add AMS members interested to attend our annual related to wellbeing and music history peda- your name to the Study Group’s listserv, please sessions, visit our website (musicandmediasg. gogy, sharing results in the final open forum. contact Megan Varvir Coe (meganvarvircoe@ wordpress.com), or follow our announce- At the PSG business meeting, Paula Bishop gmail.com). You may also wish to peruse the ments on Facebook. Please feel free to send was elected as the study group’s new chair. database of bibliographic sources relating to inquiries to Kate Galloway (kate.a.galloway@ We thank John Spilker for his service and dance music (atom.lib.byu.edu/dancemus) gmail.com). leadership in that role. He modeled a pas- maintained by member David Day (email to —Jessica L. Getman sion for pedagogy, along with compassion for add to it: [email protected]). For updates the many voices that comprise our ranks and to our website, please email Matilda Ertz Music and Philosophy Study Group those of our students. A portion of the busi- (matilda­.­[email protected]). Information At the AMS Annual Meeting in Rochester, the ness meeting was dedicated to brainstorming about conferences, cross-society liaisons, and MPSG held a lively session on the writings of in small groups around several issues facing ideas for future events can be posted to the Jacques Rancière and a discussion of excerpts post-secondary educators, such as accessibil- Google group or sent to both Matilda Ertz from Fred Moten’s In the Break: The Aesthet- ity for all learners, and placing those issues and Chantal Frankenbach (cfranken@csus. ics of the Black Radical Tradition, co-facilitated within the music history classroom setting. edu). We especially invite input and ideas for by Alisha Lola Jones (Indiana University) and The Journal of Music History Pedagogy has the projected evening session on Dance, Mu- Michael Gallope (University of Minnesota). received many submissions during the past sic, and Digital Humanities in San Antonio The MPSG is always looking for new partici- year. Maria Cristina Fava will guest edit 2018. pants, ideas, and topics for future sessions. If an upcoming issue on teaching music his- —Matilda Ertz you are interested in getting involved, please tory in a multi-cultural environment. As al- Music and Disability Study Group email Michael Gallope: [email protected]. ways, we welcome not only submissions for —Michael Gallope article-length essays, but also shorter and The Music and Disability Study Group host- more focused essays, roundtables, and other ed a special panel session on Music, Disabil- Popular Music Study Group alternative-format ideas. After the San An- ity, and Intersectionality at the 2017 Annual tonio meeting, Sara Haefeli, our current As- At the Rochester Annual Meeting the Popular Meeting, featuring work by Steven Moon, Pa- sociate Editor, will succeed Stephen Meyer as Music Study Group (PMSG) was treated to mela H. Pilch, Beth Keyes, and John Bagnato, Editor-in-Chief; Stephen has served in that the unusual sight of musicologists marching with a formal response by William Cheng. position since fall 2014. We offer him our in place as they “sang” responses to military Together with Anabel Maler, SMT Interest sincere thanks for overseeing the journal and cadences. Calling the cadences was Tufts pro- Group on Music and Disability chair, we are ensuring that it meets the highest standards. fessor (and Army veteran) Stephan Penning- organizing a special joint alternative-format The 2018 Teaching Music History Confer- ton. His PMSG talk explored this repertory panel session on Music, Disability, and Activ- ence will take place 8–9 June at Indiana State with insight, humor, and a participant’s un- ism for San Antonio. That panel will bring University, Terre Haute, Ind. This year’s con- derstanding of its social significance. PMSG together scholars and activists working in a ference will focus on music, pedagogy, and extends its thanks to Stephan for a fascinating diverse range of music fields to consider how the dynamics of power; commemoration and entertaining evening. disability activism can productively transform versus celebration in the teaching of music PMSG, in collaboration with the Center the intellectual, methodological, pedagogical, history; and accessibility, diversity and inclu- for Popular Music Studies at Case Western and institutional scope of our disciplines. sion in musicological pedagogy and its prac- Reserve University, will host its third biennial Please visit our blog (musicdisabilitystudies. titioners. Paula Bishop and Terry Dean are developmental symposium for early career wordpress.com) for the latest events, resourc- organizing the conference; Dean is also over- popular music scholars in June 2018. Scholar- es, and blogposts; to join our mailing list; seeing local arrangements. Elizabeth Clendin- mentors include Mike Alleyne, Lori Burns, and to follow our Facebook page (facebook. ning is chairing the program committee. Norma Coates, Andrew Flory, Daniel Gold- com/groups/musicanddisability). In an ongo- See teachingmusichistory.com/tmhc2018 for mark, and Albin Zak. For details and appli- ing effort to expand the reach of this forum, complete conference information. cation instructions please visit ams-net.org/ we welcome all society members to submit a —Paula Bishop guest blog post. studygroups/pmsg/events.html. —Jessica Holmes —Albin Zak For the latest news about all thirteen AMS Pedagogy Study Group Study Groups, please visit ams-net.org/ Music and Media Study Group studygroups. Each study group maintains an The AMS approved the new Music and Me- At the Rochester Annual Meeting, the Peda- email network and web page, and participates dia Study Group in 2017, and we held a ro- gogy Study Group (PSG) sponsored an al- at the Annual Meeting each year. bust evening panel session at the Rochester ternative format session, “Caring for the Annual Meeting, at which J. H. Gabrillo, Twenty-First-Century Music Student (and Paula Bishop, and Dani Osterman presented Professor),” which explored the connections their research on the Filipino variety show Eat between wellbeing, enhanced intellectual Bulaga!, the role of television in the Everly growth, and student success. Chaired by De- Brothers’ early career, and the use of the guqin nise Von Glahn, the panel included Trudi  AMS Newsletter Papers Read at Chapter Meetings, 2016–17

Members are encouraged to communicate with Joseph Finkel (Arizona State University), Elizabeth Massey (University of Maryland), presenters listed here regarding mutual research “The End of the Faustian Man and the Lim- “An American Bach at War” interests. Thanks are due to all members who its of Progress: John Cage’s United States Bi- Cody Jones (College of William and Mary), participated in and organized chapter meet- centennial Compositions and his Environ- “Composed in the Closet: Ingolf Dahl and ings last academic year. For the latest news on mentalist Thought” A Cycle of Sonnets” upcoming chapter meetings and events, see Amy Coddington (University of Virginia), ams-net.org/chapters. Capital Chapter “Segregating the Hits: American Radio Re- sponds to Rap in the Early 1990s” 15 October 2016 Craig Comen (University of Virginia), Allegheny Chapter Randolph-­Macon College “Forkel, Vogler, and the Turn to Analysis” 15 October 2016 Emily H. Green (George Mason Univer- University of Pittsburgh Christina Gibson (Catholic University of sity), “Towards a More Accurate Knowl- America), “A Collaborative Endeavor: Brian F. Wright (Fairmont State University), edge of Dedications, Authentic Anecdotes, Martha Graham, Carlos Chávez, and Dark “Writing the History of Motown: The James Friendships, and their Intimate Nineteenth-­ Meadow / La hija de Cólquide” Jamerson / Carol Kaye Controversy” Century Association with a Romanticism of Tim Booth (University of Virginia), “Echoes Andrea Marie Keil (Columbus, Oh.), “Find- the Musical Sort” of German Romantic Aesthetics in Jazz ing the Erotic in the History of Women-in- Samuel Brannon (Richmond, Va.), “Zarlino’s Criticism” Jazz: Audre Lorde’s Uses of the Erotic and the Ink‐Stained Fingers” Paige Zalman (University of North Carolina Writings of Sherrie Tucker” Susan de Ghizé (Texas A&M University- at Wilmington), “Operatic Borrowing in Steven Moon (University of Pittsburgh), Corpus Christi), “Janáček the Conservative?” Stephen Sondheim’s Sweeney Todd ” “‘Building a Home for Ourselves’”: Hip Liz Crisenbery (Duke University), “Live Poster presentations Hop, Queer Expression, and Our Place in in HD: Broadcasting Narrative Temporal Ya-Hui Cheng (University of South Florida), Musicology Layers in the Cavalleria Rusticana/Pagliacci “Death as Rebirth: Rethinking the Exoti- Emilie Coakley (University of Pittsburgh), Double Bill” cism in Puccini’s Turandot” “For Whom the Bells Toll: Nostalgia, Mem- Basil Considine (Walden University), “The Sabrina Clarke (University of Delaware), ory, and Change in a City Soundscape” Thematic Language of Game of Thrones: “Gendered Nature Imagery, Synesthetic Ele- Rebecca Fülöp (Oberlin, Oh.), “A ‘most au- “The Rains of Castamere” and Other Songs” ments, and Female Agency in Amy Beach’s thentic American folk music’: Nostalgia and Sarah Elaine Neill (University of North Caro- Eskimos” Colonialism in the Soundtrack of The Man lina School of the Arts), “The Century of Nicole Powlison (Florida State University), in the High Castle” Progress and the CSO: Bringing Contempo- “Amy Beach’s Cabildo” Devin Burke (University of Louisville), “Mu- rary American Music to the Masses” Anne Stickley (University of Maryland), sical Idolatry: The Monuments of Louis XIV E. Douglas Bomberger (Elizabethtown Col- “Bringing Americanism Back to the People” and the Living Statues of the Opéra” lege), “Karl Muck, The Star‐Spangled­ Ban- Hana Warner (College of William and John Romey (Case Western Reserve Univer- ner, and Emerging Definitions of Jazz” Mary), “Rock and Teenage Angst in Spring sity), “Parody Chaconnes as a Subversive Poster presentations Awakening” Discourse at the Comédie-Italienne” Heidi Jensen (Gainesville, Fla.), “The Lim- Jonathan Shold (University of Pittsburgh), inal Ideal and Liminoid Reality of Wagner’s “Lenten Opera and Theater Fasts in Naples, Bayreuth” Greater New York Chapter 1818 30 – ” Paul Sommerfeld (Duke University), 23 October 2016 “(Re)Scoring Star Trek’s Utopia: Musical Mannes School of Music, The New School 8 April 2017 Retrofuturism and the Political Ideology of David Schulenberg (Wagner College), Cleveland State University Star Trek (2009)” “Expression and Discrètion: Froberger Alexis VanZalen (Eastman School of Music, and Traditions of Freedom in Keyboard University of Rochester), “French Baroque 22 April 2017 Performance” Livres d’orgue: Products of the French Cath- George Mason University Oak Joo Yap (Brooklyn College), “On the olic Reformation” Ashley Greathouse (College-Conservatory of Two Misleading Notions Regarding Haydn’s Paul Abdullah (Case Western Reserve Uni- Music, University of Cincinnati), “Danger- L’incontro improvviso” versity), “Shakespearean Storms in German ous Liaisons: Taxonomizing ‘Monothematic’ Gwen D’Amico (Brooklyn and Baruch Col- Opera: The Tempest in 1798” Movements in Haydn’s ‘Paris’ Symphonies” leges), “I Maesti Cantori: Is German Art Still Kate Rogers (Case Western Reserve Univer- Miguel Ramirez (James Madison University), Holy When Presented in Italian?” sity), “Sonic Negotiations of the Techno- “‘This is the rule. Of course, I don’t compose logical, the Symphonic, and the Popular in that way’: Bruckner, Sechter, and the Theo- TRON (1982) and Electric Dreams (1984)” ry/Practice Dichotomy” continued on page 

February 2018  Papers Read at Chapter Meetings Solomon Guhl-Miller (Rutgers University), Marc Rice (Truman State University), “Mu- “The Sublime and the Beautiful as Tools for sical Representation in the Black Newspa- continued from page  Interpreting Form in a Nineteenth-Century pers of the Midwest: New Revelations and Context” Possibilities” Tonia Passwater (Graduate Center, CUNY), David Hurwitz (Classicstoday.com), “Auber’s Alyssa Mehnert (University of Cincinnati), “Riding the Waves of Feminism: The Impact Critique de la raison pure and the Decline of “‘A Constant Stream of Requests’: McKin- of the Great Depression and the Popular the Ballet Philosophique” ney’s Cotton Pickers on the Radio 1927–31” Press on the Reception of American Women David Cohen, “‘In which it is evident that Julia Randel (Hope College), “High Art in Modernist Composers” perception is always deceived’: Pythagorean the Heartland: Diaghilev’s Ballets Russes in Oksana Nesterenko (Stony Brook Univer- Rationality and Descartes’ “‘Clear and Dis- Grand Rapids, Michigan, 1917” sity), “The Influence of Zen Buddhism on tinct Ideas’” the Music of Valentin Silvestrov, Ukrainian Clare Carrasco (Butler University), “Sound- Avant-Garde Composer in the USSR” Midwest Chapter ing Kokoschka: Expressionism, Primitivism, Katherine Kaiser, “Schoenberg’s Resonant 1–2 October 2016 and Bartók’s Second String Quartet in Vi- Voice in Peter Ablinger’s Letter from Arnold Roosevelt University enna’s Anbruch Concert Series” Schoenberg” Lynn M. Hooker (Purdue University), “The Kathryn B. Cox (University of Michigan), Hungarian Radio and the ‘Gypsy War’ of “The English Way: Pink Floyd and the Mu- sical Portrayal of Madness” 28 January 2017 1934” Columbia University Thornton Miller (University of Illinois at Abigail Fine (University of Chicago), Urbana-Champaign), “‘In Lieu of Payment’: “Beethoven’s Pilgrims: Performing Devo- Alternate Forms of Compensation for the tions at the Birth-House Museum in Bonn Styra Avins, “Beethoven’s Footsteps and Max (1890–1930)” Kalbeck’s Brahms Biography” Soviet Publication of Benjamin Britten’s Solomon Guhl-Miller (Rutgers University), Music” 22 2017 “The Early History of Modal Rhythm: What Michael Siletti (University of Illinois at Urba- April Theory Tells us about Practice” na-Champaign), “Music and the Execution Drake University Jane Schatkin Hettrick (Rider Univer- of John Wayne Gacy” Kelsey Klotz (St. Louis, Mo.), “Dave Bru- sity), “Lutheran Hymnody in Eighteenth- C. Matthew Balensuela (DePauw University), beck, Betty Jean Furgerson, and the Fight Century Vienna: Orthodox Meets “The Music Theory Booklet Balliol 173A ff. Against Segregation” ‘Politically-Correct’” 74r–81v: Copying and Content of an Early Nathan Platte (University of Iowa), “‘Sounds Jacob Friedman (Princeton University), Medieval Theory Miscellany” Must Stir the Fantasy’: Underscore as Special “Haydn’s Keyboard Sonatas as a Tool for Tra- Murray Steib (Ball State University), “Mangle Effect in The Wizard of Oz (1939)” ditionalist Ideology: A Nineteenth-Century the Text or Adapt the Music? A Sixteenth- James Naumann (Ohio State University), Reappraisal” Century Solution to Texting” “Voicing the Incidental: Paul Bowles’s Stephen Allen (Rider University), “Rethink- Ryan Thompson (University of Minnesota), ‘Tennessee Sound’ and the American ing Gustav Holst’s A Moorside Suite (1928), “Timing is Everything: Relationships be- Middlebrow” The First Brass Band Symphony?” tween Ludic and Musical Rhythm in Mod- David G. Rugger (Indiana University), “Al- Abby Anderton (Baruch College), “Berlin, ern Video Games” fred Deller, the Countertenor Voice, and 1945: Towards a Ruin Aesthetic in Music” Katherine Leo (Ohio State University), “Mu- English Masculinity” John Kapusta (Colgate University), “The Self- sicological Expertise and the ‘Blurred Lines’ Erik Paffett (University of Cincinnati), “Le- Actualization of John Adams” of Music Copyright” gitimizing Early Opéra-Comique: Politics, Jessica Narum (Baldwin Wallace University), Topical Parody, and Musical Borrowing” “The Topic of Global Interconnectedness” 29 April 2017 Andrew Greenwood (Southern Illinois Uni- New York University Wesley Lamar Newton (Wheaton College), versity), “The Musical Enlightenment in “From Vulgate to Vernacular: Vaughan Wil- Scotland” liams, Villa-Lobos, and the Liturgical Re- Kelsey McGinnis (University of Iowa), “‘Our Katherine Walker (Hobart and William forms of Vatican II” Smith Colleges), “The ‘Grand Architect’: thoughts were with those back home’: Ger- Ralph Lorenz (Kent State University), “John Gerard’s Theory of Genius and Haydn’s Aes- man POWs making German Music in Iowa” Tavener and Father Malachy Lynch: How a thetics of Process” Devora Geller (Graduate Center, CUNY), Roman Catholic Priest Planted Seeds for the William Hettrick (Hofstra University), “Jo- “Navigating the Jewish Noise Complaint in Development of Tavener’s Mystical Ortho- Yiddish Films of the 1930s” hann Herbeck’s Entrance into the Viennese dox Holy Minimalism Style of Composition” Hofkapelle and His Mass in E Minor” Samuel Teeple (Bowling Green State Univer- Andrew Vagts (University of North Texas), Barry Wiener, “Brahms and Ossian: Compo- sity), “The New Reform Temple of Berlin: “Not Only the Finale: Aesthetics of the Sub- Christian Music and Jewish Identity during sitional Sources and Political Symbolism in lime in Mozart’s Symphony no. 41” the First Symphony” the Haskalah” Matteo Magarotto (University of Cincin- Marian Wilson Kimber (University of Iowa), Lawrence Ferrara (New York University), nati), “Leopold Mozart’s Principles of Com- Keynote Address: “Phenomenology and the “Reciting Parsifal : Opera as Spoken Word positional Mastery: Die Ordnung, il filo, and Performance in America” Analysis of Music” Enlightenment Aesthetics”

 AMS Newsletter Kathryn Fenton (Eastern Illinois University), Gui Hwan Lee (College-Conservatory of Mu- Kristin Franseen (McGill University), “Ed- “Cosmopolitan Nationalism in the New sic, University of Cincinnati), “The Heroic ward Prime-Stevenson’s Repertory and Queer York City Reception of La fanciulla del West” Journey of Musical Persona: Two-Layered Musical Nostalgia” Matthew Baumer (Indiana University of Narrative in Joe Hisaishi’s Film Scores for David Miller (Cornell University), “Anton Pennsylvania), “Reaching for the Middle- Spirited Away” Webern, Nicholas Slonimsky, and an Or- brow: The Electric Light Orchestra at Wem- chestral Score for Children” bley, 1978” 8 April 2017 James Deaville (Carleton University), “Losing Mount Holyoke College the ‘American Dream’: Deafness, Madness, and Jazz in It’s a Wonderful Life ” New England Chapter Erinn Knyt (University of Massachusetts Am- Daniel Sheridan (McMaster University), “Of 1 October 2016 herst), “Ferruccio Busoni and the Liceo musi- Pink Lasers and Consecrated Stages: Parsifal Smith College cale di Bologna: Transnationalism and Italian and VALIS” Eric Elder (Brandeis University), “‘Surface Musical Culture” Jess Tyre (SUNY Potsdam), “Gretchen’s Bitte : and Depth’: Beneath the Reception of Ru- Paula Telesco (University of Massachusetts Intertextual Voices in Faust” dolph Reti’s Thematic Process, A Mid-Cen- Lowell), “Identifying the Unknown Source tury Interdisciplinary Theory of Music” of a Pre-Rameau Harmonic Theorist: Who Panel, “Resonances of Riel” Was Alexander Malcolm’s Mysterious Lidia Chang (Boston, Mass.), “‘I hope some- Eleanor Stubley (McGill University), Colette Ghostwriter?” body cares for these minutiae’: Women, Simonot-Maiello (Brandon University), ‘Smallness,’ and the Marginalization of Eng- John McKean (Boston, Mass.), “Bach’s Colleen Renihan (Queen’s University), Rus- lish Music in the Long Nineteenth Century” Thumbs: Paired Fingering, Continuo Play- sell Wustenberg (McGill University) Michael Scott Cuthbert (Massachusetts Insti- ing, and the Advent of Modern Keyboard tute of Technology), “New Concordances, Technique” Quotations, and Citations in Fourteenth- James Parakilas (Bates College), “Rameau’s Northern California Chapter Century Music” Principle of Nature vs. Rousseau’s State of 29–30 April 2017 Rachael Lansang (Rutgers University), “Rein- Nature” University of Southern California terpreting the ‘Drowned Woman’: Feminist Deborah Burton (Boston University), “From Jointly with Pacific Southwest Chapter Rameau to Riemann: Giorgio Antoniotti’s Readings of Isabelle Aboulker’s Femmes en Papers listed with Pacific Southwest Chapter Fable” L’Arte Armonica as a Missing Link from Fun- Emiliano Ricciardi (University of Massa- damental Bass to the Tonnetz” chusetts Amherst), “The Topos of Jealousy Pacific Northwest Chapter in Late Sixteenth-Century Ferrarese Cul- 8–9 April 2017 ture: Luzzaschi’s Setting of Tasso’s ‘Geloso New York State–St. University of Washington amante’ (1576)” Lawrence Chapter Lydia Hamessley (Hamilton College), “Eliza- Maria Virginia Acuna (University of Toron- 22–23 April 2017 to), “Omnia vincit amor: Cupid, Philip V, bethan Traces in Appalachia? How Music University of Toronto Critics Interpret Dolly Parton’s Songs and and the Allegorical Zarzuela during the War 1701 14 Voice” Megan Steigerwald (Eastman School of Mu- of the Spanish Succession ( – )” sic, University of Rochester), “‘Live’ in the Sarah Kolat (University of Washington), 4 February 2017 Limo: Interrogating Digital Modes of Spec- “Stripping the Veneer: Revealing a Symbol Brandeis University tatorship in Twenty-First Century Opera” in Mendes’s Cabaret” John Klaess (Yale University), “Music and Patrick Nickleson (University of Toronto), Claire Fedoruk (Azusa Pacific University), Race in the Emergence of the ‘Urban Con- “Inside the Theatre of Eternal Music: Col- “The Voices of Mary: An Analysis of Chorus temporary’ Format, 1977–87” lective Composition, Archives, and the His- Staging and Music from John Adams’s The Roberta Montemorra Marvin (University of toriography of Drones” Gospel According to the Other Mary” Massachusetts Amherst), “Notions of Verdi Matthew T. Shelvock (Western University), Geoffrey Wilson (University of Calgary), in Victorian England” “Analyzing Microrhythm in Hop Hop: Ge- “Musical Narrative in Carl Davis’s Score to Gabrielle Cornish (Eastman School of Mu- stalt, the Groove, and the Grid” The Thief of Bagdad( 1924)” sic, University of Rochester), “Sounding the Holly Watkins (Eastman School of Music, Mark Samples (Central Washington Univer- Gulag: Toward a Sonic History of the Soviet University of Rochester), Keynote Address: sity), “Marketing the Phonograph in The Labor Camps” “Schopenhauer’s Musical Ecology” Phonoscope, 1896–1900” Matthew Timmermans (McGill Universi- Hester Bell Jordan (McGill University), Kenneth DeLong (University of Calgary), ty), “Kálmán’s Die Herzogin von Chicago: a “Landscape Music Through a Settler- “The Afro-Cuban Dances of Ernesto Lecu- Transnational Vision for Inter-war Central Colonial Lens” ona and the Afrocubanismo Movement in Europe” Zachary Milliman (McGill University), “Dia- Cuba 1920–40” Monica A. Hershberger (Harvard University), logics of Colonial Legitimacy in the Early Holly Chapman (Central Washington Uni- “Two Stages in the Operatic Life of Susan Operas of István Anhalt” versity), “Approximation and Identity: Ap- B. Anthony: Virgil Thomson and Gertrude Eva Branda (Western University), “A ‘scrim propriation in the Music of George Crumb” Stein’s The Mother of Us All at Columbia of romantic nationalism’: Audience Percep- University (1947) and the Santa Fe Opera tions of Dvořák in Late Nineenth-Century (1976)” Prague” continued on page  February 2018  Papers Read at Chapter Meetings Daniela Smolov Levy (Northridge, Calif.), Rocky Mountain Chapter “Survivor: Toward a Theory of the Democ- continued from page  ratization of Opera and Classical Music” 7–8 April 2017 Steven Ottományi (California Mission Scho- University of Utah Mark Martin (Lakewood, Wash.), “A Tale of la & Sinfonia / California State University, Two Tone Poems: From Realism to Natural- Los Angeles / California State University, Jane Hatter (University of Utah), “Construct- ism in Sibelius’s Interpretation of National Long Beach), “The Elevation Motet and the ed Tenor, Constructing the Composer, ca. 1500 Myth” Origins of the Pie Jesu in Maurice Duruflé’s ” Bertil Van Boer (Western Washington Uni- Requiem” Darlene Castro (University of Utah), “The versity), “Abbé Vogler’s ‘Global’ Musical Andrew Aziz (San Diego State University), Sound and the Fusae: Notation as a Means Works: Charlatanism, Bringing the Eigh- “The Sonata as a Battlefield: Debussy, Ravel, of Time Travel” teenth Century a Global Perspective, or Ex- and the Genre of Nationalism” John Brobeck (University of Arizona), “Com- tenuating Circumstances” positional Process and Diatonic Ficta in Three Experimental Motets from 1514–19” Alexander Fisher (University of British Co- 29–30 April 2017 lumbia), “Sounds and Silences: Reflections University of Southern California Adriana Martinez (Arizona State University), on Music, Sound, and Space in the Con- Jointly with Northern California Chapter “Hearing America in the New Millennium: fessional Borderlands of the Holy Roman Nationalism in US Popular Music after 9/11” Empire” Mike D’Errico (Pitzer College / University of Cecilio Novillo (University of Arizona), Jonathan Oddie (Seattle, Wash.), “The Plea- California, Los Angeles), “From the Studio “Fighting Hegemony: From Rock Radical sure of Being Deceived: Cadential Grammar to the Stage: The New Ecology of Digital Vasco (RRV) to Los Chikos del Maiz / Coun- and Rhetoric in Seventeenth-Century Eng- Audio Production” terculture and Anti-Establishment Music in Spain” lish Instrumental Music” Madison Heying (University of California, Marva Duerksen (Willamette University), Santa Cruz), “The Coding of Community: Desireé González (University of Utah), “Proleptic Rhetoric and Survival of the Carla Scaletti, Kyma, and Community For- “Manuel M. Ponce and Mexican National- ‘Self’: Composers on Emily Dickinson’s ‘I mation in Computer Music” ism: An Overview of His Life and Selected Piano Works” Heard a Fly Buzz—’” David J. Kendall (La Sierra University), Twila Bakker (Edmonton, Alta.), “‘Like an “Singing Timeless Truths in Times of Janice Dickensheets (University of Northern Angel from Heaven Knocking on Your Change: Liturgical Music and Parish Finan- Colorado), “Ossianism and the Bardic Style Door’: Betty Freeman as patron” cial Administration in the Colonial Philip- in Music” Ellen George (Tacoma, Wash.), “‘An Enter- pines, 1800–1946” Jessica Russell (University of Utah), “Rending prise Worthy of the Coast’: The San Fran- Jacob Daniel Broussard (University of South- the Veil: An Examination of Veils in French cisco 1878 May Festival” ern California), “An Unfamiliar Sound: Exotic Opera” Rachel Chacko (Whitman College), “A Cul- Examining Change in Traditional Navajo Karen Mize (University of Denver), “‘They ture-Shaper: Nellie Cornish and the Found- Music” Won’t Stretch to Make Room for You’: ing of the Cornish School of Music” Christopher Reynolds (University of Califor- The Clash Between Bourgeoisie Values and Lecture-recital: nia, Davis), “Towards a Biography of Carrie Bertalda in Lortzing’s Undine” Grace Ho (University of Oregon), “Perform- Jacobs Bond” Michael Klein (Temple University), Keynote ing the Composer’s Subjective Voice: Haydn Anthony Barone (University of Nevada, Address: “Bodies in Motion: Musical Affect the Orator and Schubert the Protagonist” Las Vegas), “Wagner, Faust, and Paris: A and the Pleasure of Excess” Reassessment” Shaun Stubblefield (Northern Arizona Uni- Navid Bargrizan (University of Florida), versity), “Success or Nadir? St. Paul’s Cathe- Pacific Southwest Chapter “Harry Partch: a ‘Visionary Prophet’, or a dral during the Middle Georgian Period” Julie Hedges Brown (Northern Arizona Uni- 18 2017 ‘Latter-day Don Quixote’?” February versity), “Clara Wieck Schumann and the University of California, Irvine Patrick Craven (University of California, Los Angeles), “The Origins of Indie Aesthetics in British Reception of Robert Schumann’s Music” Jaclyn Howerton (University of California, the Sound Design and Film Music of John Pam Jones (University of Utah), “Johana and Riverside), “‘Why do you Want to Dance?’ Cassavetes” Roy Harris and Toccata for Piano: Setting the Diaghilev’s Ballets Russes and The Red Shoes” Bernard Gordillo (University of California, Record Straight” Malachai Komanoff Bandy (University of Riverside), “The Raja’s Nicaraguan Dream: Michael Chikinda (University of Utah), “A Southern California), “’With The Base Vi- Exoticism, Commemoration, and Nostalgia Meta-Text of Unity and Reconciliation in all Placed Between My Thighes’: Musical in Luis A. Delgadillo’s Romance Oriental ” Persichetti’s A Lincoln Address” Instruments and Sexual Subtext in Titian’s Alexander Hallenbeck (University of Califor- Venus with Musician Series” nia, Los Angeles), “‘Richy Wagner is a Soft- Blake E. Cesarz (University of Arizona), “Mu- sical Elements: Shining a Light on Midtown” Hermann Hudde (University of California, Bodied Sensualist=Pussy’: The Masculine Riverside), “Pan Americanism and Modern- Protest of Charles Ives” Rika Asai (Utah State University), “‘There is ism: A Revision of the Narrative About Latin Much to Do Which is Thoroughly Worth- American Music and Composers at Tangle- while Doing in That Little Empire of Moun- wood from 1941 to 1951” tains and Valleys’: The 1948–49 Residency

 AMS Newsletter of Roy Harris at the Utah State Agricultural Peter Lamothe (Belmont University), “From Molly Barnes (University of North Carolina College” Marionettes to Mélisande: The Importance at Chapel Hill), “Otto Dresel and the Ger- Lindsey Macchiarella (University of Texas at of Incidental Music in Marionette Plays” man Element in Nineteenth-Century Amer- El Paso), “Performing Satie in the Tranquil Sasha Metcalf (Vanderbilt University), “Revo- ican Life” Shadow of the Gymnopédies” lutionizing Theater, One Opera at a Time: Kirsten Santos Rutschman (Duke Univer- Eileen Mah (Colorado Mesa University), “Al- Robert Brustein’s Advocacy of Philip Glass” sity), “Folksong Against the National Grain: ternative Facts in Musical Historiography Elizabeth Kramer (University of West Geor- Inventing Pan-Scandinavian Identity” and Hermeneutics” gia), “Developing Galatea’s Voice through Maureen Carr (Pennsylvania State Universi- Katherine Reed (Utah Valley University), Music in Turkish Television Serial Gönülçelen ty), Keynote Address: “After Apollo: Stravin- “‘The Twisted Name on Garbo’s Eyes’: Per- (Heart Stealer, 2010–11)” sky’s Use of Baroque Models in the Fantasia son, Persona, and Music in Bowie’s Film Christopher Little, “‘Has Anybody Here Seen from Capriccio (1928–29) and Fugue from Roles” Brian?’ Musical References as Cultural Con- Symphony of Psalms (1929–30)” tinuity in Havergal Brian’s The Tigers” Stephen Husarik (University of Arkansas, Fort Megan Murph (University of Kentucky), Smith), “Switching Colors on Beethoven’s South-Central Chapter “Sounds of the Junk Yard for Noise Rockers” Broadwood Fortepiano: Variation IV of the 17–18 March 2017 Piano Sonata no. 32 in C, op. 111” University of Louisville Paul Sommerfeld (Duke University), “Mark- Southeast Chapter ers of Utopian Difference: Jay Chattaway’s Erin Fulton (University of Kentucky), 24 September 2016 Music Sketches for Star Trek: Deep Space “Strength and Beauty Are in the Sanctuary: Appalachian State University Nine (1993–99)” Participatory and Presentational Music in Karl G. Feld (North Carolina State Universi- Lowell Mason’s Late Publications” Imani Mosley (Duke University), “Radi- ty), “Containing Udo Lindenberg’s Music: A Ann Glazer Niren (Indiana University South- cal Otherness: The Singing Body as Site of Case Study of the German Democratic Re- east), “Music at Louisville’s Southern Expo- Disruption in Britten’s A Midsummer Night’s public’s Response to Foreign Transnational sition of 1883” Dream” Music Broadcasting” Laikin Morris (University of Georgia), Brad Fugate (Davidson College), “Embodied Shih-Ni Prim (Winston-Salem, N.C.), “The “Ruslan and Russianness: the Envoicing Listening and the Countertenor: Exploring Utah Symphony’s 1971 Goodwill Tour in of National Values in Glinka’s Ruslan and the Materiality of the Contemporary Coun- Latin America: Cultural Diplomacy during Lyudmila” tertenor Voice and Its Connections to Gen- the Cold War” Ron Pen (University of Kentucky), “Engaged der, Identity, and Sexuality” Ian Giocondo (University of South Carolina), Musicology: Out of the Library and into the Sarah Elaine Neill (Whitsett, N.C.), “The “Nadia Boulanger’s Postwar Intellectual Cir- Fray” Lost Legacy of George Garner: Race, Clas- cle, 1951–64” Kimberly Hannon Teal (University of Ar- sical Music, and Canonization” kansas), “Healing Sounds: Timbres of Loss Marya Orlowska-Fancey (University of North Southern Chapter and Remembrance in the Duke Ellington Carolina at Greensboro), “Towards a Better 17–18 February 2017 Orchestra” Understanding of Liturgical Organ Music University of Southern Mississippi Angela Hammond, “‘So Happy Together’: from the Jan of Lublin Tablature” Exploring Collaboration in the Music His- Amy Carr-Richardson (East Carolina Univer- Robert Riggs (University of Mississippi), tory Classroom from Productive Discussion sity), “A Series of Musical Influence: Corre- “The Violin and Violinists as Metaphors for to Assessment” lations Among Works by Bach, Haydn, and Death and the Devil” Mozart, with Beethoven’s ’Cello Sonata op. John Hausmann (Pellissippi State Commu- Haley Nutt (Florida State University), “From 102 no. 2” nity College), “Whiteness, Musical Borrow- Piano to Percussion: Vivian Fine, Zita Car- ing, and Ethnic Boundary Policing in the Kathryn White (Mercer University), no, and Gitta Steiner Compose for Paul Parodies of Cledus T. Judd” “Signifyin(g) and the ‘Heterogeneous Sound Price and the Newly Emerging Percussion Austin McCabe Juhnke (Ohio State Univer- Ideal’ in Lin-Manuel Miranda’s Hamilton” Ensemble” sity), “606: From Hymn to ‘Mennonite Na- Kunio Hara (University of South Carolina), Jane Mathieu (Tulane University), “A Strenu- tional Anthem’” “‘Delivering Something Forgotten’: Music ous Life: The Hidden Labor of Singing on John Michael McCluskey (Shorter Univer- and Memory in My Neighbor Totoro and Record During the Acoustic Era” Grave of the Fireflies” sity), “‘Snatchin’ Your People Up’: Network- Jennifer Roth-Burnette (University of Ala- ing Cultural (Re)Appropriation in the ‘Bed bama), “Cracking the Code of a Hidden Intruder Song’” 18 March 2017 Rhetoric: A Metadata Approach to Under- Daniel Goldmark (Case Western Reserve Furman University standing the Composition of Organum Du- University), Keynote Address: “Sounds of a plum Melodies” Melting Pot: Tin Pan Alley, Hollywood, and Heather Buffington-Anderson (Claflin Uni- James MacKay (Loyola University), “‘A New the Anxiety of Ethnic Identity” versity), “From Rag Man to the Signifyin’ and Different Way’: Invertible Counterpoint Trevor DeJarnett (University of Louisville), Monkey: Rethinking Memory, Masculinity, and Witty Conversation in Haydn’s String “Visceral Intensity: Exploring Samuel Beck- and Polyvocality in Oscar Brown’s Poem- Quartet in C Major, op. 33, no. 3 (‘The ett’s Late Rhythmic Style in Paul Rhys’s Not Songs and Song-Poems” Bird’)” I for Piano Solo” continued on page 

February 2018  Papers Read at Chapter Meetings Kevin Salfen (University of the Incarnate Word), “Crozier’s Britten: Music as Educa- 75 years ago: 1942–43 continued from page  tion in the Postwar World” Financial and other stresses on the So- Scott Strovas (Wayland Baptist University), ciety due to World War II were evi- Karl Simmerman (Louisiana State Universi- “Louis Armstrong’s Melrose Publications dent. The debt from the 1939 New ty), “The Sketches for Mendelssohn’s Paulus, and the Mythos of Print Culture” York congress caused anxiety, and the op. 36” Jeff Todd Titon (Brown University), “Toward board passed several motions for mem- Warren Kimball (Louisiana State University), a Sound Ecology” ber assessments and more strict dues “National Identity and the Oratorio in New Poster presentations: payments. The reluctance of members Orleans, 1836–61” Kelley Poché-Rodriguez and Vicki Baker willing to speak at the Annual Meeting Alannah Rebekah Taylor (Florida State Uni- (Texas Woman’s University), “Examination and chapter meetings was a concern of versity), “J. S. Bach’s Passions in Nineteenth- of First-Semester Music Majors’ Knowledge Arthur Mendel. Charles Seeger com- Century America” of Music History in Relationship to Instruc- plained about the cancellation of An- Dong Jin Shin (University of Florida), “The tion Received in High School Ensemble nual Meeting plans for Cincinnati. One Influence of Maurice Delage’s Haiku on the Classes: A Research Study Design” of the two candidates for the office of Twentieth-Century French Mélodie” Nico Schüler (Texas State University), “The president (Harold Spivacke) withdrew Rafael Torralvo (University of Miami), Music of Jacob J. Sawyer (1856–85) and Saw- his name from consideration, leav- “Alberto Ginastera, Un Chôro Argentino: yer’s Collaborations with the Hyers Sisters, ing only Glenn Haydon on the ballot. Searching for a Unifying Aesthetical Model the Haverly’s Colored Minstrels, the Slayton Treasurer Paul Henry Lang paid an out- Ideal Company as Well as Sam Lucas” and its Intangible Concepts” standing invoice from Columbia Uni- Morgan Rich (University of Florida), “Look- versity ($41.42) out of his own pocket. ing into the Heart of Light: Metaphors of 1 April 2017 The Society still owed George Herzog Light in Kaija Saariaho’s Notes on Light” Sam Houston State University $78 from the 1939 congress. Alexandria Carrico (Florida State University), “Sounding Social Justice in American Op- Andrés R. Amado (University of Texas at Rio 50 years ago: 1967–68 era: Race and Gender in Frances Pollock’s Grande Valley), “Benedicto Sáenz’ Libera Me Stinney ” and the Silence of Guatemalan Nineteenth- • The Annual Meeting was held in Scott Warfield (University of Central Flori- Century Choral Music” Santa Barbara, 27–29 December. da), “Reclaiming a Forgotten Musical: The Timothy D. Watkins (Texas Christian Uni- • A joint AMS/MLA translations cen- Case of A Joyful Noise” versity), “Arpa India ha Mbaraká: Questions ter for musicological studies and doc- Navid Bargrizan (University of Florida), of Paraguayan Musical Identity” uments was established at Brooklyn “Harry Partch: A ‘Visionary Prophet,’ or a Stephanie Rizvi-Stewart (Texas Tech Univer- College. ‘Latter-day Don Quixote’?” sity), “Beyond Propaganda: Recontextual- • Edgar H. Sparks, The Music of Joachim Polack (University of Florida), izing the Soviet Nationalist Cantata and Noel Bauldeweyn, was accepted for “Transnationalism as Modernism in Antônio Oratorio” publication. Carlos Jobim’s Bossa Nova Repertoire” Kimberly Hannon Teal (University of Arkan- • Thefirst Einstein and Kinkeldey sas), “Sounding Collaboration, Loss, and awards were made, to Richard L. Remembrance in the Duke Ellington Or- Crocker and William W. Austin Southwest Chapter chestra’s ‘Blood Count’” respectively. 1 October 2016 Megan Varvir Coe (University of Texas at Ar- • The board voted to eliminate the pro- Abilene Christian University Dallas lington), “Caught Between Aesthetics and duction of membership cards. Politics: French Nationalism in the Recep- • Cecil Adkins took over the editing Elizabeth Dyer (Our Lady of the Lake Uni- tion of Two Salome Operas in Pre-War Paris” and maintenance of Doctoral Dis- versity), “Instrumental and Vocal Forces in Melissa Cummins (Sam Houston State sertations in Musicology from Helen European Catholic School Theatrical Pro- University), “Jacques Offenbach’s La belle Hewitt. ductions, ca. 1640–ca. 1740” Hélène: Parodic Mythology” 25 years ago: 1992–93 Kunyuan Guo (Texas Tech University), Poster presentations: “Atonal Canvas: When Kandinsky Met Xuan Qin (University of Texas at Austin), • The board of directors met in Mon- Schoenberg” “Improvisation in Simon Mayr’s Adelasia ed treal during a blizzard (13 March). Peng Liu (University of Texas at Austin), Aleramo” • Twenty-minute papers were institut- “Exploring the Singing Style in Five Lyri- Eloy F. Ramirez III (Texas State University), ed for the fall 1993 Annual Meeting. cal First Movements from Beethoven’s Piano “The Use of the Bassoon in Paul Hindemith’s 410 abstracts were submitted, and 120 Sonatas” Concerto for Trumpet, Bassoon, and Strings” accepted. Kendra Preston Leonard (Silent Film Sound Nico Schüler (Texas State University), “The • One “high tech” event from the fall & Music Archive), “Performance Practices Vocal Music of Jacob J. Sawyer (1856–85), A 1992 Annual Meeting was reported: a for Photoplaying at Three Texas Motion Pic- Content Analysis of the Lyrics” presenter’s paper was sent by fax and ture Palaces” read by proxy, due to travel difficul- ties caused by weather.

 AMS Newsletter American Musicological Society, Inc. The Society’s Current Deficit Statement of Activities for the Fiscal Year Ending As I reported at the Rochester business meet- June 30, 2017 ing of the Society, the previous fiscal year for Endowment: Fellowships, the Society was not good: we ran an opera- Current Awards, tional deficit for the year of $88,000. The rea- operations Publications Unrestricted Operations Revenue TOTALS sons for the deficit are clear: four converging Dues & subscriptions $ 377,442 $ 377,442 factors led to the situation for the fiscal year Annual meeting $ 217,198 $ 217,198 Sales/Royalties $ 39,265 $ 2,843 $ 42,108 ending 30 June 2017. Government grants $ 22,962 $ 22,962 1) Member dues revenue fell. Since the Interest income $ 868 membership numbers revived by December Total Operations Revenue $ 634,773 $ 25,805 $ 660,578 2017, it appears that the move from calendar- Operations Expenses year to rolling membership skewed the num- Grants, Fwps, Awards $ 3,165 $ 3,165 bers. However, as I wrote a year ago, mem- Salaries & benefits $ 243,790 $ 62,037 $ 305,827 bership numbers have been either static or Dues & subscriptions $ 3,474 $ 3,474 Publications $ 150,895 $ 4,378 $ 155,273 declining for many years; this fact affects how Professional fees $ 14,194 $ 14,194 the Society responds to its financial problems. Annual meeting $ 176,214 $ 176,214 2) I report financials on a cash basis. Because Chapters $ 6,514 $ 6,514 of allocation factors related to the three-year Office expense $ 66,846 $ 16,877 $ 83,723 grant from the National Endowment for the Total Operations Expenses $ 661,927 $ 83,292 $ 3,165 $ 748,384 Humanities (which provides the majority of Change in Operations Assets $ (27,154) $ (57,487) $ (3,165) $ (87,806) funding for MUSA), NEH revenue declined. I allocated budget overages from early in the Non-Operations Revenue grant period (related to the change of execu- Contributions $ 50,605 $ 27,956 $ 95,647 $ 174,208 tive editor in early 2015) as early as possible, Investment income $ 89,014 $ 127,547 $ 216,561 which meant that grant revenue that had been Unrealized gain in investment $ 127,755 $ 405,362 $ 533,117 planned for 2017 was received and spent prior Total Non-Operations Revenue $ 50,605 $ 244,725 $ 628,556 $ 923,886 to 2017. 3) The Vancouver Annual Meeting net rev- Non-Operations Expenses Subventions, Grants, Fwps $ 84,103 $ 113,547 $ 197,650 enue was under what we had planned. Publications $ 4,911 $ 4,911 4) Payroll changes ensuing from the move Awards $ 14,000 $ 14,000 from Maine to New York affected the Society Total Non-Operations Expenses $ 89,014 $ 127,547 $ 216,561 more than anticipated. Change in Non-Operations Assets $ 50,605 $ 155,711 $ 501,010 $ 707,326 The following table presents the figures. ’17 ’16 Diff Pct Change in Net Assets - Overall $ 23,451 $ 98,224 $ 497,845 $ 619,520 Dues rev 377 394 (17) -4.3%

Statement of Financial Position NEH rev 23 74 (51) -68.9% June 30, 2017 An. Mtg. Endowment: (net rev) 42 69* (27) -39.1% Fellowships, Current Awards, Payroll exp (306) (278) 28 10.1% Assets Operations Publications Unrestricted TOTALS dollars, in thousands *budgeted Cash $ 78,650 $ 78,650 Accounts receivable $ 20 $ 20 The potential deficit, from these figures, was Investments $ 1,688,689 $ 5,358,157 $ 7,046,846 $123,000; the actual deficit (see the financial Equipment $ 25,728 $ 25,728 Funds held in trust $ 23,395 $ 13,896 $ 37,291 statement on this page, “Change in Opera- tions Assets” total: -$87,806) was ameliorated Total assets $ 102,065 $ 1,714,417 $ 5,372,053 $ 7,188,535 by various factors, among them reduction in various office and JAMS expenses. Liabilities Frankly, I was caught by surprise by the Accounts payable $ - $ - seriousness of this confluence of figures. The Deferred Income $ 2,150 $ 2,150 Funds held in trust $ 23,395 $ 13,896 $ 37,291 board of directors and I are currently taking steps to plan a sustainable financial future Total Liabilities $ 25,545 $ 13,896 $ 39,441 for the operations of the Society. Members are encouraged to study the annual financial Net assets $ 76,520 $ 1,714,417 $ 5,358,157 $ 7,149,094 reports that appear in each February AMS Newsletter and communicate thoughts and Total Liabilities & Net Assets $ 102,065 $ 1,714,417 $ 5,372,053 $ 7,188,535 comments to me. Total Liabilities & Net Assets, June 30, 2016: $ 6,664,370 —Robert Judd

February 2018  Obituaries opment of the violoncello, and the making and role of strings in the development of The Society regrets to inform its members of the deaths of the following members: instruments. Two seminal articles in JAMS in the late 1960s established his reputation Elliott Antokoletz, 20 December 2017 worked with professional musicians, particu- as a scholar of international significance. Stephen Bonta, 14 July 2017 larly string quartets tackling the quartets of First came his “Liturgical Problems in Mon- Rae Linda Brown, 20 August 2017 Bartók. teverdi’s Marian Vespers” (1967), which a Walther Dürr, 6 January 2018 A member of the music faculty at the Uni- half-century later remains foundational in Burdette Green, 13 October 2017 versity of Texas at Austin since 1976, Elliott Monteverdi studies. Two years later appeared Clayton Henderson, 7 January 2018 Antokoletz was an unforgettable presence another classic investigation, “The Uses of the Robert Hurwitz, 12 July 2017 for thousands of students fortunate to have Sonata da Chiesa” (1969), in which he dem- Mary Lewis, 28 October 2017 studied with him. Blessed with a fantastic onstrated the role such sonatas played in the Sheryl Murphy-Manley, 5 October 2017 memory and an extraordinary ear, Antokoletz performance of the mass and vespers in Italy astounded students with his musical insights in the seventeenth century. These two articles, 1942 2017 Elliott Antokoletz ( – ) and his mastery of repertory and bibliogra- along with fourteen others, were reprinted The faculty, staff, and students of the Butler phy. He will be remembered and mourned in Ashgate Publishing’s Variorum Collected School of Music mourn the death of Elliott by his students and colleagues throughout the Studies Series in 2003. In 2004 he was elected Antokoletz, who passed away unexpectedly world. an honorary member of the Society for Seven- on 20 December 2017. —Michael C. Tusa teenth-Century Music. Born in Jersey City, New Jersey on 3 August —Jeffrey Kurtzman 1942, Antokoletz grew up in New York and Stephen Bonta (1927–2017) 1953 2017 earned a BS degree in violin performance at Rae Linda Brown ( – ) the Juilliard School in 1964, where he studied Stephen Bonta, longtime AMS colleague Americanist musicology was shaken by the with Ivan Galamian. His interest in musicol- and one of the great pioneers in the study of news that Rae Linda Brown, musicologist ogy led him to earn the MA from Hunter seventeenth-century music, passed away on 14 and administrator, had died suddenly on 20 College (1970) and the PhD from the Gradu- July 2017. August, at the age of 63, after a valiant strug- ate Center of the City University of New York Born in Syracuse, New York, Bonta grew up gle with a rare and particularly virulent form (1975), for which he wrote a dissertation un- in Verona, New Jersey, and after graduating of sarcoma. She was a was dedicated scholar der the supervision of George Perle on pitch from high school, enlisted in the Navy as an of American music and a champion in par- organization in Béla Bartók’s Fourth String electronics technician’s mate on a destroyer ticular of the music of Florence Price, the first Quartet. Antokoletz would go on to become escort. Upon re-entering civilian life, he at- African-American woman to be recognized as one of the world’s leading Bartók scholars, tended Yale University, receiving his BA in a composer of symphonic music and the first publishing a monograph on Bartók’s tonal music. He was an all-around musician, per- to have a composition performed by a major language (1984), a research guide (1988; 3rd forming in the New Jersey and New Haven orchestra. Brown spent most of her scholarly ed. 2011), and numerous articles and essays on Symphonies, singing in the Yale Glee Club, career writing about Price and editing her the composer. His work on Bartók elaborated and directing an a cappella singing group, music. Probably her most significant contri- an elegant theory of pitch organization based whose music he arranged. In graduate school bution was an edition (with Wayne Shirley) on interval cycles and symmetrical partition- at Columbia Teacher’s College, he earned of her Symphonies Nos. 1 and 3, in the Society’s ing of the octave, an approach he extended his master’s degree while studying organ and MUSA series. She also published Price’s So- to the music of other twentieth-century com- composition and also serving as organist and nata in E minor for Piano and various of her posers such as Debussy and Stravinsky. His choir director at St. John’s Episcopal Church smaller works for voice and piano. two textbooks on twentieth-century music in Montclair, New Jersey. Brown taught for many years at the Univer- (1992, 2013) made his insights available to In 1954 Stephen enrolled in the PhD pro- sity of California, Irvine, where she became music students not just in the USA but also, gram at Harvard where he studied theory, the Robert and Marjorie Rawlins Chair of the thanks to translations into Polish and Chi- composition, and musicology while serv- Department of Music. During that time, she nese, to students elsewhere. Among his other ing as an organist and choir director at the began increasingly to move into university ad- writings are a book on the symbolist operas of Old North Church in Marblehead, Massa- ministration, a trajectory she continued as As- Debussy and Bartók which he wrote in col- chusetts. He received his MA in 1957 and in sociate Provost for Undergraduate Education laboration with his wife, Juana Antokoletz, 1961 became a professor of music at Hamil- at Loyola Marymount University (2008–16) and a co-authored monograph on De Falla. ton College, completing his Harvard PhD in and subsequently as Provost and Senior Vice Antokoletz was also an indefatigable editor. 1964 with a thesis on the church sonatas of President for Academic Affairs at Pacific Lu- He edited the International Journal of Musi- Giovanni Legrenzi. Stephen spent his entire theran University in Tacoma, Washington. In cology and Sources and Studies in Music His- academic career at Hamilton College, serv- her short time at PLU she had already made a tory from Antiquity to the Present, as well as ing as chair of the department from 1964 to mark as a champion for student access and a a collection of essays on Georg von Albrecht 1989. He continued composing and arranging role-model as a woman from humble begin- (2004); he also co-edited the collections for ensembles as well as conducting them and nings who had risen to a high administrative Bartók Perspectives (2000) and Re-Thinking was organist and choir director of St. James rank. Debussy (2011). He worked closely with Benja- Episcopal Church in Clinton, New York from Brown was a native of Hartford, Connecti- min Suchoff and Peter Bartók to organize the 1970 to 1994. cut, the product of a musical family whose Bartók archives in the U.S. He lectured ex- Stephen’s principal research focus was on members performed in the 1940s as the “Mu- tensively at home and abroad and frequently instruments, instrumental music, the devel- continued on page   AMS Newsletter AMS Grants, Awards, and Fellowships

Descriptions and detailed guidelines for all AMS awards appear at the AMS website. Travel and Research Grants MPD Travel Fund (Annual Meeting travel) Noah Greenberg (outstanding performance 29 15 (deadlines 2 April except where noted) deadline June projects), deadline August Paul A. Pisk (graduate student paper at M. Elizabeth C. Bartlet (research in France) Awards Annual Meeting), deadline 1 October Virginia and George Bozarth (research in (deadlines 1 May except where noted) Austria) Philip Brett (LGBTQ Study Group), Otto Kinkeldey (book [later career stage]) deadline 15 August H. Robert Cohen (historical periodical Lewis Lockwood (book [earlier career literature) stage]) Fellowships William Holmes/Frank D’Accone (history Claude V. Palisca (edition or translation), (deadlines 17 December) of opera) deadline 31 January Jan LaRue (research in Europe) Howard Mayer Brown (minority graduate Music in American Culture (book [music study) Janet Levy (independent scholars) of the U.S.]) Alvin H. Johnson AMS 50 (dissertation Harold Powers (research anywhere) Ruth A. Solie (essay collection) year) Ora Frishberg Saloman (criticism and Robert M. Stevenson (article or book reception history) [Iberian music]) Other Grants Eugene K. Wolf Travel Fund (research in H. Colin Slim (article [later career stage]) Thomas Hampson Fund(research or Europe) Alfred Einstein (article [earlier career stage]) publication in classic song) Eileen Southern Travel Fund Deadline: 15 August Roland Jackson (article [music analysis]) (Annual Meeting travel [underrepresented Publication Subventions minorities]), deadline 1 June Teaching (pedagogical scholarship) Deadlines: 15 February, 15 August Critical Race Studies H. Robert Cohen/RIPM (musical press) Rae Linda Brown continued from page  Additional Grants and Fellowships • French Ministry of Foreign Affairs: Chateaubriand Scholarship sical Browns.” She earned a BS in music edu- Many grants and fellowships that recur on • Fulbright U.S. Scholar Program cation from the University of Connecticut annual cycles are listed at the AMS website: • The Getty Foundation and graduate degrees (MA, American Studies; ams-net.org/grants.php. • Grammy Foundation PhD, Musicology) from Yale University. She Grants range from small amounts to • Guggenheim Memorial Foundation was a long-time AMS member (serving on the full-year sabbatical replacement stipends. Council in the early 1990s) and prominent in Fellowships A partial listing is presented here; see the the Society for American Music. In the late • Harvard University Center for Italian website for additional opportunities. 1990s she played a pivotal role in an impor- Renaissance Studies • American Academy of Arts & Sciences tant (but controversial) decision by the Board • Humboldt Foundation Fellowships • American Academy in Berlin of SAM (then known as the Sonneck Society) • Institute for Advanced Study, School of • American Academy in Rome to recommend that the organization change Historical Studies its name. Brown became the first President of • American Antiquarian Society • Kurt Weill Foundation for Music the renamed Society for American Music, and • American Brahms Society • Music Library Association was the Society’s first (and still only) African- • American Council of Learned Societies • National Endowment for the American President. • American Handel Society Humanities Rae Linda Brown was a gentle woman but • Berlin Program for Advanced German a strong champion of African-American mu- • National Humanities Center and European Studies sic. She was also a vibrant and warm friend, • Camargo Foundation Fellowships a beautiful woman, and a fiercely devoted • Columbia Society of Fellows in the • Newberry Library Fellowships mother. She played an important role in • Northwestern University Library Americanist musicology—first as a scholar Humanities • Rice University, Humanities Research and a promoter of undeservedly forgotten • Council on Library and Information American composers, and later as a vision- Resources Center ary administrator and who fought for the • Delmas Foundation • Social Science Research Council under-represented in higher education. She • Deutscher Akademischer Austauschdienst • University of London, Institute of had much more to contribute, and died too • Emory University, Fox Center for Hu- Musical Research young. She is sorely missed. manistic Inquiry • Yale Institute of Sacred Music —Katherine K. Preston February 2018  American Musicological Society New York University Nonprofit org. 20 Cooper Square, Floor 2 U.S. Postage PAID New York, NY 10003-7112 Mattoon, IL Permit No. 217 Change service requested

Next Board Meetings Interested in AMS Committees? AMS Website Changes The next meetings of the Board of Direc- The Committee on Committees would be The Society is in the process of moving tors will take place 6–8 April and 31 Octo- pleased to hear from members who wish its membership database and member ber–1 November in San Antonio. to volunteer for assignments to commit- activities to a more up-to-date platform tees. Send your assignment request and (yourmembership.com, used by a number CV to committee chair Suzanne Cusick: of academic societies). Changes are slated Meetings of AMS and Related [email protected]. for implementation by June 2018, and should lead to improved communication Societies AMS Membership Totals 2017 and ease of navigation of member activities. 2018: Current total membership (as of 31 December The office will communicate more about SAM: Kansas City, 3–6 Mar. 2017): 3,343 (2016: 3,202). the changes as they draw near. CMS: Vancouver, 11–13 Oct. 2016 541 AMS/SMT: San Antonio, 1–4 Nov. members who did not renew: SEM: Albuquerque, 15–18 Nov. Institutional subscriptions: 760 (773) 2019: Breakdown by membership category Newsletter Address and Deadline SAM: New Orleans, 20–24 Mar. • Regular, 1,490 (1,428) Items for publication in the next issue of CMS: Louisville, 24–26 Oct. • Sustaining, 11 (10) the AMS Newsletter must be submitted AMS: Boston, 31 Oct.–3 Nov. • Low Income, 379 (371) by 15 May to the editor, James Parsons, SMT: Columbus, 7–10 Nov. • Student, 862 (778) [email protected] SEM: Bloomington, 7–10 November • Emeritus, 357 (382) • Joint, 65 (61) TheAMS Newsletter (ISSN 0402-012X) 2020: • Life, 70 (68) is published twice yearly by the Ameri- AMS/SMT: Minneapolis, 5–8 Nov. • Honorary and Corresponding, 91 (89) can Musicological Society, Inc. and mailed to all members and subscribers. 2021: • Complimentary, 18 (15) Requests for additional copies of current AMS: Chicago, 4–7 Nov. and back issues of the AMS Newsletter Membership Dues should be directed to the AMS office. Call for San Antonio Session Chairs $120 Regular member * All back issues of the AMS Newsletter Sustaining member * $240 Following the successful new procedure are available at the AMS website: Income less than $30,000 $60 implemented last year (thanks to a member ams-net.org/newsletter Student member $45 suggestion), the Program Committee will Emeritus member $60 Claims for missing issues must be made select San Antonio session chairs after their Joint member * $50 within 90 days of publication (overseas: program selections have been made, about Life member varies; ask for details 180 days). 20 April. If you would like to be consid- * 3–year payment option available ered, please consult the list of sessions to be Moving? Please send address changes to: 20 published at that time and fill in the web- Overseas, please add $20 for air mail de- AMS, New York University, Cooper Sq., Fl. 2, New York, NY 10003-7112 site form. See ams-net.org/sanantonio for livery. Students, please enclose a copy of or [email protected]. details. your current student ID.