AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XXXIX, NUMBER 1 February, 2009 ISSN 0402-012X OPUS Campaign News AMS 2009: Turning 75 to the “Philly Sound”

The splendid member response to our www.ams-net.org/philadelphia as 1984’s fiftieth-anniversary meeting (albeit with a new name—twenty-five years ago it September mailing—the full-color, glossy The American Musicological Society will was called the Franklin Plaza Hotel). With- brochure meant as the climax of the print hold its 2009 annual meeting from 12 to in a few blocks are the aromatic food and pieces—showed that good progress could 15 November in historic Philadelphia. The craft stalls of the Terminal Market, fashion- be made even in the overcast economic city’s walkable downtown and temperate able Rittenhouse Square, and the impres- climate. From the beginning of November climate (for the northeast, that is) make for 2008 sive City Hall, a late nineteenth-century to the end of December we received an enjoyable visit at any time of the year. architectural masterpiece in the Second November temperatures generally range The Box Score Empire style that remains the world’s tall- from the low 40s to the high 50s during the Date Donors $5K $1K est masonry building. Close by is the city’s 10.31.2007 $1,477,972 1,010 65 109 day, and down to the 30s at night; snow and museum district, featuring the Philadelphia 2.01.2008 $1,518,367 1,114 68 123 other wintry weather are unusual before Museum of Art, Rodin Museum, Academy 2.01.2009 $1,976,889 1,389 73 222 December, but visitors should keep an eye of Natural Sciences, and Franklin Institute. $737,123 on the local forecast nonetheless. Philadel- Certified eligible for NEH: Here one can also take a scenic walk along Still needed for full certification: $222,877 phia is easily accessible by train from points the Schuylkill River in one of the sixty-three along the east coast, and the airport is a $120,000 regional and neighborhood parks making more than . Donors celebrated the major hub for several airlines; a commuter up the city’s Fairmount Park system. Mu- beginnings of this trend in Nashville, dur- rail line connects the airport with central seum-minded visitors will find much else ing an elegant reception in the rotunda of Philadelphia in twenty minutes. to occupy them across the city, whether it the Country Music Hall of Fame. David Although much has been made of Phila- be art (the Pennsylvania Academy of Fine Jackson, husband of Donna Cardamone delphia’s inferiority complex when it comes Arts, Barnes Foundation, and University of Jackson, was present to recognize the first to its northeastern neighbors, Boston and Pennsylvania Museum of Archaeology and subvention from the Jackson Fund: Roger New York, natives have nothing to be Anthropology), American history (the Na- ashamed of (especially in view of the Phil- continued on page  tional Constitution Center), or the delight- lies’ recent World Series victory!). Indeed, fully macabre (Eastern State Penitentiary if you have never visited the metropolitan In This Issue… and the Mutter Museum of anatomical and area, you will be impressed by its exception- President’s message 2 pathological specimens). ally rich cultural offerings, nurtured in part Treasurer’s message 3 Old City, Philadelphia’s most historic dis- by several dozen colleges and universities AMS/SMT Nashville Report 3 trict, lies near the Delaware River, about a (the best known being Bryn Mawr, Hav- News from the AMS Board 4 mile east of the conference hotel. Among erford, and Swarthmore Colleges; the Uni- Music in American Culture Award 4 its essential sights are Independence Na- versity of Pennsylvania; and Drexel, Tem- AMS 75 Publication Awards 5 tional Historical Park (including Indepen- ple, and Villanova Universities). In recent Jan LaRue Travel Grant 5 dence Hall and the Liberty Bell), Christ years Philadelphia has also developed a na- Awards, Prizes, and Honors 6 Church (where George Washington and tional reputation as a gastronomic Mecca. AMS Elections 2009 11 Benjamin Franklin worshipped), the Betsy There are good options for every palate and AMS-LC Lecture Series 15 Ross House, and entire blocks of Georgian 15 pocketbook, with some of the city’s most Committee News town houses and churches that look much 17 distinctive cuisine—by no means limited to Study Group News as they did in the eighteenth century. News Briefs 19 cheesesteaks and soft pretzels—available for The epicenter of the city’s lively music Papers Read at Chapter Meetings 20 sampling at Reading Terminal Market and scene is South Broad Street, dominated by Financial Summary 2008 25 the Italian Market on South Ninth Street. the new Kimmel Center for the Perform- Executive Director’s Report 26 Our venue for the meeting is the Sheraton ing Arts (home of the Philadelphia Or- AMS Legacy Gifts 26 Philadelphia City Center Hotel, located chestra) and the Academy of Music, an 1857 Conferences 27 close to many of the city’s most famous Obituaries 27 sights, and coincidentally the same venue continued on page  President’s Message

What a great time and place it was for our type, length, and format of sessions, papers, people would submit nominations. Honor- annual meeting! Everywhere we went in and performances. We need your input and ing our members for scholarly achievements Nashville, our 2,050 conference participants ideas about these matters! Please send your is truly the most rewarding duty of our So- (a record turnout!) were surrounded by the suggestions to our vice president, Honey ciety, a duty in which we all can take part sights and sounds of music, whether at our Meconi, who chairs the committee. through the nomination process. So if you hotel with its Bluegrass, Country, Gospel, On the topic of committees, volunteering or someone else you know has a publica- Classical, and Rhythm and Blues meeting for one of them affords an excellent oppor- tion that qualifies for one of our awards or rooms or downtown along Broadway and tunity to participate in the Society. There is eligible for a grant or fellowship, the award Second Avenue, where live music enticed is ample opportunity for those who are so committees want to hear from you. Chuck us into the many clubs and cafés. Those of minded; anyone who thumbs through the Atkinson announced at the Business Meet- you I saw as I walked through the Conven- Directories over the past decade can see the ing the names of the chairs to whom you tion Center had such enthusiastic things to dramatic increase in the number of commit- may send nominations or applications; they say about the superb quality of the papers tees. Ten years ago, we had twenty-one com- appear on our website and in the 2009 Direc- and sessions this year, and I was so pleased mittees with membership hovering around tory. You can also send your nominations to to have my own delight in the work we do a hundred, while we now have some thirty- Bob Judd or me, and we will forward them confirmed by all and sundry. The OPUS re- eight committees with nearly 225 members. to the appropriate committee chair. ception at the Country Music Hall of Fame, If we add the Council and the JAMS Edi- As you know, one of the most important our noon-time concerts, and performances torial Board members, this brings the total undertakings in which we can all participate by the Nashville Symphony, Vanderbilt Uni- is our OPUS Campaign. In this Newsletter, versity’s Blair String Quartet, and Fisk Jubi- Making the AMS a welcoming place for the Co-chairs of the campaign, Kern Holo- lee Singers all contributed to an especially everyone interested in the study of music man and Anne Walters Robertson, have giv- memorable meeting. en us all an eloquent report on our impres- Because our conference followed on the sive achievements in fundraising, particularly 320 heels of an historic presidential election, the to some members actively serving the regarding the NEH Challenge Grant. Allow excitement rose to even higher levels: this was Society. It is heartening to see the work that me to add my voice to the choir by extend- a momentous time both for our nation and our committee members do on behalf of ing my sincere thanks to the members who for our society. In my closing remarks at the the Society. Having read the reports and at- have donated so generously to our efforts. It Business Meeting and Awards Ceremony, I tended the Council and several committee is so important for us to work together to spoke about how important it is that we all meetings in Nashville, I was both extremely meet this challenge, but in order to succeed, become involved in the life of our own orga- impressed with the level of participation by we need the help of the entire membership. I nization. Caught up in the political rhetoric our members and moved by the dedication I urge you all to contribute whatever you can, of the moment, I even said, “This is your So- saw. If you have not as yet served and want to in whatever amount, to the campaign. ciety and you can make a difference” . . . and become involved in a meaningful way, please On behalf of the Society, let me take this I meant it! We too can work for change as volunteer for a committee assignment. The opportunity to express our heartfelt thanks to our Society goes forward. Committee on Committees will be prepar- Chuck Atkinson. He has served as President As we continue striving to make the So- ing their recommendations in June, so there ciety more inclusive, there are several things is ample time to get in touch with Charles for the past two years with great humanity you can do to make your presence felt. The Atkinson, who now chairs the committee, and diplomatic skill. He has worked tire- first and simplest is to vote. Only twenty or with Bob Judd or me. We would be de- lessly and selflessly on behalf of our member- percent of the membership cast their ballots lighted to hear from you! ship not only on internal issues of the Society in our latest Board election. In light of the During just the past five years, there has but also on national and international levels. enthusiastic turnout in the recent national been an amazing increase in the awards and I am very grateful for his advice and support. election, we could certainly do better within grants bestowed upon our membership. He will certainly be a tough act to follow. our own Society. The advent of electronic Thanks to the OPUS Campaign and the In conclusion, let me say how deeply hon- balloting has made the process an effortless generosity of our members, the number of ored I am to have been chosen your Presi- one, and voting is an easy and effective way awards we confer has doubled in size. And dent. Over the past thirty-five years that I to let your voice be heard. we are pleased to announce the creation of have been an AMS member, I have witnessed I would also like to ask each of you to con- an important new prize: the Music in Ameri- many remarkable changes in the diversity of tribute to an important initiative now un- can Culture Award, whose first recipient will our membership, in our scholarship, and in derway in the Society. The Board has charged be announced at our seventy-fifth anniver- the inner workings and organization of the the Committee on the Annual Meeting sary meeting in Philadelphia. The awards Society itself. We have traveled a long way to conduct a full-scale review of our yearly committees begin their work in the spring, toward making the AMS a welcoming place meetings. As you will read elsewhere in this and their first responsibility is to select which for everyone interested in the study of music. Newsletter, the committee will be looking works are eligible from the total of all publi- There could not be a more heartening goal into every aspect of the meetings; for exam- cations issued in the preceding year. Their job than this one. ple, they will closely examine the number, would be made significantly easier if more —Jane A. Bernstein

 AMS Newsletter Treasurer’s Message AMS/SMT Nashville 2008 We all know that since my message to you one year ago we have witnessed shocks in 2,050: that’s the record-breaking number of attendees at this year’s annual meeting of the the financial world that have left all those society, a combined event with the Society for Music Theory (SMT) on our joint biennial involved stunned and speechless. While rotation. Extra program books were quickly and efficiently produced at the last minute, the AMS has been affected by the events of just the kind of last-minute challenge one wants to have. The big turnout harmonized 2008, let me assure you that we adhere to with Nashville’s billing as Music City and members took full advantage: the restaurants a prudent, conservative approach known and clubs (and truly memorable ribs) on Broadway just around the corner from the as a “balanced portfolio,” which invests Renaissance Hotel, the Country Music Hall of Fame and Museum, a concert by the approximately half-and-half in stocks and Nashville Symphony Orchestra, and—especially memorable—one by the Fisk Jubilee in dividend-paying bonds. This is the Singers. On the evening before, a panel on music at Fisk University (“On Black Musical type of portfolio run by the vast major- Heritage, Leaders, and Legacies”) provided a scholarly companion event to the Singers’ ity of non-profits, scholarly societies, and performance. The hotel (using a predictable marketing strategy) was musical too: from its endowments. collection of room names that reflects the widening scope of the AMS itself (Bluegrass, Classical, Rock & Roll, Rhythm and Blues) to the funky notation on the elevator doors During the 2008 fiscal year ending June ready for specialists to pick apart. It was conveniently attached to the city’s convention 30, which was the basis of my report to center and sessions took place at both venues. Because of the easy flow from location to you at the Nashville Business Meeting, our location, one had little impression of just how many people actually attended. “investment return” (excluding gains from The program committee faced the daunting task of choosing 144 papers out of 548 OPUS donations) was down 6%, versus the proposals for daytime slots, slightly fewer than the number last year in Quebec City. stock market’s decline of 13% in the S&P Committee members began their work about six weeks before a March meeting, at which 500 index. Of course, the more significant we met for two twelve-hour days to hammer out the final selection and shape the sessions. drop in the financial markets occurred in Bonnie Blackburn, John Graziano, Tamara Levitiz (2009 Chair), Judith Peraino, and 2008 the latter half of . During those six Melanie Lowe gave unstintingly of their time and came to the task with insight, sensitiv- months the AMS endowment experienced ity, fairness, and humor at just the right moments. (A special tip of the hat has to go to an investment return of minus 18%, versus Melanie for also finding time to work on the SMT local arrangements committee.) It was negative 28% in the S&P 500. This puts exciting to learn and think about the great diversity of disciplinary orientations in the our compound investment loss over the society, humbling to make difficult decisions. The largest group of proposals came from past year-and-a-half at minus 23%, which is twentieth/twenty-first century research, close to40 % of the total if one also includes film within the same general ballpark as that of and popular music submissions. On the other end of the numbers spectrum, medieval most colleges and universities, as reported and renaissance music accounted for 7% of proposals. In an effort to get researchers from in a recent study issued jointly by TIAA- different periods in the same room, the committee scheduled a fair number of sessions CREF and the National Association of that spanned chronological divides. A small sampling: “Sound Effects” (joint with the College and University Business Officers. SMT) from Mahler to the micro-sound movement (for those with a taste for hugely dis- While our endowment has dropped in crepant decibel levels); “Critters and Kids” (with a nod in the title to our Southern hosts) value, we should keep in mind that for from Arisophanes to Rameau, iconic owls to elfin music; “Ethereal Voices, Mute Subjec- the past five years our investments have tivities” from Balzac and Verne to Zeitoper and Hong Kong film; “Music and the Scientif- returned remarkable profits. As I reported ic Spirit” from Bach’s proportions to Chopin’s fascination with automata; “Transnational to you last time, just during the 2007 fis- Dialogues” from baroque gouts-réunis to Villa Lobos abroad. We received an especially cal year, for example, we locked in nearly large number of proposals about female performers—prima donnas, organists, bandits, a quarter-million dollars in stock-market courtesans—and scheduled three full sessions devoted to them. These found resonance profits and transferred that money to bonds in a concert entitled “O Let Me Weep” by Cecilia’s Circle (voice, violin, cello, harpsi- prior to the 2008 market drop. chord), in another of their reliably entertaining series of multi-media programs often Like every other similar organization, the focusing around music by and about women. As Performance Committee Chair Chris- AMS faces economic challenges. I am con- topher Smith points out, the concert theme was uniquely suited to the home territory fident, nonetheless, that our prudent, bal- of country music’s Patsy Cline and Loretta Lynn! And gender representation in country anced portfolio will help stabilize us in the music did indeed come up as the subject of one of many evening sessions, eleven spon- present financial storm. sored by the AMS, not to mention those of other societies and interest groups. Among —James Ladewig the evening panels, “Scholars with Disabilities” deserves special mention for the effort of organizer Joseph Straus to bring together no fewer than ten colleagues (including one via videoconference, a first for the AMS), the initiative to sensitize the society to disability as a social and cultural construction, and the generosity of members in sharing their per- Help Celebrate Our Seventy-Fifth! sonal experiences. Seventeen graduate students put their work forward for the Pisk Prize, Do you have photos, documents, or and kudos goes to the winner Kimberly Francis of UNC for a paper that boldly reassessed reminiscences of the AMS? An exhibition the artistic relationship between Nadia Boulanger and Igor Stravinsky. for the Philadelphia meeting is currently Next year we return to our roots in a manner of speaking, Philadelphia, site of the first in the planning stages. Please write to Bob annual meeting of the society. To judge by the Nashville meeting, the critical and histori- Judd if you have materials to contribute: cal imagination of members promises to be as breathtaking and inspiring as ever. [email protected]. —Steven Huebner

February 2009  Music in American News from the AMS Board Culture Award The AMS Board met in Nashville in Novem- nary findings to the Board at its March The Music in American Culture Award, ber 2008. In addition to receiving reports meeting. funded through the AMS-NEH Challenge from the officers and committees of the So- • appointed the Secretary to serve as official Grant, honors each year a book of excep- ciety, the Board: Board liaison to the Chapter officers. tional merit that both illuminates some • charged the Committee on the Annual • tabled a decision on the AMS Council’s important aspect of the music of the Unit- Meeting (CAM) to solicit input from discussion of the adoption of a policy ed States and places that music in a rich the membership and the Board for pos- statement on Fair Use until the next cultural context. The goal of this award is sible changes to the structure of the pro- Board meeting in March, pending con- to recognize the best writing on music in gram and related issues. The CAM will sultation with other societies and with present an interim report to the Board at American culture, regardless of the source an attorney. or intended audience of that writing; hence its March meeting in Philadelphia. [see • acknowledged with gratitude the dedi- p. 15—ed.] work by a broad range of authors— includ- cated service to the Society of President ing performing musicians, journalists, and • asked the chair of the Pedagogy Study Charles Atkinson (who continues on Group to develop specific program pro- music critics, as well as academic scholars— the board as Past President), and outgo- will be considered. Books published in the posals for the Board to consider at its ing board members Walter Frisch (Vice March meeting. previous year in any language and in any President) and Michael Beckerman, Tim country are eligible. The author must be a • approved the establishment of a Com- Carter, and Judith Tick (Directors). mittee on Accessibility and Accommo- citizen or permanent resident of the United dations, which will present its prelimi- —Pamela F. Starr States or Canada. Nominations, including self-nomina- tions, may be submitted by any individual within or outside the AMS. A committee AMS OPUS of $15,000. When it reaches full funding consisting of three scholars will choose a at $25,000, the fund will begin to make single winner, who will receive a monetary continued from page 1 awards. Contributions to that end, espe- prize and a certificate, conferred by the Freitas’s Portrait of a Castrato: Politics, Pa- cially from scholars of the Austro-Hungari- committee chair, at the Annual Business tronage, and Music in the Life of Atto Melani, an empire, are encouraged. Meeting and Awards Presentation of the forthcoming from Cambridge University Society. Press. We were also able to announce the LaRue Fund Fully Vested To ensure consideration, nominations first subvention from the Martin Picker must be submitted by 1 May 2009 to the In another gesture of great generosity, Fund: Timothy McGee, Civic Musicians office of the AMS, and should include the Charlotte LaRue Isaacs has assured the per- and Republican Florence, 1282–1532, forth- name of the author, the title of the book, manence of the Jan LaRue Fund to sup- coming from Indiana University Press. and the publisher. Additionally, the award port scholars in the early stages of their ca- committee may solicit the curriculum vitae reers for research travel to Europe. The first OPUS “Lightning Round” Begins of each nominee. award will be made in Philadelphia in 2009. Meanwhile, with about $250,000 still to be The goal is for the fund to reach $50,000 by raised before our gala seventy-fifth-anniver- the end of 2009. sary meeting in Philadelphia, the focus is Each stepping up to the plate reconfirms on a Lightning Round: an all-out push to the OPUS campaign’s goal of opening paths uncover 500 more gifts of $500. We’re cer- and new opportunities for its many constit- tain that among readers of this article there uents. The urgency now is to complete the will be many who have been meaning to NEH match over the next few months. Do get around to such a gift in time for the remember to visit the Web site, or drop a birthday party. check—or a pledge—in the mail as we en- Virginia and George Bozarth Fund ter the countdown to Philadelphia. for Study in Austria —Anne Robertson and D. Kern Holoman George Bozarth, Professor of Music His- tory at the University of Washington, has taken the lead in establishing a fund to sup- The OPUS Campaign to Date: port research and travel in Austria, paral- Total pledges and gifts: $1,976,889 lel to the M. Elizabeth C. Bartlet fund for Total donors: 1,389 study in France. The Virginia and George Total membership: 3,581 Bozarth Fund is named in memory of his Percentage of total represented: 39% parents and stands comfortably in excess Virginia and George Bozarth  AMS Newsletter AMS 75 Publication Award Jan LaRue Travel Grant for Younger Scholars The Jan LaRue Fund for Research Travel Deadline for the inaugural round: • copies of the readers’ reports and author’s to Europe is intended to encourage and 15 March 2009 responses assist scholars in the earlier stages of their • a financial statement that includes the careers—Ph.D. candidates, post-doctoral The AMS 75 PAYS Endowment is the cen- following: scholars, independent scholars, and junior terpiece of the AMS-NEH Challenge Grant, - a breakdown of the costs of publication, faculty—to travel to Europe to carry out on schedule for completion by the end of showing format, size of print run, and research. The fund honors the memory of 2009. The new endowment will provide sub- projected costs 1918 2003 ventions up to $5,000 for the publication of Jan LaRue ( – ), a distinguished - the amount requested from the AMS as original and significant research in any recog- scholar and AMS member admired for his a subvention nized field of musicology. The purpose of the pioneering work on style analysis and the - the impact of the subvention on the pro- subvention is to facilitate the publication of eighteenth-century symphony, including duction costs and anticipated retail price first books by scholars in the early stages of early computer applications. The current of the book their careers by providing financial support to maximum award is $1,000. - projected timeline for publication. publishers for the purpose of subsidizing the Eligible applicants must currently attend All materials, including the manuscript, production costs of book production. The or have graduated from a doctoral program AMS anticipates awarding nine to eighteen must be submitted electronically. Contact the AMS office for FTP instructions if necessary. in a North American university. If they seek such subventions annually. to conduct research for their dissertations, Applications should come directly from Materials should be sent to the office of the they must have completed all other require- publishers, in consultation with the author. AMS: [email protected], or AMS, 6010 Col- Applications should be made after the work lege Station, Brunswick, ME 04011-8451. ments for the Ph.D. (or the equivalent doc- is complete and readers’ reports and author’s All application materials will be treated toral degree in any field of music scholar- responses are in hand. Books receiving sub- confidentially by the review committee. ship). If they seek to conduct post-doctoral ventions should appear in print no later Application deadlines: materials must be research or are independent scholars, they than twenty-four months after the date of received by 15 March and 15 September each should have completed the Ph.D. within application. year. the past five years. Publishers should send to the Chair of the The review committee will notify appli- The application should be in the form of a Review Committee: cants of its decision within three months of statement of up to 1,000 words in length de- • affirmation that the work under consider- each application deadline. scribing the research topic, a research plan, Publishers receiving a subvention from the ation is a first book, and that the author projected itinerary, and institutions where has received the Ph.D. in any recognized AMS 75 PAYS Endowment are requested to research would occur. It must also include field of musicology within the past six acknowledge the subvention in the book it- a budget for travel and lodging. The latter years self, and to send a copy of the book to the • a copy of the entire manuscript office of the AMS upon publication. should state the amount of support that can be provided by the applicant’s home institu- AMS Philadelphia 2009 Duffin, chair), evening performances will tion, if applicable. Letters of support are re- be offered by several local organizations: the quired from two scholars; if applicable, one  continued from page Philadelphia Orchestra (in conjunction with must be the present or former dissertation opera house that was the orchestra’s original a reception to benefit the OPUS Campaign), advisor. For the inaugural round of applica- home (and the inspiration for its famous Orchestra 2001 (contemporary works), the tions, all materials music be submitted by 25 “Philly Sound”), and which currently hosts Painted Bride (jazz), and the Philadelphia July 2009 to the office of the AMS. For2010 the Opera Company of Philadelphia and the Chamber Music Society. Additional perfor- and successive years, the application dead- Pennsylvania Ballet. The orchestral repertory mances are still in the planning stages. line will be 1 March. Electronic applications is also well served by the Chamber Orchestra Details concerning papers and panels (se- are encouraged. of Philadelphia, and there are several first-rate lected by the Program Committee, chaired by Tamara Levitz), travel, registration, room- ensembles specializing in early music (Tem- mate and conference buddy matching, stu- pesta di Mare, Philomel, and Piffaro) and dent activities, concerts, and local restaurants Call for Nominations: new music (Network for New Music and will be posted in the months preceding our Session Chairs, AMS Philadelphia 2001 Orchestra , to name only two). Philadel- November gathering at the conference Web 2009 phia also boasts a vibrant jazz scene, centered site: www.ams-net.org/philadelphia. The Nominations are requested for session around numerous cafés in which to hear the program will be selected in March and made chairs at the AMS Annual Meeting in local talent. Fans of organ music gravitate to public in May; the preliminary program will Philadelphia, 12–15 November 2009. Macy’s department store, of all places, where be published in July; conference registration Please send nominations via e-mail to the they can hear daily concerts played on the fa- will become available in August. Tickets for office of the AMS, including name, con- mous Wanamaker Organ (the world’s largest special events will become available with the tact information, and area of expertise. working pipe organ). Conference Registration form. Self-nominations are welcome. Deadline: In addition to a slate of concerts organized —Steven Zohn 4 March 2009. by the AMS Performance Committee (Ross Chair, Local Arrangements Committee February 2009  Awards, Prizes, and Honors

Honorary Members the late eighteenth-century volume of Nor- ton’s second edition of Strunk’s Source Read- Wye Jamison Allanbrook is Professor ings in Music History. She has held fellowships emeritus at the University of California, from the NEH, the ACLS, the Guggenheim 2007 Berkeley, where she retired in . She was Foundation, and the University of California, 1995 appointed to the position at Berkeley in and spent three years in residence at the Na- following a year as Ernest Bloch Visiting Pro- tional Humanities Center in North Carolina. fessor of Music there. In the twenty-five years She currently holds an Andrew W. Mellon 1969 1994 prior to that ( to ) she taught at St. Emeritus Fellowship supporting research for John’s College, Annapolis, known for its rig- 2008–10. orous all-required great books curriculum, In the Bloch Lectures Allanbrook began to where, as she says, she “received the best post- develop the ideas on expression in late eigh- graduate education that a faculty member teenth-century instrumental music that have can possibly experience.” She also served as a preoccupied her ever since. Already outlined Visiting Professor at the University of North in several articles, they will appear in full in a 1989 Carolina in . volume tentatively entitled The Secular Com- Allanbrook received a B.A. magna cum media: Comic Mimesis in Late Eighteenth-Cen- 1964 laude in Classics from Vassar College in . tury Instrumental Music, under contract to the She then continued her education at Stanford University of California Press. Another ac- University, studying with Leonard Ratner. She complishment of which Allanbrook is partic- 1965 received her M.A. from Stanford in and ularly proud is her six-year tenure as Chair of 1974 her Ph.D. in with a dissertation “Dance the UC Berkeley Music Department, during as Expression in Mozart Opera.” Jessie Ann Owens which she and music librarian John Roberts Honorary Member Wye Allanbrook has written extensively on jointly guided the design and construction the music of Mozart and Haydn, with par- of the Music Department’s new freestanding Publishing. ticular emphasis on the expressive strategies music library, the Jean Gray Hargrove Music Analytical work on early music led Owens that animate this repertoire. Her book Rhyth- Library, dedicated in September 2004. Al- to a study of mode and key as organizing mic Gesture in Mozart: Le nozze di Figaro and lanbrook served the American Musicological principles in music and the investigation of Don Giovanni explored the expressive use of Society as its President in 2003. musical structures through a study of compo- social dance rhythms in these two extraordi- Jessie Ann Owens is Professor of Music and sitional process. Her book Composers at Work: nary operas. In addition to numerous articles Dean of the Division of Humanities, Arts and the Craft of Musical Composition 1450–1600 and lectures, two later publications were a Cultural Studies in the College of Letters and (Oxford University Press, 1997) received the Festschrift in honor of Leonard Ratner and Science at the University of California, Da- 1998 ASCAP Deems Taylor Award. It is the vis, a position she has held since 2006. Before first systematic investigation of composers’ coming to Davis, she served as Louis, Fran- autograph manuscripts from before 1600 and ces and Jeffrey Sachar Professor of Music and offers a view of the conceptual foundations of Dean of Arts and Sciences at Brandeis Uni- musical language. She is now continuing her versity, a position she had held since 1984. She investigation of tonal language by examining had previously taught at the Eastman School English music of the sixteenth and seven- of Music, University of Rochester, and at Co- teenth centuries. She is making the key texts lumbia University as a Mellon Fellow in the available as series editor of Critical Editions of Society of Fellows in the Humanities. Music Theory in Britain 1500–1700 (Ashgate). Owens received her B.A. cum laude in Latin She has also served as a series editor of Criti- from Barnard College in 1971. She earned an cism and Analysis of Early Music (Garland, M.F.A. (1975) and Ph.D. from Princeton Uni- now Routledge). versity (1978), with a dissertation on Munich, Owens was an NEH Fellow at the Folger Bayerische Staatsbibliothek, Mus. Ms. B, a Shakespeare Library in 1998–99, and a Visit- manuscript containing motets by Cipriano ing Fellow at All Souls College, Oxford, in de Rore, with a commentary by the humanist 2006. She served as President of the Ameri- Samuel Quickelberg. Her early work focused can Musicological Society from 2000 to 2002 on archival research about Italian Renaissance and as President of the Renaissance Society of music. Fellowships from the Villa I Tatti and America from 2002 to 2004. In 2003 she was the ACLS enabled her to explore music at the elected Fellow of the American Academy of Este court in Ferrara during the mid-sixteenth Arts and Sciences. century. An outgrowth of that work was the Vivian Perlis is the Director of Oral Histo- thirty-volume series The Sixteenth-Century ry, American Music, based at Yale University, Wye Jamison Allanbrook Madrigal, which she edited for Garland a project she founded in 1967. She was edu- Honorary Member  AMS Newsletter cated at the University of Michigan (B.M., derived from interviews in the Oral History, 1949, and M.M., 1952), where she studied the American Music archive. history of music and also the piano and harp. Vivian Perlis has received a number of awards A graduate student in musicology at Colum- and fellowships; among them are The Charles bia University from 1962 to 1964, she taught Ives Award from the National Institute of Arts the history of music at several colleges in New and Letters (1972); a Grammy nomination for England before becoming a reference librar- “Charles Ives 100th Anniversary” (1974); the ian at Yale University in 1967. In 1972 Perlis AMS Otto Kinkeldey Award for Charles Ives founded Oral History, American Music, and Remembered: An Oral History (1975); the Har- has continued as its director since that time. vey Kantor Award for excellence in the field of The project is an extensive repository on tape oral history (1984); a Guggenheim Fellowship and videotape of source material on compos- (1987); the ASCAP Deems Taylor Award for ers and other major figures in American mu- Copland: 1900 through 1942 (1985); and the Ir- sic, and has grown into one of the most vital ving Lowens Award for distinguished scholar- resources for the study of the period. ship in American Music from the Society for Perlis’s other activities have included lectur- American Music (1991). ing and teaching for the American Studies program and the School of Music at Yale. She Corresponding Members has collaborated on several recordings and Catherine Massip is Conservateur en chef television documentaries, the latter including of the Department of Music of the Biblio- Memories of Eubie (1980), on the jazz pianist thèque nationale de France, a position she Catherine Massip Eubie Blake, and others on Aaron Copland assumed in 1988; since 1992 she has held the Corresponding Member and Charles Ives. Her work has been de- additional title Conservateur général des bib- ganizations. She was secretary-general of the scribed as “an imaginative and timely contri- liothèques. Her tenure at the Bibliothèque Société Française de Musicologie from 1981 to bution to the investigation of the recent his- nationale began in 1974, when she joined the 1987, and served as vice president (1986–89), tory of American music” (Paula Morgan, in library as a member of the staff of the De- then president (1989–92), of IAML, also serv- Grove Music Online). partment of Manuscripts. She moved to the ing as President of its French division from Perlis’s publications include important bio- Department of Music in 1976. 1990 to 1995. She became a member of the graphical and critical work on key figures of Following her graduation from the École joint committee of RISM in 1993 and was ap- twentieth-century music in the United States. Normale de Musique in 1964, she matricu- pointed vice president in 1995; after becoming They include Charles Ives Remembered: An lated at the Paris Conservatoire, where she a member of the Commission Internationale Oral History (Yale University Press, 1974); An studied with Norbert Dufourcq, and won Mixte for RILM in 1996, she was appointed Ives Celebration (University of Illinois Press, first prizes in music history (1967) and musi- its vice president in 1997. She is also a member 1976); Copland: 1900 through 1942, written cology (1971). From 1969 to 1973 she studied of the scientific council and board of manage- with Aaron Copland (St. Martin’s/Marek, at the École Nationale des Chartres, where ment of the Centre de Musique Baroque of 1984); and Copland: Since 1943, also with she qualified as an archivist-palaeographer in Versailles. Copland (New York, 1989). Her most recent 1973, and concurrently studied history at the Richard Middleton is Emeritus Professor book, Composers’ Voices from Ives to Ellington, Université de Paris IV. She received the doc- and former Head of Music in the School of co-authored with Libby Van Cleve (Yale Uni- torat des lettres in 1985. versity Press, 2005), includes two CDs and is A specialist on French music in the seven- teenth and eighteenth centuries (with em- phases on Michel Lambert and Jean-Baptiste Lully), Massip has also contributed to the study of music and society, the culture of mu- sical transmission, and museology. She has been active as an editor (works of Lambert, Campra, and Charpentier) and as an author of monographs, such as La vie des musiciens de Paris au temps de Mazarin: 1643–1661 (Paris, 1976), Le chant d’Euterpe (Paris, 1991), and the forthcoming Michel Lambert (1610–1696): con- tribution à l’histoire de la monodie en France; and her articles have appeared in a wide vari- ety of journals and collected essays. She chairs the editorial committee of the series Musica gallica, serves on the editorial committee for the publication of the complete works of Lully, and is editor-in-chief of the thematic catalogue of the works of Rameau. Massip has held a number of posts in both Vivian Perlis French and international musicological or- Richard Middleton Honorary Member Corresponding Member February 2009  practical implications of such research for the development of music pedagogy. Middleton has published numerous articles and four books on popular-music topics: Pop Music and the Blues (Gollancz, 1972), Studying Popular Music (Open University Press, 1990), Reading Pop (Oxford University Press, 2000) and Voicing the Popular (Routledge, 2006). He was one of the founders of the journal Popular Music, and one of its editors from its begin- nings in 1981 until 1996. With Trevor Herbert and Martin Clayton of The Open University, he edited The Cultural Study of Music: A Criti- cal Introduction (2004) for Routledge, and contributed a chapter entitled “Locating the People? Music and the Popular.” He is a Coor- dinating Editor of the online journal Radical Musicology, hosted by Newcastle University, Michael J. Puri and wrote an article for the first issue, entitled Einstein Award winner “Last Night a DJ Saved My Life: Avians, Cy- series Contemporary Thinkers on Critical Musi- borgs and Gendered Bodies in the Era of Pho- cology, is due in 2009. Christopher Reynolds nographic Technology.” Slim Award winner In addition to his books and articles, Mid- AMS Awards and Prizes dleton has contributed to several handbooks, Arts and Cultures at the University of New- including Blackwell’s Key Terms in Popular The Otto Kinkeldey Award is presented an- castle on Tyne, from which he retired in Music and Culture (1999), two Cambridge nually by the Society to honor an outstanding 2005. Before coming to Newcastle in 1998, he Companions (to Singing [2000]; and to Pop book by a scholar beyond the early stages of taught at the University of Birmingham and and Rock [2001]), and to the volume on Pop- her or his career. This year’s award went toEl - The Open University. He was made a Fellow ulär Musik in Handbuch der Musikwissenschaft len Rosand (Yale University) for Monteverdi’s of the British Academy in 2004. (2001). He has written articles for several ma- Last Operas: A Venetian Trilogy (California). Middleton was educated at Morley Gram- jor reference works, including new articles on The Lewis Lockwood Award for an out- mar School in Yorkshire, Clare College “Popular Music” for the revised New Grove standing book by a scholar in the early stages Cambridge, and York University, where his Dictionary and for Enciclopedia della musica. of his or her career was presented to Alexan- Ph.D. was supervised by Wilfrid Mellers. His He is Associate Editor for New Grove on pop- dra Wilson (Oxford Brookes University) for research interests lie in the fields of popular ular music. He acts as an Associate Editor for The Puccini Problem: Opera, Nationalism, and music and the cultural and critical theory of the Encyclopedia of Popular Music of the World Modernity (Cambridge). music. While Head of Music at Newcastle he and for the Oxford Dictionary of National The H. Colin Slim Award for an outstand- was particularly interested in exploring the Biography. ing article by a senior scholar was presented A collection of Middleton’s writings, Mu- sical Belongings, to be included in Ashgate’s

Ellen Rosand Alexandra Wilson Jennifer Williams Brown Kinkeldey Award winner Lockwood Award winner Palisca Award winner  AMS Newsletter Julie Brown Solie Award winner Alvaro Torrente Stevenson Award winner gay, lesbian, bisexual, and transgender/trans- sexual studies, was given to George Haggerty Tess Knighton Stevenson Award winner The Robert M. Stevenson Award, which (University of California, Riverside), editor, recognizes outstanding scholarship in Ibe- with Foreword by Susan McClary (UCLA) to Christopher Reynolds (University of rian music, was presented to Tess Knighton and Afterword by Jenny Doctor (York Uni- California, Davis) for “Porgy and Bess: ‘An (Cambridge University) and Alvaro Torrente versity), for Music and Sexuality in Britten: American Wozzeck,’” Journal of the Society for (Universidad Complutense, Madrid) eds., Selected Essays of Philip Brett (California, American Music. for Devotional Music in the Iberian World, 2007); and Martin Pénet (Université Paris 1), 1450–1800: The Villancico and Related Genres. “L’expression homosexuelle dans les chansons The Alfred Einstein Award for an outstand- (Ashgate). françaises de l’entre-deux-guerre: entre deri- ing musicological article by a scholar in the sion et ambiguïté,” Revue d’histoire moderne et early stages of her or his career was given to TheClaude V. Palisca Award for an outstand- contemporaine (2006). Michael J. Puri (University of Virginia) for ing edition or translation was given to Jen- “Dandy, Interrupted: Sublimation, Repres- nifer Williams Brown (Grinnell College) for Wye Jamison Allanbrook (University of sion, and Self-Portraiture in Maurice Ravel’s Francesco Cavalli: La Calisto (A-R Editions). California, Berkeley) and Alexander Silbiger Daphnis et Chloé (1909–1912)” Journal of the (Duke University) have been awarded Emeri- The Paul A. Pisk Prize for an outstanding American Musicological Society. tus Fellowships from the Andrew W. Mellon paper presented by a graduate student at the Foundation. Annual Meeting was awarded to Kimberly Anne Francis (University of North Carolina, Chapel Hill), for “‘Il reste encore des ques- tions’: Nadia Boulanger and Igor Stravinsky Develop the Symphonie de Psaumes.” The Noah Greenberg Award for outstanding contributions to historically aware perfor- mance and the study of historical performing practices was presented to Adam Knight Gil- bert (University of Southern California) for the project “Fifteenth-Century Counterpoint and Improvisation.” The Ruth A. Solie Award, honoring a col- lection of musicological essays of exceptional merit, was presented to Julie Brown (Royal Holloway, University of London), ed., for Western Music and Race (Cambridge). Other Awards, Prizes and Honors The Philip Brett Award, presented by the LGBTQ Study Group of the AMS for ex- Kimberly Anne Francis ceptional musicological work in the field of Adam Knight Gilbert Pisk Award winner Greenberg Award winner February 2009  to conduct research on music, dance, and ra- cial relations among Mexico, Cuba, and New AMS Fellowships, Orleans. Awards, and Prizes Laurie McManus has received a Berlin Pro- gram Fellowship for 2008–09 to conduct Descriptions and detailed guidelines for all research on her dissertation “The Rhetoric AMS awards appear in the AMS Directory of Sexuality in German Music Criticism, and on the AMS Web site. 1848–1883.” Publication subventions are drawn from the Anthony, Brook, Bukofzer, Hanson, Ardal Powell received a grant from the Mu- Hibberd, Jackson, Kerman, Picker, Plamen- sic & Letters Trust to present “Performing ac, and Reese Funds. English taste: Regency flute mania and the Howard Mayer Brown Fellowship ‘Gothick’ style” at the Institute of Historical for mi- Research Seminar on British Music, Univer- nority graduate study in musicology 19 sity of London. Deadline: January Alvin H. Johnson AMS 50 Dissertation- Roberta Freund Schwartz (University of year Fellowships Kansas) received the 2008 Award for Excel- 19 lence in Historical Recorded Sound Research Deadline: January from the Association for Recorded Sound Janet Levy Travel and Research Fund for Collections. independent scholars Martin Pénet 25 27 Brett Award winner Eleanor Selfridge-Field (Stanford Universi- Deadlines: January, July ty) was awarded the Modern Language Asso- M. Elizabeth C. Bartlet Fund for research Charlotte M. Cross (New York, New York), ciation Prize for a Distinguished Bibliography in France has been awarded a research grant from the for A New Chronology of Venetian Opera and Deadline: 2 March Avenir Foundation to conduct research at the Related Genres, 1660–1760 (Stanford). Arnold Schoenberg Center in Vienna. Her Harold Powers World Travel Fund for re- project is “Schoenberg’s Gedanke Manuscripts The 2008 ASCAP Deems Taylor Awards for search anywhere from the 1920s and Early 1930s: English Trans- outstanding print, broadcast, and new media Deadline: 2 March coverage of music included the following: lations and Commentary.” Eugene K. Wolf Travel Fund for European • bruce d. mcclung for Lady in the Dark: research Ryan R. Kangas (University of Texas, Austin) Biography of a Musical (Oxford) Deadline: 2 March was awarded the Hewitt-Oberdoerffer Prize • Howard Pollack for George Gershwin: His by the AMS Southwest Chapter for his paper Life and Works (California) AMS Publication Subventions “Mahler, Freud, and the Wayfarer.” • Laurie Stras for “White Face, Black Voice: AMS 75 PAYS Subventions Alejandro L. Madrid (University of Illinois, Race, Gender, and Region in the Music of Deadlines: 15 March, 15 September Chicago) was awarded a Fulbright Fellowship the Boswell Sisters,” Journal of the Society for American Music 1 (2007). continued on page 

Susan McClary Jenny Doctor George Haggerty Brett Award winner Brett Award winner Brett Award winner  AMS Newsletter AMS Elections 2009

AMS elections take place in the spring each ifornia, 1997); “Gershwin and American Anne Walters Robertson year. This year, two candidates have agreed Modernists of the 1920s,” Musical Quarterly Claire Dux Swift Distinguished Service to stand for president, one for secretary, (1994); Colin McPhee: Composer in Two Professor of Music, University of Chicago and six for member-at-large of the Board of Worlds (Smithsonian, 1990; Illinois, 2004); Degrees: PhD, Yale University, 1984; Directors (three are elected). A Celebration of American Music: Words and MPhil, Yale, 1981; MMus, Rice Univer- You may vote electronically at the Web Music in Honor of H. Wiley Hitchcock, co- sity, 1979; MMus and BMus, University of site, or by using the paper ballot included editor (Michigan, 1990); “Marc Blitzstein’s Houston, 1976, 1974 in the AMS Newsletter mailing; if you lose The Cradle Will Rock and Mass‑Song Style Research areas: French medieval music, it, a replacement may be obtained at the of the 1930s,” Musical Quarterly (1989); ceremony and architecture; late medieval AMS Web site. Please follow the instruc- “Cos Cob Press and the American Com- chant; Guillaume de Machaut; Philippe de tions found on the ballot carefully. Ballots poser,” Notes (1988); “Composer With a Vitry; music and mysticism; symbolism in not conforming to the instructions are ren- Conscience: Elie Siegmeister in Profile,” fifteenth-century music dered invalid. American Music (1988); ed., American Music Publications: “The Savior, the Woman, Detailed descriptions of the three offices Recordings: A Discography of Twentieth‑Cen- and the Head of the Dragon in the Caput are found in the AMS By-laws, available in tury U.S. Composers (Institute for Studies Masses and Motets,” JAMS (2006); Guil- the AMS Directory and at the Web site. in American Music, 1983); Stravinsky in laume de Machaut and Reims: Context “Modern Music” (1924–46) (Da Capo Press, and Meaning in his Musical Works (Cam- 1982) Candidates for the bridge, 2002); “From Office to Mass: The Awards: Newhouse Center for the Hu- Antiphons of Vespers and Lauds and the Office of President manities Fellowship, Wellesley College, Antiphon Before the Gospel in North- 2008–09; Lowens Book Award, Society ern France,” Opus Dei: The Divine Office Carol J. Oja for American Music, 2001; ASCAP Deems in the Latin Middle Ages: Methodology and Taylor Book Awards 1983, 1991, 2001; NEH William Powell Mason Professor of Music Source Studies, Regional Developments, Ha- Fellowships, 1991–92, 2005; National Hu- and Professor in the History of American giography - Written in Honor of Professor manities Center Fellow, 1995–96; ACLS, Civilization, Harvard University Ruth Steiner (Oxford, 2000); “Local Chant Grant‑in‑Aid, 1988; Mellon Faculty Fellow- Degrees: PhD, Graduate School of the Readings and the Roman de Fauvel,” Fau- ship, Harvard University, 1987–88; NEH City University of New York, 1985; MA, vel Studies: Allegory, Chronicle, Music and Travel Grant, 1986; Martha Baird Rock- University of Iowa, 1976; BA, St. Olaf Col- Image in Paris, Bibliothèque Nationale de efeller Dissertation Research Grant, 1982; lege, 1974 France, MS français 146 (Oxford, 1998); Music Library Association, Best Reference Research Areas: American music; early “Which Vitry? The Witness of the Trinity Book of 1982; Newberry Library Research twentieth century modernism; musical Motet from the Roman de Fauvel,” Hearing Fellow, 1981; Sinfonia Foundation Research thea­ter; patronage and institutional his- the Motet: Essays on the Motet of the Middle Assistance Grant, 1981 tory; transatlantic modernism; Bernstein, Ages and Renaissance (Oxford, 1997); “Re- Administrative Experience: Acting Blitzstein, Copland, Crawford Seeger, Ger- membering the Annunciation in Medieval Chair, History of American Civilization, shwin, and Still Polyphony,” Speculum 70 (1995); “The Mass Harvard, Fall 2007; Co-director, Warren Publications: “Bernstein’s Musicals: Re- of Guillaume de Machaut in the Cathedral Center Seminar, Harvard, 2006–07; Co- flections of their Time,” Leonard Bernstein: of Reims,” Plainsong in the Age of Polyphony director, Bernstein Festival, Harvard, 2006; An American Original (Collins, 2008); Cop­ (Cambridge, 1992); The Service Books of the President, Society for American Music, land and his World, co-editor (Princeton, Royal Abbey of Saint‑Denis: Images of Ritu- 2003–05; Chair, Department of Music, 2005); “‘New Music’ and the ‘New Negro’: al and Music in the Middle Ages (Oxford, College of William and Mary, 1997–2000; The Background of William Grant Still’s 1991); “The Transmission of Music and Lit- Director, Cowell Festival, New York Afro‑American Symphony,” Best of Black urgy from Saint Denis to Saint Corneille of City, 1997; Director, Institute for Stud- Music Research Journal (Center for Black Compiègne,” Trasmissione e recezione delle ies in American Music, Brooklyn College, Music Research, 2004); Making Music Mod- forme di cultura musicale, Atti del XIV Con- 1993–97 ern: New York in the 1920s (Oxford, 2000); gresso della Società Internazionale di Mu- AMS Activities: Chair, Communications “George Antheil’s Ballet Mécanique and sicologia, Bologna, 1987 (Bologna, 1990); Committee, 2006–07; Director-at-Large, Transatlantic Modernism,” Modern Mosaic “Benedicamus Domino: The Unwritten 2005–07; Committee on Committees, (North Carolina, 2000); “Dane Rudhyar’s Tradition,” JAMS (1988); “The Reconstruc- 2005–07; Committee on the Publication Vision of American Dissonance,” American tion of the Abbey Church at Saint Denis of American Music, 1991–2001; Einstein Music (2000); “Women Patrons and Cru- (1231–81): The Interplay of Music and Cere- Award Committee, 1997–2000; Program saders for Modernist Music: New York in mony with Architecture and Politics,” Early Committee, 1995; Co-chair and co-found- the 1920s,” Cultivating Music in America: Music History 5 (1985) Women Patrons and Activists since 1860 (Cal- er of Committee on Cultural Diversity, 1990–95 continued on page 

February 2009  AMS Elections 2009 quin, Rome, and a Case of Mistaken Iden- mona, 2008); “Compositional Practices in tity,” Journal of Musicology (1997); “Rome Trecento Music: Model Books and Musical continued from page 11 as the Centre of the Universe: Papal Grace Traditions,” in Music as Social and Cultural Awards: Fellow, American Academy and Music Patronage,” Early Music History Practice: Essays in Honour of Reinhard Stro- of Arts and Sciences, 2008; Slim (2007), (1992); “The Ferrara Connection,” Studi hm (Woodbridge, 2007); “Die isorhyth- Kinkeldey (2003), Einstein (1989) Awards, musicali (1989); “Music at the Margins in mische Motette und die Gedächtniskunst,” AMS; Haskins Medal, (2006), John Nicho- Early Modern England” (in preparation) Kongressbericht Weimar 2004, Musik und las Brown Prize (1995), Van Courtlandt Awards: Fellow, American Academy in kulturelle Identität (Kassel, 2007); Medi- Elliott Prize (1987), Medieval Academy of Rome, 1984; fellowships: American Philo- eval Music and the Art of Memory (Califor- America; grants and fellowships: Howard sophical Society (1993), ACLS (1989), NEH nia, 2005); “The Evolution of Rhythmic Foundation, 1996–97; Guggenheim, 1992; (1988), Fulbright (1984) Notation,” History of Theory (Cambridge, NEH, 1985, 1986–87, 1990; ACLS, 1986, Administrative Experience: Chair, Aca- 2002); “Die Rolle der Mündlichkeit in 1988; American Philosophical Society, demic Rights and Responsibilities Com- der Komposition der ‘Notre Dame-Poly- 1990; Martha Baird Rockefeller, 1982–83; mittee, University of Nebraska-Lincoln, phonie,’” Das Mittelalter (1998); “Notation Fulbright, 1981–82 1999–2000; Chair, Music History Search mensuraliste et autres systèmes de mesure Administrative experience: Council, Committee, 2005–06; College of Fine au XIVè siècle,” Médiévales, (1997); “Mne- Medieval Academy of America, 2006–08; and Performing Arts Executive Commit- motechnics and Notre Dame Polyphony,” Chair, Music Department, University of tee, 1997–2000, 2005–09; Medieval/Re- Journal of Musicology (1996); Mensuration Chicago, 1992–98, Winter 2008; Deputy naissance Studies Executive Committee, and Proportion Signs: Origins and Evolution Provost for Research and Education, Uni- 2006–; School of Music Executive Com- (Clarendon, 1993); “The Myth of diminu- versity of Chicago, 2001–04; President, In- mittee, 1992–95, 2000–01 tio per tertiam partem,” Journal of Musicol- ternational Machaut Society, 1997–99 AMS Activities: Secretary, 2007–09; ogy (1990); “The Problem of Diminished AMS activities: Co-chair, OPUS Cam- Communications Committee, 2007–09; Counterpoint,” Festschrift for Bonnie Black- paign, 2005–09; AHJ AMS 50 Fellowship Director at Large, 2005–07; AHJ AMS 50 burn, forthcoming Committee, 2000–01, Chair, 2001–04; Fellowship Committee, 2004–06; Review Awards: Lehman Visiting Professor, Villa Board of Directors, 1998–2000; Editorial Editor, JAMS, 2001–04; Program Commit- I Tatti, 2005–06; ASCAP Deems Taylor Board, JAMS, 1992–98; Publications Com- tee, 1998; Chair, Chapter Fund Committee, Award, 2006; Wallace Berry Award, Society mittee, 1990–95; Council, 1989–92; Chair, 1994–97, Chair 1995–96; History of the So- for Music Theory, 2005; Einstein Award, Local Arrangements Committee, 1991; Pro- ciety Committee, 1994, 1997–2001; JAMS 1991; fellowships: Guggenheim Founda- gram Co‑chair, Midwest Chapter, 1990–91; Editorial Board, 2000–01; Membership tion, NEH, Stanford Humanities Center, Committee on the Status of Women, and Professional Development Committee, Villa I Tatti 1984–86 2006–07 Administrative Experience: Chair, University of Califronia, Davis, Music Candidates for the Office Department, 2006–09; Executive Com- Candidate for the mittee of the College of Letters and Sci- Office of Secretary of Member-at-Large, ences, 2006–09; Committee for Academic Board of Directors Personnel, 2003–05; Critical Theory Ex- PAMELA F. STARR ecutive Committee, 2003–05; University Anna Maria Busse Berger Professor of Music History, University of of California, Davis, Committee for Aca- 2002 05 Nebraska Professor of Music, University of Califor- demic Personnel, – ; member, Da- Degrees: PhD, Yale University (1987); nia, Davis vis Humanities Institute Advisory Board, 1999 2002 MLS, Columbia University; BA, Harpur Degrees: PhD, Boston University, 1986; – ; Committee on Research, 1994 97 1998 2001 College MA, Trondheim University, Norway; BM, – , – ; Provost’s Advisory 1997 Research Areas: Music and music patron- Musikhochschule, Detmold, Germany Committee, ; Search Committee, Dean 1997 age at the papal court and other fifteenth- Research Areas: History of medieval and of Graduate School, ; Chair, Education 1995 97 century court institutions; music and music renaissance music and theory, music and Abroad Committee, – ; Graduate 1990 92 1994 97 patronage in sixteenth- and seventeenth- mathematics, music and memory Adviser, – , – ; panelist, NEH, century England; music and film Publications: Co-ed., Memory and Inven- Guggenheim Foundation, ACLS AMS Activities: Publications: “A Great Ornament and tion in Medieval and Renaissance Literature, Campaign Commit- 2004 1994 Pleasure: the Place of Music in the Edu- Visual Arts, and Music (Olschki, 2009); tee, –; Program Committee, , 2004 05 2005 cational Formation of Early Modern Eng- “Models of Composition in the Fifteenth – , Chair, ; Co-chair, OPUS 2004 lish Society,” Education Most Sovereign: Century,” Memory and Invention in Medi- Banquet, ; Einstein Award Commit- 1999 2001, 2001 The Teaching and Learning of Music in the eval and Renaissance Literature Visual Arts, tee, – Chair, ; JAMS Edi- 1998 2001 Renaissance (2009); “Musical Entrepreneur- and Music (Florence, 2009); “Arithmetic torial Board, – ; Committee for ship in Fifteenth-Century Europe,” Early and Mensuration and Proportion Signs,” Honorary and Corresponding Members, 1997 98 1995 97 Music (2004); “Teaching Music History in Progetto Notazione, Studi e Testi, Scuola – ; Council, – the Centrifugal Classroom” (2002); “Jos- di Paleografia a Filologia Musicale (Cre-

 AMS Newsletter Susan C. Cook eration Academic Leadership Program, search Council of Canada: Co-applicant 2006–07; Executive Director, University in the Major Collaborative Research Ini- Professor of Music and Women’s Studies, of Wisconsin– Madison Arts Institute, tiative, “Making Publics: Media, Markets Associate Dean for Arts and Humanities, 2005–07; Chair, University of Wisconsin and Association in Early Modern Europe, University of Wisconsin, Madison Gradu- Press Committee, 2005–07; Acting Direc- 1500–1700,” 2005–10; Principal Investiga- ate School tor, University of Wisconsin Press, 2005, tor, Standard Research Grant, “The Origins Degrees: PhD, University of Michigan, Departmental Director of Graduate Stud- of Imitation in the Josquin Era,” 2001–05; 1985; MA, University of Michigan, 1979; ies, 1999–2005; Society for American Music Co-investigator, Standard Research BA, Beloit College, 1977 Program Chair, 2002, Local Arrangements Grant, “Ingenious Repetition: Composi- Research Areas: Euro-American contem- Chair, 1995, Board Member, 1989–1991; tional Strategies in the Late Renaissance,” porary musics, gender and music, women member, faculty executive committees in 1995–2000 in music, Euro-American vernacular dance the School of Music, Women’s Studies De- Administrative Experience: Member of Publications: “Flirting with the Ver- partment, and Dance Program the Fine Arts Committee (3) for the 2007 nacular: Europe in the 1920s,” The Cam- AMS Activities: Membership and Profes- Social Sciences and Humanities Research bridge History of Twentieth-Century Music sional Development Committee, 2003–05; Council of Canada Standard Research (2004); “Don’t Fence Me In: The Pleasures Co-chair, Graduate Education Commit- Grants; Director of Graduate Studies, Fac- of Teaching ‘American’ Music’” Teaching tee, 2001–05; Brett Award Committee, ulty of Music, McGill, 2001–03; Contribut- Music History (Ashgate, 2002); “Gender 1999–2001; JAMS Editorial Board, 1995–98; ing Editor, Early Music America, 1995–96; and Sexuality,” The Garland Encyclopedia of Committee on the Status of Women, Program Committee, Canadian University World Music (2001); “Watching Our Step: 1988–1994, Chair, 1990–94 Music Society meeting, 1995; Book Review Embodying Research, Telling Stories,” Editor, Historical Performance, 1988–95 Audible Traces: Gender, Identity, and Music JULIE E. CUMMING AMS Activities: Review Editor, JAMS, (Carciofoli, 1999); “Passionless Dancing and 2004–08; Graduate Education Commit- Passionate Reform: Respectability, Mod- Associate Professor, Schulich School of tee, 2002–07; Performance Committee, ernism, and the Social Dancing of Irene Music, McGill University 2002–04, chair, 2003; Local Arrangements and Vernon Castle,” The Passion of Music Degrees: PhD, University of California, Committee, 1993; Council Outreach Com- and Dance: Body, Gender, Sexuality (Berg, Berkeley, 1987; MA, University of Califor- mittee, 1990–92; Council, 1989–91; Com- 1998); Co-ed., Cecilia Reclaimed: Feminist nia, Berkeley, 1982; BA, Barnard College, mittee on the Status of Women, 1986–89; Perspectives on Gender and Music (Illinois, Columbia University, 1980 Student representative to Council, 1984–85 1994); “George Antheil’s Transatlantic: An Research Areas: Medieval and Renais- American in the Weimar Republic,” Journal sance polyphony; the motet; Renaissance G. Yvonne Kendall of Musicology (1991); “Jazz as Deliverance: music printing; eighteenth-century opera The Reception and Institution of American Publications: “From Variety to Rep- Associate Professor of Music, University of Jazz during the Weimar Republic,” Ameri- etition: The Birth of Imitative Polypho- Houston-Downtown can Music (1989); “Der Zar lässt sich photog- ny,” Yearbook of the Alamire Foundation Degrees: DMA, Stanford University, raphieren: Weill and Comic Opera,” A New (Alamire, 2008); “From Chapel Choirbook 1985; MM, New England Conservatory of Orpheus: Essays on Kurt Weill (Yale, 1986); to Print Partbook and Back Again,” Cappelle Music, 1981; BS, Austin Peay State Univer- Opera for a New Republic: The Zeitopern of musicali fra corte, stato e chiesa nell’Italia del sity, 1976 Krenek, Weill and Hindemith (UMI, Roch- rinascimento, Atti del Convegno internazion- Research: Historical Dance and Dance ester, 1985); “‘In imitation of my negro ale Camaiore (Olschki, 2007); “Motet and Music, African American Music, Harlem mammy’: Alma Gluck and the American Cantilena,” A Performer’s Guide to Medieval Renaissance Prima Donna,” The Arts of the Prima Donna, Music (Indiana, 2000); The Motet in the Publications: “Renaissance Dance,” A 1720–1920 (Oxford, forthcoming); “‘Pretty Age of Du Fay (Cambridge, 1999); “Gluck’s Performer’s Guide to Renaissance Music (Indi- Like the Girl’: Gendering Character and Iphigenia Operas: Sources and Strategies,” ana, 2007); Review-article, Almain in Brit- Musicking Gender in Oklahoma!,” Contem- Opera and the Enlightenment (Cambridge, ain, c. 1549–c. 1675 (Payne), Music & Letters porary Theatre Review(forthcoming) 1995); “Music for the Doge in Early Renais- (2005); “Music, Dance and Theater in Late Awards: Fulbright Senior Distin- sance Venice,” Speculum (1992); “The God- Cinquecento Milan,” Early Music (2004); guished Professor, Netherlands, 2003; dess Fortuna Revisited,” Current Musicology “Ornamentation and Improvisation in Six- Hagley-Winterthur Arts and Industry Fel- (1980); “Petrucci’s Publics for the First Mo- teenth-Century Dance,” Improvisation in lowship, 1999; Society of Dance History tet Prints,” Making Publics: People, Things, the Arts (Kalamazoo, 2003); Review, Music Scholars Lippincott Prize, 1999; Susan Ko- and Forms of Knowledge (Routledge, forth- for a While: Music and Dance in Sixteenth- ppelman Award, Popular Culture Associa- coming); “Text Setting and Imitative Tech- century Prints (Vignau-Wilberg), Renais- tion/American Cultural Association, 1995 nique in Petrucci’s First Five Motet Prints,” sance Quarterly (2002); “Dance,” Encyclo- Administrative Experience: Associate On the Relationship of Imitation and Text pedia of the Renaissance, (New York, 1999); Dean for Arts and Humanities, University Treatment? The Motet around1500 (Brepols, “Significant Writings on African Ameri- of Wisconsin, Madison Graduate School, forthcoming) can Music Since 1968,” “African Ameri- 2007–; Society of Dance History Scholars, Awards: Schulich School of Music Full can Concert Music—1776–1861,” “African Board Member, 2006–, Program Chair, Time Teaching Award, 2007; Grants from 2005; Committee on Institutional Coop- the Social Sciences and Humanities Re- continued on page  February 2009  AMS Elections 2009 vestre Revueltas: sonidos en rebelión (Mexico cil, 2002–03 City, 2007); “Carlos Chávez, Silvestre Re- continued from page 13 vueltas y el ‘Renacimiento Azteca’,” Bo- LLOYD WHITESELL American Concert Music—1861–1919,” En- letín Música Casa de las Américas (Havana, Associate Professor, Schulich School of cyclopedia of African American Music (New 2003); “Carlos Chávez y la Construcción de Music, McGill University York, forthcoming) una alteridad estratégica,” Diálogo de Resp- Degrees: PhD, Stony Brook University, Awards: Texas Commission on the Arts landores: Carlos Chávez y Silvestre Revueltas 1993; MA, Stony Brook University, 1987; certificate for contribution to Baroque Fes- (Mexico City, 2002); “Mujeres musicólo- BA, University of Minnesota, 1982 tival in San Miguel de Allende, Mexico, gas de México,” Heterofonía (2000); “The Research Areas: Gender/sexuality; Brit- 2008; University of Houston-Downtown: American Composer of Western Art Music ten; Ravel; Joni Mitchell; film music; Award for Excellence in Faculty Service in the 1930s: A Study of Charles Seeger’s modernisms (2007), Faculty Development Grant (2007), and Carlos Chávez’s Social Thought,” Publications: The Music of Joni Mitch- Organized Research Grant (2004); NEH Foundations of a Modern Musicology: Un- ell (Oxford, 2008); “Trans Glam: Gender Summer Fellow, “Golden Age Spain,” 1995; derstanding Charles Seeger (Illinois, 1999); Magic in the Film Musical,” Queering the NEH Summer Fellow, “Italian Archival “Musical Identities, the Western Canon, Popular Pitch (Routledge, 2006); “Con- Sciences,” 1993; Pew Grant, 1991; Davidson and Speech About Music in Twentieth- certo Macabre,” Musical Quarterly (2005); College Faculty Summer Research Grants, Century Mexico,” International Hispanic “Twentieth-Century Tonality, or, Breaking 1989, 1991; University of North Carolina- Music Study Group Newsletter (1998); “Los Up Is Hard to Do,” The Pleasure of Modern- Chapel Hill Summer Research Grant, 1988; Escritos Periodísticos de Carlos Chávez: ist Music (Rochester, 2004); “Britten’s Dubi- Post-doctoral Fellowship, University of Una Fuente para la Historia de la Música ous Trysts,” JAMS (2003); “Harmonic Pal- North Carolina-Chapel Hill, 1986–88 en México,” Inter-American Music Review ette in Early Joni Mitchell,” Popular Music Administrative Experience: University 10 (1989); Música Mexicana Contemporánea (2002); Co-ed., Queer Episodes in Music and of Houston-Downtown: Coordinator for (Mexico City, 1982); Embracing Contradic- Modern Identity, (Illinois, 2002); “Ravel’s Music (1994–2001, 2004–), Departmental tion: Constructions of the Self in the Mexican Way,” Queer Episodes in Music and Modern Assessment Coordinator, University Faculty Musical Imaginary (Oxford, forthcoming) Identity; “White Noise: Race and Erasure in Affairs Committee Chair, University Rank Awards: Jury Chair, Premio Internacional the Cultural Avant-Garde,” American Mu- & Tenure Committee Chair (2006, 2007); de Musicología Otto Mayer-Serra, Mexico sic (2001); “A Joni Mitchell Aviary,” Women Board of Directors: Mercury Baroque City, 2008; UC-Mexus Grant, 2006–07; and Music (1997); “Translated Identities in (2003–04), Houston Early Music (1994–99; Grant adjudicator, United States-Mexico Britten’s Nocturne,” Repercussions (1997); secretary, 1996–99); Advisory Board, Hous- Trust for Culture (Fondo Nacional para la “Men with a Past: Music and the ‘Anxiety ton Ebony Opera Guild (1997–99) Cultura y las Artes [FONCA], Bancomer of Influence,’” 19th‑Century Music (1994); AMS Activities: President, Southwest and the Rockefeller Foundation), 1998, “Reckless Form, Uncertain Audiences: Re- Chapter, 2001–03; AMS Council, 1998; Lo- 1999; FONCA Research Fellowship, 1996; sponding to Ives,” American Music (1994) cal Arrangements Committee, 2003; Com- jury member, Premio de Musicología Casa Awards: AMS Publication Subventions, mittee on Cultural Diversity, 2003–06, Co- de las Américas, Havana, 1986, 1993; Mel- 2007, 2002; Social Sciences and Humani- chair, 2005–06; Committee on the Status lon Pre-doctoral Fellowships, 1992, 1994; ties Research Council of Canada Grant in of Women, 1997–98; Committee on Mem- Fulbright-Juárez Fellowship, 1989–91 Aid of Conferences, 2007; Prix Opus, Ar- bership and Professional Development, Administrative experience: Graduate ticle de l’année (Quebec), 2004; Humani- 2006–08 Advisor, Music Department, University of California, Riverside (UCR), 2005–08; ties Research Grant (McGill), 2004; Philip Brett Award (Gay & Lesbian Study Group, Leonora Saavedra Program Committee, Society for Ameri- can Music, 2008; Organizer, Encuentros/ AMS), 2002 Associate Professor of Music, University of Encounters 2007, “The Mexican Son: Eth- Administrative Experience: Co-organiz- California, Riverside nic Roots and Transborder Communities,” er, Feminist Theory and Music Conference Degrees: PhD, University of Pittsburgh, UCR, 2007; Housewright Dissertation 9: “Speaking Out of Place,” 2007; Co-orga- 2001; Maîtrise en Musicologie, Université Award Committee, Society for American nizer, “Exploring the Art and Music of Joni de Paris IV – Sorbonne, 1979 Music, 2004–05; Program Committee, So- Mitchell,” Symposium 2004; History Area Research areas: Twentieth-century Mexi- ciety for American Music, 2004; editorial Chair, Schulich School of Music, 2002–04 can art music and other living musical tra- boards, Pauta, Heterofonía, 1997–99; Direc- AMS Activities: Chair, Nominat- ditions, nationalism and its deconstruction, tor, Coordinación Nacional de Música y ing Committee, New York-St. Lawrence the critique of colonial discourse, music Opera, Instituto Nacional de Bellas Artes, Chapter, 2004; Council, 2000–02; Chair, historiography, the relations between music Mexico City, 1998; Head, Department of Council Nominating Committee, 2001; and the state, music and ideology Research, Centro Nacional para la Investi- Philip Brett Award Committee, 2000–01, Publications: “Staging the Nation: Race, gación, Documentación e Información Mu- 2003; Co-chair, Gay & Lesbian Study Religion and History in Mexican Opera sical (CENIDIM, Mexico City), 1981–82, Group, 1997–99; Co-ed., GLSG Newsletter, of the 1940s,” Opera Quarterly (2007); 1997–98; Director, CENIDIM, 1985–88 1993–96 “Chávez y Revueltas: la construcción de AMS activities: Robert Stevenson Award una identidad nacional y moderna,” Sil- Committee, 2006–08, Chair, 2008; Coun-

 AMS Newsletter AMS-Library of Congress Lecture Series

The American Musicological Society and have only scratched the surface of the vast the Music Division of the Library of Con- legacy of the twentieth century’s most pro- gress are continuing the series of lectures lific songwriter. That has become more ap- highlighting musicological research con- parent since 1992, when Berlin’s daughters ducted in the Division’s collections. The presented his papers to the Library of Con- next talk, scheduled for Thursday,26 March gress, creating new opportunities to reassess 2009, at 7 p.m., will feature Jeffrey Magee, a major figure in American music. In an ef- who will speak on the topic “Now It Can fort to amplify patterns in Berlin’s stage and Be Told: The Unknown Irving Berlin.” The screen career, the talk will aim to draw con- lecture will be illustrated with live musical nections among unknown (or little-known) examples presented by performers from the materials--including songs, scripts, ‘plot University of Illinois, Urbana-Champaign. treatments,’ and other notable documents-- Magee writes, “After Jerome Kern fa- and Berlin’s better-known work.” mously pronounced that ‘Irving Berlin is Open to the public, the program will be American music’ in 1925, Berlin continued held in the Library’s Coolidge Auditorium for several decades more to define many in the Jefferson Building, Library of Con- of America’s most distinctive musical idi- gress, Washington, D.C. oms, from Tin Pan Alley to Broadway to The first two lectures in the series, by Jeffrey Magee Hollywood. Berlin’s death twenty years Judith Tick and Annegret Fauser, are avail- ago at the age of 101 accelerated an ever- able in webcast form via the AMS Web site, sic Division’s collections to submit lecture expanding cottage industry of commentary, www.ams-net.org/LC-lectures. proposals. Further details of the series and reflection, and scholarship on a legendary The AMS Communications Committee instructions for those interested in submit- figure about whom it might have seemed and the LC Music Division invite all mem- ting a proposal are found at the Web site. there was nothing more to say. In fact, we bers of the Society who have used the Mu- —Patrick Macey

Committee News

Committee on the Annual Meeting Committee on Career-Related Issues ety members with experienced mentors to enhance their conference experience, con- The Committee on the Annual Meeting At the Nashville meeting the Committee tinues to flourish, and we thank the many (CAM) has been charged by the Board of on Career-Related Issues (CRI) launched volunteers for helping to make the program Directors with reviewing major compo- its “Work/Life Initiative” with a session on such a success. Watch for a call for partici- nents of the Annual Meeting, including (to “How to Raise a Career without Wrecking pants as the next meeting approaches. quote from the AMS Administrative Hand- Your Kids.” Our presenters included Walter We have begun to consider ways to up- book) “the guidelines and conventions that Frisch (Columbia University), Bonnie Gor- date our Web site to better serve the mem- govern such things as number of sessions, don (University of Virginia), Ellen Rosand bership. This will be a long-term project, length of papers, panels, study groups, (Yale University), and Wayne Heisler (The but ideally we hope to have links and ma- invited papers, plenary sessions, coordina- College of New Jersey). We will be follow- terials relevant to musicologists at various tion of policies affecting paper sessions and ing up with a session on dealing with aged stages of their careers. We would be grate- performance, and the like.” Outgoing com- family members in Philadelphia. Society ful for input: please feel free to drop me a mittee chair Walter Frisch oversaw a gath- members are encouraged to recommend note ([email protected]) or con- ering of information on the practices of topics for future sessions by contacting any tact any of the committee members with other scholarly societies of similar size, and member of the committee. suggestions. in December an e-mail message was sent to In our session on technology Michael The CRI is working on a session on grant all of our online members requesting their Cuthbert (MIT) and Jocelyn Neal (UNC, writing for next year’s meeting. We are also input. The Committee will make a prelimi- Chapel Hill) offered new perspectives on looking for the best way to bring back the nary report to the Board at its March meet- the integration of technology in research CV and Cover Letter Workshop for those ing, and we will continue to discuss issues and teaching. Our Master Teacher session interested in getting an objective critique of concerned with the meeting over the sum- featured Mary Natvig (Bowling Green State their materials. mer. If you have not already communicated University); a call for nominations for next Many thanks to all who helped make our with CAM, please send your thoughts to year’s presenter will be issued soon. (The 2008 presentations such a success. We look me ([email protected]) by 1 CRI’s co-sponsored sessions with the Peda- forward to more activities in Philadelphia! May. gogy Study Group are reported on p. 18.) —Jim Davis —Honey Meconi The Buddy Program, linking new Soci- continued on page  February 2009  Committee News decided that we ought to add a pair of stu- African-American woman composer of dent representatives to the MPD itself, in symphonies. The next volume scheduled, continued from page 15 recognition of the evident youth of our So- Songs from “A New Circle of Voices”: The Graduate Education Committee ciety, and the importance of representing as Sixteenth Annual Pow-Wow at UCLA, ed- many viewpoints as possible in our advice ited by Tara Browner, will be MUSA 20, At the Society’s annual meeting in Nash- to the Society on career and professional marking the halfway point in this projected ville, the Graduate Education Committee development issues. There will normally be forty-volume series. sponsored an open forum on the mentor- two students on the MPD, each serving a MUSA is funded by the AMS, the ing of theses, dissertations and student con- two-year term. They will be appointed by American Music Institute of the Univer- ference papers. Leta Miller (University of the Board from among the Student Chap- sity of Michigan School of Music, Theater, California, Santa Cruz), William Kinder- ter Representatives, and will seek advice and Dance, and the National Endowment man (University of Illinois, Urbana-Cham- and perspectives from their fellow student for the Humanities. (Last summer saw paign), and Thomas Irvine (University of representatives. the society win from NEH an operating Southampton) made presentations and led New projects underway in the com- grant—$110,000 in outright funds plus a lively discussion. Irvine’s presentation on ing year will include an array of interest- $20,000 in matching money—that will graduate education in Great Britain high- ing open forums during the Philadelphia continue through June 2011.) lighted the increasing internationalization meeting. The Graduate Education Com- Day-to-day operations of MUSA lie in of musicological studies—a topic that we mittee (see separate report) will convene a the hands of executive editor James Wier- will no doubt discuss more on future oc- session devoted to teaching and the gradu- zbicki, who has held the position since fall casions.We invite all interested members ate school experience. The Committee on 2003. Holding a Ph.D. in historical musi- (and especially directors of graduate stud- Career Related Issues will sponsor a set of cology from the University of Cincinnati, ies, coordinators of musicology curricula, panels and discussions on technology, life/ Wierzbicki worked for more than twenty and department chairs) to the next open work balance, a master teacher session, and years as chief music critic for the St. Louis forum at the 2009 annual meeting in Phila- (new this year) a project sponsored by the Post-Dispatch and other Midwestern news- delphia. The topic will be “teaching as part Pedagogy Study Group on outreach and papers. His scholarly interests focus on of the graduate experience.” We would also connections between musicologists and lo- questions of modernism and the postmod- like to remind readers of the Council of cal arts presenters or ensembles. ern, electronic music, and the use of music Graduate Schools’ 2004 “Resolution Re- We are also planning a variety of useful in films. In2005 Scarecrow Press published garding Graduate Scholars, Fellows, Train- resources that will be freely available to at- his monograph on the groundbreaking ees and Assistants.” Institutions may not tendees: a CV and Cover Letter Booth for electronic score for the 1956 film Forbid- require a response to their offers before 15 those seeking professional advice on the job den Planet. More recently, his Film Music: April. Those who learn of violations of this search, and also professional guidance on A History has been published by Routledge important principle should contact one of grant writing skills. We also expect to renew (2008). the Committee co-chairs: Ruth DeFord our call for applications for Travel Grants Dr. Wierzbicki would like to hear from ([email protected]) or Alexan- for those who would like to attend the an- any and all who might be contemplating der Rehding ([email protected]). nual meeting but have little or no institu- an editorial project in the field of American The resolution itself may be found via the tional support for conference travel. music. For ideas or questions about MUSA, committee’s Web site, www.ams-net.org/ Meanwhile we encourage members at large gec/. Finally, we offer thanks to outgoing to be in touch with their ideas on how we co-chair Daniel Melamed for his excellent might better serve their needs, either through work on the committee during the past the chair of the MPD, or through the chairs three years, and we extend a warm welcome of the individual committees. Contact infor- to Randy Kinnett as the committee’s new mation can be found on the AMS Web site. student representative. —Richard Freedman —Ruth DeFord and Alexander Rehding Committee on the Publication of American Music Membership and Professional Development Committee During the past six months, Music of the United States of America (MUSA), the so- The Membership and Professional Develop- ciety’s national series of scholarly editions, ment Committee met during the Nashville has brought out through A-R Editions two conference to discuss the work of our vari- new volumes. The first, MUSA 18, is Vir- ous constituent committees (Committee gil Thomson and Gertrude Stein: Four Saints on Career Related Issues, Committee on in Three Acts, edited by the late H. Wiley the Status of Women, Committee on Cul- Hitchcock and Charles Fussell: the first op- tural Diversity, and the Graduate Educa- era in our series. The second,Florence Price: tion Committee). This year we at last took Symphonies No. 1 and No. 3, edited by Rae a close look at the Survey of AMS mem- Linda Brown and Wayne Shirley (MUSA James Wierzbicki editing material bers, and (with the approval of the Board) 19), makes available two works by the first from Four Saints in Three Acts  AMS Newsletter he may be contacted at the University of Michigan: tel. (734) 647-4580; fax (734) Study Group News 647-1897; or e-mail [email protected]. initially conceived of the Study Group, or- —Richard Crawford Cold War Study Group ganizing its first meeting in 1993 (Montre- At the Nashville Annual Meeting, the Cold Publications Committee al), and for remaining at its helm without War and Music Study Group (CWMSG) hiatus these fifteen years. The Study Group As incoming chair of the Publications Com- presented a lively panel entitled “American promotes Iberian music, that is, music of mittee, I would first like to thank outgoing Music and the Global Cold War: Music (or descended from) Spain, Portugal, and chair Ruth Solie, who has worked very hard Crossing Borders,” organized by Danielle those parts of Latin America where Spanish Fosler-Lussier and moderated by Peter on the Committee over the past five years. or Portuguese is spoken. Schmelz. Panelists Emily Abrams Ansari, Although we receive many worthy sub- The Study Group now finds itself under Ryan Dohoney, Carol Hess, and Fosler- missions, we are able to subvent relatively the leadership of Walter Clark, who has of- Lussier discussed a range of ways in which few. In accord with our procedures, these fered Web facilities and graduate-student the Cold War and cultural globalization awards were recommended by the Publi- assistance courtesy of the University of Cali- affected the composition, reception, and cations Committee and approved by the fornia, Riverside. As the 2007 winner of the 2008 transmission of American music at home Board. Awards for the fiscal years and Robert M. Stevenson Award for outstand- 2009 and abroad. Our panel for the 2009 meet- include the following: ing scholarship in Iberian music, Clark par- ing in Philadelphia will focus on method- Vanessa Agnew, Enlightenment Or- ticipated in the Nashville panel discussion, ologies of researching music of the Cold pheus: The Power of Music in Other Worlds which featured all previous recipients of the War. (Oxford) award: Carol Hess (2004); Cristina Magal- As incoming chair, I wish to thank Billee Bonse-Mitchell, Margarita Mazo, di (2005); and Ken Kreitner (2006). Each CWMSG founder and outgoing chair Pe- and Olga Haldey, Igor Stravinsky’s Les Noc- identified the most compelling directions ter Schmelz for his successful efforts to fos- es in Sketches and Drafts [facsimile edition] for the future of Iberian music scholarship, ter exchange between scholars of Cold War (A-R Editions) such as challenges to received ideas on na- music and draw greater attention to Cold Ron Emoff, Music and the Performance of tionalism, continuing controversies over War issues within the AMS. I also welcome Identity on Marie-Galante, French Antilles chronology in Iberian music from around newly-elected members-at-large Sumanth (Ashgate) 1500, and the impact of the increasing Gopinath, Phil Ford, Lisa Jakelski, and Em- Roger Freitas, Portrait of a Castrato: Poli- numbers of Hispanic and Latino students ily Abrams Ansari. To join the CWMSG, tics, Patronage, and Music in the Life of Atto on the music history curriculum. The need view a directory of current members and re- Melani (Cambridge); the first publication to reformulate “American” music to include search, or learn more about the group’s past supported by the Donna Cardamone Jack- music “of the Americas” was also discussed and future activities, please visit our Web son Endowment in light of the new mission statement of the site, www.ams-net.org/cwmsg/. Larry Hamberlin, Tin Pan Opera: Operatic Society for American Music (SAM), which —Laura Silverberg Novelty Songs in the Ragtime Era (Oxford) incorporates this broader meaning. John Howland, Ellington Uptown International Hispanic Music Study Future projects for the Study Group in- (Michigan) Group clude formalizing contacts with our coun- Gundula Kreuzer, Verdi and German Cul- terparts in Europe and Latin America; es- ture (Cambridge) At the Nashville meeting, the International tablishing links with other societies in the Alejandro Madrid, Sounds of a Modern Hispanic Music Study Group celebrated the United States, such as the Society for Eth- Nation: Music, Culture, and Ideas in Post- fifteenth anniversary of its founding. Many nomusicology (Susan Thomas) and SAM revolutionary Mexico, 1920–1930 (Temple) of the forty-odd audience members pub- (Carol Hess); networking more extensively Gayle Sherwood Magee, Charles Ives Re- licly thanked William Summers for having with Spanish and Portuguese departments considered (Illinois) (team-teaching or offering music appre- Rebecca Maloy, Inside the Offertory: Aspects ciation classes tailored to Spanish majors); of Chronology and Transmission (Oxford) Peter Schmelz, Such Freedom, If Only Musi- disseminating less-than-accessible journals cal: Unofficial Soviet Music during the Thaw Timothy McGee, Civic Musicians and Re- from Latin America; and posting the papers (Oxford) publican Florence, 1282–1532 (Indiana); the for future Study Group sessions in advance. Derek Scott, Sounds of the Metropolis: first publication supported by the Martin Themes for future meetings—globalization, The 19th-Century Popular Music Revolution Picker Endowment (Oxford) race, gender, and historiography—are cur- Simon Morrison, The People’s Artist: Larry Stempel, Showtime: A History of the rently under consideration. A three-year Prokofiev’s Soviet Years (Oxford) Broadway Musical Theater (W. W. Norton) term for the Study Group coordinator was Jann Pasler, Composing the Citizen: Mu- Lloyd Whitesell, The Music of Joni Mitchell established, as was an interim advisory sic as Public Utility in Third Republic France (Oxford) board, on which Elizabeth LeGuin and (California) Iannis Xenakis, Music and Architecture: Alejandro Planchart have agreed to serve. Ronald Rodman, As Heard on TV: Form, Architectural Projects, Texts, and Realizations —Carol A. Hess Function, and Meaning in Classic Television (Pendragon) Music (Oxford) —Robert L. Kendrick continued on page 

February 2009  National Recording Preservation Disability and Music Study Group News Board At the AMS/SMT Annual Meeting in continued from page 17 If you have been to the Library of Congress Nashville, the SMT Interest Group on Dis- (LC) in the last year, you have probably ability and Music sponsored a panel discus- Pedagogy Study Group noticed that all 4 million of the recorded sion on “Scholars with Disabilities.” Ten of The Pedagogy Study Group (PSG) is pleased and visual materials have now been moved our colleagues spoke movingly about the to report on three events held regionally and to the new National Audiovisual Conser- ways in which disability has affected their nationally in 2008. Teaching Music History vation Center in Culpeper, Va. (www.loc. lives, careers, teaching, and scholarship. We Day, hosted by De­Pauw University on 13 gov/avconservation/). It is a state-of-the- hope to publish these papers, along with September, featured as its theme “Bringing art facility, if somewhat less convenient for several other disability-related papers from Music History into Focus.” Presenters ad- those visiting Washington D.C. One must the Nashville conference, in an appropriate dressed topics including teaching graduate make an appointment to listen to record- journal. Looking ahead to the solo confer- students, teaching performers, and cross- ings, although everything is available. Each ences in 2009, we are planning a session on disciplinary pedagogy. The event conclud- request is digitized in Culpeper and, yes, disability and performance for the AMS in ed with a keynote address by Melanie Lowe soon more places may become available for Philadelphia and a session on accommodat- (Vanderbilt University) and an open forum listening (see www.loc.gov/rr/record/ for ing learning differences in the music theory for discussion. Chapters interested in or- full details). classroom for the SMT in Montreal. ganizing a Teaching Music History Day in Members of the AMS are encouraged We continue to work to make our confer- their area next year may contact Jessie Fille- to suggest recordings for preservation in ences and all of our public activities (includ- rup ([email protected]) for more information. the registry, and I ask you to let me know ing our print and online publications) fully At the Nashville Annual Meeting, the about concerns pertaining to access and accessible. Our detailed list of recommen- PSG and the Committee on Career-Relat- copyright. dations and guidelines is under consider- ed Issues (CRI) jointly sponsored a session The quantity of free online materials, ation by the SMT Executive Board and the entitled “Reaching Out to Performance from manuscript scores to recordings and AMS Board of Directors. These guidelines, Majors in Music History Classes.” Four sheet music, grows every day, and not just and a great deal of additional information, presenters offered position papers targeting at the LC. One of my favorite new sites is are available on our Web site: web.gc.cuny. specific pedagogical philosophies or tech- the Cylinder Preservation and Digitization edu/disabilityinmusic/. niques: teaching with primary sources, con- Project at UC Santa Barbara (cylinders.li- One of our principal projects for the structing knowledge by engaging a musical brary.ucsb.edu), where one can search and coming year is to make our Web site an in- work’s “past” and “present,” exchanging immediately listen to cylinders. dispensable resource for teachers who have academic for performance-based models of If you are interested in starting a project students with disabilities in a class. history teaching, and treating both research using recording, I recommend the “resourc- If you would like to join the SMT Inter- and performance as creative, collaborative es” section of the Research Centre for the est Group on Music and Disability, please acts. The PSG co-sponsored a second ses- History and Analysis of Recorded Music join our e-mail discussion list: see the Web sion, “Diversity in the Music Classroom: Web site: www.charm.rhul.ac.uk. site for details. Confronting the Politics of Inclusion and The 2007 National Recording Registry If you would like more information or Access,” with the SMT Pedagogy Interest was announced in May 2008, and PBS has wish to get involved in any way with issues Group, SMT Disabilities Study Group, produced an excellent series of shows about related to disability and music, please con- and SMT Diversity Committee, which ad- featured recordings. They can be heard tact me at [email protected]. dressed the challenges and opportunities of at www.npr.org/templates/story/story. —Joseph Straus teaching students with diverse abilities and php?storyId=6392808 . cultural backgrounds. —José Bowen At the 2009 Annual Meeting in Philadel- Interested in AMS Committees? phia, the PSG will join the CRI and The Philadelphia Orchestra’s education depart- The president would be pleased to hear ment in a collaborative panel session ex- from members of the Society who wish ploring the relationship between musicol- Moving? to volunteer for assignments to com- ogy and general audience education. As mittees. Those interested should write symphony orchestras expand their edu- To send AMS mailings accurately, the Jane Bernstein, and are asked to enclose cational programs and utilize new media, AMS must receive notice of changes of a curriculum vitae and identify their the session will consider how a similarly ex- address at least four weeks prior to each area(s) of interest. mailing. panding range of musicological approaches AMS Jane Bernstein may help orchestras reach new audiences 6010 College Station Tufts University and enlighten existing ones. Brunswick ME 04011-8451 Granoff Music Center Information on past and upcoming PSG (207) 798-4243; toll free (877) 679-7648 20 Talbot Avenue events may be found at the group’s Web site, [email protected] Medford, MA 02155-5807 www.ams-net.org/psg/. www.ams-net.org [email protected] —Jessie Fillerup

 AMS Newsletter News Briefs

World premiere of Sergei Prokofiev’s Internet Resources News Humanities E-Books and Romeo & Juliet Musicology DDM-Online Update The restoration of the original 1935 version The first musicology books to be included of Prokofiev’s ballet Romeo and Juliet with Forty-four new or revised records (received in the ACLS Humanities E-Book project happy ending was premiered at the Bard as of 22 November 2008) have been add- have appeared in their latest release. The 4 2008 Festival on July , and will be tour- ed, bringing the total size of the database following works are included and avail- ing over the next year. The restoration is to 13,930 records. As part of our ongoing able online: Carl Dahlhaus, Analysis and the work of Simon Morrison (Princeton revision of older records, this update also Value Judgment; Laurence Dreyfus, Bach University); Leon Botstein (Bard College) includes the addition of hundreds of new and the Patterns of Invention; Thomas Ma- conducted the first performance. index numbers (for ProQuest/Disserta- thiesen, Apollo’s Lyre: Greek Music and Mu- sic Theory in Antiquity and the Middle Ages; * * * tion Abstracts, ProQuest/UMI, RILM Christopher Reynolds, Motives for Allusion: Not often does a play featuring a musi- Abstracts, and British Library Document Context and Content in Nineteenth-Century cologist hit Broadway: Bill Kinderman Supply) to the records for completed dis- Music; and Charles Rosen, The Romantic and Katherine Syer have worked in a va- sertations in the “General-Miscellaneous,” “Antiquity,” “Middle Ages,” “Renaissance,” Generation. riety of ways with Moisés Kaufman, across www.humanitiesebook.org several years, on the development of “33 and “Baroque” sections. Variations.” The main character (Kather- www.chmtl.indiana.edu/ddm Royal Academy of Music Online ine, played by Jane Fonda) is something of Images Collection a fusion of Bill and Katherine, and much Early Music America on the Internet more. This is an as-yet-uncatalogued but sorted Early Music America has established sites at and filed collection of postcards, mostly After its premiere in Washington D.C. YouTube, Facebook, and MySpace. 2007 from La Monnaie or Opéra Comique (Par- in August it was named the best new www.earlymusic.org play by the American Theater Critics As- is), dating from the first years of the twen- tieth century—about eight hundred images sociation. Details: www.eugene-oneill-the- Hampsong Foundation Song of ater.com in all. All the singers are in costume, but the America Wiki roles are rarely noted. This complements a * * * further collection of opera material, includ- This project seeks to identify representative ing images and over four hundred mostly- TheJuilliard Library and Archives will be (or otherwise remarkable) song and poetry English nineteenth-century playbills. closed for renovation during the summer of examples, especially Library of Congress www.ram.ac.uk/apollo 2009. The renovation and expansion, part manuscripts or significant prints, to be of the Juilliard/Lincoln Center Re-devel- digitized, illuminating the sweep of Amer- Science and Music opment project, will create a new scholars ican song during the past two and a half 2008 Nature reading room for The Juilliard Manuscript centuries. In the journal published a se- Collection, and add approximately 2,500 songofamerica.pbwiki.com ries on Science and Music, now available. square feet of new and renovated space to www.nature.com/nature/focus/ the existing facility. Details: www.juilliard. Hofmeister XIX Version 1.0 Now scienceandmusic/ edu/utilities/construction.html Available U.S. RISM: Music Searches of Data via Themefinder Now Available * * * This online searchable version of the TheYale University Library has announced Hofmeister Monatsberichte for the years The Center for Computer Assisted Research that it is has received a grant of $294,000 1829-1900 contains some 330,000 records in the Humanities at Stanford University from the Andrew W. Mellon Foundation to of music publications, and is the most ex- has added all data belonging to the U.S. support Yale’s Oral History American Mu- tensive resource for establishing what was RISM Project at Harvard University to sic project (OHAM). OHAM has recently published where and when during that pe- Themefinder, its online music incipit search produced two netcasts on the composers riod. Version 1.0 incorporates corrections, application. Over 55,000 records with text Aaron Copland and Charles Ives. improvements, and additional facilities. data and musical incipits are included. Details: www.yale.edu/oham www.hofmeister.rhul.ac.uk rism.themefinder.org

February 2009  Papers Read at Chapter Meetings, 2007–08­

Allegheny Chapter ception More Plain’? Narrative versus In- Adriana Martinez (Eastman School of Mu- 6 October 2007 terpretative Programs in Liszt’s Weimar sic), “Of Tourists, Indians, and Pioneers: Marshall University Works” Copland, Chávez, and U.S.-Mexico Re- Anders J. Tobiason (University of Wis- lations,” with panelists Esperanza Ber- Ivan Jimenez (University of Pittsburgh), consin, Madison), “Schoenberg’s Atonal rocál (Catholic University of America), “Harmony in Two of Machaut’s Motets: Music as Realist and Prophet (Refracted Deborah Lawrence (St. Mary’s College The Phenomenon of Intermittance and Its Through the Philosophies of Benjamin, of Maryland), Cristina Magaldi (Tow- Role in the Unconscious Aesthetic Valida- Adorno, and Attali)” son University), Deborah Schwartz-Kates tion of Machaut’s Style” Colin Roust (Oberlin College), “’L’Alouette (University of Miami), and G. Grayson Mary T. Ferer (West Virginia University), et l’hirondelle’: Nostalgia and Hope in a Wagstaff (Catholic University of America) “Ritual and Ceremony: Music in the Life Resistance Song Album” 12 April 2008 of a Renaissance Emperor” Mariana Whitmer (Center for American St. Mary’s College of Maryland John E. Crotty (West Virginia University), Music, Stephen Foster Memorial), “In- Caitlin Miller (Catholic University of “Adhering to His Artistic Morality: The venting the Western Film Score: Jerome America), “The Madrigals of Maddalena Form of Beethoven’s Ninth Symphony” Moross’ The Big Country” Casulana: Music According to a Male Grant W. Cook III (Heidelberg College), Franco Sciannameo (Carnegie Mellon Uni- Model?” “Dwight’s ‘Diarist’ and ‘John, a Portland versity), with pianist Donna Amato, “A Karen Lin Uslin (Catholic University of Boy’: The 1858 Trans-Atlantic Voyage of Rediscovered Piano Sonata by Giacinto America), “Las lágrimas, el agua y el es- Alexander Wheelock Thayer and John Scelsi (1905–1988): A Lecture/Recital” píritu de la revolución: Osvaldo Golijov’s Knowles Paine” Ainadamar” Colin Roust (Oberlin College), “Etre ‘Mu- Laura Youens (George Washington Univer- sicien français’: Georges Auric and French Capital Chapter sity), “Ung gay bergier and Musica Ficta” Musical Identity during the Occupation” 29 September 2007 Bonny H. Miller (Rockville, Md.), “Educa- Emily A. Bell (University of Florida), “Re- University of Maryland, College Park tion, Entertainment, Embellishment: Mu- vising the Synagogue Ritual: The Com- sic Publication in the Lady’s Magazine” missions of Cantor David Putterman at New York’s Park Avenue Synagogue” Olga Haldey (University of Maryland, Col- Tom C. Owens (George Mason Univer- lege Park), “From Meiningen to Meyer- sity), “‘Heart Attacks,’ ‘Low Sloughs,’ and Erica K. Argyropoulos (University of Kan- hold: Drama as Opera, Opera as Drama” ‘Slumps’: The Nature of Charles Ives’s sas), “Feminine Intuition: Musical Em- Illnesses and Their Effects on the Edit- powerment of the Oppressed Heroine in Natasha Zelensky (Northwestern Univer- ing and Performance of His Music in the Hitchcock’s Rear Window and The Man sity), “Remembering ‘Katiusha’: Soviet 1930s and ’40s” Who Knew Too Much” Music in the Russian Emigration during the World War II Era” Ronit Seter (Hebrew University of Jerusa- Erin Mulligan (University of Pittsburgh), lem), “Postmodernism in Israeli Music, “The History, Stakes, and Blindness of James M. Doering (Randolph-Macon Col- 1961–2006: Mordecai Seter’s Midnight Vig- the Musicological Discourse Regard- lege), “Good Intentions, Bad Timing: The il and Chaya Czernowin’s Zaide-Adama” ing Sexuality: Some Considerations and Special Piano Score for George Kleine’s Proposals” U.S. Release of Antony and Cleopatra (1914)” 19 April 2008 Greater New York Chapter Christopher Doll (Rutgers University), Kent State University 19 January 2008 “The Rogue Riff: Sex, Drugs, and Rock ’n’ Graduate Center Mark Alan Schulz (Great Tunes Multime- Roll as Melodic and Harmonic Gestures” dia, Inc.), “Origins and Interpretation City University of New York Deborah Schwartz-Kates (University of of Willibrord Joseph Mähler’s Portrait of Miami), “Ginastera in Washington: Cor- (Held in conjunction with Music in Gotham Ludwig van Beethoven” respondence with Copland, Seeger, and conference “The Nineteenth-Century Grant William Cook III (Heidelberg Col- Spivacke at the Library of Congress” Orchestra”) lege), “Alexander Wheelock Thayer, the G. Grayson Wagstaff (Catholic University Bethany S. Goldberg (Indiana University), ‘Diarist,’ and Foreign Correspondent: of America), “Renaissance, Colonial, Neo- “The Orchestral Potential of Bernard Ull- Beethoven’s Biographer as Choral Critic” Hispanic, or Other? Sixteenth-Century man’s Academy of Music” William E. Grim (Columbus, Ohio), “The Music in Early Colonial Mexico” John Graziano (CUNY Graduate Center), American Whig Interpretation of Music Elizabeth Keathley (University of North “The Invisible Entertainers: Theater Or- History” Carolina, Greensboro), “Buscando Adelita: chestras in New York City, 1850–1900” Matthew Baumer (Indiana University of Musical Representations of Revolutionary Jonas Westover (CUNY Graduate Center), Pennsylvania), “’To Render Their Per- Mexican Women” “From Faust to Paganini in China: The

 AMS Newsletter German Saloon Orchestra in New York Nicholas Johnson (Ohio State University), 26–27 April 2008 City during the 1860s” “The Influence of the Jesuits on Orlando Western Michigan University 1582 John Koegel (California State University, di Lasso’s Passion Settings of ” Emily Adamowicz (University of Western Fullerton), “The Sunday ‘Sacred Concert’ Jessica A. Shelvik (University of Illinois, Ontario), “Don Giovanni: The Musical and Orchestral Music in Later Nineteenth- Urbana-Champaign), “‘Pagan-Religious Work in Nineteenth-Century Aesthetic Century New York City” Merry-Making’: The Program(s) of Rim- Theory” Charles Frantz (Conservatory of Music, sky-Korsakov’s Svetlyi Prazdnik” Paul Killinger (Western Illinois University), Lawrenceville, N.J.) “Debussy, Bergson, Peter M. Alexander (University of Iowa), “Feminine Departures: Gestures of Power and Nature” “The Viennese Symphony at Mid-Centu- and the Suppression of Expressivity in Jo- Andrew Oster (Princeton University), ry as Reflected in the Works of Karl von sef Bohuslav Foerster’s Eva” “Music for Imaginary Theater: Hanz Wer- Ordonez” Brian Locke (Western Illinois University), ner Henze’s Ein Landarzt (1951) and the Timothy S. Flynn (Olivet College), “Newly “‘The End of Music’: Modernism, Phe- Postwar German Radio Opera” Discovered Works by Charles Gounod? nomenology, and Czech Operatic Aesthet- Tiffany Kuo (New York University), “Lu- Some Unique Manuscript Sources at ics in the 1920s “ ciano Berio in Cold War America” Northwestern University” James Borders (University of Michigan), 26 April 2008 Jerry M. Cain (University of Iowa), “We- “The Ritualization of Desire: Antiphons Graduate Center bern’s Encounter with Kraus on the Way- and Responsories for the Consecration of City University of New York ward ‘Path’ to Twelve-Tone Composition” Virgins” Keynote speaker: James Barron (The New Dina Lentsner (Capital University), “Kur- Richard Adams (University of Wisconsin- York Times), “The Steinway Piano Factory tág and Russian: The Secrets of a Happy Madison), “Genre in the Miserere: Com- and Musical Life in Nineteenth-Century Marriage” municating Social Values” New York” Anne Walters Robertson (University of Mary Paquette-Abt (Detroit, Mich.), “Bur- Karen Hiles (Columbia University), Chicago), Keynote Address, “The First ney’s ‘Historical Anthology’ and the Map- “Haydn, the Emperor, and the ‘Emperor’ Christ-Mass and the Beginning of the Cy- ping of Contemporary Cultural Terrain” Quartet” clic Mass in England” Karen Fournier (University of Michigan), Daniil Zavlunov (Princeton University), Aaron Ziegel (University of Illinois, Ur- “The Social Construction of the Listener” “From Ornament to Form: Glinka’s Varia- bana-Champaign), “Chasing Schumann’s George Harne (Magdalen College), “The tion Methods in A Life for the Tsar (1836)” Papillons: A Poetic Perspective on the Truth Content of Musical Works: Ador- Symphony in G Minor” Joseph S. Kaminski (Long Island Univer- no, Benjamin, and the Relation between sity and Fordham University), “Surrogate Jean Marie Hellner (Concordia College), Analysis and Criticism” Speech, Hocket, & Sound Barrage: Mu- “Orchestration, Reorchestrations, and Rebecca Bennett (Northwestern Universi- sical Structure in Asante Ivory Trumpet Misinterpretations: A Critical Study of ty), “Virgil Thomson and Theodor Ador- Music” Robert Schumann’s Narrative Strategy in no: An Unlikely Team Fights an ‘Apprecia- His Symphony in D Minor, op. 120” Blake Howe (CUNY Graduate Center), tion Racket’” “Lecherous Old Men, A Mute Soprano, Yu Choi Dahn (University of Iowa), “The John Hill (University of Illinois, Urbana- and Porpora in Gaspare Traversi’s Music Novel Jucunde’s Influence on the Cre- Champaign), Keynote Address, “A Small Lesson” ation of Clara Schumann’s Sechs Lieder aus Selection from among the Many Things ‘Jucunde’ von Hermann Rollett” Erica Scheinberg (Westminster Choir Col- That I Still Do Not Know about Baroque lege), “The Voice in the Machine: Sub- Roundtable: “Music History in Con- Music” jectivity and Technology in Max Brand’s text: Teaching Strategies”: Jessie Fillerup Julio Gonzalez-Appling (Tiffin University), Machinist Hopkins” (Washburn University), “Cage and the “The Ox in the Concert Hall: Jazz Identity Chaotic Classroom: Pedagogy for the and La Création du monde” Avant-Garde”; Per F. Broman (Bowling Brian D. Hoffman (University of Cincin- Midwest Chapter Green State University), “The Good, the nati), “If I Loved You: Problems and Solu- True, and the Professional: Teaching Mu- 6–7 October 2007 tions in the First-Act Love Songs of Rich- sic History in an Age of Excess”; James National-Louis University ard Rodgers” Briscoe (Butler University), “Music His- Nicole Biamonte (University of Iowa), tory Teaching by Touchstone”; Matthew Paul Anderson (University of Michigan), “Chopin’s E-minor Prelude and Bach’s Balensuela (DePauw University), “Music “Jazz for Lovers: The Question of Mood ‘Crucifixus’” History/History of Theory: Dynamic Ten- Music in Jazz Studies” Stephanie P. Schlagel (University of Cincin- sions Between Theory and Composition Stephanie Frakes (Ohio State University), nati), “Josquin des Prez’s Missa L’homme in the Classical Era” “What’s in a Word? An Investigation into armé super voces musicales and Its Compo- Chopin’s Cantabile” sitional Cousins” Christopher M. Scheer (University of Michigan, Dearborn), “‘Significant Form’:

February 2009  Gustav Holst on the Composer and Music Ralph Locke (Eastman School of Music), Pacific Northwest Chapter in the Modern World” “Unrecognized Exoticism in Debussy: The 11–13 April 2008 John Schuster-Craig (Grand Valley State Incidental Music for the Martyrdom of Green College University), “Self-Quotation in the Later Saint Sebastian (1911)” University of British Columbia Works of Sir Michael Tippett” Marie Sumner Lott (Eastman School of Jacob Cohen (University of Washington), Music), “‘Progressive’ Style in the A-minor “Between Two Worlds: Aaron Cop- String Quartets of Felix Mendelssohn and land’s Brooklyn and the Musical Place of New England Chapter Norbert Burgmüller” Vitebsk” 2 February 2008 Colleen Renihan (University of Toronto), Robert Mensel (University of Oregon), “Af- Smith College “‘His skin is dark and his words are strange finity Music: New Music for Gay, Lesbian, Clare Robinson (Hampshire College), “Jos- music’: The Heroic Immigrant’s Height- and Feminist Choruses as a Genre” quin des Prez and the Functions of Six- ened Double-consciousness in John Es- teenth-Century Print Culture” tacio’s Filumena and Ramona Luengen’s Jeffrey Warren (Trinity Western College), “Listening in Improvisation” Jessica Getman (Boston University), “Re- Naomi’s Road” writing Joconde: The Development of an Charlène St-Aubin (University of Toronto), Elizabeth Knighton (University of Wash- Eighteenth-Century French Timbre” “Nostalgia, Patriotism, and Parisian En- ington), “‘We Shall Play Great Music’: Mary Davenport Engberg as a Pioneering W. Anthony Sheppard (Williams College), tertainment: A Significant Intersection in Conductor and Educator in the Pacific “Tan Dun’s Operatic Films and Cinematic Francis Poulenc’s Oeuvre” Northwest” Opera” Marilyn Smiley (SUNY, Oswego), Kendra Rutgers (Western Washington Andrea Olmstead (Boston, Mass.), “The “‘Don’t Fence Me In’: Refugees from the University), “From Rameau to Kostka Secret Program of Sessions’s Third Holocaust” and Payne: Historical Roots or Orthodox Symphony” Neal Zaslaw (Cornell University), “Facts, Canon?” Michael Campbell (Westerly, R.I.), “Be- Factoids and Myths about Da Ponte’s and Mozart’s Don Giovanni in Prague” Jane Ellsworth (Eastern Washington Uni- yond AABA: Formal Integration in Late versity), “New Light on the Instrumental- 1930 Scott Perkins (Eastman School of Music), s Popular Song” ist in Early America” “‘Voices of Boys’: The Influence of Brit- 26 April 2008 Laura Basini (California State University, Clark University ten’s Missa brevis on his War Requiem” (re- cipient of the Student Paper Prize) Sacramento), “Manon Lescaut and the Evan Philip Cortens (Boston University), Myth of America” Cindy L. Kim (Eastman School of Mu- “The Inauguration Cantatas of C. P. E. sic), “‘Beauty’ Revealed: Stendhal’s Nude Christina Gier (University of Alberta), Bach” Woman and Vellutti’s Ornamentation” “Music, Masculinity and ‘Whiteness’ in Virginia Newes (Cambridge, Mass.), “Male America during World War I” Dillon R. Parmer (University of Ottawa), and Female Voice in a Pair of Lais by Guil- “Music Research N/A: From Technical to Leann Wheless (University of Washing- laume de Machaut” Artistic Rationality” ton), “Transformation and Mediation: Tobias Huenermann (University of New The Character and Music of Ecclesia in Jacynthe Hartrand (Université de Montré- Hampshire), “Synthesis and Transforma- the Play of the Antichrist” al), “Popular Music and Popular Litera- tion: Luciano Berio’s Coro (1975–76)” ture: The Songs of Mathieu Gascongne in Tyler Kinnear (University of Oregon), Benjamin Korstvedt (Clark University), the Manuscript Cambridge, Magdalene “Similarities in Machaut’s Ma fin est mon “Brahms and Walter Benjamin’s ‘Angel of College, Pepys 1760” commencement and the Gothic Architec- History’” ture of the Reims Cathedral” Honey Meconi (Eastman School of Music/ Matthew Morin (Tufts University), “’The University of Rochester), “The Rochester Jessica Herdman (University of British Co- Keys to the Castle’: An Ethnographic Fascicle and the Afterlife of Manuscripts” lumbia), “Zarlinian Modality in Claude Study of Nadia Boulanger’s Pedagogy” Le Jeune’s Dodecacorde” Matthew Morrow (Eastman School of Mu- sic), “‘Some Clouds, That is All’: Diver- Jennifer Paulson (University of British Co- New York State–St. Lawrence gent Expressive Content in Liszt’s Nuages lumbia), “Chabrier’s Minka and the Com- ic Exotic” Chapter gris and Debussy’s Nuages” Geoffrey Wilson (University of British Co- 29–30 March 2008 David Rosen (Cornell University), “‘Pigri ed obesi dei’: Religion in Puccini’s Operas” lumbia), “Debussy and the Parnassian Po- Eastman School of Music, ets: The Case of Théodore de Banville” University of Rochester Stephen Meyer (Syracuse University), “Il- lustrating Transcendence: Franz Stassen Jonathan Goldman (University of Victo- Catherine Mayes (Cornell University), “A and fin-de-siècle Reception of Wagner’s ria), “What does Coulez have to say about Style hongrois at the Turn of the Nine- Parsifal” Spectralism?” teenth Century?” Anna Levy and Gregory Myers (Port Moody, BC), “A Dialogue Unrealized: Konstantin

 AMS Newsletter Iliev’s 1968 Fragmenti and the Emergence Rocky Mountain Chapter Stephanie Doktor (University of Georgia), of Bulgaria’s Modern Musical Voice” 28–29 March 2008 “Covering the Tracks: P. J. Harvey, Björk, Ed Jurkowski and Deanna Oye (University Utah State University and The Rolling Stones’ ‘Satisfaction’” of Lethbridge), “Interpretive Challenges David Haas (University of Georgia), “Ap- Keynote address: Jonathan Bellman (Uni- in Four-Hand Works from György Kur- plied Psychological Criticism: The Varied versity of Northern Colorado), “Style tág’s Játékok” Musical Experiences of Glinka’s Ratmir” Awareness and the Value of Intuitive Samantha Barnsfather (University of Flor- Listening” Stephen Valdez (University of Georgia), ida), “Karol Szymanowski’s Słopiewnie: “Affektenlehre and Contrast in ‘A Day in John Brobeck (University of Arizona), “Mu- Twentieth-Century Polish Nationalism” the Life’” sic and Musicians at the Court of Henri II (r. 1547–1559): A Preliminary Report” Vivian S. Montgomery (University of Cin- cinnati), “‘Brilliant’ Variations on Senti- Pacific Southwest Chapter Joel Schwindt (Benson, Ariz., Public mental Songs: Slipping Piano Virtuosity Schools), “Marc-Antoine Charpentier: A 6 October 2007 and Invention into the Antebellum Draw- Stranger in His Own Land” Pomona College ing Room” Deborah Kauffman (University of North- James Edwards (UCLA), “‘For the Sake of Mona Kreitner (Rhodes College), “‘Vissi ern Colorado), “A Tale of Two Girls’ the Nation, Chant the Sutra’: Spiritual d’arte’ (1911) and Sousa’s Vocal Arranging Schools, or What Athalie can tell us and Political Esotericism in Ninth-Centu- Practice” about Dido” ry Japanese Buddhist Chant” Laura Moore Pruett (Middle Tennessee Amy Holbrook (Arizona State Universi- Alejandro Planchart (University of Califor- State University), “‘Pianistomonambulist! ’: ty), “Some Negative Lessons in Mozart’s nia, Santa Barbara), “Guillaume Du Fay’s Gottschalk and the Civil War” Musical Joke” Songs and the Circle of Molinet” John Bass (University of Memphis), “In- Christie Steadman (University of Utah), Margot Martin (Mount San Antonio Col- tellectual Structure and Regional Style in “Idée fixe: Obsession or Musical Motif?” lege), “The Rhetoric of Mouvement and Sixteenth-Century Ornamentaion” Holly Focht (University of Denver), “‘A Passionate Expression in Seventeenth- Christine Boone (University of Texas, Aus- Mouth, a Consciousness, and a Voice’: Century French Harpsichord Music” tin), “Analyzing the Rutles: The Music and Manifestations of Wotan’s Psyche through Graydon Beeks (Pomona College), “Han- Identity of the Pre-Fab Four” Wagner’s Orchestral Writing” del in Aberdeen: Mr. John Smith and the Jonah M. Chambers (University of Tennes- Kelly Dean Hansen (University of Colo- Littleton Handel Collection” see), “‘My Heart Has My Eyes Have Me’: rado), “The Brahms Vocal Ensembles and Deborah H. How (University of South- Male Self-Objectification in Courtly Love the Tradition of ‘Hausmusik’” ern California), “Schoenberg Reveals Lyric” Susan Neimoyer (University of Utah), “Af- the Twelve-Tone Method: Conflicts and Justin C. Underwood (University of Ten- ter the Rhapsody: George Gershwin in the Conundrums” nessee), “Wisdom, Worthy Song, and No- Spring of 1924” Kathryn Pisaro (Cal Arts), “It’s Loud In bility: On Behl Deport as the Virgin Mary Here: The Social ‘Dynamics’ of Experi- Carey Cheney (University of Utah), “Use in the Early Cansos of Guiraut Riquier” of Cantoric Prayer Modes in Three Psalms mental Music” Rachel May Golden (University of Tennes- for Violoncello and Orchestra (1933) by 16 February 2008 see), “Music & the Countess’s Bedcham- Frederick Jacobi (1891–1952)” Mount St. Mary’s College, Los Angeles ber: Representation, Gender, and Court- Amy Puett (Texas State University), “On Julius Reder Carlson, “‘Jewish’ and ‘Chris- liness in Turn-of-the-Twelfth-Century the Reception of East German Music in France” tian’ Understandings of Mendelssohn’s the United States” Elias” Janet K. Page (University of Memphis), “‘A Luke Howard (Brigham Young University), Basil Considine (Boston University), Lovely and Perfect Music’: Maria Anna “Albinoni’s Adagio: So Pop It Can’t Be von Raschenau and Music at the Viennese “Death by Education: The Soviet School Classical” System and the Decline of Armenian Folk Convent of St. Jacob” Song” Felicia M. Mayakawa (Middle Tennessee Jeremy Mark Mikush (UCLA), “Mezzo South-Central Chapter State University),“Modern (Electronic, Carattere as Camp in the Role of Donna March 2008 Jewish, and Gay) Motherless Children” Elvira” University of Kentucky Alyson McLamore (Cal Poly, San Luis Raleigh Dailey (University of Kentucky), Southeast Chapter Obispo), “‘Bad Music and Bad Musicians’: “Back to the Future: Borrowing from the 9 February 2008 The Wesleys and the Dilemmas of English Past in Avant-Garde Jazz” University of North Carolina, Charlotte Concert Life” Leslie C. Gay, Jr. (University of Tennes- Samantha Ryan Barnsfather (University of Robert Stevenson (UCLA), “To Review, or see), “Expressions of Danish Modernity Not to Review: That is the Question” Florida), “Karol Szymanowski’s Słopiewnie: through Jazz in the Film Danmark” Twentieth-Century Polish Nationalism”

February 2009  Felix Cox (East Carolina University), Emulation and Religious Politics in Juan Texas), “Polychoralism as Culture: Ideo- “George Antheil’s A Jazz Symphony: An de Esquivel’s Ave Domini mei mater” logical Representation in Andrea Gabri- American Petrushka” Tony Fonseca (Nicholls State University), eli’s Lepanto Concerti” Daniel Goldmark (Case Western Reserve “Music to Our Fears: Challenging Formu- Stuart Cheney (Southern Methodist Uni- University), “Sing Me a Love Song: Creat- laic Horror Film through Sound” versity), “The Viol in Sixteenth-Century ing Popular Songs on Tin Pan Alley” Brian Holder (University of Florida), “Par- France” Aaron S. Allen (The University of North ody and Politics in George L. Cobb’s Rus- Gregory Barnett (Rice University), “The Carolina at Greensboro), “The Recep- sian Rag” Violoncello de Spalla and the Eccentrici- tion of Beethoven’s Instrumental Music in Zoe Lang (University of South Florida), ties of Historical Performance Practice” Italy” “Johann Strauss Jr.’s Emperor Waltz (1889) Christopher Phillpott (Texas Christian Elizabeth Terry (Duke University), “Schu- as Cultural Symbol” University), “French Stylized Dance and bert’s Winter: Nostalgia in Poetic Settings Jason Hobratschk (Florida State Univer- the Fifth Cello Suite of J. S. Bach” by Ernst Schulze and Wilhelm Müller” sity), “Werner Egk’s Joan von Zarissa” Elissa Stroman (Texas Tech University), Angela R. Mace (Duke University), “Hunt- Joanna Cobb Biermann (University of Ala- “The Fourfold Image of the Nineteenth- ing in the Nineteenth-Century Salon: bama), “Nazi Operas? Werner Egk’s Zau- Century ‘Piano Girl’” Ludwig Berger, Fanny Mendelssohn, Franz bergeige and Peer Gynt” April L. Prince (University of Texas, Aus- Schubert, and Die schöne Müllerin” Amy Zigler (University of Florida), tin), “Stirring Quite a Peculiar Feeling: Vi- Joan M. Titus (University of North Caro- “‘Something Yet Unvoiced’: A Stylistic sual Evidence in the Early Stages of Clara lina, Greensboro), “A Modernist Means Examination of Ethel Smyth’s Sonata for Wieck Schumann’s Career” to a Socialist End: Dmitry Shostakovich’s Cello and Piano in C Minor as a Singular L. Christine Amos (University of Texas, Score to Odna (Alone, 1931)” Perspective into Late Nineteenth-Century San Antonio), “Milhaud’s Compositional Kevin Bartig (University of North Caroli- Romanticism” Techniques and the 1920s Polytonality na, Chapel Hill), “A Theory of Opposites: Silvio dos Santos (University of Florida), Debate” Audiovisual Dissonance in Prokofiev and “Constructing Identity: The Case of Alwa 11 October 2008 Eisenstein’s Ivan the Terrible” in Alban Berg’s Lulu” Texas State University, San Marcos Tina Huettenrauch (Louisiana State Uni- Aaron Carter-Cohn (Texas State University, Southern Chapter versity), “The Mise en scène of Rossini’s Le San Marcos), “Musorgsky’s St. John’s Night: Siège de Corinthe and the Conventions of 29 February – ­1 March 2008 A Comparison of Three Related Scores” Staging at the Paris Opéra in the 1820s” Louisiana State University Ilka Vasconcelos Araújo (Fort Worth, Tex.), Stephen Thursby (Florida State University), “Marlos Nobre and Serialism: the Com- Scott Warfield (University of Central Flori- “Alfred Roller’s Initial Sketches for the poser’s Personal Approach through Selec- da), “Like Father, Like Son, or Something 1903 Vienna Tristan” tive Orchestral Works” More?: Franz Strauss’s ‘Copies’ of His Son’s Mitsuko Kawabata (University of Mi- 4 Manuscripts” Laurie Shulman (Dallas, Tex.), “August , ami), “Argentine Change and Continu- 1964: Birth of an Oratorio” William Horne (Loyola University), “Late ity: Representations of the Gaucho in the Beethoven and ‘the First Power of Inspira- Guido Olivieri (University of Texas, Aus- Early National Circus and Contemporary tin), “Teaching Historical Performance tion’ in Brahms’s Variations on an Original Theater” 21 1 Practice in the Twenty-first Century” Theme, op. , no. ” Melissa Goldsmith (Nicholls State Univer- Bryan Proksch (McNeese State Univer- Nico Schüler (Texas State University, San sity), “The Miami Herald versus Jim Mor- Marcos), “On Problems of Music Histo- sity), “Vincent d’Indy as Harbinger of the rison?: The Newspaper’s Controversial ‘Haydn Revival’” riography: Daily Newspapers and Music Coverage of The Doors’ Miami Concert” Dictionaries as Sources for a History of Kathleen Sewright (Rollins College), Music Reception” “‘Shadow Chansonniers’ in the Vérard Print Le Jardin de plaisance et fleur de re- Southwest Chapter Ryan R. Kangas (University of Texas, Aus- thoricque (c. 1501): Part II” 29 March 2008 tin), “Mahler, Freud, and the Wayfarer” Edward Hafer (University of Southern University of Houston Randy Kinnett (University of North Tex- as), “David Josef Bach and the Viennese Mississippi), “Vita brevis, ars longa: The Ian Rollins (Texas Tech University), “Mon- Workers’ ‘Conquest’ of Mahler” Transience and Transcendence of Music in go Santamaria, Armando Peraza, and Wil- Seventeenth-Century Vanitas Imagery” lie Bobo: The Impact of the Afro-Cuban Margaret Eleanor Menninger (Texas State Michael O’Connor (Palm Beach Atlantic Diaspora” University, San Marcos), “Repertoire and Socialism: Concert Reviews in the University), “An Immaculate Deception?: Masataka Yoshioka (University of North Leipziger Volkszeitung”

 AMS Newsletter AMS Awards, Fellowships American Musicological Society, Inc. Statement of Activities for the Fiscal Year Ending continued from page 10 June 30, 2008 Alfred Einstein Award for an outstanding Endowment: Fellowships, article by a scholar in the early stages of her Current Awards, or his career Revenue operations Publications Undesignated TOTALS Deadline: 1 May Dues & subscriptions $ 337,515 $ 337,515 Otto Kinkeldey Award for an outstanding Annual meeting $ 124,532 $ 124,532 book by a scholar beyond the early stages of Sales/Royalties $ 40,664 $ 7,061 $ 47,725 her or his career Government grants $ 98,333 $ 98,333 Deadline: 1 May Contributions $ 136,156 $ 143,438 $ 279,594 Investment income $ 8,761 $ 35,208 $ 123,783 $ 167,752 Lewis Lockwood Award for an outstanding Unrealized loss in investment $ (16,961) $ (59,631) $ (76,591) book by a scholar in the early stages of her or his career Total revenue $ 511,472 $ 259,797 $ 207,590 $ 978,859 Deadline: 1 May

Expenses Music in American Culture Award for an Salaries & benefits $ 125,902 $ 125,902 outstanding book on music of the U.S. Fellowships & awards $ 1,839 $ 50,468 $ 72,000 $ 124,307 Deadline: 1 May Dues & subscriptions $ 3,659 $ 3,659 Claude V. Palisca Award for an outstanding Publications $ 120,894 $ 120,894 edition or translation Professional fees $ 92,813 $ 71,957 $ 164,770 Deadline: 1 May Annual meeting $ 98,535 $ 28,296 $ 126,831 Chapters $ 7,886 $ 7,886 H. Colin Slim Award for an outstanding ar- Office expense $ 68,569 $ 1,685 $ 70,254 ticle by a scholar beyond the early stages of her or his career Total expenses $ 520,097 $ 124,110 $ 100,296 $ 744,503 Deadline: 1 May

Change in Net Assets $ (8,625) $ 135,687 107,294$ 234,356 Ruth A. Solie Award for an outstanding col- lection of essays Deadline: 1 May Statement of Financial Position Robert M. Stevenson Award for outstanding June 30, 2008 scholarship in Iberian music Endowment: Deadline: 1 May Fellowships, Current Awards, Philip Brett Award of the LGBTQ Assets Operations Publications Undesignated TOTALS Study Group for outstanding work in gay, Cash $ 150,730 $ 150,730 lesbian, bisexual, and transsexual/transgender Accounts receivable $ 1,422 $ 1,422 studies Investments $ 737,577 $ 2,584,039 $ 3,321,616 Deadline: 1 July Equipment $ 18,945 Funds held in trust $ 13,863 $ 9,130 $ 22,993 Jan LaRue Fund for research in Europe Deadline: 27 July Total assets $ 166,015 $ 756,522 $ 2,593,169 $ 3,515,706 MPD Travel Fund to attend the Annual Meeting Liabilities Deadline: 27 July Accounts payable $ 1,485 $ 1,485 Accrued expenses $ - Noah Greenberg Award for outstanding per- Payroll taxes payable $ - formance projects Deferred Income $ 12,085 $ 12,085 Deadline: 17 August Funds held in trust $ 13,863 $ 9,130 $ 22,993 Eileen Southern Travel Fund to attend the Total Liabilities $ 27,433 $ 9,130 $ 36,563 Annual Meeting Deadline: 25 September Net assets $ 138,582 $ 756,522 $ 2,584,039 $ 3,479,143 Paul A. Pisk Prize for an outstanding paper presented by a graduate student at the Annual Total Liabilities & Net assets $ 166,015 $ 756,522 $ 2,593,169 $ 3,515,706 Meeting Deadline: 1 October Total Liabilities & Net Assets, June 30, 2007: $ 3,510,046

February 2009  Executive Director’s Report

It has been twenty-five years since Richard ways had: with fountain pen on white pa- for a long time, as Neil Postman observed Crawford wrote “President’s Input: The per. On the table to his right, occupied for a number of years ago in Technopoly: The Musicologist’s Dream (1984)” in the Febru- the past dozen years by his trusty Olympia Surrender of Culture to Technology (1992). ary 1984 AMS Newsletter (p. 2; see www. portable, sat a new machine. He flicked There is Orwell, of course; but one of my ams-net.org/nl for the PDF). He whimsi- a switch; its screen lit up with a greenish favorite similar critiques appeared some- cally mused on the changes coming with glow. Somewhere, the Spirit of the Future what earlier: Plato’s Phaedrus (360 BCE), the advent of computers by imagining a nodded with satisfaction, while the Spirit of in which the advent of technology (in the dialogue between the Spririt of the Past and form of writing speeches down rather than the Spirit of the Future in the mind of a memorizing them) is also lamented. I won- dreaming scholar: der: is it part of being human to carry the “Past: computer jargon is a symptom of dialogue between past and future with us at something bigger—of a loosening of in- every step? In a way, it helps soothe worries tellectual control that can creep in while about the future to think so. scholars are gloating over the power these And (if it is not too much of an intellec- contraptions give them and the time they tual leap) we in the discipline of musicolo- save. gy are well-placed to consider these matters. “Future: So the scholar fears that com- the Past, accustomed to setbacks but stung Music is elemental to humanity, and new music, new performance, new modes of puters will ‘take over’ scholarship? by one so unexpected, set out to bolster listening bring pleasure occasionally mixed “P: Not take it over in the science-fiction morale in remaining pockets of computer with fear. Musicologists understand this in sense. But change it—perhaps not entirely illiteracy.)” unique ways. Our objective—coming to a for the better—in less noticeable ways, just Computers now run the world, and we deeper understanding of music’s dangers as as electronic technology has changed peo- are hard-pressed to imagine life without well as delights—is an important facet of ple’s perceptions of the world... them. And of course their omnipresence has the ongoing conversation between past and “(Not long after awakening, the sleeper not come without a cost. But the dialogue future. found himself at his desk, writing as he al- between past and future has been going on —Robert Judd

AMS Legacy Gifts

Sarah Jane Williams (1923–1986)

Otto Kinkeldey, Paul Pisk, Dragan Plamenac, Gustave Reese, Lloyd Hibberd, Manfred Bu- kofzer, Sarah Jane Williams, Lenore Coral—very different people with one thing in common: they remembered the American Musicological Society in their planned giving. Here is the second installment in a series remembering their lives and legacies to the AMS. Sarah Jane Manley Williams was born in Pittsburgh in 1923. She attended Wellesley College, then Yale University, where she completed her Ph.D. in 1952 on the music of Guillaume de Machaut. The dissertation was published by Yale University Press in1952 , and reissued in 1964. She taught part-time at DePauw University at the same time she raised a family, while maintaining an active research life. She died in 1986. Sarah Jane Williams was founder and first President of the International Machaut So- ciety, an organization founded a year before her death. The society has commemorated her in the name of their most prestigious annual award. In her will she made a bequest to the AMS of $2,500. Since 1986 the value of the bequest has grown to about $5,000; as part of the AMS endowment portfolio, it will Sarah Jane Williams continue to double in value every twenty years, in perpetuity. The income it generates is used to support the AHJ AMS 50 fellowships.

 AMS Newsletter Conferences 50 Years Ago: 1958–59 • Edward Reilly’s translation of and com- This is a highly selective listing; comprehen- Biennial Conference on Music Since 1900 mentary on the Quantz Versuch was pro- sive and up-to-date listings of conferences in 2–5 July 2009, Keele University posed to the Board as a possible future musicology are posted online. See the AMS www.keele.ac.uk/depts/mu/staff/ publication of the Society. “Action was Web site (www.ams-net.org/announce.php) conference.htm deferred.” [It was published in 1971.] for full details. • JAMS 10 no. 3 (nominally Fall 1957, International Association of Music de facto Winter 1959) included Claude Libraries The University of London’s Institute of Mu- V. Palisca’s (favorable) review of Joseph 5–10 July 2009, Amsterdam sical Research has the following four confer- Machlis, The Enjoyment of Music, first www.iaml.info/activities/conferences/ ences scheduled for 2009 (all conferences edition. take place in London; music.sas.ac.uk/imr- amsterdam_2009 events/imr-conferences-colloquia-perfor- • Otto E. Albrecht assumed the combined International Conference on Irish Music mance-events.html): position of AMS Treasurer and Business and Musicians Manager of JAMS upon the resignation The Musical Body: Gesture, Repre- 12–15 July 2009, University of Durham of business manager Kenneth Munson in sentation and Ergonomics in Musical www.dur.ac.uk/music/ March 1959. Performance irishmusicconference/ • The College Music Society’s first meeting 22–24 April Heavy Metal and Gender was held in conjunction with the AMS The Sounds of Early Cinema in Britain: 8–10 October 2009, Hochschule für Musik, meeting in Boston, December 1958; the Textual, Material and Technological Cologne new “EMS” [Ethno-musicological So- Sources www.metalandgender.de ciety] also participated in the Boston 7–9 June meeting. College Music Society • The committee on Listing of Research Music and Morality 22–25 October 2009, Portland, Ore. Works presented its report: with 156 16–17 June www.music.org responses, the topical breakdown was Handel, Purcell & Literature Society for Music Theory as follows: music before 1600, 36%; 19–21 November 2009 28 Oct.–2 Nov. 2009, Montreal, Qc. seventeenth-eighteenth-century topics: www.societymusictheory.org 18%; American topics, 12%; nineteenth- * * * century topics, 3%. Society for American Music Society for Ethnomusicology 18–22 March 2009, Denver, Co. 19–22 November 2009, Mexico City 25 Years Ago: 1983–84 www.american-music.org www.ethnomusicology.org • Don O. Franklin, chair of the Louisville Manuscript, Edition, Production: Ready- 1983 Program Committee, reported that ing Cavalli’s Operas for the Stage Call for Papers the committee’s decision to deviate from 30 April–2 May 2009, Yale University, New the norm of four 30-minute papers per Haven, Conn. session was a success. “Sessions scheduled American Bach Society: “Bach and his www.yale.edu/ybop/ with three papers proved to allow more German Contemporaries” time for discussion and dialogue. (In the 7–9 May 2010, Madison, Wisc. Canadian University Music Society future, the Society may wish to aban- www.americanbachsociety.org 23-31 May 2009, Ottawa, On. don the 30-minute time limit as well.)” www.cums-smuc.ca/en/conference/ Ninety-six proposals, 60% of the total re- conference-2009 ceived, were accepted for presentation. Feminist Theory and Music 10: Improvis- • Cynthia Verba’s booklet “Graduate Study ing and Galvanizing in Musicology and the Job Market” was 27–31 May 2009, Greensboro, N.C. Obituaries approved and sent to the membership. www.uncg.edu/mus/FTM10 The Society regrets to inform its members • The Board received a proposal from David Eduard Hanslick: Aesthetic, Critical, and of the deaths of the following members and Crawford recommending planning for Cultural Contexts associates: electronic conferencing, and a report and 24–25 June 2009, University College, Dublin Mary Berry, 1 May 2008 recommendations from the ad hoc Com- www.hanslickconference.com mittee on Automated Bibliography. Wolfgang Osthoff, 29 July 2008 • The U.S. RILM office, headed by Lenore Biennial International Conference on Ba- Stephen Clark, 11 September 2008 Coral, was founded. roque Music 30 June–4 July 2009, Queen’s University, Sylvan Suskin, 16 October 2008 • Treasurer and Executive Director Alvin H. Johnson presented the Board with a Belfast Peter Branscombe, 31 December 2008 www.qub.ac.uk/schools/media/ detailed job description in preparation for Media,126293,en.pdf George Perle, 23 January 2009 his retirement. (He turned 70 in 1984.) February 2009  Meetings of AMS and Related AMS Membership Totals Newsletter Address and Deadlines Societies Current total membership (as of 31 Oc- Items for publication in the next issue of tober, 2008): 3,581 (2007: 3,517). 2009: the AMS Newsletter must be submitted by 1 May to: 2007 members who did not renew: 399 SAM: 18–22 March, Denver, Co. American Musicological Society SEM: 19–22 Nov., Mexico City Institutional subscriptions: 1,073 6010 College Station Brunswick, ME 04011-8451 CMS: 22–25 Oct., Portland, Ore. Breakdown by membership category fax: (207) 798-4254 SMT: 28 Oct.–2 Nov., Montreal, Canada Regular, 1,696 AMS: 12–15 Nov., Philadelphia, Pa. Sustaining, 14 Low income, 412 The AMS Newsletter (ISSN 0402-012X) 2010: Student, 899 is published twice yearly by the American Emeritus, 352 Musicological Society, Inc. and mailed to SAM: 17–21 March, Ottawa, On. Joint, 84 all members and subscribers. Requests for SEM: Los Angeles, Ca. Life, 57 additional copies of current and back is- sues of the AMS Newsletter should be di- CMS: 23–26 Sept., Minneapolis, Minn. Honorary/Corresponding, 52 rected to the AMS office. AMS/SMT: 4–7 Nov., Indianapolis, In. Complimentary, 15 Membership Dues All back issues of the AMS Newsletter 2011: Calendar Year 2009 are available at the AMS Web site: AMS: 10–13 Nov., San Francisco, Ca. www.ams-net.org. Regular member $95 Income less than $30,000 $50 2012: Claims for missing issues must be Emeritus member $45 made within 90 days of publication AMS/SEM/SMT: joint meeting, dates Student member $35 (overseas: 180 days). and venue TBA Joint member $40 Sustaining member $170 * * * Next Board Meetings Life member $1,500 www.ams-net.org/grants.php The next meetings of the Board of Direc- Overseas, please add $10 for air mail de- tors will take place on 7 March 2009 and livery. Students, please enclose a copy of A complete list of annually recurring 11 November 2009 in Philadelphia. your current student ID. fellowship and grant opportunities

American Musicological Society Nonprofit org. Bowdoin College U.S. Postage 6010 College Station PAID Brunswick ME 04011-8451 Springfield, IL Address service requested Permit No. 500