AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLVIII, NUMBER 2 August 2018 ISSN 0402-012X AMS/SMT San Antonio How Inclusive Do You Want To Be? 1–4 November ams-net.org/sanantonio A year ago, AMS President Martha Feldman called for increased inclusivity and diversity in the AMS: “we simply have to open the gate more widely.” In welcoming you to San An- tonio we think you will agree that four No- vember days of scholarship and appealing lo- cal attractions will offer ample opportunity to answer that call and embrace its vision. Credit: Visit San Antonio And what a time to visit San Antonio, for 2018 marks the three hundredth anniversary of the city’s founding. Opportunities abound for those who want to take time around or between AMS/SMT activities to learn about San Antonio’s history: from special exhibits Grand Hyatt San Antonio with views of the Tower of the Americas and San Antonio River at some of the city’s most beloved museums to the five unforgettable historical missions of the most important should be mentioned. downtown’s San Fernando Cathedral by bus (remember the Alamo?), collectively named a The Institute of Texan Cultures (texancul- at 8:30 and 9:00. At 7:00 that same evening in UNESCO world heritage site in 2015. There tures.com) is, as the name implies, an excellent Hemisfair Park, a few minutes’ walk from our isn’t enough room to elaborate fully on all place to learn about the many societies and hotel, artist collective URBAN-15 presents forty-nine San Antonio museums, but a few cultures that have been part of Texas history. Carnaval de los Muertos, an “annual perfor- The Spanish “Governor’s Palace” (sanantonio. mance ritual” that brings together Mexican gov/CCDO/parksplazas/governorspalace) is a culture and Brazilian and Portuguese dance In This Issue… short walk and gives an interesting glimpse of and rhythm. On Friday the Tobin Center, President’s Message ...... 2 pre-U.S. times in a home where the comman- San Antonio’s premier downtown perfor- President’s Endowed Plenary Lecture 4 dant of the Presidio lived. The San Antonio mance venue, hosts a classic of another kind: Women & Gender Endowed Lecture 4 Museum of Art (samuseum.org) began with prog-rock outfit Kansas, playing the entirety Holmes/D’Accone Fellowship . . . 5 an emphasis on pre-Columbian, Spanish, and of their 1977 album Point of Know Return live. NYU/AMS Lecture ...... 5 Latin American art, but has evolved over the Saturday brings with it a chance to hear leg- Bylaws Changes ...... 6 years to become an important collection of art endary jazz drummer Billy Hart and his quar- AMS Public Lectures ...... 7 from around the world. tet at 3:00 at the Empire Theater. That after- Awards, Prizes, Honors ...... 8 You may already know that UNESCO noon downtown’s Main Plaza hosts a Latino Society Priorities Survey . . . . . 10 named San Antonio a Creative City of Gas- Music Fest, and that evening Hemisfair Park San Antonio Program Selection . . 11 tronomy, so it’s likely that you will find some- teems with the sights and sounds of the city’s San Antonio Performances . . . .12 thing palatable to power you through the tenth annual Diwali, featuring the River Pa- San Antonio Preliminary Program . 13 busy weekend. rade of Indian States, an “Indian bazaar” with Chapter News ...... 36 This year’s AMS/SMT conference falls food and craft vendors, all capped with a fire- Committee News ...... 36 on the four days following Día de los Muer- works show. If you’re still in town on Sunday, Study Group News ...... 39 tos, a post-holiday lull for many of the city’s the Fall Four Seasons Indian Markets at the AMS Boston 2019 ...... 42 concert music organizations. The other side historic mission San Juan Capistrano show- News Briefs ...... 45 of that lull is a wealth of welcome surprises cases the wares of local first nations’ peoples CFPs and Conferences . . . . . 45 from other quarters. If you’re in an All-Saints and includes a participatory round dance led Grants, Awards, Fellowships . . . 46 mood, on Thursday morning you can catch Obituaries ...... 47 the historical cemetery tour that departs from continued on page  President’s Message

I hope this message finds you enjoying a race, diversity, and inclusivity, which formed 5) a task force on lovely and restorative summer. The last time a red thread throughout the retreat. High on finances, working I wrote, the Board of Directors was about its current list of priorities are advocating for to figuring out to embark on a spring retreat. Since 2002, the most vulnerable members of the Society; how to boost our the board has been holding retreats on aver- helping to invigorate the Society’s grassroots challenged op- age every five years, retreats that have been by involving a wider array of members more erations reserves, critical in giving us a way to engage in seri- fully in its work, including students; match- maximize our ous stock-taking as it relates to the Society’s ing our limited resources with our highest limited staffing modus operandi and financial well-being. needs; developing meaningful dialogues resources, and re- The retreat format represents a departure with sibling societies; improving commu- assess endowment from the day-in-and-day-out issues taken nication with members by working toward spending. up in regular semiannual business meetings greater clarity and transparency; responding By late summer each task force will have in which the board reviews 200–300 pages to the changing job market through support made a set of recommendations for further worth of reports from our many commit- for contract labor and different kinds of jobs work, discussion, or implementation, which tees, reviews the budgets and endowments, in an environment in which many members we’ll take up at the fall board meetings. hears from the Council, nominates board no longer hold traditional academic posi- We urge you to contact the AMS office or members and honorary members, and takes tions; attending to the Society’s increasing a board member if you have further com- up any number of issues that have arisen in numbers of older members; making the ments or suggestions. the previous six-month period, all in a 10- Annual Meeting a more welcoming and As I write this I am acutely aware that a hour period of time. By setting aside time nourishing experience for all; and making personal challenge for me is to bring the for a slower and deeper kind of thinking, the the emotional and intellectual energy of the work the board is currently doing to as board is able to use its retreats to contem- Society more accessible and visible. sound and efficacious a point as possible be- plate goals and strategies for the best ways As our thoughts turned to developing a set fore I step down as President on the evening forward in the ensuing five years. of concrete strategic plans for the coming of Saturday, 3 November. It’s hard to believe The many transformations and challenges five to six years, the board decided to create how much work lies ahead and at the same we face both as a scholarly Society, and in five “task forces,” two- to three-person teams time how quickly my term has passed. I’m our society at large, mean radical reorienta- of board members charged with recom- deeply gratified to know that when I do step tions in scholarly trends and new financial mending strategic plans for implementation down, my colleague Suzanne Cusick will obligations for the AMS. These coincide in the coming years: take over. Getting to leave things in her ex- with challenging employment prospects for 1) a task force on communications, cover- pert hands will have been one of the great many of our members, longer retirements ing the Newsletter, Musicology Now, our pleasures of my presidency. Besides being for others, and other shifting demograph- lecture series, and the AMS Forum at Hu- supremely capable, she is deeply conscien- ics that affect abilities of some to pursue manities Commons, as well as examining tious and fiercely intelligent. That she’ll be research, attend AMS meetings, shoulder our communications with the membership working with our indefatigable executive membership costs, and so on. All this makes and beyond director Bob Judd means continuity for the deep strategic thinking especially vital now. Society and an incomparable team to lead The Board began preparing for the retreat 2) a task force on the annual meeting, deal- us forward. I owe them both my sincerest a year ago, when it attempted to identify ing with how best to structure and schedule thanks, together with the rest of the people major areas and potential questions it might sessions, how to make the meeting more wel- with whom I’ve worked: all the board mem- profitably take up. It followed up by circu- coming to first-time attendees, students, re- bers, past, present, and incoming, not least lating a survey of the membership in winter tirees, and others, how to approach an ever- 2018, the results of which affirmed, among expanding awards ceremony, how to make Vice President Georgia Cowart, Secretary other things, the very high importance the the work of the Program Committee maxi- Michael Tusa, Treasurer Jim Ladewig, and membership accords the Journal and the mally effective and more manageable, and former president Ellen Harris; Council Sec- Annual Meeting. Those outcomes were no how to approach the choice of venues and retary Steve Swayne and all of the council surprise, but it was striking that members future joint meetings with other societies members; JAMS editor Joy Calico and her also placed very high priority on support of team; Newsletter editor James Parsons; the 3) a task force on publications, looking research and relatedly the need to address Musicology Now team, especially Andrea across the range of our publications and the crisis surrounding contingent labor in Moore and Susan Thomas; Publications considering our publication subvention pro- academia. (See the survey summary on p. 10 Committee chair Anna Maria Busse Berger; gram and other AMS publication support of this Newsletter.) and all of the many other committee chairs In response to these and other survey re- 4) a task force on career development and and members who keep the Society running sults, and considering them alongside sub- contingent labor, exploring how we might day in and day out. Ours is a truly superb stantial financial and staffing strains and the better support members in precarious posi- and cooperative organization, one that has pressing need to diversify, the board reshaped tions and different kinds of employment sustained me for decades and represented its priorities, in every instance keeping its scenarios, which will also work to collect one of life’s great rewards. attention focused on deep concerns about relevant data on AMS members —Martha Feldman  AMS Newsletter AMS/SMT San Antonio 2018 Translations, and Teaching,” “Operatic Tim- See page 18 for San Antonio bres,” and “Porgy and Bess against the Grain: continued from page  hotel and travel information New Approaches to a Confounding American by members of American Indians in Texas at Opera.” A full range of time periods will be interviews during the meeting. To reserve a the Spanish Colonial Missions. covered, from “Medieval Chant” to “Twenty- room, please consult the website or contact Of course, AMS is also supporting its own First-Century Opera.” Regions and places, the AMS office. Job candidates can sign up slate of enticing offerings. The four scheduled too, will cover a broad stretch, including ses- via the web or (if spots are still available) at midday performances (Friday and Saturday, sions devoted to Brazil, “Crossing the Pacif- the information booth in the hotel. AMS at 12:45 and 2:15 p.m.) highlight everything ic,” and “New York Soundscapes.” policy prohibits interviews in private rooms from Brazilian music for electric guitar and As always, a broad range of musicological without appropriate sitting areas. scholarship will be in evidence with topics piano to little-known Italian interwar piano Registration. Conference registration fees: encompassing “Composing Notre Dame Po- pieces, from percussion works from the 1990s Early (received by 30 September): $130 ($65, lyphony,” “Midcentury Jazz,” and “The Songs (and beyond) that serve as a “queer tool of re- student/retired/low income); Regular (re- of Fanny Hensel.” A session each will be de- sistance” to music for castrato from the 1820s. ceived by 26 October): $175 ($95, student/ voted to “Late Haydn,” “Music and Film,” And AMS is proud to sponsor a performance retired); Late/Onsite: $200 ($125 student/ and “At the Eighteenth-Century Keyboard.” of the Austin Baroque Orchestra on Saturday retired). AMS members receive a conference Two seminars are scheduled this year: “On at 8:00 (with a 7:30 pre-performance talk) at registration form via U.S. mail; a PDF ver- the Academic Pipeline” featuring three papers the beautiful San Fernando Cathedral, which sion, as well as online registration, is available and “Time in Opera” with six. Materials for was founded in 1731 by a group of fifteen fam- at the website in early August. ilies from the Canary Islands. The concert fea- these become available one month prior to tures the Texas (and possibly U.S.) première the meeting, thereby facilitating discussion Child Care. The AMS offers a networking of Missa Batalla by Francisco López Capillas of a scholar’s work at the meeting itself. AMS service and financial support for conference (1614–74), maestro de capilla at Mexico City’s Study Groups will sponsor many individual attendees who need child care. The AMS cathedral for twenty years, as well as a vari- sessions. As if all of this were not enough, will subsidize fifty percent of the child care ety of other music from the seventeenth- and there will be seven joint AMS/SMT sessions expenses incurred by registered attendees, $200 eighteenth-century Spanish world to which this year, all of them evaluated and approved up to a maximum amount of . Infor- San Antonio belonged. FMI: austinbaroque- by program committees from each of the mation about available onsite child care and orchestra.org. societies. how to apply for reimbursement is available at the website. The Program. Our eighty-fourth Annual Ancillary Meetings and Receptions. Organ­ Meeting promises to reach out to one and all izations with ties to the AMS continue to Scheduling. Please contact the AMS office to with sessions ranging from “Black Voice” to participate enthusiastically, including the reserve rooms for private parties, receptions, “Beethoven Elsewhere,” “Cassettes” to “Dis- American Bach Society, the American Brahms or reunions. Space is limited, so please com- tant Ecologies,” and “Lamenting Women” to Society, the American Handel Society, Early municate your needs as soon as possible. The “Emigres and Stereotypes.” At a time of divi- Music America, the Haydn Society of North website provides further information. sion between those seeking to diminish hu- America, the Mozart Society of America, the Meeting Workers. The AMS again seeks man rights and those who resist (and persist), Music Library Association, the North Ameri- people to help during the conference in re- sessions such as “Diversity and Discipline in can British Music Studies Association, the So- turn for free registration and $11 per hour (six Hip-Hop Studies” and “Music, Disability, and ciety for Christian Scholarship in Music, the hours minimum). This opportunity is open to the Environment: Bridging Scholarship with Society for Eighteenth-Century Music, and all current AMS or SMT members. If this is Activism” stand to offer not only scholarly the Society for Seventeenth-Century Music. of interest, please see the website or contact reflection but lessons in social accountability. Additionally, a large array of receptions and the AMS office. Be sure to check the website In the event, politics prominently figures this parties will take place over the weekend. regularly for additional opportunities and up- year, with sessions devoted to “The Politics of Interviews. A limited number of rooms at dates as the conference approaches (ams-net. Soviet Musicology and Music Theory,” “Oth- the conference hotel will be available for job org/sanatonio). ered within the Other: Marginal- Meet the Board. The AMS Board ized Voices in Jewish Studies,” of Directors will be on hand in “Fifty Years Later: Anxiety and the exhibit area during the meet- Authority in Musical Protest,” and ing. Watch the website for specific “Unsettling Accounts: Slave His- times, and come say hello and chat tories, Transatlantic Musical Cul- with board members about any- ture, and Research through Prac- thing on your mind. tice.” And again this year women’s studies figure prominently, with Much awaits you in San An- nearly a dozen sessions, including tonio. We look forward to see-

“A Place for Women,” “Recogniz- Credit: Visit San Antonio ing you! ing Women’s Labor,” and “Wom- —Kevin Salfen en Empowered.” Local Arrangements Chair Ever a popular topic, opera again will make a strong showing, with sessions devoted to “Eigh- teenth-Century Opera: Texts, San Antonio Museum of Art River Landing August 2018  Dwandalyn R. Reece to Deliver Plenary Lecture in San Antonio The AMS President’s Endowed Plenary Lec- requires methodologies that focus on the ob- source that offers new dimensions for research ture will be delivered at 5:30 p.m. on Thurs- jects themselves, and the multiple narratives and interpretation.” day, 1 November, immediately preceding the that have determined their cultural value over Dwandalyn R. Reece is Curator of Music traditional opening reception. Dwandalyn time. and Performing Arts at the Smithsonian’s Na- R. Reece will present “Music and the Mean- What can we make out of studying music tional Museum of African American History ing of Things.” Following the talk, Guthrie P. through the lens of its material culture? If and Culture and is responsible for the acquisi- Ramsey, Jr. (University of Pennsylvania) will the material (object) and immaterial (sound/ tion, research, and interpretation of the mu- discuss the topic with Dr. Reece. Reece de- live performance) are seen as co-producers of seum’s music and performing arts collection. scribes her talk as follows: meaning, the “things” of In addition to curating the museum’s Musi- “Music collections have music are not only a rei- cal Crossroads exhibition, for which she re- increased exponentially fication of music-making, ceived the Secretary’s Research Prize in 2017, over the last thirty years. but also serve as triggers Reece has collaborated with other Smithson- From the holdings of for further ideas and ac- ian units such as the Center for Folklife and museums, libraries, ar- tions beyond its original Cultural Heritage on such programs as the chives, and historic sites use. Situating objects NMAAHC’s grand opening music festival, to the private collections within and outside their Freedom Sounds: A Community Celebration in of scholars, collectors, context of creation el- 2016, and the 2011 Folklife Festival program, music enthusiasts and the evates their status as sym- Rhythm &Blues: Tell It Like It Is. She is chair casual fan, this movement bols of cultural values and of the pan-institutional group Smithsonian to preserve, document, historical moments, as Music and is co-curator of the 2019 initiative, and interpret music’s exis- well as sources of idoliza- A Smithsonian Year of Music. Other projects tence is driven by a grow- tion, reverence, and per- include the forthcoming Smithsonian Folk- ing interest in its material Dwandalyn R. Reece sonal and collective mem- ways Records release, The Smithsonian Anthol- culture, the tangible ob- ories. The multiple ways ogy of Hip-Hop and Rap, and a book on the jects or things that are the material evidence in which people produce and interact with material culture of African American music. of its creation, performance, dissemination, music’s objects form the foundation for the Guthrie P. Ramsey, Jr. is Professor of Music and reception. The musical object as artifact, study of its material culture. This lecture will at the University of Pennsylvania. He is the anticipates interpretation and has the power use several objects from the Smithsonian’s Na- author of African American Music: Grove Mu- to broaden our understanding of music be- tional Museum of African American History sic Essentials (2015), The Amazing Bud Powell: yond an experiential level. Detached from its and Culture’s music collection to demonstrate Black Genius, Jazz History and the Challenge of original use, these objects operate in a broad how the study of material culture can func- Bebop (2013), and Race Music: Black Cultures system of circulation and transmission that tion as a methodological tool and a primary from Bebop to Hip-Hop (2004). AMS Women and Gender Endowed Lecture: Bonnie Gordon This year’s AMS Women and Gender En- long past time for music scholars to embrace began directing a pilot civic engagement cur- dowed Lecture will be given at the San Anto- the kind of feminist noise that Zora Neale riculum for the College of Arts and Sciences. nio Annual Meeting on Saturday, 3 Novem- Hurston practiced. Such an embrace means Gordon’s first book was Monteverdi’s Unruly ber 2018, by Bonnie Gordon, Associate Pro- telling stories that our field couldn’t hear in Women (2004); she is currently working on fessor of Music at the University of Virginia. the past. It means thinking deeply not just two additional book projects: Voice Machines: The lecture will be followed by responses from about ideas but also about The Castrato, The Cat Sindhumathi Revuluri (Harvard University) practices and institutions, Piano, and Other Strange and Deborah Wong (University of California, about the gritty unseemly Sounds and Jefferson’s Ear. Los Angeles). The lecture, entitled “Feminist business of universities. She has explored issues of Noise,” is described by Gordon as follows: Finally, it means thinking sound, body, voice, and “This talk uses the fieldwork of Zora Neale past diversity to imagine sense in articles about Hurston as a point of departure for medita- truly equitable futures.” contemporary singer- tions on how feminist noise can resonate in Bonnie Gordon’s pri- songwriters Kate Bush the academy. Hurston embraced the noise mary research interests and Tori Amos. She co- of early field work recordings. By not splic- center on the experiences edited, with Martha Feld- ing out what others considered “noise,” Hur- of sound in Early Modern man, The Courtesan’s Arts ston actively resisted any attempt to make the music making and the af- (2006); and has published people with whom she made music into static fective potential of the hu- on the soundscapes of ear- phonographic objects. An alt-ac pioneer, she man voice. She works on ly America. Gordon has got no play in academic music circles despite curricular and co-curric- Bonnie Gordon been the Robert Lehman an Ivy League degree, a Guggenheim fellow- ular civic engagement programs that engage Visiting Professor at Villa I Tatti, The Har- ship, and the support of Franz Boaz. Inspired social injustice through the arts. In 2011 she vard University Center for Italian Renaissance by Anne Carson, I argue that Hurston em- founded the Arts Mentors, a co-curricular Studies. She also plays rock, jazz, and classical bodies the essential noise of women whose civic engagement program that addresses so- viola, and has published in The Washington flesh and voice make logos inaccessible. It is cial injustice through the arts, and in 2016 she Post and Slate.  AMS Newsletter Holmes / D’Accone Endowment Expands AMS Board Election, AMS Council Election Through the generosity of Frank D’Accone, The results of the spring2018 AMS election of officers and directors the Holmes / D’Accone Endowment for re- is as follows: search in opera studies established in 2011 is Judy Tsou, has been elected Vice President, and Julie Cumming, Tam- now transitioning to the status of Fellow- my L. Kernodle, and Leonora Saavedra have been elected Directors-at- ship. The new William F. Holmes / Frank large. They will serve for two-year terms beginning 4 November 2018. D’Accone Dissertation Fellowship in Opera Studies is a six-month fellowship with a The other officers and directors for the period from 4 November 2018 stipend of $12,000. The fellowship applica- to 2 November 2019 are: tion process is similar to the AHJ AMS 50 Suzanne G. Cusick, President and Howard Mayer Brown Fellowships; the Martha Feldman, Past President inaugural Holmes / D’Accone Fellowship Frank D’Accone James Ladewig, Treasurer deadline is 15 December 2018, and it will be awarded in spring 2019 for Michael C. Tusa, Secretary the academic year 2019–20. Detailed application information will be Steve Swayne, Council Secretary provided at ams-net.org/fellowships in early September. Katharine Ellis, Daniel Goldmark, and Bonnie S. Gordon, Directors-at-large Robert Judd, Executive Director The following individuals have been elected to serve on the AMS Council for a term beginning 1 August 2018 and ending 31 July 2021: Second Annual NYU/AMS Lecture, 21 February Ana Alonso-Minutti Shawn Marie Keener 2019: Feminist Latinx Listening Tekla Babyak Erinn Knyt Following the festive, intellectually satisfying inauguration of Charles Brewer Evan MacCarthy the NYU/AMS Lecture Series, which featured pianist/com- Francesca Brittan Emily Richmond Pollock poser/scholar Vijay Iyer in conversation with leading scholar of Daniel Callahan Amanda Sewell African-American musics Daphne Brooks in NYU’s Rosenthal Kwami Coleman Jacquelyn Sholes Pavilion, the NYU/AMS Lecture Committee invites you to our Karen Desmond Anicia Timberlake second annual event, a conversation about feminist Latinx lis- Ellen Exner tening, on Thursday, 21 February 2019, from 5:00 to 6:30 p.m., This is the first time that members of the AMS Council have been in the Provincetown Playhouse (133 MacDougal Street, between elected by the full membership. A total of 606 votes were received. 3rd and 4th Streets, in Greenwich Village). Professor Alexandra The AMS Council consists of ninety members who serve overlap- Vazquez of NYU’s Tisch School of the Arts will serve as both ping terms. For more information, see ams-net.org/council. moderator and participant in conversation with Licia Fiol-Matta, Professor of Spanish and Portuguese on NYU’s Faculty of Arts JAMS News and Science, and Deborah Vargas, Associate Professor and Henry Rutgers Term Chair in Comparative Sexuality, Gender, and Race Earlier this year The JAMS Editorial Board, together with the Com- at Rutgers University. mittee on Race and Ethnicity, issued a Call for Articles for a special Hailed as a provocative intervention in both notions of listening issue on Music, Race, and Ethnicity. The submissions are now under and the interpretation of Cuban musics as they circulate in the peer review. (For more about the forthcoming issue see George Lewis world, Professor Vazquez’s award-winning book Listening in De- and Emily Dolan’s Musicology Now post, musicologynow.ams-net. tail: Performances of Cuban Music (Duke, 2014) proposes a mode org/2018/06/an-appropriate-and-exemplary-literature.html.) of listening that is attentive to details of performance in relation We welcome Naomi André (University of Michigan) to the Edito- to their social, political, and historical significance—including rial Board. Naomi replaces Steven Baur (Dalhousie University), who their significance for gendered, raced, and sexual relational dy- stepped down at the end of 2017 after five years of service. We are namics. Professor Vargas’ book Dissonant Divas in Chicana Music: delighted to have Naomi’s expertise and energy. The Limits of La Onda( 2012) also draws on recorded performanc- We also are pleased to announce the JAMS Online Supplement. es, in tandem with oral histories and ephemeral memorabilia, to From Volume 72 (2019), JAMS will offer authors the opportunity to describe a “queer sonic imaginary of the borderlands” that exists publish articles in digital format only, in a supplement to the online in uneasy proximity to commercial Chicano music’s prevailing version of the Journal. The supplement will accommodate scholarship heteronormativity. Thinking through both the last half-century to which audio and/or video are essential rather than complementary of theorizing about voices and the recorded performances of four components, as they must be for articles that appear in both print and canonic women singers, Professor Fiol-Matta’s The Great Female online versions of the Journal. We will publish a maximum of one such Singer: Gender and Voice in Puerto Rican Music (2017) re-theorizes article per issue, i.e., a maximum of three articles per year. Articles the singing voice as a mode of thought. This “thinking voice,” published in the supplement will be listed in both the table of contents she argues, enabled such singers as Ernestina Reyes and Lucecita and the index of the respective print-and-online issues. Benitez to perform themselves as protagonists despite the sexist Finally, we hope to complete the transition to the submission man- and homophobic constraints of both the music industry and the agement system ScholarOne by the end of the year. Doing so will sim- culture of their native Puerto Rico. plify the process for authors and peer reviewers alike. The interface The NYU/AMS Lecture Series is a joint project of the AMS also allows authors to provide information about themselves and their and the music departments at NYU, in recognition of NYU’s work, resulting in an author-generated snapshot of who submits to generosity in hosting the AMS office. JAMS and how they characterize their own scholarship. —Joy H. Calico, Editor-in-Chief August 2018  Proposed Bylaws Changes: Treasurer to Become Appointive At its April 2018 meeting the AMS Board of Directors approved the than 1 June. Officers shall be elected by a majority vote cast by bal- following proposal to revise the AMS Bylaws to change the officer -po lot. In the case of mailed ballots, the name and address of the voter sition of Treasurer from elective to appointive. The nature of the du- must be affixed in the upper left hand corner of the envelope, by ties of the Treasurer are now so specific that the Board needs to ensure which means the status of the voter will be verified against the mem- that the officer has requisite knowledge of investment management. bership rolls. Ballots must be received by the secretary no later than In 1983, prior to our first capital campaign, the Society had assets of two weeks after the close of elections. The president shall appoint $350,000, invested in various certificates of deposit and bank accounts, a teller who, together with the secretary, shall tally the election re- but only one bond and one stock mutual fund. Today, after two capital turns, and together they shall attest the results of the election in a re- campaigns, our endowment is over $7.4 million, a twenty-one-fold in- port to the Board of Directors. In the case of a tie the deciding vote crease; and it is invested in a wide array of mutual funds. The income shall be cast by the Board of Directors. No person shall hold more from our endowment is approximately a quarter-million dollars annu- than one national elective office in the Society at the same time. ally and supports five graduate fellowships, fifteen awards, twelve travel ARTICLE VI. BOARD OF DIRECTORS and research grant programs, two endowed lectures, and many publica- tion subventions. To keep our endowment programs flourishing, our E. Appointments. Treasurer must be well-versed in financial management. 1. A Treasurer shall be appointed by the Board of Directors to pro- To make this change, the Bylaws Article V (Officers) paragraphs B vide financial management to the Society as described in Ar. V.A.5. and C, and Article VI.E (Appointments) must be amended. The text The term of office shall be five years (renewable). Notwithstanding of these articles is given below. Double underline represents addition, the duration of any such term, the Treasurer may be removed on a strikethrough deletion. majority vote of the Board. ARTICLE V. OFFICERS Additionally, Article VI.A, which enumerates the membership of the B. Terms of Office. OfficersElected officers shall serve terms of two Board of Directors, is recommended for modification to bring it into years, except that the president shall serve one year as president-elect line with the Board’s actual constitution. before his or her two-year term as president begins and one year as ARTICLE VI. BOARD OF DIRECTORS past president after his or her term is concluded. The president’s term shall be concurrent with that of the vice-president and trea- A. The Board of Directors shall consist of eleven thirteen directors, surer and with the successive one-year terms of the past president of whom five. Five directors shall be the officers of the Society. and the president-elect. The term of officers shall begin at the first The remaining six Six directors shall be directors-at-large and shall session of the Board of Directors after the annual business meeting. be elected, three each year, by the members of the Society from a Except for the secretary and the treasurer, officers may not be elected double slate of six nominees drawn by the Board of Directors from to succeed themselves. Any office vacated in the course of a term, present or past regular members of the Council upon recommen- aside from the president’s, may be filled by the Board of Directors dation of the nominating committee. The slate of candidates for until the next term begins. directors-at-large shall be provided to the voting members of the Society annually no later than 1 June, and directors-at-large shall be C. Nominations and Elections. The Board of Directors shall present elected by a majority vote cast and tabulated as set forth in Article to the members each year a double slate of candidates drawn from V.C. Directors-at-large may not be elected to succeed themselves. present or past regular members of the Council, acting on proposals No person shall hold more than one national elective post in the by the nominating committee appointed by the Board of Directors, Society at the same time. The Council Secretary and the Executive except that the Board of Directors may by a two-thirds vote decide Director shall be ex officio directors. to present only one candidate for the post of treasurer and one for the post of secretary, provided the candidate has already served at The procedure for voting on these changes is similar that of a year ago. least one term in the same post. The slate of officer candidates shall The amendments will be put to the membership at a meeting in San be provided to the voting members of the Society annually no later Antonio; a call for proxy voting will be issued to members in September.

Musicology Now Ethical Guidelines

The subtitle of the AMS blog Musicology of machine-age imperialism, voice and silence The AMS recently updated its Guidelines Now describes its contents as “lively facts and in student protests against gun violence, and for Ethical Conduct (last revised in 1997). opinions on music,” and that has continued new compositions from around the world— The new guidelines include up-to-date in- to serve as a guiding principle over the last not to mention the Quick Takes on music in formation about harassment, copyright, and year. Under the joint leadership of Andrea the latest films and television (e.g. The Last best practices for journals’ relationships with Moore (who has recently stepped down), Jedi and Twin Peaks). Musicology Now au- authors, as well as links to the AMS’s other Brandi Neal, Marysol Quevedo, Christo- thors tend to be young, sometimes in precari- Best Practices documents. The Guidelines are pher J. Smith (new this year), and Susan ous work situations, and diverse in terms of published at ams-net.org. Thomas, Musicology Now has featured indi- race, gender, background and social status. vidual blogs, series, Dissertation Digests, and The blog is open to submissions by anyone recently an interview about a forthcoming working in musical scholarship in its broad- thematic issue of JAMS. Topics have ranged est sense. widely over timely crucial issues such as the musicologynow.ams-net.org. politics and ethics of translating racially prob- lematic scholarship, musical labor in the era  AMS Newsletter AMS / Library of Congress Lecture Series The next AMS/Library of Congress Lecture music. The US Army Military Government in Hye-jung Park is a PhD candidate in mu- will take place in Washington D.C., in the li- Korea that occupied southern Korea after the sicology at the Ohio State University. Her re- brary’s Madison Building, Montpelier Room war (1945–48) continued to make strategic search focuses on music in US-Korea relations at 7 p.m. on Tuesday, 20 November 2018. use of music. The military from 1941 to 1960, and Hye-jung Park (Ohio State University) will government made great she has presented on this present “From World War to Cold War: Mu- efforts to foster Western topic at the annual con- sic in America’s Radio Propaganda in Korea.” classical music in Korea, ferences of the American Park describes her lecture as follows: “Dur- effectively countering So- Musicological Society, the ing World War II, the US Office of War In- viet emphasis on acces- Society for Ethnomusi- formation (OWI) transmitted short-wave ra- sible music with socialist cology, the Society for dio programs of news and music directly from content. In addition, US Historians of American the United States to Korea. Korea was still a officials gained Koreans’ Foreign Relations, and colony of Japan, and Japanese colonial offi- cials forbade American music. Under the war- confidence by restoring the Association for Asian time ban, OWI’s radio broadcasts were the ‘authentic’ Korean tradi- Studies. Park is a recipi- only channel by which Korean people could tional music that was lost ent of the Alvin H. John- access American music. These radio programs under Japanese colonial son AMS 50 dissertation portrayed the United States as the bringer of rule. By revealing the con- Hye-jung Park fellowship for 2018–19 Korea’s freedom from Nazism and Japanese nections between wartime from the American Musi- colonialism. Heralding Japan’s defeat, the and Cold War music policies, I demonstrate cological Society. Her research has also been OWI’s radio programs also cultivated famil- that music in US wartime radio propaganda supported by the Margery Lowens Disserta- iarity with Western music in Korea, particu- was an important precedent for the Cold War tion Research Fellowship from the Society for larly with novel and hybrid forms of American musical propaganda efforts that followed.” American Music. AMS / Rock and Roll Hall of Fame and Museum Lecture Series The next AMS/Rock and Roll Hall of Fame rock’s working class, hard aesthetic. Baroque subgenre that is mentioned but in passing in and Museum Lecture will take place in the rock’s incorporation of a ‘high’ art form drew popular music scholarship.” library and archives of the RRHOFM, Cleve- the attention of cultural figures who assigned Sara Gulgas is Assistant Professor of Music land, Ohio, 11 October aesthetic value to rock and at the University of Arizona. Her research 2018. Sara Gulgas (Uni- explained it to the main- interests include popular music studies, film versity of Arizona) will stream adult audience it and media studies, memory studies, and the present “Baroque Rock: initially resisted. The sub- sociology of music. She has presented research An Embarrassing Stain on genre is left out of histori- at national and international conferences and Rock’s Harder Image?” cal narratives because it is has published her work in IASPM-US Music Gulgas describes her lec- seen as an embarrassing Scenes, Resonance Interdisciplinary Music Jour- ture as follows: “Some of stain on rock’s harder im- nal, Wolff, ed., Bruce Springsteen and Popular the biggest rock bands of age due to marketing ex- Music: Essays on Rhetoric, Social Consciousness, the 1960s—The Beatles, pectations and the raced, and Contemporary Culture (2018), and Bayer, The Rolling Stones, Pro- classed, and gendered im- ed., Heavy Metal at the Movies (forthcoming). col Harum, The Kinks— plications of respectability blended the sound of politics. This embarrass- string quartets and harp- Sara Gulgas ment was evident in the sichords with rock in- Spring 2019 Lectures strumentation, creating a subgenre known Rolling Stones’ decision to give ‘As Tears Go as baroque rock. I argue that baroque rock By’ to Marianne Faithfull before feeling com- AMS/LC Lecture: Katherine K. Preston artists utilized stylistic representations of the fortable enough to release it themselves; the (College of William and Mary), “Ameri- past not out of a desire to return to a simpler Beatles initially feared releasing ‘Yesterday’ ca’s Forgotten Love Affair with Opera” time (as is often the narrative associated with as a single in the U.K. for the same reason. AMS/RRHOFM Lecture: nostalgia), but to react against modernism, The refusal to recognize these major bands’ Alexander mainstream society, and traditional norms. influences on baroque rock not only dimin- Reed (Ithaca College), “There Is No Pilot” They participated in what I refer to as post- ishes the influence the subgenre had on rock Further details will be published at modern nostalgia: an ironic interpretation of music but it also perpetuates these bands’ the website and in the February 2019 history that references an unexperienced past, initial fear of embarrassment due to the per- AMS Newsletter. in order to alert the listener about the dan- ceived incongruity between classical music’s Interested in presenting a lecture at one gers of nostalgic memory. Baroque rock artists pretensions and rock’s associations with anti- of the AMS series? Information on how poked fun at high class pretensions, canonic intellectualism. Through close examination of to apply is available at the respective web- works of art, and nostalgic dreams of an imag- artist interviews, album critiques, and public- sites, where webcasts of all past lectures ined past, but all of this was hidden beneath ity materials, I document the cultural, social, may also be found. classical-sounding music that ran counter to and historical implications of an overlooked August 2018  Awards, Prizes, and Honors

AMS Awards and Prizes 2018 book Travel, Ideology, and the Geographical A grant from the Harold Powers World Imagination: Parisian Musical Travelogues, Travel Fund was awarded to Frederick Reece Four doctoral candidates in musicology re- 1830–1870. (Harvard University) for research on his book ceived Alvin H. Johnson AMS 50 Disserta- The Art of Forgery in Musical Composition. tion Fellowship Awards for 2018–19: Jona- A grant from the Virginia and George Bo- than Leal (Stanford University), “Beyond zarth Fund for musicological research in Grants from the Ora Frishberg Saloman the Barline: A Jazz-Shaped Record of Post- Austria was awarded to Kyle Masson (Princ- Fund for musicological research were war Crossings”; Hye-jung Park (Ohio State eton University) for research on his disser- awarded to Jamie Blake (University of North University), “Music in US-Korea Relations, tation, “Of Apollo and Dionysus: Antonio Carolina at Chapel Hill) for research on her 1941–1960: From Colonialism to Cold War”; Cesti and the Interpretation of Early Opera dissertation, “Serge Koussevitzky: Russian Jessica Peritz (University of Chicago), “The from Italy to Austria and Back.” Cosmopolitanism and Transnational Amer- ica”; and Maria Ryan (University of Penn- Lyric Mode of Voice: Song and Subjectivity A grant from the H. Robert Cohen Fund sylvania) for research on her dissertation, in Italy, 1769–1815”; and Tommaso Sabbatini for research based on the musical press was “Hearing Power, Sounding Freedom: Black (University of Chicago), “Music, the Market, awarded to Alison DeSimone (University of Practices of Listening and Music-making in and the Marvelous: Parisian Féerie and the Missouri-Kansas City) for research on her the Nineteenth-Century British Colonial Emergence of Mass Culture, 1864–1900.” book The Power of Pastiche: Musical Miscellany Caribbean.” The Howard Mayer Brown Fellowship is and the Creation of Cultural Identity in Early presented by the Society to promising minor- Eighteenth-Century London. Grants from the Eugene K. Wolf Travel Fund were awarded to Qingfan Jiang (Co- ity graduate students pursuing a doctoral de- Grants from the William Holmes/Frank gree in music. The 2017–18 fellowship recipi- D’Accone Endowment for travel and re- lumbia University) for research on her dis- sertation, “Toward a Global Enlightenment: ent is Alysse Padilla (New York University). search in the history of opera were awarded Missionaries, Musical Knowledge, and the to Siel Agugliaro (University of Pennsylva- Grants from the M. Elizabeth C. Bartlet Making of Encyclopedias in Eighteenth- nia) for research on his dissertation, “Imag- Fund for research in France were awarded Century Europe and China”; and Andrew ining Italy, Surviving America: Opera, Italian to Henry Stoll (Harvard University) for Malilay White (University of Chicago) for Immigrants, and Identity in Philadelphia, research on his dissertation, “The Strains research on his dissertation, “Improvised 1791 1820 1880–1920”; Christopher Lynch (Duquesne of Haitian Independence, – : Mu- Practice at the Piano, 1820–1850.” sic at the Beginning and End of Empire”; University) for research on his book Manhat- Shaena Weitz (St. Paul, Minn.) for research tan Meets Mozart: Mozart’s Operas, Broad- Other Awards, Prizes, and Honors on her article “Plagiarism and the Napole- way, and the Invention of the Operatic Mu- Candace Lea Bailey onic Potpourri”; and Virginia Whealton seum, 1940–51; and Brooke McCorkle (North Carolina Cen- (Indiana University) for research on her (SUNY Geneseo) for research on her book tral University) has received an ACLS Project Searching for Wagner in Japan. Development Grant for Women, Music, and the Performance of Gentility in the Mid-Nine- A grant from the Jan LaRue Travel Fund teenth-Century South. was awarded to Oksana Nesterenko (Stony Brook University) for research on her disser- Margaret Butler (University of Florida) tation, “A Forbidden Fruit? Religion, Spiritu- has been awarded an AMS-Newberry Li- ality, and Music in the USSR before Its Fall brary Short-Term Fellowship for “The Op- (1968–1989).” eratic Prima Donna and Celebrity Culture, 1750–1790.” A grant from the Janet Levy Fund for in- dependent scholars was awarded to Eric Cindy Bylander (Fort Collins, Co.) has re- Lubarsky (Carnegie Hall) for research on his ceived the 2017 Polish Composers Union book Reviving Early Music and Making His- Honorary Award for her research on Polish tory Come Alive. music since 1945.

Alysse Padilla

Jonathan Leal Hye-jung Park Jessica Peritz Tommaso Sabbatini  AMS Newsletter Basil Considine (University of Tennessee at Michael C. Heller (University of Pittsburgh) national Association of Music Libraries, Ar- Chattanooga) has been granted a Research has been awarded an ACLS Fellowship for chives and Documentation Centres (United Fellowship from the Winterthur Museum, Just Beyond Listening: Sound and Affect Out- Kingdom and Ireland) for her jointly edited Garden and Library for his project “The side of the Ear. book My Beloved Man: The Letters of Benja- Costs of Domestic Music Making in the Early min Britten and Peter Pears. George E. Lewis (Columbia University) has American Republic between Revolution and been awarded an honorary doctorate from Jennifer Walker (University of North Caro- Civil War (1775–1865).” Harvard University. lina at Chapel Hill) has received a Mellon/ Nina Sun Eidsheim (University of Califor- ACLS Dissertation Completion Fellowship James McNally (University of Michigan) has nia, Los Angeles) has been awarded an ACLS for “Sounding the Ralliement: Republican received a Mellon/ACLS Dissertation Com- Charles A. Ryskamp Research Fellowship for Reconfigurations of Catholicism in the Music pletion Fellowship for his project “São Paulo Measuring Race: Listening to Vocal Timbre and of Third Republic Paris, 1880–1905.” Underground: Creativity, Collaboration, and Vocality in African-American Music. Cultural Production in a Multi-Stylistic Ex- Emily Zazulia (University of California, Kimberly Francis (University of Guelph) has perimental Music Scene.” Berkeley) has received a McClary-Walser/ received an Insight Grant from Canada’s So- ACLS Fellowship for her project Where Sight Martin Nedbal (University of Kansas) has cial Sciences and Humanities Research Coun- Meets Sound: The Poetics of Late Medieval Mu- been awarded a Botstiber Institute for Austri- cil for her joint project on “Properly Speak- sic Writing. an-American Studies Grant to travel to North ing: The Development of the French Sound, American university libraries for his project 1830–1914.” on Prague’s German opera history; and a Joy-Leilani Garbutt (Catholic University of DAAD grant to study performing materials America) has received a Fulbright U.S. Stu- of Bohemian origin in the former opera ar- dent Award for research in France for her dis- chive of the Fürstenberg family. Guidelines for Announcements of sertation, “Les femmes françaises et l’orgue: A Elizabeth Newton (Graduate Center, Critical Examination of French Organ Litera- Awards and Honors CUNY) has received a Mellon/ACLS Dis- ture Composed by Women, 1872–1954.” sertation Completion Fellowship for “Lo-fi Awards and honors given by the Society Glenda Goodman (University of Pennsylva- Recordings and the Reproduction of Affect, are announced in the Newsletter. In addi- nia) has been awarded an ACLS Fellowship 1988–1996.” tion, the editor makes every effort to an- for Strategic Sounds: Native American Music in nounce widely publicized awards. Other Kirsten Paige (University of California, the Era of Colonial Conquest. announcements come from individual Berkeley) has received a postdoctoral fellow- submissions. The editor does not include Jane Gottlieb (The Juilliard School) has been ship from Stanford University’s “Thinking awards made by the recipient’s home in- awarded the Music Library Association’s Vin- Matters” Program for 2018–20. stitution or to scholars who are not cur- cent H. Duckles Award for the second edition Arne Spohr (Bowling Green State University) rently members of the Society. Awards of her book Music Library and Research Skills. has received an ACLS Project Development made to graduate student members as a Adriana Nadia Helbig (University of Pitts- Grant for “Like an Earthly Paradise”: Con- result of national or international compe- burgh) has received an ACLS Fellowship for cealed Music in Early Modern Pleasure Houses. titions are also announced. The editor is Romani Music and Development Aid in Post- always grateful to individuals who report Vicki P. Stroeher (Marshall University) re- Soviet Ukraine. honors and awards they have received. ceived the C. B. Oldman Prize from the Inter-

AMS Chapter Student Awards 2017–18 The following student awards for best paper presented at a chapter meeting were given last academic year. For full details regarding all chapters and their student awards and prizes, see ams-net.org/chapters.

Allegheny Peter Graff “Staging Dual Patriotism: Cleveland’s German-Language Theater and the Great War” Midwest Devon J. Borowski “Singing White Womanhood: Bach’s Kaffeekantate and the Erotics of Enlightenment Cannibalism” Alexis Witt “The Exotic Allure of Russian Giants, Swans, and Bats: Feodor Chaliapin and the Establish- ment of Russian Performance Networks in 1920s New York City” New England Daniel Fox “The Perceptual Origin of the Sublime in Ligeti’s Violin Concerto” New York State- David H. Miller “The First International Webern Festival; or, It happened at the World’s Fair” St. Lawrence John Green “Sound and Meaning on Radio in John Cage’s The City Wears a Slouch Hat (1942)” N. Calif. / Pac. SW Kirsten Page “On the Politics of Performing Wagner Outdoors, 1909–1959: Open-Air Opera and the Third Reich” Pacific Northwest Emily Loeffler “Melodic Maps on the Neo-Riemannian Torus and the Mixed Transmission of Oh! Susanna” South-Central Alison Redman “Magical and Mysterious Resonances: Circularity in E. T. A. Hoffmann’s Kreisler Works and Robert Schumann’s Kreisleriana” Southeast Imani Mosley “‘A Stuttering Primer for Infants’: The Press and Public Reception of Benjamin Britten’s Glori- ana in the Coronation Year”

August 2018  Society Priorities: Survey Results Item 1 AMS Activities and Priorities

Holding an Annual Meeting for the presentation of cutting−edge scholarship (mean = 9.4, n = 1181)

JAMS: Publishing top scholarship and in−depth reviews (mean = 9.4, n = 1180)

Providing Fellowships (AHJ AMS 50 Dissertation− Year, Howard Mayer Brown [minorities]) (mean = 9.0, n = 1182)

Providing travel / research grants (mean = 8.8, n = 1173)

Advocating for the growing contingent labor market (alternative academics, precarious job positions) (mean = 8.6, n = 1159)

Providing publication subventions (mean = 8.5, n = 1121)

Providing travel Grants to attend the Annual Meeting (mean = 8.2, n = 1170)

Operationally maintaining AMS−Announce (mean = 8.0, n = 1064)

Providing professional development opportunities (e.g. annual meeting workshops and mentorship programs.) (mean = 7.9, n = 1160) Providing a stable and effective framework for shaping the discipline (through committees, etc.) (mean = 7.8, n = 1138) Giving honors and awards (books, articles, honorary / corresponding membership) (mean = 7.7, n = 1175) Supporting music history pedagogy (e.g. the Journal of Music History Pedagogy) (mean = 7.6, n = 1141)

ted By Mean) Operationally maintaining New Books in Musicology (mean = 7.6, n = 1096)

Providing support for regional chapter activities (mean = 7.5, n = 1161)

Publishing the twice−yearly AMS Newsletter (mean = 7.5, n = 1162) Question (Sor Advocating for musicologists and musicology scholarship in the political sphere (mean = 7.5, n = 1137)

Creating/maintaining "Best Practices" discipline− based guides (mean = 7.5, n = 1073)

Providing support for Study Group activities (mean = 7.2, n = 1116)

Providing support for the series AMS Studies (mean = 7.0, n = 1016)

Providing support for Music of the United States of America (mean = 6.7, n = 1052)

Supporting the NYU−AMS, Library of Congress, and Rock and Roll Hall of Fame and Museum lectures (live and web−based) (mean = 6.5, n = 1122)

Operationally maintaining AMS at Humanities Commons (mean = 6.5, n = 877)

Publishing the blog Musicology Now (mean = 6.2, n = 1107)

Making grants to bring guest speakers to the Annual Meeting (mean = 6.2, n = 1141)

Operationally maintaining AMS−L (discussion) (mean = 5.7, n = 1067)

12345678910 Response (1 = unimportant through 10 = very important)  AMS Newsletter (not sure/no opinion omitted) Report from the February 2018 Survey of the Membership Last February, the AMS Board of Directors Not shown here, but also gleaned from solicited input from members to help orient the responses: the answers correlated nearly Notes to the Graph their retreat discussion and help determine evenly across the range of our demographics possible changes to the status quo of Soci- regarding employment. That is, the averages Each line represents the full range of re- ety activities. About 1,200 responses were were about the same for all the responses, no sponses. The total number of responses received; the statistical box graph (see p. 10) matter what the respondent’s employment to each question is given as “n,” and the outlines the responses in summary form. The situation. graph shows responses by quartile (25 per- responses are presented here in order of im- Many opinions were expressed in the open- cent of the responses equals one quartile). portance: the higher up the table the more ended part of the survey: 732 comments for Responses were from 1 (least important) important the activity is perceived to be. It “the AMS should start doing…,” 482 sug- to 10 (most important). “Not sure/no came as no surprise that the Journal and the gestions for “the AMS should stop doing…” opinion” is not tabulated. Annual Meeting were nearly equally impor- As one might expect with an eclectic society The range of the central two quartiles tant, with virtually no one scoring them less whose members have many different perspec- are shown by white boxes; the thin black than 9 on the 10-point scale. tives, a number of responses were diametri- lines on left (and sometimes right) are the As the graph shows, the Society is very active cally opposed, e.g. increasing vs. reducing An- lower and upper quartile of responses, or on many fronts; and most are deemed impor- nual Meeting activities/events, or increasing the outliers. The vertical thick line in the tant. Of the twenty-five activities, nineteen vs. reducing the Society’s political activities. white boxes indicates the median (center were 6 or higher (out of 10) in importance In broad terms, the Annual Meeting, JAMS number) of the responses. E.g. for the by at least 75% of the respondents. There was and publishing activities, career-related com- bottom question (AMS-L): the median a wide disparity of responses: thirteen of the ments, politics, race/ethnicity/gender, and response was 6; the two central quartiles twenty-five activities received the full range of public musicology dominated the comments. were very wide-ranging, from 2.5 to 9; the assessment from 1 to 10. All the activities, even The Board of Directors appreciated re- outer quartile of responses were very low the least popular, had a median response of 6 ceiving the survey responses, and is now and very high. For the top two questions or higher. From this response it appears that actively working to lead the Society ac- (Annual Meeting; JAMS ), responses were the membership truly wishes the society to cordingly, as President Martha Feldman essentially unanimous 10s. continue doing these things as far as possible. has reported (p. 2).

San Antonio Program Selection I can think of no better way to launch this number of abstracts was 774. This is the sec- received and the enormous range of topics be- report than by thanking this year’s Program ond highest number ever, surpassed only by a fore us. Ultimately, we selected 226 individual Committee. Linda Austern, Jim Buhler, Em- record-smashing 812 for the 2016 Vancouver papers (out of 609 submissions); six formal ily Dolan, David Metzer, Jennifer Salzstein, meeting. sessions (out of eighteen proposals); four al- and Holly Watkins all brought creativity, dis- Throughout the spring, the Program Com- ternate format sessions (out of five proposals); cernment, and wit to the challenging but fas- mittee read and evaluated each abstract, con- six evening panels (out of ten proposals); two cinating task of shaping the program for the ferring with SMT on the joint sessions. We seminars (out of seven proposals); three post- San Antonio AMS/SMT Annual Meeting. I also took on a special assignment, particular er presentations (all that were submitted); and also thank my SMT counterpart, Roman Iva- to the San Antonio meeting. Early on, AMS seven joint sessions (out of fifteen proposals). novitch, who brought new perspectives and and SMT had reflected on the anti-LGBTQ By the end of our three-day marathon— valuable suggestions to our proceedings. environment in the Texas legislature, includ- enlivened at regular intervals by convivial This year’s Program Committee was the ing a bill that ultimately became law and that meals—we arrived at a program, one that first to engage with the new format of three can potentially enable discrimination in mat- boasts great variety while offering a glimpse twenty-minute papers per ninety-minute ses- ters of adoption. When the Board of Direc- of the directions our discipline is currently sion, a policy change intended to promote tors formed an Ad Hoc committee to consid- taking. The three topics-in-common yielded greater inclusion. In October and November, er ways in which the Society might respond to the following results: for public musicology, the committee edited the Call for Papers ac- these measures, Program Committee member five proposals were accepted out of fourteen cordingly, conferring with SMT on a new ap- David Metzer crafted a statement that offered submissions; for sound recording as an object proach designed to enhance conversation be- our suggestions. These ranged from hiring of study, seven proposals were accepted out tween the two societies. We decided to iden- LGBTQ or Latinx musicians from San Anto- of twenty-three submissions; for Latin Ameri- tify three themes for this purpose, encourag- nio for the meeting and reviewing the process can music, ten proposals were accepted out of ing submissions on public musicology and by which meeting sites are chosen to setting twenty-six submissions. The committee noted theory, the sound recording as an object of aside discussion periods at the meeting itself a healthy balance of traditional topics (opera, study, and Latin American music. The com- for these matters. All members of the Pro- medieval music, nineteenth-century music) mittee also evaluated proposals for seminars, gram Committee agreed that an especially and newer methodologies (sound studies, a format that made its successful debut at the strong response to these discriminatory laws disaster studies). Fresh perspectives on once- 2017 Rochester Annual Meeting. Heavy lift- would be a diverse program—a goal we had new areas of inquiry were also much in evi- ing began in late January. AMS-specific sub- in fact already prioritized. dence, such as labor in relation to women and missions totaled 721 and, when joint sessions In April, we met in Chicago to debate the with SMT were taken into account, the total merits of the hundreds of fine proposals we continued on page  August 2018  Performances in San Antonio AMS San Antonio 2018 will feature a wide of thirty of Velluti’s ornamented arias for A-R enters into the musical conversation when array of performances, including several de- Editions. queer composers and performers are forced scribed earlier (see p. 1). In addition, we of- At 2:15 Friday afternoon, pianist Rafael dos to adopt musicking practices that fail to in- fer four exciting conference performances Santos and guitarist Eduardo Lobo will pres- terface with their sexuality. Dominant music spanning repertories from the fifteenth to ent a program of Brazilian music that shifts practices, including performance presenta- the twentieth centuries. The venue for these between the precision and intricacy of cham- tion, composer-performer relationships, on- events will be St. Mark’s Church, a fifteen- ber music and the spontaneity of improvisa- tologies of the score, formal design, and other minute walk from the meeting hotel (shuttle tion, employing popular urban rhythms as musical concerns, can be queered when one transportation will also be provided). their raw material. By combining two instru- actively attempts to resist the enticements At 12:45 on Friday, Robert Crowe and Ju- ments that appear in different social contexts of encroaching homonormativity. Works by venal Correa-Salas will present “The Art of in Brazil, the “elite” piano and the “under- John Cage, Pauline Oliveros, Sarah Hennies, the Castrato in the Romantic.” Giovanni Bat- class” guitar, and portraying the popular/clas- and Pergolesi/Solomon will demonstrate how tista Velluti (1780–1861) was the last operatic sical polarization illustrated by the presence percussion is uniquely situated as an instru- castrato. Though he created roles in operas by of the electric guitar in chamber music, the mental practice to engage and embody queer Rossini, Dussek, and Meyerbeer, he seems to duo perform music that highlights hidden issues directly, instigating a broader exami- have preferred the music of now-forgotten Brazilian social tensions. Through works by nation of the queer potential in percussive composers like Giuseppe Nicolini, Francesco Radamés Gnattali, Guerra-Peixe, and Rafael performance. Morlacchi, and John Fane, Lord Burghersh. dos Santos, this program provides listeners Saturday at 2:15, pianist David Korevaar Velluti was a great ornamenter, celebrated for with sonorities from Brazilian music from the presents music of Luigi Perrachio (1883– it in his own time. Perhaps unsurprisingly, it 1940s and 1950s, a time in which the exclu- 1966). Korevaar came across Perrachio’s Nove was in the music of these “lesser” composers sively folkloric nature of modernist national- Poemetti in 2003, when he and musicologist that he found the latitude to achieve the high- ism was being reviewed. Laurie Sampsel were investigating the Ri- est levels of his art. Crowe (male soprano) and Saturday at 12:45, percussionists Bill Solo- cardo Viñes scores held at the University of Correa-Salas (piano) will perform Velluti’s mon and Jerry Pergolesi present a lecture- Colorado. The pieces, composed in 1917 and versions of arias by Burghersh, Nicolini, Mor- recital of works by queer composers for per- 1920, will be heard together with the Preludi lacchi, and of his only known ornamented cussion duo that explores strategies to resist of 1927. Perrachio was born in Turin in 1883 aria by Rossini. Crowe completed his Ph.D. musical homonormativity, a process where and completed a music degree in Bologna in in musicology at Boston University in 2017, queer voices are silenced in exchange for 1913. He encountered the music of Ravel and writing about Velluti’s time in London in the privileges that heteronormative society has Debussy and the pianism of Viñes during a 1820s, and is currently completing an edition previously denied them. Homonormativity Parisian sojourn shortly after. He promoted new music in Turin through his activities as a San Antonio Program Selection “Workplace Harassment: Prevention performer and organizer in the 1910s and ’20s, and in 1925, he began teaching piano, and continued from page  and Intervention” Sessions in San Antonio later composition, at Turin’s Liceo Musicale. Although encouraged by Castelnuovo-Tedes- gender. A broad geographical range expands In response to requests from members for co and Guido Gatti, he published few of his our world-view, as does a variety of twenty- assistance in handling experiences of work- works, and the piano music has remained un- first century topics. place harassment, the AMS has arranged recorded until now. The new thirty-minute format led the com- with Breall Baccus of the University of Texas The Performance Committee received a mittee to more wide-ranging thoughts; even at Austin to lead a workshop session on Title large number of unusually strong applica- to ask whether two program committees can IX and workplace harassment at the Annual tions—over twenty—and difficult decisions reasonably be expected to coordinate work. In Meeting. The workshop session will run twice had to be made. Committee members Chris- the end—and we will know this only several on Thursday, at 2:15 and 4:00, to help accom- tina Baade, Ivan Raykoff, and Kevin Salfen annual meetings from now—we will want to modate attendee schedules as far as possible. were a pleasure to work with. ask how successful the new format is in pro- The interactive session is intended to help —Laurie Stras moting the diversity that matters so much to people who witness or hear about harass- Performance Committee Chair our Society. ment to make judgment calls about how to I hope such matters will be pondered not respond. Depending on attendee needs, top- just by the Program Committee, the Board, ics covered are likely to include: and AMS Council, but by the membership at • legal definitions of harassment large. I look forward to hearing your reactions San Antonio Pre-Conferences to this year’s program. Better yet, volunteer to • reporting requirements serve on the Program Committee itself. True, • introduction to trauma and supporting Three pre-conferences begin Wednesday, it’s a tremendous amount of work, but service victims of harassment 31 October 2018: on this committee offers members a chance • what a Title IX investigation does • Diversifying Music Academia: to shape the Annual Meeting in ways that few • prevention Streng­thening the Pipeline other Society activities afford. I hope you will • when it is safe to intervene, and how to • The Mendelssohn Network consider adding your voice to this deeply sat- intervene. • Staging Witches isfying endeavor. Because of their interactive format, these See p. 47 for full details. —Carol A. Hess sessions are limited to thirty attendees each.  AMS Newsletter AMS/SMT ANNUAL MEETING San Antonio, 1–4 November 2018 Preliminary Program (as of 30 July 2018)

10:00–12:00 SIMSSA: Single Interface for Music Score WEDNESDAY 31 October Searching and Analysis, Working Group 11:00–1:30 Society for Seventeenth-Century Music 9:00–12:00 Grove Editorial Board Governing Board 9:00–6:30 Staging Witches: Gender, Power, 11:00–7:00 Speaker Ready Room and Alterity in Music Sponsored by the AMS Committee on Women and Gender and 12:00–2:00 AMS Membership and the LGBTQ Study Group Professional Development Committee 1:00–8:00 Exhibits 1:00–5:00 Grove Editorial Board and Advisory Panel 2:00–6:00 SMT Executive Board THURSDAY AFTERNOON SESSIONS—2:15–3:45 2:00–8:00 AMS Board of Directors African-American Representations (AMS) 3:00 Diversifying Music Academia: Strengthening the Pipeline Thomas Riis (University of Colorado Boulder), Chair 3:00–6:00 The Mendelssohn Network: Current Mary Beth Sheehy (University of Kansas), “Portrayals of Female Exoti- Developments in Mendelssohn Research cism in the Early Broadway Years: The Music and Performance Styles of ‘Exotic’ Comedy Songs in the Follies of 1907” 6:15–7:30 SMT Executive Board, Networking Committee, Kristen Turner (North Carolina State University), “Back to Africa: Images Publications Committee, and of the Continent in Early Black Musical Theater” Publication Awards Committee Dinner Sean Lorre (Rutgers University), “Muddy Waters, Folk Singer? On the Discursive Power of Album Art and Liner Notes at Mid-Century” 7:30–11:00 SMT Networking Committee Cassettes (AMS) 7:30–11:00 SMT Publication Awards Committee Albin Zak (University at Albany, SUNY), Chair 7:30–11:00 SMT Publications Committee Judith Peraino (Cornell University), “I’ll Be Your Mixtape: Lou Reed, Andy Warhol, and the Queer Intimacies of Cassettes” Matthew Carter (Graduate Center, CUNY), “The Screwtape as Object in THURSDAY 1 November Houston Hip Hop Culture” Claudia Maria Carrera (New York University), “‘Are You There?’: Mourn- 7:30–9:00 Meeting Worker Orientation ing and Absent Presence in an AIDS-era Answering Machine Message Archive” 8:00–12:00 AMS Board of Directors Eighteenth-Century Opera: Texts, Translations, and 8:00–12:00 SMT Executive Board Teaching (AMS) 9:00–7:00 Registration John Platoff (Trinity College), Chair 9:00–12:00 SMT Peer Learning Program Workshop I: Bruce Alan Brown (University of Southern California), “‘Alla mia scuola Whose Body/Whose Beat? The Beat as hà cantato robbe anche difficilissime…’: The Material Remains of the Embodied Phenomenon in Music Theory and scuola di canto of Cavaliere Bartolomeo Nucci” Popular Music Edward Jacobson (University of California, Berkeley), “After Metastasio” Mark Butler (Northwestern University), leader Lily Kass (Philadelphia, Pa.), “‘A Musical Ear and Long Experience’: Lo- renzo Da Ponte’s Theory of Opera Translation” 9:00–12:00 SMT Peer Learning Program Workshop II: Techniques of the Listener Enlightenment Aesthetics (AMS) Brian Kane (Yale University), leader W. Dean Sutcliffe (University of Auckland), Chair 9:00–12:00 The Works of Giuseppe VerdiEditorial Board Austin Glatthorn (Oberlin College and Conservatory), “Ariadne’s Legacy and the Melodramatic Sublime” 9:00–12:00 The Mendelssohn Network: In the Jacob Friedman (University of Pennsylvania), “Joseph Haydn and the Poli- Salon with the Mendelssohns tics of Naivety”

August 2018  Genres in Transformation (AMS) Subjectivity, Time, and Hearing (AMS) James Buhler (University of Texas at Austin), Chair Charlotte Cross (New York, N.Y.), Chair Kevin Clifton (Sam Houston State University), “Intertextuality and Evo- Chadwick Jenkins (Graduate Center, CUNY), “On Musical Subjects: lution of Angelo Badalamenti’s ‘Twin Peaks Theme’” Adorno, Schoenberg, and the Embodied Subjectivity of Expressionism” Sharon Hochhauser, “Crimping Your Style: The Patter Song in the Music Sophie Benn (Case Western Reserve University), “‘The Apportionment of of ‘Weird Al’ Yankovic and The Mighty Boosh” Time’: Metrical Organization in the Theories of Friedrich Albert Zorn” Ana Sanchez-Rojo (Tulane University), “When Nina Charmed Madrid” Áine Heneghan (University of Michigan), “‘An intelligent and intelligible History of Theory: Politics, Practicalities and impression’: Seeing and Hearing through Schoenberg” Speculation (SMT) Workshop: Workplace Harassment: Prevention and Caleb Mutch (Indiana University), Chair Intervention Breall Baccus (Unversity of Texas at Austin), Facilitator Patrick S. Fitzgibbon (University of Chicago), “Precept and Protest: A Brief History of Brevity in Music Theory of the German Reformation” Panel: Visualizing Archival Research and Data: Joshua Klopfenstein (University of Chicago), “Toward a Broader Theory Renaissance Mantua and Venice (AMS) of Music: Charles Butler’s The Principles of Musik and Seventeenth-Cen- tury England” Richard Freedman (Haverford College), Chair Siavash Sabetrohani (University of Chicago), “Georg Philipp Telemann as Mollie Ables (Wabash College), Organizer Music Theorist” Anne MacNeil (University of North Carolina at Chapel Hill) Neo-Riemannian Theory (SMT) Massimo Ossi (Indiana University) Richard Cohn (Yale University), Chair THURSDAY AFTERNOON SESSIONS—4:00–5:30 Owen Belcher (University of Massachusetts Amherst) and Alan Reese (Cleveland Institute of Music), “The Riemannian Klangnetz, the Dop- Cold War (AMS) pelklang, and Their Applications” Dustin Chau (University of Kansas), “Gustav Holst’s Terzetto and Its Max- Kevin Bartig (Michigan State University), Chair imally Smooth Triad of Keys” Marysol Quevedo (University of Miami), “Music and the Sociedad Cul- Brent Yorgason (Brigham Young University), “A Transformative Event in tural Nuestro Tiempo in 1950s Cuba: Modernist Aesthetics Meet Leftist Max Steiner’s Fanfare for Warner Brothers” Politics” A Place for Women (AMS) Emily Theobald (University of Florida), “‘The Guilty to be Judged’: Pen- derecki’s Lacrimosa (1980), the Gdańsk Monument, and the Solidarity Elissa Stroman (Texas Tech University), Chair Movement” Isidora Miranda (University of Wisconsin-Madison), “Breaking the Glass: Kelly St. Pierre (Wichita State University), “De-Nationalizing Musicology Musical Labor and the Tagalog Diva in Philippine Zarzuela” in Communist Czechoslovakia” Michele Aichele (University of Iowa), “Cécile Chaminade and ‘The New Diatonic and Collectional Theory (SMT) Woman’ in the United States” Dmitri Tymoczko (Princeton University), Chair Elizabeth Keathley (University of North Carolina at Greensboro), “Voic- ing the Opposition: Lila Downs, El Demagogo, and Balas y Chocolate” Leah Frederick (Indiana University), “Diatonic Voice-Leading Recomposition, Forgery, Plagiarism (SMT) Transformations” Sebastian Wedler (University of Oxford), “Tonal Pairing as a Strategy of Eric Drott (University of Texas at Austin), Chair Lyrical Time: Anton Webern’s Langsamer Satz (1905)” Andrew Pau (Oberlin College and Conservatory), “The Six épigraphes an- Clifton Callender (Florida State University), “Complementary Collec- tiques and Debussy’s (Re)compositional Process” tions and Combinatorial Tonality in Ligeti’s Late Works” Frederick Reece (University of Miami), “Fritz Kreisler and the Art of Embodiment and Tonality, ca. 1750–1850 (SMT) Forgery” Roger Mathew Grant (Wesleyan University), Chair Dana DeVlieger (University of Minnesota), “Theorizing Similarity for Copyright Litigation” Stephen M. Kovaciny (University of Wisconsin–Madison), “Chabanon, Rhythm, Flow, and Transcendence (SMT) Rameau, and the ‘Nerveux systême’: The Listening Body in Early Mod- ern France” Ellie Hisama (Columbia University), Chair John Muniz (University of Arizona), “‘The ear alone must judge’: Har- Noriko Manabe (Temple University), “Rapping to a Different Beat: Flow, monic Meta-Theory in Weber’s Versuch” Language, and Aesthetics in Triplet, Non-Duple, and Irregular Hip-Hop Michael Masci (SUNY Geneseo), “Tonalité in the Margins of Harmony: Tracks” Tonal Theory, Text, and Genre in Nineteenth-Century French Harmony Braxton D. Shelley (Harvard University), “Toward a Formal Theory of the Treatises” Gospel Vamp” Floyd and The Dead (SMT) Rosa Abrahams (Ursinus College), “But We’re Not in Zombie Mode: Me- John Covach (University of Rochester), Chair ter and Selected Attention in Greek Orthodox Movement and Music” Gabriel Lubell (Kenyon College), “The Dark Side of the Moonas an Urban Landscape”

 AMS Newsletter Michèle Duguay (Graduate Center, CUNY), “Madness, Psychedelia, and Sound Materials (AMS) Virtual Space in Pink Floyd’s The Piper at the Gates of Dawn” Rachel Mundy (Rutgers University-Newark), Chair Melvin J. Backstrom (Quebec City, Qc.) and Sundar Subramanian (Mon- treal, Qc.), “The Grateful Dead’s ‘Blues for Allah’: Syncretic Composition Gavin Williams (King’s College London), “Shellac, Colonial Ecology, and in Mid-1970s Rock Music” Haptic Desire in Early Recorded Sound” Lamenting Women (AMS) Joe Pfender (New York University), “Sublunary Sound” John Gabriel (University of Hong Kong), “Experimental Radio Music Linda Austern (Northwestern University), Chair Theater in Weimar Republic Germany: From Neue Sachlichkeit to Funk” Nicholas Lockey (The Benjamin School), “Pleasurable Laments: The Si- Seminar: Time in Opera (AMS) ciliana and Feminine Expression in Eighteenth-Century Music” Codee Spinner (University of Pittsburgh), “Beehives, Synchronized Dance Kunio Hara (University of South Carolina), Laura Möckli (Bern Moves, and Death: ‘Coffin Song’ as Lament in 1960s Girl Groups” University of the Arts), Colleen Renihan (Queen’s University), Conveners Seth Coluzzi (Colgate University), “Bound for Display: The Interior/Exte- rior Dualities of Monteverdi’s Nymph” Gwyneth Bravo (NYU Abu Dhabi), “‘Trauma, Temporality, and Telos: Latin American Representations (AMS) The Legacy of World War I in Erwin Schulhoff’s Opera Flammen and the Figure of Don Juan as Ahasuerus’” Erin Bauer (University of Wisconsin-Whitewater), Chair Michele Cabrini (Hunter College, CUNY), “Lully and Quinault Reading Vera Wolkowicz (Royal Holloway, University of London), “Indigenist Ariosto: Temporal Simultaneity in Roland” Music: Inclusive Exclusion in 1920s Peruvian Art Music” Kelly Christensen (Stanford University), “Returning to a Musical Past Alex Badue (University of Cincinnati), “In True South American Way: Tense” Aloysio De Oliveira’s Samba Arrangements for Carmen Miranda” Sabrina Clarke (West Chester University), “‘Where Everything is Silent’: Timothy D. Watkins (Texas Christian University), “Mbaraká or Asper- Time, Memory, and Fate in Dallapiccola’s Il prigioniero (1948)” gillum: Music, Liturgy, and Cultural Identity in an Eighteenth-Century Yayoi Uno Everett (University of Illinois at Chicago), “Allegory and Frac- Paraguayan Frieze” tured Temporality in Thomas Adès’s The Exterminating Angel (2015)” Medieval and Early Modern Theory (AMS) Dan Wang (University of Pittsburgh), “The Timing of Liberal Political Fantasy (Some Textures from Opera and Film)” C. Matthew Balensuela (Depauw University), Chair Workshop: Workplace Harassment: Susan Forscher Weiss (Peabody Conservatory, Johns Hopkins Univer- Prevention and Intervention sity), “Turning Wheels: Volvelles as Kinesthetic Aids for Learning and Navigating Music” Breall Baccus (Unversity of Texas at Austin), Facilitator Gregory Barnett (Rice University), “Guido’s Gamut and Tonal Style of the Early Seicento” THURSDAY EARLY EVENING OPEN MEETINGS Anna Zayaruznaya (Yale University), “Old, New, and Newer Still: Genera- 5:30–6:00 AMS Committee on Career-Related Issues tions of Ars nova Theory in Speculum musice, Book VII” Conference Buddy Meet-Up Pop Poetics and Style (SMT) 5:30–6:00 SMT Conference Guides Lori Burns (University of Ottawa), Chair 5:30–7:30 SMT Dance and Movement Interest Group Megan L. Lavengood (George Mason University), “A New Approach to Analysis of Timbre: A Study in Timbre Narratives and Instrumentation in 1980s Pop” Bruno Alcalde (University of Richmond), “The Permeability of Styles and THURSDAY EARLY EVENING PLENARY Genres in Recorded Popular Music: A Case Study” 6:00–7:00 AMS President’s Endowed Plenary Lecture Chelsey Hamm (Christopher Newport University), “Representations of the ‘Female Voice’ in Kesha’s Rainbow” Martha Feldman (University of Chicago), Chair Rethinking Appropriation: Blackness, Desire, and Dwandalyn R. Reece (National Museum of African American Political Fantasy (AMS) History and Culture), “Music and the Meaning of Things” Guthrie P. Ramsey, Jr. (University of Pennsylvania), Interlocutor Matthew D. Morrison (New York University), Chair George E. Lewis (Columbia University), Respondent THURSDAY EVENING RECEPTIONS Emily Wilbourne (Queens College, CUNY), “Black Singers and Blackface Roles on the Mid-Seventeenth-Century Italian Operatic Stage” 6:30–8:00 Opening Reception Michael Birenbaum Quintero (Boston University), “Mestizo Fantasy and 9:30–11:00 Student Reception Political Solidarity in the New Colombian Music” Clara Latham (The New School), “Fantasies of Race and Gender in Trans- THURSDAY EVENING SMALL MEETING atlantic New Music Communities” 7:00–8:00 Journal of Seventeenth-Century Music Editorial Board

August 2018  Rethinking the Enlightenment (AMS) THURSDAY EVENING SESSION—8:00–9:30 Charles Dill (University of Wisconsin-Madison), Chair Embodiment and Voice in Contemporary Music (SMT) William Weber (California State University, Long Beach), Commentator Judith Lochhead (Stony Brook University), Chair Rebecca Geoffroy-Schwinden (University of North Texas) Andrei Pesic (Stanford University) Joseph R. Jakubowski (Washington University in St. Louis), “Making the Georgia Cowart (Case Western Reserve University) Spectral, Corporeal: Embodied Cognition and Expressive Performance in Olivia Bloechl (University of Pittsburgh) Gérard Grisey’s Prologue (1976)” William Mason (Wheaton College, Mass.), “Vocal Synthesis and Figural THURSDAY EVENING SESSION—8:00–10:30 Narratives in Grisey’s Les Chants de l’Amour” Cecilia Oinas (University of Music and Performing Arts Graz / Sibelius Intoxication Academy), “Analysis and Performance, Une fois de plus: Tracing Sensitivi- Sponsored by the AMS Music and Philosophy Study Group ty, Intimacy, and Corporeal Interaction in György Kurtág’s Four-Handed Works” Andrew Hicks (Cornell University), Chair THURSDAY EVENING SESSIONS—8:00–10:00 Edward Spencer (University of Oxford), “Beyond Intoxication: On Sober- ing Experiences of Electronic Dance Music” Joint Session: Extemporaneous Dialogues on Historical Tomas McAuley (University of Cambridge), “Orgasmic Rapture and De- votional Bliss: Schopenhauer on Music and Sex” Improvisation: Bridging Music, Music History, and Beth Abbate (Boston Conservatory), “Musical Intoxication in Tippett’s Theory Magical Midsummer Marriage” A Special Joint Session organized by the SMT Interest Group Victor Szabo (Hampden-Sydney College), “Highs for Highbrows? Rheto- on Improvisation with Anna Maria Busse Berger (University of rics of Contemplative Intoxication from Atmospheric Minimalism to California, Davis) Ambient Music, 1960–80” JoAnn Taricani (University of Washington), “The Anatomy of Melancholy Part I (1621) and its Intoxicating Musical Antidote (1661)” Massimiliano Guido (University of Pavia), General Introduction Peter Schubert (McGill University) vs. Peter Schubert (and the audience), THURSDAY EVENING SESSIONS—8:00–11:00 “Super librum. Improvising polyphony” The Dynamics of the Job Interview (SMT) “Father, Son, and Fantasia.” Pamela Ruiter-Feenstra improvises fantasias in the style of J. S. and C. P. E. Bach Sponsored by the SMT Professional Development Committee “The Art of Partimento.” A Gallant conversation at the piano with Johnan- Roger Graybill (New England Conservatory), Moderator drew Slominski (Linfield College) and Gilad Rabinovitch (Georgia State University) Michael Callahan (Michigan State University) Philip Duker (University of Delaware) Part II Rachel Lumsden (Florida State University) Anna Maria Busse Berger responds to the performances; discus- Elizabeth Sayrs (Ohio University) sion follows. Music, Disability, and the Environment: Joint Session: Listening for the “San Antonio Sound” in Bridging Scholarship with Activism Tejano Conjunto/Progressive Music Sponsored by the AMS Music and Disability Study Group, SMT Cathy Ragland (University of North Texas), Moderator Music and Disability Interest Group, and AMS Ecocriticism Study Group Erin Bauer (University of Wisconsin-Whitewater), “The Hybridity of the San Antonio Sound: Cross-Cultural Amalgamations in the Texas- Jacob A. Cohen (Macaulay Honors College, CUNY), Anabel Mexican Accordion Music of Flaco Jiménez, Mingo Saldívar, Esteban Maler (University of Chicago), Jessica A. Holmes (University of Jordan, and Piñata Protest” California, Los Angeles), Chairs Amy Hatch (University of North Texas), “San Antonio’s Progressive Voice: Chantal Lemire (Western University) David Lee Garza’s pasadas, a Motivic Analysis of Performance ‘Formulas’” Jessica Schwartz (University of California, Los Angeles) Cathy Ragland, “‘A Mi San Antonio (For My San Antonio)’: Eva Ybarra’s Ailsa Lipscombe (University of Chicago) Dissonance in the Hypermasculine World of Tejano Conjunto” William Robin (University of Maryland) Joe Treviño (Blue Cat Recording Studio) and Max Baca (Los Texmani- James Deaville (Carleton University) acs), “Crafting ‘La onda Tejana (the Tejano Experience)’ in the Studio, on Rachel Mundy (Rutgers University-Newark) Stage, and in the Backyard” Publishing in Journals Roundtable Sponsored by the AMS Committee on Career-Related Issues Geraldine Richards (Taylor & Francis), Chair Joy Calico (Vanderbilt University), JAMS Christopher Gibbs (Bard College), MQ Loren Kajikawa (George Washington University), JSAM Deborah Kauffman (University of Northern Colorado), JMR  AMS Newsletter Music at the Border Teaching and Learning through Interdisciplinarity Sponsored by the AMS Ibero-American Music Study Group Sponsored by the AMS Pedagogy Study Group Jesús A. Ramos-Kittrell (University of Connecticut), Chair Paula J. Bishop (Bridgewater State University), Chair Jacqueline Avila (University of Tennessee), “‘No hay nada que celebrar’: Jessica Getman (University of Michigan) and Lena Leson (University of Music, Migration, and Violence in Luis Estrada’s El Infierno” Michigan), “Online Skills for Real-World Impact: The Gershwin Initia- Léon Felipe García Corona (Northern Arizona University), “Los Tres tive’s Undergraduate Research Program” Reyes Sing to the Westside: Social Change and the Trio Style” Kimberly Francis (University of Guelph), “Gamified Learning and the Andrés R. Amado (University of Texas Rio Grande Valley), “Mariachi Limits of Interdisciplinarity: Lessons from the Scribe Hero Beta Launch” Mass in San Juan, Texas: Intersections of Faith, Ethnicity and Politics” Sonia Seeman, Robin Moore, and Andrew Dell’Antonio (University of Othered within the Other: Marginalized Voices in Jewish Texas at Austin), “Framing the Undergraduate Music Experience: Toward an Interdisciplinary Approach to the First-Year Course” Studies Anna Stephan-Robinson (West Liberty University), “‘Musicianship’: An Sponsored by the AMS Jewish Studies and Music Study Group Interdisciplinary Course to Prepare First-Year Music Majors for Success” Brigid Cohen (New York University), Chair and Respondent Claire Fontijn and Laura Jeppesen (Wellesley College), “‘Musicke’s Rec- reation’: Musicology Meets Performance in a Blended-Learning Course” Assaf Shelleg (Hebrew University of Jerusalem) Karen Uslin (Rowan University) Kristofer Matthias Eckelhoff (Graduate Center, CUNY) THURSDAY EVENING SESSION—9:45–11:15 Bobbi Elkamely (U.S. Grant Hight School/El Sistema) Twentieth-Century Art Song: Babbitt and Beyond (SMT) Perspectives on Public Music Theory and Analysis (SMT) Joshua Banks Mailman (Columbia University), Chair Anna Gawboy (Ohio State University), Chair Matthew BaileyShea (University of Rochester), “A Drunken Leg: Line, J. Daniel Jenkins (University of South Carolina), “Leonard Bernstein’s Phrasing, and Syntax in Song” Public Music Theory” Zachary Bernstein (Eastman School of Music, University of Rochester), Christian Thorau (Universität Potsdam, Germany), “Music Analysis, Pop- “Poetic Form and Psychological Portraiture in Babbitt’s Early Texted ularized? Recent Technologies of Interactive Scores for Listeners” Works” Alexander Rehding (Harvard University), “Graphic Animation as a Tool Nicholas Jurkowski (University of California, Santa Barbara), “The Me- in Public Music Theory” dium and the Message: Milton Babbitt’s Sounds and Words in the Context Alyssa Barna (Eastman School of Music, University of Rochester), “Music of the RCA Synthesizer” Theory’s Role in Mainstream Digital Journalism” Miriam Piilonen (Northwestern University), “‘#musictheory Will Be the Death of Me’: Reflections on Tweeted Complaints about Music Theory” 2 Daniel B. Stevens (University of Delaware), “Pedagogies of Encounter: FRIDAY November Community Outreach and the Music Theory Classroom” 8:30–6:00 Registration & Speaker Ready Room Rethinking Amateurism 8:30–6:00 Exhibits Sponsored by the AMS Popular Music Study Group 7:00–8:00 Yoga Flow with Samantha Bassler Albin Zak (University at Albany), Chair 7:00–8:45 AMS Chapter Officers Elizabeth Craft (University of Utah), “A ‘Merely Entertaining Craftsman’? George M. Cohan and Early Twentieth-Century Discourses of Amateur- 7:00–8:45 AMS Committee on Career-Related Issues ism and Professionalism” 7:00–8:45 AMS Communications Committee Vanessa Blais-Tremblay (McGill University), “Vera Guilaroff and the Ma- 7:00–8:45 AMS Committee on the History of the Society ple Leaf in (D)Rag: Issues of Identity, Genre, and Historiography with the Novelty Style” 7:00–8:45 SMT Committee on the Status Jeannelle Ramírez (University of Texas at Austin), “‘Make music like a of Women Breakfast pro’: GarageBand and the Computer as Aspirational Folk Instrument” 7:00–8:45 SMT MTO Editorial Board Keynote Address: Karl Hagstrom Miller (University of Virginia), “Sound 7 00 8 45 Investments: Amateurs Make American Pop” : – : SMT Music Theory Spectrum Editorial Board Synchronizations (AMS) 7:00–8:45 Bloomsbury Cultural History of Music Project 7 00 9 00 Brian Kane (Yale University), Chair : – : AMS Committee on Technology Daniel Callahan (Boston College) 7:00–9:00 Mozart Society of America Board Alessandra Campana (Tufts University) 7:30–8:45 Alvin H. Johnson AMS 50 Hayley Fenn (Harvard University) Dissertation Fellowship Committee Marco Ladd (Yale University) Deirdre Loughridge (Northeastern University) 7:30–8:45 SMT Breakfast Reception for Students hosted Roger Moseley (Cornell University) by the Professional Development Committee Stephanie Probst (Deutsches Museum, Munich) 7:30–8:45 AMS Graduate Education Committee Danielle Simon (University of California, Berkeley) Mary Simonson (Colgate University)

August 2018  7:30–8:45 AMS Program Committees for the FRIDAY MORNING SESSION—9:00–12:15 2018 and 2019 Annual Meetings 7:30–8:45 AMS Student Representatives to Council Joint Session: The Debussy Sound and the Cultural Imagination 7:30–9:00 American Brahms Society Board of Directors Gurminder K. Bhogal and Marianne Wheeldon, Conveners 7:30–9:00 BACH: Journal of the Riemenschneider Bach Institute Board Joint Session in Three Parts, with a Performance Interlude 9:00–12:00 SMT Graduate Student Workshop I: 1. Reception Histories Issues in Popular-Music Analysis Boyd Pomeroy (University of Arizona), Respondent and Moderator Nicole Biamonte (McGill University), leader Alexandra Kieffer (Rice University), “Early Debussy Reception and Epis- temologies of Sound” 9:00–12:00 SMT Graduate Student Workshop II: Code François de Médicis (Université de Montréal), “Putting Debussy’s Subtle Shifting, Chromaticism, and Modality Orchestration and Refined Harmonies in Perspective” Dmitri Tymoczko (Princeton University), leader Marianne Wheeldon (University of Texas at Austin), “Through the Ears of Lenormand: Listening to Debussy’s Harmony” 2. Messiaen, Takemitsu, Murail Annual Meeting Hotel and Travel Information Jonathan Goldman (Université de Montréal), Respondent and Moderator The Grand Hyatt San Antonio (600 Market Street, San Antonio) Timothy Cochran (Eastern Connecticut State University), “Hearing Col- is located in the heart of the city’s historic downtown. The Grand or, Organizing History: Messiaen and a Debussy ‘in Love with Sound’” Hyatt is just steps from the River Walk and walking distance to Timothy Koozin (University of Houston), “Debussy’s Pastoralism and the the Alamo. Music of Toru Takemitsu” Marilyn Nonken (New York University), “Time is of the Essence” Complimentary internet access is available in all guest rooms. Us- ing the conference room block at this hotel helps us meet our con- Performance: Marilyn Nonken, piano tractual obligations and keeps you close to all conference activities. Olivier Messiaen, “Cloches d’angoisse et larmes d’adieu,” Préludes (1929) Rates for attendees are $195 (plus $32.66 tax) per night for single Tristan Murail, Cloches d’Adieu, et un sourire . . . in memoriam Olivier occupancy, $219 (plus $36.68 tax) for double occupancy, $229 (plus Messiaen (1992) $38.36 tax) for triple occupancy, or $239 (plus $40.03 tax) for qua- 3. Film, Radio, Video Games druple occupancy. Annegret Fauser (University of North Carolina at Chapel Hill), Reservations may be made online through the meeting website, or Respondent and Moderator by telephone: (888) 421-1442. Be sure to ask for the “AMS/SMT Matthew Brown (Eastman School of Music, University of Rochester), conference” room block. Conference rates are valid Monday, 29 “Debussy’s Cinematic Obsessions” October through Tuesday, 6 November, subject to availability. Steven Rings (University of Chicago), “Sounding Debussy, 1936: Race and Air Travel. San Antonio International Airport (SAT) is served by Radio” Aeromexico, Air Canada, Alaska Airlines, American Airlines, Del- Gurminder K. Bhogal (Wellesley College), “Feeling the Atmosphere with ta, Frontier, Interjet, Southwest, and United Airlines. The airport Claude Debussy in Video Games” is located approximately nine miles north of the Grand Hyatt San Antonio. FRIDAY MORNING SESSIONS—9:00–10:30 The hotel does not offer an airport shuttle service. Taxis from the airport take about ten to fifteen minutes and cost $25 to $29 (plus Special Session: Active Citizenship tip). Ride sharing services such as Uber and Lyft are available. The Details TBA; in response to discriminatory legislation emerging airport pick-up location for rideshare services is the outer com- in Texas (and other states). mercial curbside, lower level Terminal A. Bodies and Instruments (AMS) Trains and Buses. Service to San Antonio is available by Amtrak and Greyhound bus service. The Amtrak station is located at 350 Ivan Raykoff (The New School), Chair 0 5 Hoefgen Street, approximately . miles east (eleven-minute walk) Michael Weinstein-Reiman (Columbia University), “Printing Piano Peda- of the hotel. The Greyhound bus station is located at400 N. gogy: Experimental Psychology and Marie Jaëll’s Theory of Touch” St. Mary’s Street, approximately 0.8 miles (fifteen-minute walk) Roger Moseley (Cornell University), “Return to Sender: The Recursive northwest of the hotel. Transmissions of Die schöne Müllerin” Driving directions and parking. A downtown area map and links Mike Ford (Columbia University), “‘A Frankenstein Piano’: Herbie Han- to detailed driving directions are available at the Hotel and Travel cock’s Improvisational Lutherie” Information web page. Self-service parking at the Grand Hyatt San Antonio is $29 per day (valet parking $39). Additional information. TheHotel and Travel Information page found at the AMS website (ams-net.org/sanantonio) provides ad- ditional travel information.

 AMS Newsletter Composers and Performance Spaces (AMS) Musical Networks, Medieval and Early Modern (AMS) David Bernstein (Mills College), Chair Evan A. MacCarthy (West Virginia University), Chair Kimberly Hannon Teal (University of Arkansas), “Moving the Margins: Kelly Huff (Washburn University), “Tomás Luis De Victoria: Business- The Surfacing of John Zorn’s Underground Performance Space” man and Composer” Daniel Fox (Graduate Center, CUNY), “Does It Matter Which Room Karen Cook (University of Hartford), “In the Household of Jean de Blau- Alvin Lucier Sits in?” zac: Networks of Musical Knowledge in the Late Fourteenth Century” Erin K. Maher (West Chester University), “‘The Age of Youth’: Past and Alison Altstatt (University of Northern Iowa), “Goscelin’s Songbook? On Present in the 1963 Milhaud Festival at Mills College” the Origin of the Carmina Cantabrigiensia” Cross-Currents in Communist Countries (AMS) Nineteenth-Century Spaces and Spectacles (AMS) William Quillen (Oberlin College and Conservatory), Chair Matthew Franke (Howard University), Chair Sven Kube (Florida International University), “Friendly Takeover: Anglo- Emily Loeffler (University of Oregon), “‘Behind every rock is an ambus- American Pop Music in a Cold War Communist Record Market” cade of native minstrels’: English Grand Tourists in the Bernese Oberland Anne Searcy (Frost School of Music, University of Miami), “Reviving and the Nineteenth-Century Commercialization of the Ranz des Vaches” Stravinsky, Reviving Leninism: The Stravinsky Renaissance at the Bolshoi Francesca Vella (University of Cambridge), “Aida, Media, and Temporal Theater during the Thaw” Politics, ca. 1871–72” Oksana Nesterenko (Stony Brook University), “Sofia Gubaidulina’s Early Tim Rhys Lloyd (Oxford Brookes University), “‘Spectacle trop beau, peut- Spiritual Works in the Context of 1960s Religious Revival in the USSR” être’: Exhibition Fatigue at the Palais Garnier and the Grand Operas of Inter- and Intra-Cultural Scale Studies (SMT) Jules Massenet” Nancy Yunwa Rao (Rutgers University), Chair Process, Groove, and Backbeat (SMT) Robin Attas (Queen’s University), Chair Somangshu Mukherji (University of Michigan), “Bhatkhande, Schenker, Humboldt: An Eternal Rāgamālā” Jeremy W. Smith (University of Minnesota), “The Functions of Continu- Lars Christensen (University of Minnesota), “Constructing Social and ous Processes in Contemporary Electronic Dance Music” Tonal Order in Northern Song Dynasty Bell Chimes” Scott Hanenberg (University of Toronto), “Theorizing Quintuple and Liam Hynes (Yale University), “Heart and Soul in a Semitone: A History Septuple Grooves in Recent Rock Music” of the Miyakobushi and Its Phrygian Entanglements” Mariusz Kozak (Columbia University), “Headbanging to ‘Giant Steps’: Late Haydn (AMS) Backbeat and Tempo Modulation in the Music of Panzerballett” Bruce MacIntyre (Brooklyn College, CUNY), Chair Schubert and Form (SMT) René Rusch (University of Michigan), Chair Eloise Boisjoli (University of Texas at Austin), “The Pamela Paradox; Or, How Arbitrary Signs Evoke Sensations in Haydn’s op. 77 no. 2” Caitlin Martinkus (University of Notre Dame), “Repetition as Expan- Rena Roussin (University of Toronto), “Haydn’s Last Heroine: Hanne, The sion: Large-Scale Sentential Structures in Franz Schubert’s Subordinate Seasons, and the Culture of Sensibility” Themes” Caryl Clark (University of Toronto), “Transcultural Contexts for Under- Aaron Grant (Missouri Western State University), “Schubert’s New Forms: standing The Creation” Digressionary Passages in Schubert’s Two-Key Expositions” Latin American Cathedrals (AMS) Steven Vande Moortele (University of Toronto), “Reconfiguring Classical Theories for Romantic Music: The Case of Schubert’s ‘Unfinished’” Carol A. Hess (University of California, Davis), Chair Alejandro Vera (Pontificia Universidad Católica de Chile), “From Polyph- ony to Plainchant: Music and Liturgy in the Periphery (Santiago, Chile, AMS/SMT 2018 and Texas Child-Services Legislation 1609–1840)” Drew Edward Davies (Northwestern University), “Performance Practice Two sessions are scheduled at the meeting in response to 2017 Tex- and New Spanish Villancicos around 1700” as legislation that permits denial of service based on “the provider’s Billy Traylor (Austin Baroque Orchestra), “Southerly Winds of Change: sincerely held religious beliefs.” (For information and background, Musical Sophistication at Oaxaca Cathedral, 1726–1779” see the Feb. 2018 AMS Newsletter, p. 12, and ams-net.org/sananto- nio). Friday morning at 9:00, the session/workshop “Active Citi- Midcentury Jazz (AMS) zenship” (currently still in planning stages) is scheduled; and on Darren Mueller (Eastman School of Music, University of Roches- Friday at 10:45, guest speaker Mel Y. Chen (University of Califor- ter), Chair nia, Berkeley) presents “Gestural Politics of Movement: New Per- spectives on Music and Current Social Issues,” with respondents Kelsey Klotz (University of North Carolina at Charlotte), “Dave Brubeck Suzanne Cusick (AMS) and Gavin Lee (SMT). in the Living Room: Race, Gender, and Respectability in the Conversion of a ‘New’ Jazz Audience” Information on local organizations for those who wish to sup- port them will be available to conference attendees as they register Stephen A. Crist (Emory University), “Inside Time Out” and at the meeting registration desk. We wish to provide the op- Kwami Coleman (New York University), “The ‘New Thing’ as Polemic: portunities to enter into thoughtful discussion regarding this situ- 1965 67 Aesthetics as Identity, – ” ation and other pressing social concerns, and to renew our efforts to ensure mutual support and respect within our own musicologi- cal community.

August 2018  FRIDAY MORNING SESSIONS—10:45–12:15 Militarism and Monuments (AMS) Katherine Hambridge (Durham University), Chair Special Session: Gestural Politics of Movement: New Perspectives on Music and Current Social Issues Samuel T. Nemeth (Case Western Reserve University), “Berlioz’s National Monumentalism: Expanding the Soft Power Paradigm” Georgia Cowart (Case Western Reserve University), Chair Erica Buurman (Canterbury Christ Church University), “The Battle Coda Mel Y. Chen (University of California, Berkeley) in Viennese Waltzes of the Napoleonic Era” Suzanne Cusick (New York University), Gavin Lee (Soochow University), Isabelle Moindrot (Université Paris 8), “Musicians in the Napoleonic Respondents Armies: Battles, Spectacle, and Utopias” Black Voice (AMS) New York Soundscapes (AMS) Johann Buis (Wheaton College), Chair Jacob A. Cohen (Macaulay Honors College, CUNY), Chair Terri Brinegar (University of Florida), “The Vocal Sounds of Tradition on Kate Galloway (Wesleyan University), “Remixing, Replaying, and Map- the Recorded Sermons of Reverend A. W. Nix” ping the Upper East Side: Spatial Listening through Mobile Media in John Luther Adams’s Soundscape 9:09” Jordan Musser (Cornell University), “Making History: The Politics of Lin- ton Kwesi Johnson’s Dub Poetry” Joel Rust (New York University), “The City and Its Failures in Varèse’s Unfinished Works, 1927–1951, and Déserts” Heather Buffington Anderson (Claflin University), “‘Rags and Old Iron’: Memory, Masculinity, and Polyvocality in Oscar Brown Jr.’s Song-Poems” Akiva Zamcheck (New York University), “Noise, Property, and the Police: The Development of Noise-Related Nuisance as Critical Police Preroga- Brahms Reconsidered (SMT) tive in New York City, 1994–2016” Nicole Grimes (University of California, Irvine), Chair Rethinking Aural Skills Instruction through John Paul Ito (Carnegie Mellon University), “Brahms and the 1.5-Length Cognitive Research (SMT) Bar” Sponsored by the SMT Pedagogy Interest Group Lucy Liu (Indiana University), “Brahms’s ‘Musical Prose’ Reconsidered” Stacey Davis (University of Texas at San Antonio), Chair David Keep (Eastman School of Music, University of Rochester), “Failed Musical Memory and Intertextuality in Brahms’s op. 83 Andante” Elizabeth West Marvin (Eastman School of Music, University of Rochester), Respondent Global Temporalities, Global Pedagogies (SMT) Timothy K. Chenette (Utah State University), “What Are the Truly Aural John Roeder (University of British Columbia), Chair Skills?” Tiffany Nicely (University at Buffalo, SUNY), “Specifically Generic Ac- Gary S. Karpinski (University of Massachusetts Amherst), “A Cognitive companiments: Clump Vectors in Guinean Malinke Dance Drumming” Basis for Choosing a Solmization System” Eshantha Peiris (University of British Columbia), “Theory and Perfor- Sarah Gates (Northwestern University), “Developing Auditory Imagery: mance Practice in South Asia: Have Changing Ideas about Meter Influ- Contributions from Aural Skills Pedagogy and Cognitive Science” enced How Rhythms are Played?” Seventeenth-Century France (AMS) Beau Bothwell (Kalamazoo College), “Linear Analysis and Improvisation in the Music of Umm Kulthum: Pedagogy and the Reading Ear across Antonia L. Banducci (University of Denver), Chair Musical Culture” Deborah Kauffman (University of Northern Colorado), “The ‘Pseaumes Jazz Idioms (AMS) de Mr de Noailles’: Cantiques spirituels and the Court of Louis XIV” Jeffrey Taylor (Brooklyn College, CUNY), Chair Kate van Orden (Harvard University), “The Chansons Turquesques of Charles Tessier (Paris, 1604)” Matthew Butterfield (Franklin & Marshall College), “‘Qu’est-ce que le Michael Bane (Indiana University), “The Art of Pleasing: Nicolas Faret swing?’: The Transnational Emergence of a Foundational Rhythmic and the Role of Music in French Civility, 1600–30” Concept” Clay Downham (University of Colorado Boulder), “Conceiving the Con- Tonal Multiplicity in Popular Music (SMT) cept: Style and Practice in Eric Dolphy’s Applications of George Russell’s Mark Spicer (Hunter College / Graduate Center, CUNY), Chair Lydian Chromatic Concept” Trevor de Clercq (Middle Tennessee State University), “The Harmonic- John Howland (Norwegian University of Science and Technology), “‘Pro- Bass Divorce in Rock” gressive’ Soul, Sophistisoul and Black Muzak, from Isaac Hayes to Barry White, 1969–1974” Ben Duinker (McGill University), “Hybrid Tonics in Recent Pop Music” Jeremy M. Robins (Orlando, Fla.), “Double-Tonic Complexes and Singer Latin American Voices (AMS) Agency in Popular Music” Walter Clark (University of California, Riverside), Chair Twenty-First-Century Opera (AMS) Andrés R. Amado (University of Texas Rio Grande Valley), “Within the Ryan Ebright (Bowling Green State University), Chair Tradition, Beyond the Rules, and Outside the Canon: Stylistic Analysis of a Guatemalan Nineteenth-Century Responsory” Ken McLeod (University of Toronto), “‘The End:’ Holographic Opera and Matthew Leslie Santana (Harvard University), “Transformismo: Gender Techno Spirituality” Performance, Black Women, and ‘Sexual Revolution’ in Post-Socialist Joy Calico (Vanderbilt University), “Vocal Writing for Clémence in Saa- Cuba” riaho’s L’amour de loin” James McNally (University of Michigan), “DIY Experimental: Punk’s Daniel Villegas Velez (Katholieke Universiteit Leuven), “Orpheus in Latin Radical Reinvention of Musical Experimentalism in São Paulo, Brazil” America: Myth, Universalism, and Neobaroque Strategy”  AMS Newsletter Women Empowered (AMS) FRIDAY NOONTIME Laura Stokes (Brown University), Chair RECEPTIONS AND OPEN MEETINGS Rebecca Eaton (Texas State University), “(In)Equal(ity) Equations: Mu- 12:30–2:00 AMS Committee on Cultural Diversity sically Gendering Genius for Mathematicians Since A Beautiful Mind” Reception Lucy Caplan (Yale University), “The Limits of Desegregation: Black Activ- For Eileen Southern Travel Grant Recipients, Associates, and ism and the Metropolitan Opera” Alliance Representatives Caitlin Schmid (Harvard University), “Ice Music, Ice Cello, Iced Bodies: Reinterpreting Charlotte Moorman’s Avant-Garde (1972–2018)” 12:30–1:30 Alvin H. Johnson AMS 50 Fellowship Forum 12:30–2:00 AMS Pedagogy Study Group Business Meeting FRIDAY NOONTIME SESSIONS 12:30–2:00 AMS Popular Music Study Group Business Meeting 12:00–2:00 Searching across Disciplines: The RILM Suite and MGG Online for 12:30–2:00 AMS Ecocriticism Study Group Music Theorists and Musicologists Business Meeting 12:30–2:00 AMS Music and Philosophy Study Group 12:30–2:00 Paired Lightning Talks Business Meeting Sponsored by the AMS Music and Media Study Group and SMT 12:30–2:00 SMT Analysis of World Music Interest Group Film and Multimedia Interest Group 12:30–2:00 SMT Committee on Diversity and Hearing Borderline Personality Disorder in Crazy Ex-Girlfriend International Travel Grant Recipients Luncheon Joanna Love (University of Richmond), “Decording ‘Crazy’: ‘Popping’ Gendered Stigmas in the Season Three Theme Song” 12:30–2:00 SMT Jazz Theory and Analysis Interest Group Jessie Fillerup (Aarhus University / University of Richmond), “‘To Clarify, 12:30–2:00 SMT Performance and Analysis Interest Group Yes/No on the Crazy’: Permeable Structures and Mental Health” 12:30–2:00 SMT Post-1945 Music Analysis Interest Group Musical Technology on Screen 12:30–2:00 SMT Queer Resource Interest Group Sergio Ospina-Romero (Cornell University), “The Immortal (but Silent) 12:30–2:00 Society for Seventeenth‑Century Music Voice: Multimedia Entanglements in Phonography and Filmmaking” Business Meeting Allison Wente, “A Comeback Role: Nostalgia and the Player Piano in TV and Film” 12:45–1:45 AMS Cold War and Music Study Group Brown Bag Open Lunch “This is Ceti Alpha V”: Sound as Horror inStar Trek II Jessica Getman (University of Michigan), “Disturbing Sounds: Music and 12:45–1:45 Proposed AMS Childhood and Music Study Horror in Science Fiction” Group Organizational Brown Bag Lunch Evan Ware, “Scanning the Fantastical Gap: The Tricorder as Diegetic 1:00–3:00 SMT CV Review Boundary” Staging Narratives of Play in Concerts of Video Game Music FRIDAY NOONTIME & AFTERNOON William Gibbons (Texas Christian University), “Rewritable Memory: SMALL MEETINGS Game History in Concert” 12:15–2:15 A-R Online Music Anthology Board Julianne Grasso, “Reliving Play, Live: Formal Narratives of Symphonic Video Game Music” Meeting (by invitation) 12:30–2:00 Contingent Labor in the Academy: 12:30–2:00 JAMS Editorial Board Issues and Advocacy 3:30–5:00 AMS/MLA Joint RISM Committee Sponsored by the AMS Committee on Career-Related Issues Reba Wissner (Montclair State University), Chair FRIDAY AFTERNOON CONCERTS Deborah Heckert (Stony Brook University/Brooklyn College, CUNY), Respondent 12:45–1:45 The Art of the Castrato in the Romantic James Deaville (Carleton University) Robert Crowe, male soprano Andrew Dell’Antonio (University of Texas at Austin) Juvenal Correa-Salas, piano Laura Dolp (Montclair State University) Matilda Ertz (University of Louisville) 2:15–3:15 Brazilian Music for Piano and Guitar Andrew Granade (University of Missouri-Kansas City) Matthew Jones (Miami University of Ohio) Rafael dos Santos, piano Eduardo Lobo, guitar Both concerts take place at St. Mark’s Church, 315 E. Pecan St., near the converence venue

August 2018  2 15 5 15 Maria Anne Purciello (University of Delaware), “Tenor Travestiti? Gender, FRIDAY AFTERNOON SESSIONS— : – : Comedy, and the Seventeenth-Century Operatic ‘Nurse’” Roots and Records: Analyzing Bluegrass and Wendy Heller (Princeton University), “Sopranos in the Age of Monteverdi: Americana (SMT) Women, Castrati, and the ‘via naturale’” Chelsea Burns (Eastman School of Music, University of Roches- Beethoven Elsewhere (AMS) ter), Chair Tekla Babyak (independent scholar, Davis, Calif.), Chair Steven Rings (University of Chicago), Respondent Nicholas Chong (Rutgers University), “Beethoven and Kant: Reassessing Joti Rockwell (Pomona College), “Listening to Translation in American a Familiar Connection” Roots Music” Anicia Timberlake (Peabody Conservatory, Johns Hopkins University), Neil Newton (Los Angeles, Calif.), “Machine Music: Non-Human Con- “The Theft and Return of the Beethoven Conversation Books: Claiming tributions to Form in Bluegrass” German Heritage in the Cold War” Jocelyn R. Neal (University of North Carolina at Chapel Hill), “For Want Edgardo Salinas (The Juilliard School), “A Peronist Beethoven: Argentina’s of a V Chord: The Roots of Country Soul and the Politics of Harmony” Orquesta Sinfónica Nacional and its ‘Música para el Pueblo’ Concerts” James Palmer (St. Olaf College), “Wait for It: Anacrusis and Metrical Play Composing Notre Dame Polyphony (AMS) in Twenty-First-Century Bluegrass” Mary Wolinski (Western Kentucky University), Chair Clausulae FRIDAY AFTERNOON SESSIONS—2:15–3:45 Adam Mathias (University of Cambridge), “ in Two Modes” Catherine A. Bradley (University of Oslo), “Benedicamus Domino and Mu- Agency, Algorithms, Aurality (SMT) sical Creativity in the Middle Ages” Ilana R. Schroeder (University of Wisconsin-Madison), “Tenor Repetition Maryam Moshaver (University of Alberta), Chair and ‘Pseudo-Strophic’ Form in the Earliest Latin Motets” Naomi Waltham-Smith (University of Pennsylvania), “Field Recording as Contesting European Music (AMS) Analytical Praxis: Ultra-red’s Re-marks on Listening” Laura Tunbridge (University of Oxford), Chair Vivian Luong (University of Michigan), “Animating Indeterminate Musi- cal Agency” Liz Crisenbery (Duke University), “Fascist Italy’s Forgotten Operatic Icon” Brian Miller (Yale University), “Algorithmic Agents, Musical Objects, and E. Douglas Bomberger (Elizabethtown College), “Taking the German Mediated Styles: Reframing Computational Music Theory” Muse out of Music: How The Chronicle Shaped Musical Opinion in Arcadia and the Pastoral (AMS) World War I” Katherine Hambridge (Durham University), “Popularizing the ‘Popular’” Basil Considine (University of Tennessee-Chattanooga), Chair Crossing the Pacific (AMS) Julia Doe (Columbia University), “Pastoral Opera in the Age of Marie Antoinette” Jeongwon Joe (University of Cincinnati), Chair Nathaniel Mitchell (Princeton University), “Distinguishing Cecchina: Chenyin Tang (University of Southampton), “Informality, Commodifi- Pastoral Sensibility in Eighteenth Century Italian Opera” cation, and Global Theatrical Networks: Three Perspectives on Western Sacha Peiser (Southwestern College), “Corrupting Arcadia: War and Nos- Opera in Shanghai in the Late Nineteenth Century” talgia in Rebecca Clarke’s Piano Trio” J. Michele Edwards (Macalester College), “Chen Yi Sounding Seventeenth-Century Italian Voices and Bodies (AMS) Transnational” Hyun Kyong Chang (Yale University), “Annie L. Baird’s Chyanggajip Robert Holzer (Yale University), Chair (A Book of Songs): The Musical Strategies of the American Protestant Roger Freitas (Eastman School of Music, University of Rochester), “Or- Mission in Japanese-Colonized Korea” lando at Play: The Games of Il palazzo incantato (1642)”

Robert Crowe, male soprano and Juvenal Correa-Salas, piano (Friday, 12:45 p.m.) Rafael dos Santos, piano and Eduardo Lobo, guitar (Friday, 2:15 p.m.)  AMS Newsletter Dance Forms (SMT) Carmel Raz (Max Planck Institute for Empirical Aesthetics), “Music of the Squares: David Ramsay Hay and the Psychology of Pythagorean Gretchen Horlacher (Indiana University), Chair Aesthetics” Alison Stevens (University of British Columbia), “Motion as Music: Hy- Thomas Christensen (University of Chicago), “Pythagorean Fifths and the permetrical Schemas in Eighteenth-Century Contredanses” Triple Progression in French Music Theory” Rebecca Simpson-Litke (University of Manitoba), “In the Heat of the Mo- ment: An Exploration of the Role of Improvisation in Defining Different FRIDAY AFTERNOON SESSIONS—4:00–5:30 Styles of Salsa” Daniel Goldberg (University of Connecticut), “Transformations of South- Posters (AMS) east European Dance Meters” Keith Clifton (Central Michigan University), “Ravel’s Boléro as Sonic Panel: Diversity in Publication Artifact” Sponsored by the AMS Committee on Career-Related Issues Anne-Marie Houy Shaver (Arizona State University), “Deep Ecology in Mary C. Francis (University of Michigan Press), Shawn Keener Music: Pauline Oliveros and Deep Listening” (A-R Editions), Chairs Jorge Torres (Harlingen Consolidated Independent School District), “Maitines No Son Completas: An Examination of an Altered Horarium Daphne Carr (New York University) in New Spain” Norman Hirschy (Oxford University Press) Loren Kajikawa (George Washington University) Cultural Exchange (AMS) Guthrie P. Ramsey, Jr. (University of Pennsylvania) Beau Bothwell (Kalamazoo College), Chair Emigrés and Stereotypes (AMS) Alexander Stalarow (San Francisco Conservatory of Music), “Collecting, Laura Pruett (Merrimack College), Chair Manipulating, and Obscuring the Source: The Sound Recordings of Schaeffer’s Une Heure du monde (1946)” Siel Agugliaro (University of Pennsylvania), “Poaching Stereotypes: Opera, Race, and Italian Identity in Philadelphia (1870–1910)” Alyson Payne (Three Oaks, Mich.), “Music as Cultural Diplomacy during the Kennedy Administration: The Inter-American Music Festival of 1963” Ditlev Rindom (University of Cambridge), “Performing Italy in Buenos Aires, ca. 1891: Cavalleria Rusticana, Pagliacci, and Transatlantic Italianità” Samuel Dorf (University of Dayton), “Singing Gilgamesh under the Pal- myra Arch: Ancient Mesopotamian Music, Architectural Ruins, Public Natalie Zelensky (Colby College), “Club Petroushka, Gypsy Affect, and Musicology, and the Politics of Reconstruction” New York’s Russian Cabaret Scene of the Roaring Twenties” Explorations of Sound (AMS) Seminar: On the Academic Pipeline (AMS) Amy Bauer (University of California, Irvine), Chair Ellie Hisama (Columbia University), Matthew Leslie Santana (Harvard University), conveners Steven Wilson (University of Illinois Urbana-Champaign), “Towards an Interpretive Theory of Noise: Symbolism, Sonics, and Recordings” Robin Attas (Queen’s University) and Patrick Nickleson (Mount Allison Benjamin Levy (University of California, Santa Barbara), “Sound Worlds University), “Decolonizing Music Pedagogy: Two Settler Perspectives on Colliding: Microtones and Macropolitics in the Music of Ligeti and the Undergraduate Music Curriculum” Vivier” Michael Uy (Harvard University), “Applied Musicology and Going Be- Amy Cimini (University of California, San Diego), “Maryanne Amacher’s yond the Academic Pipeline” Living Sound” Anaar Desai-Stephens (Eastman School of Music, University of Roch- ester), “Undoing ‘Academic Whiteness,’ Embodying Multiple Selves in Manuscripts (AMS) Academic Musicology” Catherine Saucier (Arizona State University), Chair Radio (AMS) Kathleen Sewright (Winter Springs, Fla.), “A Spanish Manuscript at the Beth Levy (University of California, Davis), Chair University of Denver: The Willcox 1 Antiphoner” Natasha Roule (Harvard University), “The Trumpet Marine at the Inter- Esther M. Morgan-Ellis (University of North Georgia), “Singing the section of Music Copying, Collecting, and Performance in Eighteenth- Imagined Community: Repertoire and Identity in Sing-Along Radio Century France” Programs of the 1930s” Lillian Pinto de Sa (Washington University in St. Louis), “Musical Cre- John Green (Eastman School of Music, University of Rochester), “Sound ativity in a Devotio Moderna Songbook” and Meaning on Radio in John Cage’s The City Wears a Slouch Hat (1942)” Danielle Simon (University of California, Berkeley), “Ecco la radio!: Italian Media Transformations (AMS) Radio on Stage and Screen” Nick Stevens (Case Western Reserve University), Chair Unity, Geometry, and Aesthetics: Revivals of Brooke McCorkle (University of Vermont), “Liveness, Music, Media: The Pythagoreanism in Eighteenth- and Case of the Cine-Concert” Nineteenth-Century Music Theory (SMT) Melinda Boyd (University of Northern Iowa), “Deeds of Music Made Vis- Nathan Martin (University of Michigan), Chair ible: Reading (and Hearing) P. Craig Russell’s Graphic Novel Adaptation of The Ring of the Nibelung” David E. Cohen (Max Planck Institute for Empirical Aesthetics), “‘The Erin Brooks (SUNY Potsdam), “‘It is the musician behind the camera who Source of All Intervals’: Rameau’s Pythagorean Octave and the Basis of is the soul of the picture’: Music on the Sets of ‘Silent’ Film” Harmonic Analysis”

August 2018  Modern Figures in the History of Music Theory (SMT) Panel: Workshop on Access and Accessibility Alan Street (University of Kansas), Chair Sponsored by the AMS Committee on Women and Gender Rachel Lumsden (Florida State University), “Music Theory for the ‘Weak- Mary Hunter (Bowdoin College), Chair er Sex’: Oliveria Prescott’s Columns in The Girl’s Own Paper” Naomi André (University of Michigan) Jessica Wiskus (Duquesne University), “On the Logic of Parts and Wholes: Suzanne Cusick (New York University) The Promise of Husserl’s Time-Consciousness for Music Analysis Today” Jeannette Di Bernardo Jones (Boston University) Eric Elder (Brandeis University), “Rudolph Réti and Alfred North White- Gayle Murchison (College of William and Mary) head: Parallels in Process” Linda Shaver-Gleason (Not Another Music History Cliché) Reba Wissner (Montclair State University) New Histories of “Latin American” Opera (AMS) Rogerio Budasz (University of California, Riverside), Chair FRIDAY EARLY EVENING SESSIONS Benjamin Walton (University of Cambridge), “Feast and Famine in the Operatic Historiography of the Río de la Plata” 5:45–6:45 Early Music America Charlotte Bentley (University of Cambridge), “Opera as Commodity: Un- Singing from Renaissance Notation with Valerie Horst covering Cuba’s Operatic Networks in the First Half of the Nineteenth 6:00–7:30 Perspectives on Critical Race Theory and Century” Music José Manuel Izquierdo König (Pontificia Universidad Católica de Chile), “From Lima to Valparaíso: Local Circulations and Opera in Early Nine- Sponsored by the AMS Committee on Race and Ethnicity teenth-Century Latin America” George E. Lewis (Columbia University), Judy Tsou (University of Nineteenth-Century Music: New Perspectives (SMT) Washington), Co-Chairs Daniel Harrison (Yale University), Chair George Lipsitz (University of California, Santa Barbara), “‘The Danger Zone Is Everywhere’: Why Talking about Race and Music Xieyi (Abby) Zhang (The Graduate Center, CUNY), “Apparently Imper- Matters Now” fect: On the Analytical Issues of the IAC” Marie-Ève Piché (McGill University), “The ‘Swedish Sixth’ Chord: Intro- Maya C. Gibson (University of Missouri) and Braxton D. Shelley ducing a New Family of Augmented-Sixths” (Harvard University), Respondents Michael Weiss (Christchurch, New Zealand), “Phrase Structure and For- mal Function in Galant Schemata: The ‘Heartz’ in Nineteenth-Century FRIDAY EARLY EVENING OPEN MEETINGS Themes” 5:45–7:45 SMT Scholars for Social Responsibility Objects and Mediators (SMT) Interest Group Alex Rehding (Harvard University), Chair 5:45–7:45 SMT Mathematics of Music Analysis William R. Ayers (University of Central Florida), “Gesture and Transfor- Interest Group mation in Joel Mandelbaum’s Thirty-One-Tone Keyboard Miniatures” Allison Wente (Elon University), “Clearing the Bench: Absolute Music 5:45–7:45 SMT History of Music Theory Interest Group and The Player Piano” 6:00–7:30 General Meeting and Reception Danielle Sofer (Maynooth University), “Mastering Sex In and Out of the “Eighteenth-Century Music at Fifteen” Studio” 7:30–8:00 AMS Music and Dance Study Group Recognizing Women’s Labor (AMS) Business Meeting Rebecca Geoffroy-Schwinden (University of North Texas), Chair Ascensión Mazuela-Anguita (Universidad de Granada), “Women in Alan FRIDAY EARLY EVENING SMALL MEETING Lomax’s Recordings of Spanish Folk Music (1952–53)” Aldona Dye (University of Virginia), “‘A Corps of Trained Workers’: 6:30–8:00 Journal of Musicology Board Women in the Battle for Virginia’s Folk Music, 1913–34” Lucie Vagnerova (Columbia University), “The Labor behind the Label: Audiophilia and Women’s Work” FRIDAY EVENING SESSION—8:00–9:30 “Who is this?” Listening for Practices of Antiphonal Life Twentieth-Century Topics: Structure, in African American Music and Performance (AMS) Surrealism, Silence (SMT) Nina Sun Eidsheim (University of California, Los Angeles), Chair C. Catherine Losada (College-Conservatory of Music, University Alisha Lola Jones (Indiana University), “‘I am Moses the Liberator’: A of Cincinnati), Chair Womanist Listening to Black Messianism in Nkeiru Okoye’s Opera Har- riet Tubman” James Donaldson (McGill University), “Reconsidering the Musical Sur- real through Poulenc’s Fifth Relations” Matthew D. Morrison (New York University), “Whose (Performance) Property? Blacksound as Public Domain” Jessica Barnett (SUNY Fredonia), “Octatonic Serialism in Ginastera’s Pia- no and Violin Concertos” Shana Redmond (University of California, Los Angeles), “Frequencies: Paul Robeson’s Return” Kristina Knowles (Arizona State University), “Theorizing Silence”

 AMS Newsletter FRIDAY EVENING SESSIONS—8:00–10:00 Latin American Music and Music Theory Sponsored by the SMT Committee on Diversity Joint Session: The Politics of Soviet Musicology and J. Daniel Jenkins (University of South Carolina), Chair Music Theory Katya Ermolaeva (Princeton University), Chair Part I: Paper Panel (90 minutes) Marina Frolova-Walker (University of Cambridge) and Gordon Alejandro L. Madrid (Cornell University), “¡Que enorme martirio la McQuere (Washburn University), Respondents simetria!: A Case for Metric Modulation in Julian Carrillo’s String Quartets Nos. 4 (1932) and 5 (1937)” Philip Ewell (Hunter College, CUNY) Jaime O. Bofill (Conservatorio de uM sica de Puerto Rico), “Performing Daniil Zavlunov (Stetson University) Jibaro Music: Theoretical Perspectives” Inessa Bazayev (Louisiana State University) Matthew Honegger (Princeton University) Luis Jure (Universidad de la Republica, Uruguay), “Musical Traits and Anicia Timberlake (Peabody Conservatory, Johns Hopkins University) Performance Practice of Uruguayan Candombe Drumming: A Compu- Olga Panteleeva (Princeton University) tational Musicological Approach” Christopher Segall (University of Cincinnati) William Quillen (Oberlin College and Conservatory) Part II: Roundtable (90 minutes) Joint Session: Porgy and Bess Against the Grain: David Castro (St. Olaf College), Moderator New Approaches to a Confounding American Opera Jaime O. Bofill Calero (Conservatorio de uM sica de Puerto Rico) Mark Clague (University of Michigan), Chair Cynthia Gonzales (Texas State University) Luis Jure (Universidad de la Republica, Uruguay) Kai West (University of Michigan), “‘I Reckon You’ve Seen a Dead Body Suzel Reily (Instituto de Artes—Unicamp) Before’: Symbolic Violence and Musical Resistance in Porgy and Bess” Mozart Society of America Business Meeting and Lenora Green-Turner (University of Michigan), “Gullah Diction: Diction for Performances of George Gershwin’s Porgy and Bess” Study Session Jake Arthur (University of Michigan), “It Ain’t Necessarily European: Ele- Schenker’s Traces and the History of Music Theory (SMT) ments of American Popular Song in Porgy and Bess” Lena Leson (University of Michigan), “‘I’m On My Way to a Heav’nly Robert W. Wason (Eastman School of Music, University of Roch- Lan’: Porgy and Bess and American Religious Export to the USSR” ester), Chair Part 1 FRIDAY EVENING SESSIONS—8:00–11:00 Nathan John Martin (University of Michigan), “Schenker and/or Rameau” Bryan J. Parkhurst (Oberlin College and Conservatory), “The Hegelian Digital Scholarship in Music and Dance Schenker, The Un-Schenkerian Hegel, and How to Be a Dialectician about Music” Sponsored by the AMS Music and Dance Study Group John Koslovsky (Conservatorium van Amsterdam / Utrecht University), David Day (Brigham Young University), Moderator “Schenkerizing Tristan, Past and Present” Stephanie Schroedter (German Academic Research Foundation/DFG), Suzannah Clark (Harvard University), Respondent “Bodies and Sounds in Digital Music and Dance Cultures” Part 2 Todd Decker (Washington University in St. Louis), “Quantifying Screen Jason Hooper (University of Massachusetts Amherst), “Private Correspon- Dance: New Perspectives from Timecode Data” dence, Public Influence: Heinrich Schenker in Dialogue with August Tina Frühauf (RILM/Columbia University), “Researching Dance on a Halm” Virtual Floor: Methodological Approaches in the Digital Age” Daphne Tan (University of Toronto), “Viktor Zuckerkandl as Schenker’s AMS Ludomusicology Study Group Disciple, or Schenker’s Other Americanization” Interactive Demo and Poster Session Lee Rothfarb (University of California, Santa Barbara), Respondent Jesse Kinne (University of Cincinnati), “Demonstration of FamiTracker Screening Cold War Music on Film Chiptuning Software” Sponsored by the AMS Cold War and Music Study Group Karen Cook (University of Hartford), “Medievalisms and Emotions in Video Games” Kevin Bartig (Michigan State University), Chair Kevin R. Burke (Florida Institute of Technology), “Game Genie: The NES Philip Gentry (University of Delaware) Transcription Enhancers” Eduardo Herrera (Rutgers University) Dan Tramte (Virginia Tech), “Audio-Only Game Demonstration: Found Chérie Rivers Ndaliko (University of North Carolina at Chapel Hill) Ambiance” Stephen Lucas (University of North Texas), “Audio-Only Game Demon- stration: Found Ambiance” Ryan Thompson (Michigan State University), “Live Demonstration of XSplit Broadcaster Software for Capture and Streaming”

August 2018  Testing the Boundaries of Masculinity: 5:30–7:30 Eastman School of Music Alumni Reception New Work in LGBTQ Studies 5:30–8:00 University of Colorado Boulder Sponsored by the AMS LGBTQ Study Group Alumni Reception Heather Hadlock (Stanford University), Chair 5:45–7:45 University of Oregon Reception David McCarthy (Central Michigan University), “Interpreting the Walk- 6:00–7:30 MUSA Reception ing Black Man as Musical Figure inside the 1960s” Joe Nelson (University of Minnesota), “Still Jove with Ganymed lyes play- 6:00–7:30 University of North Carolina at Chapel Hill inge’: King James, Sexuality, and Sovereign Order in the Stuart Court” Alumni Reception Larissa Alice Irizarry (University of Pittsburgh), “Closeting Judas: Jesus 6:00–8:00 Boston University Reception Christ Superstar, Betrayal, and the Constraints of Heteropatriarchy” Lee K. Tyson (Cornell University), “Queer Abjection and Black Excess: 6:00–8:00 University of Cincinnati, Mykki Blanco’s Trans Rap Vocalities” College-Conservatory of Music Reception Women in the History of Music Theory: 6:00–8:00 University of Michigan Alumni Reception Two Round-Table Discussions 6:00–8:00 Friends of Stony Brook Reception Sponsored by the AMS History of Theory Study Group 6:30–8:00 W. W. Norton Reception with live music Elina G. Hamilton (Boston Conservatory) and Karen Cook (Uni- versity of Hartford), Chairs 6:30–8:00 Oxford University Press Reception

Round-Table One: “Glyn, Kinkel, Lee, and Newmarch at Work” 8:00–11:00 Bienen School of Music, Northwestern University Reception Rachel Lumsden, “Who gets to write music theory? Margaret Glyn’s The Rhythmic Conception of Music (1907): A Case Study of Gender, Class, 8:00–10:00 MLA Notes Reception and Authorship” Daniel Walden (Harvard University), “Johanna Kinkel (1810–58): Micro- 9:00–11:00 Juilliard Party tonalism and Mother’s Milk” 9:00–11:00 University of North Texas Reception Kristin Franseen (McGill University), “Between ‘Excessive Counterpoint’ and ‘Emotional Mysticism’: Form and Musical Meaning for Vernon Lee 9:00–12:00 University of Pittsburgh Reception and Rosa Newmarch” 9:00–12:00 University of Chicago Alumni Party Round-Table Two: “Where Credit Is Due” Nancy Yunhwa Rao (Rutgers University), “Crawford: A Theorist of Amer- 10:00–12:00 Brandeis University ican Ultramodern Music” Department of Music Reception August Sheehy (Stony Brook University), “Hidden Lines and Binary 10:00–12:00 Case Western Reserve University Reception Forms: Women’s Labor in the History of Music Theory” Michael Scott Cuthbert (Massachusetts Institute of Technology), “‘For the 10:00–12:00 Columbia University Use of Sister Laudomina’: Nuns and the Transmission of Vernacular Mu- Department of Music Reception sic Theory in Fifteenth-Century Italy” 10:00–12:00 Florida State University College of Music Alumni Reception FRIDAY EVENING SESSIONS—9:45–11:15 10:00–12:00 Harvard Music Reception Modality and Arabesque in the Early 10:00–12:00 Society for Christian Scholarship in Twentieth Century (SMT) Music Reception Jeremy Day-O’Connell (Skidmore College), Chair 10:00–1:00 University of California, Los Angeles Malcolm Sailor (Yale University), “Modality as the Negative Image of To- Musicology Alumni Reception nality in Fauré’s Piano Trio, op. 120” Stephanie Venturino (Eastman School of Music, University of Rochester), 11:00–1:00 AMS LGBTQ Study Group Party “The Style Incantatoire in André Jolivet’s Solo Flute Works” Nathan Lam (Indiana University), “Relative Diatonic Modality in English Pastoral Music: A Dorian-Mode Case Study” SATURDAY 3 November

FRIDAY EVENING RECEPTIONS 8:30–5:30 Registration & Speaker Ready Room

5:30–7:00 AMS Graduate Education Committee 8:30–6:00 Exhibits Reception for Prospective Graduate Students 7:00–8:00 Yoga Flow with Samantha Bassler 5:30–7:00 Rice University Alumni Reception 7:00–8:45 AMS Committee on Women and Gender 5:30–7:00 University of Illinois School of Music Alumni & Friends Reception 7:00–8:45 AMS Publications Committee  AMS Newsletter 7:00–8:45 AMS Performance Committee Poster Session (SMT) 7:00–8:45 AMS Committee on Race and Ethnicity Sara Bakker (Utah State University), “Prosody to Song: The Curious Case of Hungarian Art Song” 7:00–8:45 SMT Regional and Affiliate Societies Breakfast Eamonn Bell (Columbia University), “‘A Viennese May Breeze’: Twelve- Tone Theory and the Machine” 7:00–8:45 SMT Professional Development Committee Lewis Jeter (Florida State University), “Modeling Perception of Isolated 7:00–8:45 SMT Committee on Diversity Pitch Sets” Breakfast Meeting Clair H.K. Nguyen (University of Cincinnati College–Conservatory of Music), “The Syncretic Art and History of Vietnamese Vọng Cổ Music” 7:00–8:45 SMT-V Editorial Board Angela Ripley (The College of Wooster), “Mock Trials in the Music The- ory Classroom” 7:00–9:00 A-R Editions Series Editors’ Breakfast Nico Schüler (Texas State University), “The Harmonic Language of Black Minstrel Music by Jacob J. Sawyer (1856–85)” 7:00–9:00 Journal of Music History Pedagogy Editorial Board SATURDAY MORNING SESSIONS—9:00–10:30 7:30–8:30 SMT Workshop Committee At the Eighteenth-Century Keyboard (AMS) 7:30–8:30 RILM Governing Board Bertil Van Boer (Western Washington University), Chair 7:30–8:45 AMS Committee on Cultural Diversity Michael Goetjen (Rutgers University), “Through the Fire of Imagina- tion: The Keyboard Sketch as Mediator between Improvisation and 7:30–8:45 Haydn Society of North America Board Composition” 7:30–9:00 Journal of Musicological Research Mario Aschauer (Sam Houston State University), “Re-Reading Mozart’s Keyboard Sonata in A Major, K. 331: Text, Audience, Werkbegriff” Editorial Board Joseph Fort (King’s College London), “From the Concert Hall to the 7:30–9:00 Society for Eighteenth-Century Music Dance Floor: Minuet Arrangements in Eighteenth-Century Vienna” Board of Directors Brazil (AMS) 7:30–9:00 Web Library of Seventeenth-Century Music Kariann Goldschmitt (Wellesley College), Chair Editorial Board Silvio dos Santos (University of Florida), “‘Listen to him!’: Villa-Lobos’s Indigenism in His Symphony No. 10 ‘Ameríndia’ (1952–53)” 7:45–8:45 American Bach Society Editorial Board Chris Stover (Arizona State University), “Tatuando o samba (Tattooing 8:00–8:45 AMS Study Group Chairs the samba)” Pablo Marquine da Fonseca (University of Florida), “Claudio Santoro, 9:00–11:00 Proposed AMS Global East Asian Music Música Viva, and the Emergence of German Modernism in Brazilian Research Study Group Organizational Meeting Music” 9:00–12:15 AMS Committee on Career-Related Issues, Career Bootcamp

SATURDAY MORNING SESSIONS—9:00–12:00 Implicit Bias in Academic Settings and the Inclusive Classroom (SMT) Sponsored by the SMT Committee on the Status of Women Judy Lochhead (Stony Brook University), Chair of the CSW Part I: Implicit Bias Training and How to Create an Inclusive Curriculum (90 minutes) Betty Jean Taylor (University of Texas at Austin), Assistant Vice- President, Office for Inclusion and Equity, Office of the Vice President for Diversity and Community Engagement

Part II: Roundtable: Creating an Inclusive Classroom and Curricu- Credit: Visit San Antonio lum in Music Classes (90 minutes) Anaar Desai-Stephens (Eastman School of Music, University of Rochester) Bonnie Gordon (University of Virginia) Marianne Kielian-Gilbert (Indiana University) Jan Miyake (Oberlin College and Conservatory)

Japanese Tea Garden, San Antonio August 2018  The Economics of Creativity (AMS) New Outlooks on Concertos and Rondos (SMT) William Weber (California State University, Long Beach), Chair Graham Hunt (University of Texas at Arlington), Chair Katherine Leo (Millikin University), “Courtroom Musicology: Forensic Andrew Aziz (San Diego State University), “Merging the Sonata and the Similarity Analysis in Contemporary American Copyright Litigation” Concerto: Analysis of ‘Compositional’ Improvisation in the High Clas- Jeremy Zima (Wisconsin Lutheran College), “‘No Profession So Hope- sical Sonata” less’: The Economic and Social Challenges of Composition during the Elizabeth Fox (University of Toronto), “Deciphering the Arabesque: Dis- Weimar Republic” guised Tonal Logic in Chopin’s Piano Concerto in E minor, op. 11” Ritwik Banerji (University of California, Berkeley), “The Opportunity Alan Gosman (University of Arkansas), “Take It Away: How Shortened Cost of Experimentalism: Cultural Economics, Popular Music, and the and Missing Refrains Energize Rondo Forms” Avant-Garde in Salvador, Brazil” Operatic Timbres (AMS) Electronic Studios (AMS) Emily Richmond Pollock (Massachusetts Institute of Sabine Feisst (Arizona State University), Chair Technology), Chair Michael D’Errico (Albright College), “Plugin Cultures: The Digital Audio Jessica Gabriel Peritz (University of Chicago), “Luigia Todi’s Timbre: The Workstation as Maximal Interface” Enlightening ‘Social Utility’ of Female Voice in 1790s Italy” Madison Heying (University of California, Santa Cruz), “‘A Room of Gabrielle Lochard (University of California, Berkeley), “Timbre, Race, One’s Own: The Independent Studios of Women Making Electronic and Enchantment: An Analysis of Crystalline Textures in Der Rosenkavalier” Computer Music’” Cecilia Livingston (King’s College London), “‘salt strange and sweet’: David Kant (University of California, Santa Cruz), “Measuring Infinity: Timbre and Tension in Written on Skin” Digitizing David Dunn’s Thresholds and Fragile States” Program, Schema, and Topic in Film (SMT) Jazz I: Improvisation and Intertextuality (SMT) Frank Lehman (Tufts University), Chair Benjamin Givan (Skidmore College), Chair Orit Hilewicz (Eastman School of Music, University of Rochester), Aaron Hayes (Coeur d’Alene, Id.), “Towards a Simondonian Theory of “Schoenberg’s Cinematographic Blueprint: A Programmatic Analysis of Improvised Music” Begleitungsmusik zu einer Lichtspielscene” Ben Baker (Eastman School of Music, University of Rochester), “Standard Janet Bourne (University of California, Santa Barbara), “Hidden Topics: Practices: Intertextuality and Improvisation in Jazz Performances of Re- Analyzing Gender, Race, and Genius in the 2016 Film Hidden Figures” cent Popular Music” Steven Rahn (University of Texas at Austin), “‘The Schema Network’: Marc Hannaford (Columbia University), “Affordances and Free Improvi- Tracing a Melodic Schema in the Music of Trent Reznor from Nine Inch sation: An Analytical Framework” Nails to Film” Media Consumption (AMS) Representing Women (AMS) Christina Baade (McMaster University), Chair Monica Hershberger (SUNY Geneseo), Chair Joanna Love (University of Richmond), “The Choice of a Neoliberal Gen- Ashley Pribyl (Washington University in St. Louis), “The [Women] Up- eration: Pepsi and Pop Model the Perfect Consumer” stairs: Sonic and Visual Representations of Feminine Aging in Follies Paula Harper (Columbia University), “Viral Musicking; Contagious (1971)” Listening” Stephanie Gunst (University of Virginia), “Mechanized Voices: Operatic John Klaess (Yale University), “Broadcast Consultants, Audience Research, Women and the Music Box Sound” and the Rationalization of Radio Sound, 1975–85” Grace Edgar (Harvard University), “Hearing Pirate Queens and Prosti- Panel: Music, War, and Trauma in the tutes: The Gender Politics of the Postwar Swashbuckler Score” Long Nineteenth Century (AMS) SATURDAY MORNING SESSIONS—10:45–12:15 Erin Johnson-Williams (Durham University), Chair Michelle Meinhart (Trinity Laban Conservatoire of Music and Constructing Sovereignty (AMS) Dance; Organizer) Annegret Fauser (University of North Carolina at Chapel Hill), Erin Brooks (SUNY Potsdam) Chair Sarah Gerk (Binghamton University) Jennifer Walker (University of North Carolina at Chapel Hill), “‘Jesus Elizabeth Morgan (St. Joseph’s University) Looks to France’: Théodore Dubois’s Le Baptême de Clovis and French Jillian Rogers (University College Cork) Republican Catholicism” Negotiating Early-Modern Religious Identity (AMS) Henry Stoll (Harvard University), “Opera at the Haitian Court: King Molly Breckling (University of West Georgia), Chair Henry I and the Staging of Empire” Amy Onstot (University of Minnesota), “The Heart of a King: Semiramide Anne Heminger (University of Michigan), “Performing Orthodoxy across riconosciuta and the Construction of Female Queenship at the Court of the Confessional Divide: The Te Deum and the Politicization of Ritual Maria Theresa” from Henry VIII to Mary I” Derek Stauff (Hillsdale College), “Religious Exile in Early Modern Lu- theran Music” Thomas Marks (Graduate Center, CUNY), “Singing Repentance in Nuremberg during the Thirty Years’ War, 1618–48”  AMS Newsletter Embodiment (AMS) Theorizing Eighteenth-Century Music: Davinia Caddy (University of Auckland), Chair Origins, Myths, and Countercurrents (SMT) Inge van Rij (Victoria University of Wellington), “‘The Play of Expression, Danuta Mirka (University of Southampton), Chair Voice, Gesture’: Embodying Emotion in Berlioz’s Roméo et Juliette” Stephen Hudson (Northwestern University), “The Origins of the Musical John Kapusta (Eastman School of Music, University of Rochester), “‘Here Sentence in Baroque Dance Rhythms” We Are Now’: Body Awareness and Music Pedagogy in the Me Decade” Christopher Brody (University of Louisville), “What Are Solar and Polar Tes Slominski (Beloit College), “Embodiment, Ineffability, and ‘the Music Tonality?” Itself’ in Irish Traditional Music” Nicholas Stoia (Duke University), “The Tour-of-Keys Model and the Hip Hop (AMS) Prolongational Structure in Sonata-Form Movements by Haydn and Mozart” Lauron Kehrer (College of William and Mary), Chair Timbre Analysis (AMS) Mark Katz (University of North Carolina at Chapel Hill), “The Rise of Hip Hop Diplomacy” Jonathan De Souza (Western University), Chair Christopher Nickell (New York University), “Besides Resistance: Beirut- Alexis VanZalen (Eastman School of Music, University of Rochester), “Af- Based Rappers and the Politics of Arabist Hip Hop” fect, Variety, and the Rhetoric of Timbre in the Organ Music of Guillau- Sean Peterson (University of Oregon), “A Brand New Funk: Revolutionary me-Gabriel Nivers” Rhythm in the Beats of J Dilla” Matthew Zeller (Duke University), “Timbral Function in Jazz II: Schemas, Scales, and Formulas (SMT) Klangflächetechnik” Eric Lubarsky (Carnegie Hall), “New York Pro Musica in Stereo: Sound Janna Saslaw (Loyola University New Orleans), Chair Recording, Instrumental Orchestrations, and Timbral Listening” Sean R. Smither (Rutgers University), “Flexible Conceptual Maps: A Panel: Unsettling Accounts: Slave Histories, Schema-Theoretic Approach to the Analysis of Jazz Tunes” Transatlantic Musical Culture, and Research through Keith Salley (The Shenandoah Conservatory), “The Schemata of Jazz’s Practice (AMS) Standard Repertoire: A Preliminary Study” Peter Selinsky (Yale University), “A Comparative Study of Indojazz Tihais” Naomi André (University of Michigan), Chair Zak Ozmo (L’Avventura London; Organizer) Modernism in Herrmann’s Film Music: Tunde Jegede Vertigo as Case Study (SMT) Berta Joncus (Goldsmiths, University of London) Janet Bourne (University of California, Santa Barbara), Chair Michael Veal (Yale University) Charity Lofthouse (Hobart and William Smith Colleges), “Herrmann’s Voice and Vocality in Medieval Occitanian Song (AMS) Ivesian Modernism” Mary Channan Caldwell (University of Pennsylvania), Chair Mark Richards (Toronto, ON), “The Reversal of Hollywood Norms in Herrmann’s Thematic Writing for Vertigo” Rachel May Golden (University of Tennessee), “Voices of Richard the Li- onheart: Emotion, Masculinity, and Self Presentation in Two Medieval Steven Reale (Youngstown State University), “A Love(-Theme) Triangle in Laments” Bernard Herrmann’s Score to Vertigo” Anne Levitsky (Columbia University), “‘Chansoneta, digs li, si·l play, que Matthew McDonald (Northeastern University), “Herrmann’s Vertigo Pre- t’aprenda et chan’: Embodied Voice in the Troubadour Tornada” lude as Paradigmatic Metaphor” Marisa Galvez (Stanford University), “The Multivocalism of the Lady in Scott Murphy (University of Kansas), “Three Audiovisual Correspondenc- Marcabru’s ‘A la fontana del vergier’” es in the Main Title for Vertigo” Music and Disaster, Natural and Human (AMS) SATURDAY NOONTIME SESSIONS James Grymes (University of North Carolina at Charlotte), Chair 12:30–2:00 Alt-Ac to Alt+Ac: Redefining Musicology Patricia Hall (University of Michigan), “Irony and Identity: Music Manu- scripts from the Auschwitz-Birkenau State Museum” Careers in the Twenty-First Century Sarah Eyerly (Florida State University), “The Gnadenhütten Massacre: Sponsored by the AMS Committee on Career-Related Issues Song, Death, and Violence on the American Frontier” Paul Christiansen (Seton Hall University) and Margaret Butler Diane Oliva (Harvard University), “Music after Disaster: Musical Life in (University of Florida), Co-Chairs Post-Earthquake Guatemala, 1773–79” Leah Branstetter (Rock and Roll Hall of Fame and Museum) Nineteenth-Century French Opera (AMS) Katherine Leo (Millikin University) Karen Henson (Queens College / Graduate Center, CUNY), Devora Geller (YIVO Institute for Jewish Research) Chair Eric Schneeman (The Magik Theatre, San Antonio, Tx.) Juliet Forshaw (SUNY Oswego), “Gnostic Decadence in Massenet’s Thaïs” Elinor Olin (Northern Illinois University), “Le Roi d’Ys: Mythical Con- struction of a Regionalist Ideology” Helena Kopchick Spencer (University of North Carolina at Wilmington), “Sémiramis (1860) at the Paris Opéra in the Age of Romantic Archaeology”

August 2018  12:30–2:00 More than Scores: Musicology and Metadata SATURDAY NOONTIME & AFTERNOON Sponsored by the AMS Committee on Technology SMALL MEETINGS Carl Stahmer (University of California, Davis), Guest Speaker 12:15–2:15 American Bach Society Advisory Board Richard Freedman (Haverford College), Chair Luncheon Margot Fassler (University of Notre Dame) 12:15–2:15 American Handel Society Board Kimberly Francis (University of Guelph) Mary C. Francis (University of Michigan Press) 12:00–5:00 AMS Committee on the Publication of David M. Kidger (Oakland University) American Music Luncheon Debra S. Lacoste (University of Waterloo) Caitlin Schmid (Harvard University) 12:15–12:30 AMS Membership Meeting: Bylaws Changes Matthew Vest (University of California, Los Angeles) 12:30–2:00 AMS Council SATURDAY NOONTIME OPEN MEETINGS SATURDAY AFTERNOON CONCERTS 12:15–2:15 Eighteenth-Century Music Editorial Board 12:45–1:45 Lecture-Recital: Pushing against Musical 12:30–2:00 AMS LGBTQ Study Group Homonormativity: Percussion as a Open Board Meeting Queer Tool of Resistance 12:30–2:00 AMS Music and Dance Study Group Bill Solomon and Jerry Pergolesi (University of Toronto), Dance Workshop percussion 12:30–2:00 Joint Disability and Music 2:15–3:15 The Piano Music of Luigi Perrachio SMT Interest Group/AMS Study Group David Korevaar (University of Colorado Boulder), piano 12:30–2:00 SMT Early Music Interest Group Both concerts take place at St. Mark’s Church, 315 E. Pecan St., near the converence venue 12:30–2:00 SMT Russian Theory Interest Group 12:30–2:00 SMT Philosophy and Music Interest Group SATURDAY AFTERNOON SPECIAL SMT SESSIONS 2:15–3:15 SMT Business Meeting 12:30–2:00 SMT Work and Family Interest Group 3:15–3:30 SMT Awards Presentation 12:30–2:00 SMT Popular Music Interest Group 3:45–5:15 SMT Keynote Address 12:30–2:00 SMT Music Theory Pedagogy Interest Group Carolyn Abbate (Harvard University) 12:30–2:00 SMT Music Cognition Interest Group Brian Kane (Yale University), Respondent 12:30–2:00 SMT Committee on the Status of Women Brown Bag Open Lunch SATURDAY AFTERNOON SESSIONS—2:15–3:45

12:30–2:00 Haydn Society of North America Panel: Beyond the Canon: Strategies for Teaching General Meeting outside Your Comfort Zone 12:30–1:30 North American British Music Studies Sponsored by the AMS Committee on Career-Related Issues Association Evan A. MacCarthy (West Virginia University), Chair Virginia Lamothe (Belmont University) Kimberlyn Montford (Trinity University) Jonathan King (University of North Carolina at Asheville) Denise Odello (University of Minnesota, Morris) Special Session: AMS Committee on Women and Gender Endowed Lecture Mary Hunter (Bowdoin College), Chair Credit: Bob Howen/Visit San Antonio Bonnie Gordon (University of Virginia), “Feminist Noise” Sindhumathi Revuluri (Harvard University), Deborah Wong (University of California, Los Angeles), Respondents Eighteenth-Century Britain (AMS) Simon McVeigh (Goldsmiths, University of London), Chair Katrina Faulds (University of Southampton), “Troubling Grace: Perform- ing the Tambourine in Georgian Britain” La Antorcha de la Amistad (The Torch of Friendship)  AMS Newsletter Erica Levenson (SUNY Potsdam), “Rape and Anti-Catholic Propaganda Vicki P. Stroeher (Marshall University), “Angels, Drunkards, Thieves, and on the London Stage: An Eighteenth-Century #MeToo?” Lechers: Britten’s Focalizations in The Holy Sonnets of John Donne” Bethany Cencer (SUNY Potsdam), “The Middlebrow Glee in Georgian Devora Geller (Graduate Center, CUNY), “‘Every Melody Can Be Sung England” Our Way’: Navigating the Jewish Noise Complaint in Yiddish Films of 1930 Geography, Identity, and Pitch (AMS) the s” Jillian Rogers (University College Cork), Chair SATURDAY AFTERNOON SESSIONS—4:00–5:30 Fanny Gribenski (Max Planck Institute for the History of Science), “Tun- ing the U.S.: Musical Practices, Technology and the Definition of a 1968 Fifty Years Later: Anxiety and Authority in National Identity (1859–1939)” Musical Protest (AMS) Jann Pasler (University of California, San Diego), “Mapping the Globe Andrea F. Bohlman (University of North Carolina at Chapel through a ‘Sound Atlas’: Listening to Race and Nation in France between Hill), Chair the Wars” Patrick Burke (Washington University in St. Louis), “Radical Translations: Daniel Walden (Harvard University), “Alexander John Ellis: Pitch Funda- MC5 at the 1968 Democratic National Convention” mentalism and the Data Collection Techniques of Colonialism” Eric Drott (University of Texas at Austin), “Revolutionary Time and the Jazz Interactions (AMS) Belatedness of Music in May ’68” William Bares (University of North Carolina at Asheville), Chair Kariann Goldschmitt (Wellesley College), “Depoliticizing Brazilian Pro- test Music for the Anglophone World in 1968” Matthew Mendez (Yale University), “‘A Sort of “Philip Glass with Soul”’: Julius Eastman’s Camp Sincerity, Betwixt and Between Jazz and British Modernism (AMS) Minimalism” Philip Rupprecht (Duke University), Chair Sean Colonna (Columbia University), “Sonic Phenomenology in Duke Ellington’s Daybreak Express” Kate Guthrie (University of Bristol), “The Avant-Garde Goes to School: Teaching Modern Music in Postwar Britain” Samuel Parler (Denison University), “Western Swing Venues and Geogra- phies of Genre in 1930s Fort Worth” Hilary Seraph Donaldson (University of Toronto), “Modernist Church Music in Wartime: Walter Hussey’s Patronage of Benjamin Britten” Nineteenth-Century Compositional Strategies (AMS) Erica Siegel (Davis, Calif.), “Elizabeth Maconchy and the Politics of Brit- Brian J. Hart (Northern Illinois University), Chair ish Musical Modernism in the 1930s” Carolyn Carrier-McClimon (Indiana University), “‘Erinnerung,’ Grief, Chant (AMS) and Imaginative Remembrance in Robert Schumann’s Album für die Ju- Benjamin Brand (University of North Texas), Chair gend, op. 68” Naomi Perley (RILM/Graduate Center, CUNY), “Composing in the Yossi Maurey (Hebrew University of Jerusalem), “A New Jerusalem in Long Shadow of Tristan: Parody, Allusion, and Assimilation in Franck’s Paris: The Sequences of the Sainte-Chapelle” String Quartet” Margot Fassler (University of Notre Dame), “St. Gertrude of Nivelles: Alexander Stefaniak (Washington University in St. Louis), “Composing the Newly Recovered Chants and Their Contexts” Priestess’s Performances: Clara Schumann’s Concerto Customizations” Lauren Purcell-Joiner (University of Oregon), “Sounding Mary: Musical Citation and Marian Devotion in a Thirteenth-Century Manuscript” Ockeghem (AMS) Issues of International Representation in Pamela Starr (University of Nebraska), Chair Twentieth-Century Latin American Music (AMS) Jesse Rodin (Stanford University), “Ockeghem the Conventional” Ana Alonso-Minutti (University of New Mexico), Chair Adam Knight Gilbert (University of Southern California), “Concealment Revealed: Sound and Symbol in Ockeghem’s Missa Quinti toni and Missa Chelsea Burns (Eastman School of Music, University of Rochester), “‘Mu- Prolationum” sique Cannibale’: The Evolving Sound of Indigeneity in Heitor Villa- Performance and Representation in the Lobos’s Tres poêmas indigenas” Seventeenth Century (AMS) Kassandra Hartford (Muhlenberg College), “Dancing Brazil for a Global Audience: Heitor Villa-Lobos’s Jurupary and its Reception” Alexander Silbiger (Duke University), Chair Christina Taylor Gibson (Catholic University of America), “Neoclassi- Roseen Giles (Duke University), “‘Rappresentare al vivo’: Style and Repre- cism, Psychoanalysis, and the Mythic Heroine in Martha Graham and sentation in Early Modern Italy” Carlos Chávez’s Dark Meadow” Louise K. Stein (University of Michigan), “Beyond Lascivious: Early Mod- Muses in the Shadows (AMS) ern Hispanic Dance-Songs and the Invasion of Feminine Privacy” Benjamin Piekut (Cornell University), Chair Amanda Eubanks Winkler (Syracuse University), “Singing Devils; or, the Trouble with Trapdoors: History, Performance, and Practicality in Stag- Annika Forkert (Liverpool Hope University), “The Héloïse Complex in a ing the Restoration Tempest” Modernist Collaboration: Elisabeth Lutyens and Edward Clark” Pushing Boundaries in Twentieth-Century Music (AMS) Charlotte Erwin (Glendale, Calif.), “Helene Berg’s Eternal Marriage and the Problem of Lulu” Phil Ford (Indiana University), Chair Solveig Mebust (University of Minnesota), “Romantic Muses: Feminized David VanderHamm (University of Denver), “‘The Excitement Is Pre- Labor in Composition” cisely Because We are Different’: Ravi Shankar, Yehudi Menuhin, and the Construction of Cosmopolitan Virtuosity” August 2018  Music and Film (AMS) SATURDAY EVENING SESSIONS—8:00–10:00 Reba Wissner (Montclair State University), Chair Fixing the Horse before the Cart: Reconstructing the Mark Brill (University of Texas at San Antonio), “The Consecration of the Genesis of Classical Forms through Big Data and Marginalized: Pasolini’s Use of Bach in Accattone and The Gospel Accord- ing to St. Matthew” Computational Methods (AMS) Daniel Bishop (Indiana University), “Divining the Audiovisual: J. S. Bach Danuta Mirka (University of Southampton), Chair in the Science Fiction of Andrei Tarkovsky” Yoel Greenberg (Bar-Ilan University) Nathan Platte (University of Iowa), “‘Turn off that schmaltz!’: Reflections Beate Kutschke (Paris Lodron University Salzburg) on Jazz Musicianship in I Want to Live! (1958) and Odds Against Tomor- Mathieu Giraud (University of Lille) row (1959)” David Huron (Ohio State University) Nineteenth-Century Soundscapes (AMS) Italian Music and Poetry around 1600: New Perspectives Peter Mondelli (University of North Texas), Chair and Directions (AMS) Jacek Blaszkiewicz (Eastman School of Music, University of Rochester), Massimo Ossi (Indiana University), Chair “Voilà Napoléon: Street Song, Quirk, and Subversion in Second-Empire Tim Carter (University of North Carolina at Chapel Hill) Paris” Seth Coluzzi (Colgate University) Alessandra Jones (University of California, Berkeley), “The End of the Bass Roseen Giles (Duke University) Drum’s Reign: Noise and Silence in Rigoletto’s Venice” Eugenio Refini (Johns Hopkins University) Pamela Feo (Boston University), “Luxuries harmonies: The Employee Emiliano Ricciardi (University of Massachusetts Amherst) Concert Series of the Bon Marché Department Store” Representation in the Eighteenth Century (AMS) SATURDAY EVENING SESSIONS—8:00–11:00 Richard Will (University of Virginia), Chair Global East Asian Music Research: Proposals for New Hedy Law (University of British Columbia), “Pantomime and Freedom of Directions in Musicology (AMS) Action in Salieri’s Les Danaïdes (1784)” Jung-Min Mina Lee (Duke University), Thomas Irvine (Univer- Aliyah Shanti (Princeton University), “Stygian Spirits: The Metaphor of sity of Southampton), Chairs Hell in Eighteenth-Century Mad Scenes” Gavin Lee (Soochow University), Respondent Steven Zohn (Temple University), “Sehet an die Exempel der Alten: The Hye-jung Park (Ohio State University) Rhetoric of Past vs. Present in Telemann’s Vocal Works” Brooke McCorkle (University of Vermont) Rethinking Renaissance Genres (AMS) Sheryl Chow (Princeton University) Mauro Calcagno (University of Pennsylvania), Chair Yawen Ludden (Georgia Gwinnett College) Matthew Richardson (University of Wisconsin-Madison) Julie Cumming and Zoey Cochran (McGill University), “TheQuestione Brent Ferguson (Washburn University) della musica: Revisiting the Origins of the Italian Madrigal” Danielle Osterman (Eastman School of Music, University of Rochester) Leon Chisholm (Deutsches Museum), “Basso Seguente Reexamined” Noriko Manabe (Temple University) Clare Bokulich (Washington University in St. Louis), “Renaissance Masses Musicologists in Public: Seeking and Finding as Songs” Employment and Fulfillment beyond “The Job Market” (AMS) SATURDAY EARLY EVENING OPEN MEETINGS Eric Hung (Rider University), Chair 5:45–7:45 SMT Music Improvisation Interest Group Alice Miller Cotter (Little Bird Music) William Quillen (Oberlin College and Conservatory) 5:45–7:45 SMT Music Informatics Interest Group James Steichen (San Francisco Conservatory of Music)

5:45–7:45 SMT Autographs and Archival Documents SATURDAY EVENING PERFORMANCE Interest Group 8:00 Austin Baroque Orchestra: 5:45–7:45 SMT Global New Music Interest Group España Antigua, Nueva España (7:30: Pre-Concert Talk) SATURDAY EARLY EVENING PLENARY Including music by Matheo Flecha, Francisco Guerrero, Duarte Lôbo, Francisco López Capillas, Juan de Araújo, Manuel de Suma- 5:45–7:15 AMS Business Meeting and ya, Cristóbal de Morales, and Juan Gutiérrez de Padilla Awards Presentation At San Fernando Cathedral, Main Plaza

SATURDAY EVENING RECEPTIONS 7:30–9:30 CUNY Graduate Center Reception 8:00–10:00 University of Texas at Austin Reception  AMS Newsletter 8:00–10:00 Viola da Gamba Society of America presents: Kate Galloway (Wesleyan University), “Sampling and Remixing Mar- Come play consort music! ginalized Environments: Dissident and Activist Sound in Hip-Hop Viols, music and stands provided Environmentalism” Mark Katz (University of North Carolina at Chapel Hill), “‘We Need You 9:00–10:30 Duke University Reception to Get This Right’: Hip-Hop Communities and the Responsibilities of 9:00–11:00 AMS Dessert Reception the Scholar” 9:00–11:00 Indiana University Reception Joint Session: The Songs of Fanny Hensel 9:00–11:00 New York University Reception R. Larry Todd (Duke University), Chair 9:00–11:00 University of Western Ontario Reception Nature and Travel Amanda Lalonde (University of Saskatchewan), “The Wilderness at Home: 9:00–11:00 University of Toronto Reception Woods-Romanticism and Musical Performance in Hensel’s Eichendorff 9:00–11:30 University of Pennsylvania Party Songs” Scott Burnham (Graduate Center, CUNY), “Waldszenen and Abendbilder: 9:00–12:00 Stanford Reception Hensel, Lenau, and the Nature of Melancholy” 9:30–12:00 McGill University Reception Susan Wollenberg (University of Oxford), “Songs of Travel: Hensel’s Wanderings” 10:00–11:00 Yale Alumni Reception English Verse 10:00–1:00 Cornell Reception Jennifer Ronyak (Kunstuniversität Graz), “Song in and as Translation: 10:00–1:00 Princeton Reception Hensel’s Drei Lieder nach Heine von Mary Alexander” 10:00–1:00 University of California, Berkeley Susan Youens (University of Notre Dame), “‘In this elusive language’: Alumni Reception Hensel’s Byron Songs” Tonal Ingenuity 11:00–12:00 Yale Party Tyler Osborne (University of Oregon), “Hidden in Plain Sight: Tonal Pair- ing of the Tonic and Subdominant in Hensel’s Songs” 4 Stephen Rodgers (University of Oregon), “Plagal Cadences in Hensel’s SUNDAY November Songs” 8:30–12:15 Registration & Speaker Ready Room Sensitivity to Poetic Form Harald Krebs (University of Victoria), “Revisions of Declamation in 8:30–12:15 Exhibits Hensel’s Song Autographs” 7:00–8:45 AMS Board of Directors Yonatan Malin (University of Colorado Boulder), “Modulating Couplets in Hensel’s Songs” 7:00–8:45 SMT 2018/2019 Program Committees Breakfast Jurgen Thym (Eastman School of Music, University of Rochester), “Read- ing Poetry through Music: Hensel and Others” 7:00–8:45 Directors of Graduate Studies 7:30–8:45 SMT Interest Group and Standing Committee SUNDAY MORNING SESSIONS—9:00–10:30 Breakfast Distant Ecologies (AMS) SUNDAY MORNING SESSIONS—9:00–12:15 Holly Watkins (Eastman School of Music, University of Roches- ter), Chair Joint Session: Diversity and Discipline in Tyler Kinnear (Western Carolina University), “Schafer’s Echo: Outdoor Hip-Hop Studies Acoustics and the Recovery of the Past in The Princess of the Stars” Jonathan Minnick (University of California, Davis), “Cyborgs and Cyber- Lauron Kehrer (College of William and Mary) and Mitchell netics: Electroacoustic Characterization and Ecology in Forbidden Planet Ohriner (University of Denver), Conveners (1956)” Justin Williams (University of Bristol), Introduction Elizabeth Hopkins (University of Chicago), “Sonic Seascapes, Science, Alexander Crooke (University of Melbourne), “Models of Beat Making for and the Chthulucene” Music Therapy Practice” Panel: Epistemic Ethics: Music Historiography and the Chris Batterman (Emory University), “Young Thug: Vocal Delivery and Colonial Archival Grain (AMS) Musical Expression towards a New Rap Aesthetic” Sean Peterson (University of Oregon), “Hip Hop Education in Practice: Olivia Bloechl (University of Pittsburgh), Chair The University Hip Hop Ensemble” Erin Johnson-Williams (Durham University; Organizer) Amy Coddington (Amherst College), “What Is Hip-Hop, Anyway?” Yvonne Liao (University of Oxford; Organizer) Brigid Cohen (New York University) Danielle Sofer (Maynooth University), “Forming and Framing Queer Ur- James Q. Davies (University of California, Berkeley) ban Musical Communities in the Pacific Northwest” Daniel Grimley (University of Oxford) Jinny Park (Indiana University), “Rhyming Techniques in Korean Roe-Min Kok (McGill University) Hip-Hop”

August 2018  Music and the Sacred (AMS) John Y. Lawrence (University of Chicago), “Grasping Colors: How We Use Timbre” Melinda Latour (Tufts University), Chair Thomas Johnson (Skidmore College), “Description-as-Analysis and Or- Luisa Vilar-Payá (Universidad de las Américas Puebla), “Colonial Politics, chestration-as-Form in Feldman’s Coptic Light” Excommunications, and Exile in Two Seventeenth-Century Novohis- panic Psalm Settings” Wagner and Mahler (SMT) Trevor Penoyer-Kulin (McGill University), “Religious vs. Sacred Music in Matthew Bribitzer-Stull (University of Minnesota), Chair the Contemporary Reception of Rossini’s Stabat Mater” Ji Yeon Lee (University of Houston), “The Arrival 6/4 Chord in Wagner’s Megan Eagen, “Interpreting the Psalms: Sixteenth-Century Centonate Die Walküre: Types and Functions” Motet Texts as New Evidence of the Composer as Exegete” Craig Duke (Indiana University), “Problematizing Schenkerian Structures Operetta (AMS) in Wagner’s Ring” Lisa Feurzeig (Grand Valley State University), Chair Sam Reenan (Eastman School of Music, University of Rochester), “Mahler’s Late ‘(Un-)Logic’ and the Formal Power of Reprise” Arianne Johnson Quinn (Princeton University), “Kurt Weill in Exile: Mu- sical Language, Censorship, and Identity in A Kingdom for a Cow” SUNDAY MORNING SESSIONS—10:45–12:15 Stefanie Arend (University of Oxford), “‘Hit songs are spreading like the Plague’: The Berlin Sound Movie Operetta as Media-Critical Affect, Agency, Materiality: Thinking with the mise-en-abîme” Eighteenth Century (AMS) Micaela Baranello (University of Arkansas), “‘Old Man Danube’: Emm- erich Kálmán’s Broadway Exile, 1941–45” Emily Dolan (Harvard University), Chair The Profession of Music, Fifteenth–Eighteenth Roger Mathew Grant (Wesleyan University), “Affect Theory after the Century (AMS) Affektenlehre” Deirdre Loughridge (Northeastern University), “Listening for (Non)hu- Samuel Brannon (Richmond, Va.), Chair man Agency, ca.1770/Today” Paul Schleuse (Binghamton University), “Die Singer: Music as Profession Etha Williams (Harvard University), “La femme clavecin: Vitalist Material- and Pleasure in Jost Amman’s Ständebuch (1568)” ism, Reproductive Labor, and Queer Musical Pleasure in the Late Eigh- Saraswathi Shukla (University of California, Berkeley), “The Musicians of teenth Century” Saint-Merry: Communauté and Urban Networks in Eighteenth-Century Analytic Strategies for the Music of Ravel: Paris” Rhythm, Texture, and Timbre (SMT) Jane Hatter (University of Utah), “Referencing Pedagogy, Celebrating Community: Du Fay’s Musicians’ Motets for Cambrai Cathedral” Gurminder K. Bhogal (Wellesley College), Chair Recorded Sound I (SMT) Jennifer Beavers (University of Texas at San Antonio), “Ravel’s Sound: Timbre and Orchestration in His Late Works” Steven Rings (University of Chicago), Chair Damian Blättler (Rice University), “Phrase-Rhythmic Asymmetry and Jocelyn Ho (University of California, Los Angeles), “Emulating Cheru- Loss in Ravel” bino’s Sexual Awakening: A Bodily-Based Approach to Adelina Patti’s Jessie Fillerup (Aarhus University / University of Richmond), “Ravel’s ‘Voi che sapete’” Magic Circle” Richard Beaudoin (Dartmouth College), “Solti Recording Time in Elaborations, Improvisations, and Modulations in Mahler: Microtiming and Phrase Rhythm Annotations in Two Conduct- ing Scores of the Fourth Symphony” Early Music (SMT) Charles Corey (University of Washington), “Issues in Analysis and Real- Megan Kaes Long (Oberlin College and Conservatory), Chair ization of the Music of Harry Partch” Ryan Taycher (Indiana University), “Contrapunctus Structure and Elabora- Spells and Games (SMT) tive Figurations in the Ars Nova Motet” Scott Murphy (University of Kansas), Chair David Geary (Oberlin College and Conservatory), “Analyzing Josquin Canons through Improvisation” Táhirih Motazedian (Vassar College), “Death by Tchaikovsky: The Metric Evan Campbell (McGill University), “The Talk of a Madman? Claudio Spell of a Metadiegetic Sorcerer” Monteverdi’s Modulations” Brian Edward Jarvis (University of Texas at El Paso) and John Peterson (James Madison University), “Defying Brevity: Expansion beyond the Frottola Schmottola: Phrase Level in Musical Theater” Rethinking Italian Song ca. 1500 (AMS) Julianne Grasso (University of Chicago), “Action and Affect in the Bound- Giuseppe Gerbino (Columbia University), Chair aries of Music: A Case from Super Mario World” William F. Prizer (University of California, Santa Barbara), Respondent Timbre and Orchestration (SMT) Elizabeth G. Elmi (Indiana University), “Performing Culture and Com- TBA, Chair munity in the Kingdom of Naples: Italian-Texted Songs and Their Sources” Zachary Wallmark (Southern Methodist University), “Timbre Semantics Blake Wilson (Dickinson College), “The Shifting Landscape of Italian in Orchestration: A Corpus-Linguistic Study” Song: Oral and Written Traditions in Florence and Beyond ca. 1500” Giovanni Zanovello (Indiana University), “Songs without Dukes: Singing Communities in Veneto Cities”

 AMS Newsletter Meaningful Horns (AMS) Russian Music and Theory: Beverly Wilcox (California State University, Sacramento), Chair Tradition and Transformation (SMT) Philip Ewell (Hunter College / Graduate Center, CUNY), Chair M. Elizabeth Fleming (Graduate Center, CUNY), “Re-membering the Body: Listening to Waldhorn and Ventilhorn in Brahms’s Trio, op. 40” Christopher Segall (University of Cincinnati), “Form-Functional Modifi- Reuben Phillips (Princeton University), “On the Resonance of the Ro- cation in Prokofiev’s Variation Movements” mantic Horn Call in Brahms’s Trio, op. 40” Daniil Zavlunov (Stetson University), “An Afterlife of Tselostnyi Analiz Nicole Vilkner (Westminster Choir College), “Tootling for Leisure: Recre- (Holistic Analysis): Topic Theory in Soviet Musicology” ational Coach Horn Music in the Late Nineteenth Century” Anabel Maler (Indiana Unversity), “Rethinking the Cadence: Cadential Recorded Sound II (SMT) Content and Function in the Music of Alfred Schnittke” Sumanth Gopinath (University of Minnesota), Chair Twentieth-Century Opera (AMS) Harriet Boyd-Bennett (University of Nottingham), Chair Stephen Lett (University of Michigan), “How to DJ a Psychedelic Trip: Helen L. Bonny’s Lesson from the Drastic” Alexander Kolassa (Institute of Musical Research, University of London), Victoria Malawey (Macalester College), “Analyzing the Popular Voice, or “Modernist Medievalisms from the Stage to the Screen: Collaborative Why Covers of Elliott Smith Songs Don’t Work” Transformations and Early Music in The Devils” Nancy Murphy (University of Houston), “‘Old, Weird America’: Metric Joseph Cadagin (Stanford University), “Piecing Together Ligeti’s Unfin- Irregularities in Harry Smith’s Anthology of American Folk Music” ished Alice in Wonderland” Beth Snyder (University of Surrey), “‘When rocks crumble and humanity does not cry out’: Rudolf Wagner-Régeny’s 1959 Prometheus Opera in a Divided Germany”

Bill Solomon, percussion (Saturday, 12:45 p.m.) David Korevaar, piano (Saturday, 2:15 p.m.)

San Antonio Exhibitors Bärenreiter Indiana University Press Bloomsbury Publishing medici.tv The following publishers and organizations Boydell & Brewer/University of Rochester Music Library Association will participate in the San Antonio Exhibits. Press/Pendragon Press University of Michigan Press See ams-net.org/sanantonio for links to their C. P. E. Bach: The Complete Works, The Oxford University Press websites. Packard Humanities Institute­ RILM: Répertoire International de Littéra- University of California Press ture Musicale A-R Editions, Inc. Cambridge University Press RIPM: Répertoire international de la presse A-R Online Music Anthology Connect for Education musicale American Institute of Musicology, Verlag University of Chicago Press Routledge Corpusmusicae GmbH Eighteenth-Century Societies (ABS, HSNA, The Scholar’s Choice ArtsInteractive MSA, SECM) Theodore Front Musical Literature, Inc. Artusi University of Illinois Press W. W. Norton & Company August 2018  Chapter News With this issue of the Newsletter we launch a gaged six senior scholars to speak about their TheSouthern Chapter has chosen to expand new section devoted to the Society’s fifteen re- books-in-progress. We invited each to speak participation options beginning with its Jack- gional chapters, each of which holds meetings, extemporaneously for ten minutes on their sonville, Florida 2019 meeting. In addition to elects officers, and is represented on the AMS work, followed by ten minutes of discus- soliciting individual presentations, the Chap- Council (ams-net.org/chapters). Gathered here sion. Anna Maria Busse Berger, Thomas Grey, ter will invite proposals for panel discussions is a compilation of reports submitted by chap- Charles Kronengold, Nicholas Mathew, Jessie and presentations in alternative formats, in- ter representatives that range in length and style, Ann Owens, and Emily Zazulia led the lively cluding lecture-recitals, film screenings, semi- from which it is clear that chapters are thriv- conversations. The consensus was that this nars, and pedagogical sessions. ing and supporting their members and musicol- was a fascinating review of exciting research ogy with new programming formats and ways projects, and we hope to repeat this format to showcase members’ scholarship. A listing of next year. It was the last session of the day, Committee News scholarly presentations given at chapter meetings and, because the reception included several is included in every February issue of the News- bottles of wine graciously donated by Tony Committee on the Annual Meeting letter. The geographical area of each chapter is Newcomb, the lively discussions only got live- shown at the website. In future issues we hope In conjunction with the Board of Directors’ lier. I’d encourage other chapters to consider a Retreat in April, the Board Committee on the to cover the activities of other chapters; represen- similar format: in practice it is something like tatives are encouraged to contact the Newslet- Annual Meeting (CAM) has reviewed sugges- a ‘lightning talks’ session, with authors suc- ter editor ([email protected]) to tions from the Board and the membership cinctly conveying what it is that so engages share chapter information. regarding the annual meeting. It continues to them.” work with a newly formed Board task force During the past year the Greater New York The Pacific Northwest Chapter announc- on the Annual Meeting to consider ways to Chapter sponsored three meetings at which es plans for a joint meeting in 2019, 29–31 make the annual meeting a more welcoming twenty-eight papers were given. Jeff S. Dailey March, with the Pacific Northwest chap- environment, to make the program more vi- reported a new Chapter initiative focusing on brant and intellectually stimulating, and to helping graduate students develop entrepre- ter of the College Music Society at Central Washington University in Ellensburg, Wash. address logistical complexities brought about neurial skills in the face of today’s academic by the Society’s growth and changes over the job market. The first event in a series to con- Mark Samples and Dan Lipori are organiz- ing shared and separate paper sessions and years. tinue next year took place in January with a One successful initiative implemented at expanding presenting opportunities with lec- panel comprising Dailey, Robert Ferrara, Bob the Rochester meeting was the Board Meet ture-recitals, posters, and forum/fora for un- Judd, Sylvia Kahan, and Elaine Sisman, all and Greet, where Board members welcomed dergraduate and graduate researchers. Mary of whom spoke on a variety of issues, among open dialogue with members who wished to Ingraham, Chapter President and Jennifer them the reality that retiring faculty often are interact. This initiative will continue in San Cooper, her CMS counterpart, are planning not being replaced, graduate student musicol- Antonio, and we invite you to join the Board for a joint keynote speaker. The event will ogy advisement, “alt-ac” employment, and for discussion of issues large and small, or just feature an early music concert by performers public musicology. to say hello. Other initiatives met favorably by from CWU, another by regional performers, The Mid-Atlantic Chapter, in addition to the membership have been a quiet room and and a composers showcase. chapter meetings and providing scholarly and space for nursing mothers and optional/flex- networking opportunities for music scholars The Pacific Southwest Chapter held two ible badge identification. In San Antonio we residing in Eastern Pennsylvania, South New successful meetings this past year, the first plan to create web pages for newcomers and Jersey, and Delaware, has been busy as of late at Occidental College in September and the those attending AMS on a budget, as well as a fine-tuning its online presence. Check us out latter, jointly with the Northern California special reception for newcomers. Another im- at amsmidatlantic.wordpress.com for photo- Chapter, at Stanford University in April. The portant decision CAM recommended was to graphs from our spring meeting at the Curtis Chapter also voted to amend its bylaws, re- change from 45-minute paper slots (30-min- Institute of Music and at facebook.com/AMS- ducing the number of yearly meetings from ute papers + 15-minute Q & A) to 30-minute Mid-Atlantic-Chapter-2045984335687810/. three to two, with one in the fall, the second a slots (20-minute papers + 10-minute Q & A). The task force on the Annual Meeting is The New York State-St. Lawrence Chapter joint gathering with the Northern California Chapter in the spring. holding virtual meetings over the summer to hosted two chapter meetings this year with consider additional ways to unify program paper presentations and also put together a As John T. Brobeck reports, the Rocky sessions and to find alternative protocols that professional development workshop entitled Mountain Chapter joined with area chapters could expand the membership of the Program “Dissertation-to-Publication,” organized and representing the Society for Ethnomusicol- Committee to include expertise on a wider led by Kimberly Francis (University of Guelph). ogy and the Society for Music Theory for the range of topics. We also hope to streamline Reporting for the Northern California Rocky Mountain Music Conference, held 23– the Committee’s work by incorporating re- Chapter, Chris Reynolds shared that last 24 March this year in Tuscon at the Univer- cent technology facilitating abstract review. February “we had one of the most animated sity of Arizona. With simultaneous sessions CAM has also worked closely with the Ad chapter meetings I can recall—ever. It helped offered by all three societies (sometimes two Hoc Committee on the San Antonio meet- that we met in the center of the chapter from the theorists) there were nineteen ses- ing, constituted to consider and implement (thank you, Mary Ann Smart, for making sions altogether, of which twenty papers were ways AMS and SMT can allow members to that happen), but I attribute the added en- presented by musicologists, plus a keynote by consider the effects of the recent Texas adop- ergy to a programming innovation that en- John Roeder, University of British Columbia. tion law. In San Antonio members can opt  AMS Newsletter to donate to local organizations from the Ac to Alt+Ac: Redefining Musicology Careers faculty, supervise contingent faculty, and who conference registration page as well as at the in the Twenty-First Century” will convene are contingent faculty themselves. The discus- registration desk, and local organizations will musicologists working in the fields of foren- sion will range widely over the terrain of this be invited to contribute posters to the book sic musicology, fundraising development, fast-changing and ever more important land- exhibit. In partnership with the SMT and as digital education, and archival preservation scape. We also will sponsor the Career Boot- an outgrowth of the work of the ad hoc com- for a wide-ranging discussion about musico- camp to help those coming to the job market mittee, we will host Mel Chen (University of logical careers both within and beyond the put their best foot forward; and, with the California, Berkeley), as guest speaker. Chen traditional tenure track. “Beyond the Canon: assistance of journal managers and editors, a will address this issue in the context of our So- Strategies for Teaching Outside Your Com- guide to publishing research in journals. ciety’s commitment to gender, sexual, racial, fort Zone” will consider teaching outside All our sessions include ample opportu- and all forms of diversity. Respondents will be one’s primary professional and/or scholarly nity for audience participation; if you have Suzanne Cusick (AMS President-Elect) and area and the evolving expectations and needs insights to offer or questions that need to be Gavin Lee (Soochow University). of the musicology academic job market. The answered, be sure to attend. —Georgia Cowart panel will address practical concerns related —Margaret Butler to this topic including undergraduate syllabus Committee on Career-Related Issues Communications Committee design, course preparation, NASM require- The CCRI has assembled an array of sessions ments, strategies for locating departmental The AMS Forum (our discussion group at for San Antonio, and encourages attendees to allies and resources, and how the growing hcommons.org) continues to increase in take full advantage of the offerings. Our “Di- expectation for teaching outside the Western membership (now ca. 750) and activity. Re- versity in Publication” session draws together tradition is shaping the musicology job mar- cent lively discussions have touched on “(ab) scholars and editors invested in securing mi- ket. Our fourth session, “Contingent Labor uses for ‘classical music,’” “Music as a Mat- nority representation in academic publishing, in the Academy: Issues and Advocacy,” is a ter of Law,” and “Content Examinations for and is organized in partnership with Project round table featuring speakers from the Unit- Music Education Students.” I encourage any- Spectrum (projectspectrummusic.com). “Alt- ed States and Canada who hire contingent one who is interested to sign up. I should also point out that such membership grants access to many other attractive features of Humani- From the Committee on Committees ties Commons (HC)—the host platform for How do you feel about the AMS, about musicology, about other musicologists? Do you the Forum. With its CORE Repository, HC sometimes feel like there’s an in-crowd and an out-crowd, and that the ins run everything provides a sustainable replacement for for- for other ins while you and people like you are the outs? I felt that way once, especially in profit scholarly sites such as academia.edu. the ten years when I was adjuncting all around upstate New York. HC members can upload articles, conference But then someone appointed me to a committee. (I don’t remember any more if I’d vol- papers, syllabi, and digital humanities proj- unteered, or if it was random, nor do I even remember which committee it was.) I discov- ects and receive a persistent identifier (DOI) ered that who ran everything was ordinary people who had volunteered to work on others’ for their work, meaning the items can be in- behalf. Serving on a committee, I realized, was a way to make a difference, if not for myself, dexed in citations with a link that is perma- for people like me; and that made me feel better about my place in the world, including in nent in a way that URLs are not. Further, HC the world of musicology. members come from across the humanities, Now, fresh from chairing this year’s Committee on Committees, I know for sure that it so if music scholars happen to be working on is volunteer labor that ensures there be an annual meeting, with environmentally friendly film studies, popular culture, or digital hu- practices, lactation rooms for new mothers, child care so that members with young children manities, they can easily network with non- could give papers; that there be travel grants and publication subventions for people who, music scholars who might have similar inter- without them, couldn’t finish their projects because their personal incomes had no room ests. Indeed, we are excited to see what AMS for ‘extras’ like trips to archives; that there be professional development workshops, fellow- members will do through their participation ships for graduate students; ethical guidelines on sexual harassment that set a professional in HC. standard one could bring to one’s department chair or dean when seeking institutional As the transition to the Forum has pro- redress; guidelines on fair use; and so much more. That’s a lot of work, to which every one ceeded, discussion on AMS-L—ably moder- of us can contribute—even if we’re working several ill-paid jobs to make ends meet. And ated by Nathaniel Lew (lead), Blake Howe it’s good work, work by which we can make brighten the corner of the world that is AMS. (past), and Mike D’Errico (assistant)—has If you serve, or have agreed to serve on a committee, I write to thank you for the generos- predictably slowed. The most lively discus- ity of spirit that helps to brighten the AMS’s world. If you have not yet been asked to serve, sions concerned quotation in Rossini’s music or if there’s a piece of the AMS’s work that you feel strongly about, or maybe particularly if (twelve messages); tempo variation in per- you’re feeling like you’re one of the outs who will never be in, I write to ask you to volun- formance (eleven messages); and models for teer next year. Volunteer right now, by writing to Martha Feldman, [email protected], small mixed chamber works (six messages). specifying, if you can, the committee(s) on which you’d be especially eager to serve. (A list The AMS-L will permanently cease to operate of committees is at ams-net.org/committees). at the end of October. Work with us to make the AMS better serve your needs, and to make a difference in what The Society’s two semiannual lecture se- musicology does, for whom and by whom, in the wider world. Be the change you want ries—hosted by the Library of Congress and to see. the Rock and Roll Hall of Fame and Muse- Thanks for all that you do. um—continue to thrive, with a large number —Suzanne G. Cusick of exceptional applications received this past Chair, Committee on Committees continued on page  August 2018  Committee News William Brooks, et al., Over Here, Over There: Hilde Roose, La Traviata Affair: Opera in Transatlantic Conversations on the Music of the Age of Apartheid (University of Cali- continued from page  World War I (University of Illinois Press); sup- fornia Press); supported by the AMS 75 year. Lectures are presented every spring and ported by the Otto Kinkeldey Endowment PAYS Endowment 7 fall. For details, see p. of this issue and also Mark Burford, Mahalia Jackson and the Black John J. Sheinbaum, Good Music: What It Is ams-net.org/LC-lectures and ams-net.org/ Gospel Field (Oxford University Press); sup- and Who Gets to Decide (University of Chi- RRHOFM-lectures. ported by the AMS 75 PAYS Endowment cago Press); supported by the John Dave- Finally, I would like to thank James Par- rio Endowment sons, who has just finished his fourth year as Margaret R. Butler, Musical Theater in Eigh- Newsletter editor. teenth-Century Parma: Entertainment, Sover- H. Colin Slim, Stravinsky in the Americas: —Roger Freitas eignty, Reform (University of Rochester Press); Transatlantic Tours and Domestic Excursions supported by the Donna Cardamone Jack- (1925–1945) (University of California Press); Graduate Education Committee son Endowment supported by the Lloyd Hibberd Endowment Preparations for the San Antonio Annual Marina Frolova-Walker, Rimsky-Korsakov and Mary Ann Smart, Waiting for Verdi: Opera and Meeting are well underway, together with His World (Princeton University Press); sup- Political Opinion in Nineteenth- Century Italy, exciting news! Following the 2016 survey of ported by the Dragan Plamenac Endowment 1815–1848 (University of California Press); Directors of Graduate Study and other de- supported by the Otto Kinkeldey Endowment velopments at the GEC business meetings in K. Dawn Grapes, Funeral Elegies in Early James Sykes, The Musical Gift: Sonic Gen- Louisville and Rochester, we will reinstate the Modern England (Boydell Press); supported erosity in Post-War Sri Lanka (Oxford Uni- Sunday morning breakfast meeting for Direc- by the Claire and Barry Brook Endowment versity Press); supported by the AMS 75 tors of Graduate Study (last held in 2006). Composing Community Jane Daphne Hatter, PAYS Endowment The meeting enables direct communication through Musical Self-Reference in Late Medi- among directors from institutions across the eval Europe (Cambridge University Press); Benjamin Tausig, Bangkok is Ringing: Sound, country, many of which are facing challeng- supported by the Martin Picker Endowment Space, and Media at Thailand’s Red Shirt Pro- ing issues in graduate education. In San Anto- tests (Oxford University Press); supported by Steven Huebner et al. ed., Debussy’s Resonance nio the GEC will also hold both a Reception the AMS 75 PAYS Endowment (University of Rochester Press); supported by for Prospective Graduate Students (on Friday the James R. Anthony Endowment Katharina Uhde, The Music of Joseph Joachim evening). More details on both events and (Boydell & Brewer); supported by the AMS how to attend them will be announced nearer Angela Impey, Song Walking: Women, Music, 75 PAYS Endowment to the meeting. Plans for a roundtable discus- and Environmental Justice in an African Bor- sion at the 2019 Annual Meeting in Boston derland (University of Chicago Press); sup- Andrew Walkling, English Dramatick Opera, are also underway and will be taken up at the ported by the Gustave Reese Endowment 1661–1706 (Routledge); supported by the GEC Business meeting in San Antonio. Margarita M. Hanson Endowment Jennifer Iverson, Electronic Inspirations: Tech- —Francesca Brittan and Daniel J. DiCenso nologies of the Cold War Musical Avant-Garde Holly Watkins, Musical Vitalities: Ventures Publications Committee (Oxford University Press); supported by the in a Biotic Aesthetics of Music, (University of AMS 75 PAYS Endowment Chicago Press); supported by the Joseph Ker- In spring 2018, the Publications Committee man Endowment awarded subventions to thirty-two books for a Robert Kendrick, Fruits of the Cross: Passion- Ilana Webster-Kogan, Azmari Citizenship: total of $46,000. They include the following: tide Music Theater under the Hapsburgs (Uni- versity of California Press); supported by the Ethiopian Music and Migration Flows in Tel Suzanne Aspden, ed., The Rival Sirens: Perfor- Margarita M. Hanson Endowment Aviv (Wesleyan University Press); supported mance and Identity on Handel’s Operatic Stage by the AMS 75 PAYS Endowment (University of Chicago Press); supported by Joanna Love, Soda Goes Pop: Pepsi Cola, Ad- Lloyd Whitesell, Wonderful Design: Glamour the Manfred Bukofzer Endowment vertising, and Popular Music (University of Michigan Press); supported by the AMS 75 in the Hollywood Musical (Oxford Univer- Katherine Baber, Bernstein’s Blues (University PAYS Endowment sity press); supported by the Claire and Barry of Illinois Press); supported by the AMS 75 Brook Endowment PAYS Endowment James O’Leary, Exit Right: Broadway and America’s Hidden Avant-Garde (Oxford Uni- Ian Woodfield, Cabals and Satires: The Re- The Alexander Scriabin Lincoln Ballard et al., versity Press); supported by the AMS 75 ception of Mozart’s Comic Operas in Vienna Companion: History, Performance, and Lore PAYS Endowment (Oxford University Press); supported by the (Rowman & Littlefield); supported by the Gustave Reese Endowment Lloyd Hibberd Endowment Lorraine Plourde, Tokyo Listening: Sound and Sense in Contemporary Japan (Wesleyan In accordance with the Society’s procedures, Gurminder Bhogal, Claude Debussy’s ‘Clair de University Press); supported by the AMS 75 these awards were recommended by the Pub- Lune’ (Oxford University Press); supported by lications Committee and approved by the PAYS Endowment the James R. Anthony Endowment Board of Directors. Funding for AMS sub- Suzanne Robinson, Peggy Glanville-Hicks: A Michael Birenbaum Quintero, Rites, Rights, ventions is provided through the National Life (University of Illinois Press); supported and Rhythms: A Genealogy of Musical Mean- Endowment for the Humanities, the Andrew by the Manfred Bukofzer Endowment ing in Colombia’s Black Pacific (Oxford Uni- W. Mellon Foundation, and the generous support of AMS members and friends. versity Press); supported by the AMS 75 Jennifer Ronyak, Intimacy, Performance, and The AMS subventions program is for two PAYS Endowment the Lied (Indiana University Press); supported by the AMS 75 PAYS Endowment constituents. For individuals, they are intend-

 AMS Newsletter ed to defray costs not normally covered by Committee: Mark Burford, Nina Eidsheim, nual meeting and to the field more broadly. publishers; examples include costs related to George Lewis, Maureen Mahon, and Judith In addition, narratives from musicologists illustrations, musical examples, facsimiles, ac- Peraino. This first-year award is funded by the unable to be present will be read. We hope companying audio or audio-visual examples, Board. An endowment to fund future awards to emerge with some concrete suggestions for and permissions fees. For publishers, they are has been established and is now fully funded ways in which the meeting and the field can intended to reduce the retail price of the book via donations. remove or minimize barriers to participation or resource. Proposals from scholars at all Remaining goals for this year include: by people in all life situations. stages of their careers are welcome. Projects • Collecting statistics from the last ten years —Mary Hunter that make use of new technologies are encour- on jobs and tenure, AMS awards, articles aged. See the guidelines for full details (ams- published in JAMS, programs for the An- Study Group News net.org/pubs/subvention.php). Deadlines are nual Meeting, etc. 15 August and 15 February each year. • Work with the Committee on Career-Re- Cold War and Music Study Group —Anna Maria Busse Berger lated Issues on possible initiatives. The Cold War and Music Study Group will • Work with the Committee on Cultural Di- host two events at this year’s Annual Meet- Committee on Race and Ethnicity versity in a joint effort for new initiatives. ing. Following upon the warm atmosphere —Judy Tsou and George Lewis of our first brown bag lunch last year, the or- The Committee has been busy working to- ganizing committee invites any scholar with wards its goals since the February report. Committee on Technology an interest in music and the Cold War—no Committee co-chairs have been in dialogue Members of the Committee on Technology matter how casual or invested—to join us with Joy Calico, JAMS Editor-in-Chief, about continue their discussions of new modes of for a congenial conversation from 12:45 to scheduling a special issue of the Journal on scholarship, teaching, and communication in 1:45 on Friday, 2 November. That evening we music, race, and ethnicity. “This special issue our discipline, and throughout the humani- will sponsor a trio of film screenings curated seeks to broaden the scholarly conversation ties. We also continue to focus on resources by Philip Gentry (University of Delaware), around the topic, affirming the central role for the development of digital skills, digital Eduardo Herrera (Rutgers University), and of musicology in understanding the crucial work sustainability, the need for accessibility Chérie Rivers Ndaliko (University of North issues of our time.” For more information, see for all readers and listeners, and the place of Carolina at Chapel Hill) and chaired by ams-net.org/JAMS. Publication is scheduled technology at the Annual Meeting. For more Kevin Bartig (Michigan State University) to for 2019. about the committee, please see ams-net.org/ open a conversation about Cold War music The Committee again will host a lecture at committees/technology/. on film. Over the course of an hour, we will the San Antonio Annual Meeting (Friday, 2 In San Antonio, Friday, 3 November, 12:30 watch excerpts from radical and experimental November, at 6:00 p.m.). The special guest p.m., the committee will host the session Cold War films from Argentina, Congo, and speaker will be George Lipsitz, internationally “More than Scores: Musicology and Metada- the United States in which music and sound recognized historian of the United States in ta,” with guest speaker Carl Stahmer, Director are conceived of as doing revolutionary work the twentieth century who studies race, urban of Data and Digital Scholarship, University to engage questions of imperialism, capital- culture, and social movements and activism. Library, University of California, Davis. Stah- ism, and the global order. An open discussion His relationship to music is deep and abiding, mer’s talk is supported by the AMS Fund for will follow. and his influence upon and dialogue with mu- Guest Speakers at the Annual Meeting. For information about our study group, sic scholars has been profound, as expressed in Notes from our 2017 open session at the please see ams-net.org/cwmsg. such books as Dangerous Crossroads: Popular Annual Meeting of the Society are available —Andrea Bohlman Music, Postmodernism, and the Poetics of Place for your review: sites.google.com/haverford. (1997), Footsteps in the Dark: The Hidden His- edu/amstechnologycommittee/rochester- History of Theory Study Group tories of Popular Music (2007), and Midnight panel. We welcome your inquiries or sugges- at the Barrelhouse, his biography of Johnny The History of Theory Study Group is tions for ways we might help to advance your Otis (2013). Lipsitz’s scholarship presents, in pleased to announce an evening session dedi- teaching and research. the strongest and most convincing terms, an cated to the role of women in the history of —Richard Freedman ambitious, well-argued agenda for reassert- theory at the San Antonio Annual Meeting. Moreover, we are excited to launch a new ing the centrality of music to contemporary Committee on Women and Gender intellectual discourse and modern life more research initiative dedicated to advancing broadly. Two young AMS scholars will give The Committee on Women and Gender in- the study of women in the history of music responses. vites Society members to two exciting events theory. Visit historyofmusictheory.wordpress. In addition, Nina Eidsheim and Alisha to be held at the San Antonio Annual Meet- com/women-in-the-history-of-music-theory Jones, members of our committee, have orga- ing. The first is our second annual Endowed to learn more about the project, and don’t nized a Formal Session for San Antonio titled Lecture, this year given by Professor Bonnie hesitate to get in touch if you are interested “’Who is this?’: Listening Practices for An- Gordon: see p. 4 for full details. The second in contributing. Members may also be inter- tiphonal Life in African-American Music and event we hope AMS members will be able to ested in the SMT History of Theory Interest Performance.” It includes papers by Jones, attend is our workshop on accessibility as it Group’s annual meeting, which will feature Matthew D. Morrison, and Shana Redmond, intersects with gender. We have a panel of Suzannah Clark (Harvard University) as the with Eidsheim chairing the session. six speakers: Naomi André, Suzanne Cusick, invited speaker. The winner of the first Critical Race Stud- Jeannette Di Bernardo Jones, Gayle Murchi- Together with the SMT’s History of Theory ies Award will be announced at the business son, Linda Shaver-Gleason, and Reba Wiss- Interest Group, we currently are conducting meeting in San Antonio. The Award subcom- ner, who will discuss their own experiences a brief survey to update our membership ros- mittee is made up of five members of the with accessibility, with respect both to the an- continued on page  August 2018  Study Group News To learn more about our study group and followed by discussion. Our panelists repre- join our discussion list, please visit iamsg.ucr. sent a diverse range of music specializations continued from page  edu. and ways of engaging in activism both inside —Jesús A. Ramos-Kittrell and outside the academy. Chantal Lemire will ter and solicit ideas for future events. If you explore the relationship between music peda- have not done so already, we kindly ask cur- Ludomusicology Study Group gogy and Attention Deficit Hyperactivity rent or new members to take a moment to Disorder (ADHD) with reference to her own register their interest in the group(s)—even if The Ludomusicology Study Group will host experience and others who live with ADHD. you’re already on our mailing list—by filling an interactive demonstration and poster ses- Jessica Schwartz will present on the role of ac- out the survey at bit.ly/2HbMcvT. To learn sion at the San Antonio Annual Meeting, tivism and creative dissent in her research and more about our activities, join our mailing Friday, 2 November, 8–11 p.m., with topics pedagogy, including a recent course she de- list, and read or submit blog posts, please visit demonstrating various stages of the ludo- signed entitled “Anarcho-Musicology: Music historyofmusictheory.wordpress.com, follow musicological process. The presentations will & Anarchism.” Ailsa Lipscombe will discuss us on Twitter (@CorpsSonore), or find us at take place concurrently and continuously, how, within medical environments, attentive facebook.com/groups/historyofmusictheory/. thus allowing attendees to stop by at any time listening to tripartite conversations between —Caleb Mutch during the session. For a listing of presenters the interlocking forces of human, machine, Jewish Studies and Music Study and their topics, please see the Preliminary and architecture reveals ways of being and Program, p. 25. Group ways of knowing. William Robin will speak As always, the LSG welcomes new members on how Twitter can function as an effective At the San Antonio Annual Meeting the and encourages those interested to visit our platform for musicologists to amplify activist JSMSG will sponsor a panel discussion en- website (gamemusicstudies.org) or write to work. James Deaville will discuss his ongoing titled “Othered within the Other: Marginal- [email protected] to learn more activism on disability rights on campus. And ized Voices in Jewish Studies.” This panel will about our activities and upcoming confer- Rachel Mundy will address music’s place in explore issues of authenticity and authority by ences or to join the mailing list. the posthuman and material turn, an inter- “outsiders” to Jewish studies. Participants in- —Dana M. Plank vention in today’s discourse of ethics she calls clude Assaf Shelleg (Hebrew University), Kar- “the animanities.” en Uslin (Rowan University), Kristofer Mat- Music and Dance Study Group Please visit the MDSG blog (musicdisabili- thias Eckelhoff (CUNY Grad Center), and tystudies.wordpress.com) for the latest events, The MDSG’s San Antonio session on Friday, Bobbi Elkamely (U.S. Grant High School, El resources, and blogposts; to join our mailing 2 November at 8 p.m. is entitled “Digital Sistema). Brigid Cohen (New York Univer- list; and to follow us on Facebook (facebook. Scholarship in Music and Dance” and in- sity) serves as chair and respondent. com/groups/musicanddisability). We wel- cludes presentations by Tina Frühauf, Todd The Group will announce its publication come all society members to submit a guest Decker, and Stephanie Schroedter. See the award at the Society’s Annual Meeting. Elec- blog post to our Wordpress site. Preliminary Program, p. 25, for additional tions for a new board are slated for early fall. The Ecocriticism Study Group will also information. Please visit our website, jewishstudiesandmu- hold their annual business meeting Friday, Please visit the MDSG website to learn sic.org, for more information and to become 2 November, 12:30 p.m. It is open to all and more about our activities and initiatives or involved. especially to new members. We will discuss sign up for our email list: ams-mdsg.wixsite. —Mark Kligman the new ecomusicology websites, appoint com/ams-mdsg. committee members, and discuss future proj- Ibero-American Music Study Group Music and Disability Study Group ects. All interested in issues of music, nature, This year at the San Antonio Annual Meeting, and Ecocriticism Study Group sound, and environment are welcome to the Ibero-American Music Study Group will attend. host a panel, “Music at the Border,” which At the San Antonio Annual Meeting this year —Jessica A. Holmes will include presentations by Andrés R. Ama- the AMS Music and Disability Study Group, Jacob A. Cohen do, Jacqueline Avila, and Leon Felipe García together with the SMT Music and Disabil- Music and Media Study Group Corona that address the socio-economic and ity Interest Group and the AMS Ecocriti- political imbalances that shape notions of cism Study Group, will host a joint evening This year at the San Antonio Annual Meeting identity and culture at the moment of epis- panel session entitled “Music, Disability, and the Music and Media Study Group will host a temological encounter. Each presentation the Environment: Bridging Scholarship with joint session, partnering with the SMT Film approaches music as a performative platform Activism,” Thursday evening, 1 November. By and Multimedia Interest Group. The session through which people negotiate asymmetries bringing disability studies, ecocriticism, and will consist of four sets of paired lightning that, on the one hand, marginalize them and, music research into new dialogue, we aim to talks (one talk from an AMS member, one on the other, are the catalyst to re-imagine define our relationship to activism as music from an SMT member), each presenting dif- ideas of belonging and history. The issue of scholars involved in personal and/or profes- ferent takes on the same theme or topic. For a “Mexican identity” is most relevant to these sional engagement with disability and/or listing of presenters and topics, please see the analyses, because it exposes racialization as a the environment, and in so doing to gener- Preliminary Program, p. 21. process that continues to imbue perceptions ate new ways of thinking about the human Please follow us on Twitter (@AMS- of “Mexicanness” in the American imagina- and environmental impact of music’s built-in MusicMedia) or Facebook (facebook.com/ tion today. infrastructures. The session will feature six MusicandMediaSG). ten-minute lightning talks from panelists, —Dana M. Plank

 AMS Newsletter Music and Philosophy Study Group session on “Contemporary Social Issues, Mu- ment of published scholarship. We particu- sic Theater, and Opera,” the fine-tuning of larly welcome at this time articles on informa- On Thursday at the San Antonio Annual student engagement, and another exploring tion literacy and/or pedagogies of care. Meeting, the MPSG will present its eighth developing student music history assignments To learn more about the PSG, please visit annual paper session, entitled “Intoxica- “beyond the research paper.” (For the pro- our blog (teachingmusichistory.com/blog). tion.” Chaired by Andrew Hicks, the panel gram and videos, please see teachingmusichis- To join our email announcement list, please will feature papers on topics ranging from tory.com/tmhc2018/). Thanks to Terry Dean contact secretary/treasurer Kimberly Hieb the subversive intoxications of seventeenth- for coordinating local arrangements and co- ([email protected]) or use the con- century England to the hypermodern ecstasy tact form on the website. If you are interested of electronic dance music. MPSG sessions are organizer Paula Bishop. Additional thanks to the TMHC program committee: Elizabeth in PSG service opportunities, please contact designed with inclusive definitions of philoso- Paula Bishop, chair (paulajbishop@gmail. phy and music in mind. We try to include Clendinning (chair), Claire Fedoruk, Colleen Renihan, Chris Wells, and Daniel Blim. com). all philosophical and musical traditions, from —Paula Bishop the ivory tower to the vernacular terrains of At the San Antonio Annual Meeting the PSG will present an interactive session that practice, and in ways that cross boundaries of Popular Music Study Group race, ethnicity, gender, sexuality, social class, addresses a current pedagogical issue entitled “Teaching and Learning through Interdisci- geographical locale, and culture. More infor- The PMSG held a successful Junior Faculty mation and past sessions are available at mu- plinarity” during a Thursday Evening Panel. Symposium last spring at Case Western Re- sicandphilosophy.tumblr.com. We encourage (For the listing of presenters, please see the serve University. This biennial event has prov- 17 anyone interested in becoming involved or Preliminary Program, p. .) We thank the en helpful for many; the 2020 call for partici- wishing to propose a panel topic to contact PSG San Antonio program committee Kris- pation is scheduled to be publicized early that MPSG chair Michael Gallope, mgallope@ ten Turner (chair), Laura Moore Pruett, Terry year. umn.edu. Dean, Everett Smith, and Allison Kaufman. This fall, our Thursday evening session in —Michael Gallope The PSG will hold its business meeting Fri- San Antonio is entitled “Rethinking Ama- day, 2 November, 12:30–2:00 p.m. Pedagogy Study Group teurism” and includes four papers and a key- Volume 8, no. 2 of the Journal for Music note address by Karl Hagstrom Miller (see the This year’s PSG-sponsored Teaching Music History Pedagogy is available online at ams- full listing on p. 17). History Conference took place 8–9 June at net.org/ojs/index.php/jmhp. The editors al- Darren Mueller received the 2017 AMS Indiana State University in Terre Haute. For- ways are on the lookout for original articles PMSG Award for Best Essay in Popular Music ty-seven individuals from the US, Canada, on any aspect of the teaching and learning of Scholarship. His winning essay, “The Ambas- and Italy attended. The program, which was music history. We aim to present a balance of sadorial LPs of Dizzy Gillespie: World States- streamed live, included twenty-two presenta- practitioner-based pedagogical inquiry and man and Dizzy in Greece,” was published in tions given by twenty-five people with presen- systematic research. Submissions should bal- the Journal of the Society for American Music tation devoted to students with disabilities, a ance personal insight with a critical assess- 10 (2016).

ACLS Annual Meeting 2018 The annual meeting of the American Coun- ers. Since each society approaches the study project, The Theater and Financial Markets in cil of Learned Societies (ACLS) was held this of music in different ways, the benefits of London, 1688–1763, is significant for anyone year in Philadelphia 26–28 April. The ACLS belonging to more than one are substantial, who studies British opera during these years. primarily serves as a supporter and grant- in terms of exposure to a variety of scholarly She also curates the London Stage Database. maker: last year the organization dispersed approaches and in a wider circle of profes- There are two significant exceptions to the more than $24 million to about 350 scholars, sional support. Still, very few members of the “ACLS is not our intellectual home” meme: including many in the field of music. At the AMS can think of the ACLS as an intellectual Susan McClary and Robert Walser. Their meeting, representatives of seventy-five soci- home. Generally, attendees at the ACLS an- large gift to the ACLS to fund musicological eties gathered to hear talks and to participate nual meeting fall into four groups, including research, reported in this Newsletter last year, in break-out sessions. In addition to AMS mostly delegates of the constituent societies was in gratitude for the invitation to Susan to representation from Bob Judd and myself, and the chief executive officers. In addition, become a member of the ACLS Board of Di- several familiar faces were present, including there are invited speakers and officials of the rectors in 1996, at a time when her scholarship Elaine Sisman (representing the American ACLS. had attracted public and private attacks from Academy of Arts and Sciences), Susan Weiss Among the speakers this year, two were of scholars and musicians who felt threatened (Renaissance Society of America), Carol Oja interest to musicologists: Leon Botstein, a by her work. She went on to become Board (SAM), Elizabeth Tolbert (SEM), and Sever- participant in the panel on “The Contested Chair from 2003 to 2006. The inaugural Mc- ine Neff (SMT). Campus: Speech and the Scholarly Values,” Clary-Walser Fellowship was recently awarded While it is only my own personal sense and and Mattie Burkert, one of three panelists to Emily Zazulia (University of California, not based on any survey, I imagine that few who were recent recipients of ACLS fellow- Berkeley). We look forward to many more to AMS members consider the AMS to be their ships. Botstein, president of Bard College, come. sole professional society. So, while the AMS editor of The Musical Quarterly, conductor of For additional details, visit www.acls.org/ has always been my primary home, I’ve also note, and musicologist, spoke compellingly about/annual_meeting/. enjoyed being a member of SAM, IMS, SMT, about the tensions surrounding campus cli- —Christopher Reynolds Renaissance Society of America, and oth- mate and matters of free speech. Burkert’s August 2018  Annual Meeting, Boston, Massachusetts, 31 October–3 November 2019 Call for Proposals chairperson. The organizer should also in- chooses three to six abstracts for each seminar Deadline: 5 p.m. EST, 15 January clude a proposal for each paper that conforms topic. If there are not enough abstracts of suf- 2019 to the guidelines for individual proposals de- ficient quality to fill a seminar, the seminar tailed above. Formal Session proposals will be will not be offered.Maximum length for considered only as a whole: the proposed ses- 350 The2019 Annual Meeting of the AMS will be Seminar paper proposals: words. For sion’s consistency and coherence is an impor- held in Boston, Massachusetts, from Thurs- further information, see the Seminar FAQ. tant part of the evaluation process. Maximum day, 31 October to Sunday, 3 November. The PROGRAM COMMITTEE PROCEDURES length: 350 words for the rationale, and 350 Program Committee welcomes proposals for words for each constituent proposal. The Program Committee will evaluate and individual papers or poster presentations, Evening Panel Discussions. Evening panel discuss Individual, Formal Session, and Poster formal sessions, evening panel discussions, discussions are intended for more informal proposals anonymously (i.e., with no knowl- sessions using alternative formats in all ar- exchange of ideas and can cover a wide range edge of authorship). All proposals are evalu- eas of music scholarship, and seminar ses- of topics. For example, they may examine a ated on a scale from zero to five by the entire sions. Please read the guidelines carefully: central body of scholarly work, investigate a committee. The scores are collated, averaged, proposals that do not conform will not be methodology or critical approach, or lay the and ranked accordingly, after which the com- considered. mittee meets to discuss final selections. Dur- Proposals will be accepted according to the groundwork for a new research direction. Evening panels should comprise participants’ ing this meeting, the committee selects the following categories: most promising proposals and arranges them Individual Proposals. Proposals should brief (no more than ten minutes) position statements, followed by general discussion in sessions. With individual proposals, when represent the presentation as fully as possible. all but twenty-five openings have been filled, A successful proposal typically articulates the among panelists and audience. Evening panel proposals should outline the rationale and is- the committee reveals authors of proposals main points of the argument or research find- and fills the openings to help ensure balance ings clearly, positions the author’s contribu- sues behind the proposal, identify the panel- ists, describe the activities envisioned, explain between senior and junior scholars. Poster tion with respect to previous scholarship, and proposals, on the other hand, will be evalu- suggests the paper’s significance for the musi- why each panelist has been chosen, and iden- tify the duration of the session. Panels may ated entirely anonymously. cological community in language accessible to Authors of accepted submissions will be in- scholars with a variety of specializations. have as much time as they wish between 8:00 p.m. and 11:00 p.m. Maximum length for vited to revise their proposals for the Program Continuing the initiative begun in 2017 de- and Abstracts, distributed at the meeting; the signed to enhance conversation on particular proposal: 500 words. Alternative-Format Daytime Sessions. version read by the Program Committee may topics, the Program Committee invites pro- remain confidential. posals that address the following themes: Examples of alternative formats include, but • Ecologies and Soundscapes are not limited to, sessions combining per- APPLICATION RESTRICTIONS • Music and Revolution formance and scholarship, sessions discussing The Program Committee wishes to give as • Discourses of Black Music. an important publication, sessions featuring many different people as possible opportuni- Those who wish their proposals to be con- debate on a controversial issue, and sessions ties to participate and has therefore set a limit sidered according to one of these three themes devoted to discussion of papers posted online on any one person’s programmatic activity. will be able to indicate this preference at the before the meeting. They may be proposed Only one proposal per author may be sub- time of submission. Maximum length for by an individual or group of individuals, a mitted. No one may appear on the Boston proposal: 350 words. Study Group, a smaller society that has tra- program more than twice.* An individual Length of presentations. Each individual ditionally met during the Annual Meeting, may deliver a paper or convene/participate in paper will be allotted thirty minutes: twenty or an AMS committee wishing to explore a Seminar Session and appear one other time minutes for the presentation and ten minutes scholarly issues. Position papers delivered as on the program, whether participating in an for discussion. All sessions will last ninety part of alternative-format sessions should be evening panel discussion or Alternative For- minutes. no more than ten minutes long. Proposals for mat session, functioning as a chair-organizer Poster Presentations. Proposals for poster alternative-format sessions should identify the of a formal session, or serving as a respon- presentations should follow the guidelines participants, outline the intellectual content dent, but may not deliver a lecture-recital or for submission of individual proposals but of the session, and describe the structure of concert. also include an explanation of the content the session. Sessions will last ninety minutes. *Participation in offerings such as Study and goals of the graphic presentation. Techni- Maximum length for proposal: 500 words. Group meetings or committee presentations cal guidelines for posters will be distributed Seminar Sessions. The two-stage submis- (e.g., the Committee on Career-Related Issues) with acceptance information. Maximum sion process for Seminar Sessions will be fol- does not count as an appearance for this purpose. length for proposal: 350 words. lowed for 2019. The submission deadline for The “alternate years” rule. Those who Formal Sessions. An organizer represent- stage one, Seminar Topics, is 8 October 2018. presented papers or organized Joint Sessions, ing several individuals may propose a Formal The chosen topics will be announced on 2 Formal Sessions, Seminars, Alternative For- Session, ninety minutes long and comprising November 2018. See below for details. The mat sessions, or lecture-recitals at the 2018 three papers. For this type of proposal, orga- submission deadline for stage two, Seminar AMS meeting may not submit proposals nizers should prepare a rationale explaining paper proposals, is 15 January 2019. As with for the 2019 meeting. Participants in 2018 the importance of the topic and the proposed other proposals, Seminar paper proposals are Evening Panel discussions and Alternative constituent papers, including names of a re- reviewed anonymously. The Program Com- Format sessions may submit proposals for spondent (if applicable), and a suggested mittee, in consultation with the conveners, 2019. This rule will also apply in future: those

 AMS Newsletter whose work is accepted for 2019 presentation After the seminar topics are chosen, the Seminar FAQ will be restricted similarly in 2020. call for proposals for the seminar papers Why seminars? themselves will be published (deadline 15 SUBMISSION PROCEDURE January 2019). Individual paper proposals are The seminar format offers the opportunity for Proposals must be received by 5 p.m. EST, reviewed anonymously. The Program Com- more extended discussion and deeper intellec- 15 January 2019. mittee, in consultation with the conveners, tual engagement by a larger group of partici- Proposals are to be submitted electronically chooses three to six abstracts for each seminar pants than does the standard paper session. A via the form provided at the website. topic. If there are not enough abstracts of suf- seminar is an interactive discussion-oriented Please note that proposal submission ceases ficient quality to fill a seminar, the seminar session in which participants can learn from precisely at the deadline. To avoid technical will not be offered. each other in addition to presenting their problems with submission please submit at knowledge. Seminars have been adopted by least twenty-four hours before the deadline. Submission instructions. Seminar Topic an increasing number of scholarly societies in Proposals received after the deadline cannot proposals should consist of: their annual meetings, including the Society be considered. • an abstract of no more than 350 words for American Music, German Studies Asso- A FAQ on the proposal submission process describing the topic and indicating why ciation, and the American Comparative Lit- is available at the website. it would be particularly appropriate for a erature Association. seminar Those unable to submit a proposal electron- How do seminars work? ically should contact the AMS office before • a concise bibliography of pertinent schol- The sessions emphasize group discussion 10 January 2019 regarding accommodation arship (no more than fifteen items; not in- rather than formal papers. There are one procedures. cluded in the 350-word count), or two conveners for each topic and an ad- Receipts will be sent to all who submit pro- • a one-page CV from the conveners or co- ditional three to six active participants who posals by the beginning of February 2019. conveners listing recent publications and submit papers. Topics are chosen at stage one, Notifications of the Program Committee’s indicating their expertise in the proposed participants at stage two. Approximately one decisions are sent after their spring meeting, topic. month before the Annual Meeting, seminar about 20 April. Seminar Topic proposals are not reviewed papers will be posted on the AMS website so AMS committees and Study Groups; Af- anonymously. (Please note that conveners that they can be read by seminar participants filiated societies. Sessions organized by such should not suggest possible participants.) and attendees. At the seminars themselves, groups are not reviewed by the Program Com- Submission is made through the website: participants present only short informal sum- mittee. They should contact Robert Judd at ams-net.org/boston; a form for this purpose maries of their papers. In addition to the the AMS office to schedule their meetings. will be in place about the beginning of Sep- selected active participants, the seminars are Other questions? See the Proposal Submis- tember 2018. open to auditors, as space allows. Each of the sion FAQ, below. Submission restrictions. The Program three seminars will meet once for ninety min- —Holly Watkins Committee wishes to give opportunities to utes and will be scheduled during the regular Program Committee Chair participate for as many different people as daytime sessions. possible and has therefore set a limit on any Call for Seminar Topic Proposals What kinds of topics are suitable for one person’s programmatic activity. Only Deadline 8 October 2018 seminars? one proposal per author may be submitted. The AMS Program Committee invites pro- No one may appear on the Boston program Seminar topics may address any themes of posals for seminar topics for its Boston An- more than twice.* An individual may deliver great interest and wide relevance to the So- nual Meeting, 31 October–3 November 2019. a paper or convene/participate in a Seminar ciety, for example, current hot-button issues Seminar sessions are devoted principally to a Session and appear one other time on the in the field, interdisciplinary topics, music in moderated discussion of a set of papers circu- program, whether participating in an eve- public life, or new fields of research. lated in advance of the meeting. Seminar top- ning panel discussion or Alternative Format Who may submit proposals for seminar ics may address any theme of wide relevance session, functioning as a chair-organizer of a topics? to the Society, e.g., current issues in the field, formal session, or serving as a respondent, but Anyone with a strong interest and expertise interdisciplinary topics, music in public life, may not deliver a lecture-recital or concert. in a topic or field, or who wishes to develop or new fields of research. Up to three semi- *Participation in offerings such as Study a new field of inquiry or explore a multidis- nar sessions will be included at the 2019 An- Group meetings or committee presentations ciplinary perspective. A Study Group or a nual Meeting. Each seminar will meet once (e.g., the Committee on Career-Related Issues) scholarly society may also submit a proposal, for ninety minutes and will be scheduled as does not count as an appearance for this purpose. although participation in the seminar is open a regular daytime session. In addition to the The “alternate years” rule. Those who to all. selected active participants, seminars are open presented papers or organized Joint Sessions, to auditors, as space allows. Formal Sessions, Seminars, Alternative For- How are the topics and paper proposals Seminars are developed in two stages: (1) mat sessions, or lecture-recitals at the 2018 chosen? selection of the topics (and their conveners) AMS meeting may not submit proposals The Program Committee selects the topics, and (2) selection of the actual papers related for the 2019 meeting. Participants in 2018 based on scholarly quality and relevance. The to those topics. The present call is for stage Evening Panel discussions and Alternative proposers of topics that are accepted become one. The program committee will select top- Format sessions may submit proposals for the conveners. The Program Committee and ics and announce them on the AMS website 2019. This rule will also apply in future: those the conveners together select the seminar pa- and at the Annual Meeting in San Antonio on whose work is accepted for 2019 presentation pers, based on the quality of the proposals as 3 November 2018. will be restricted similarly in 2020. well as their relevance to the seminar topic. continued on page  August 2018  Call for Performances and Saturday (one-hour slots), and Thursday sual materials pertaining to the program and Deadline: 5 p.m. EST, 15 January evening. performers (twenty minutes maximum). 2019 Required application materials include: 1) An individual may not present both a paper an application cover sheet (available from the and a separate performance event at the meet- The AMS Performance Committee invites AMS office); 2) a proposed program listing ing. If an individual’s proposals to the Pro- proposals for concerts, lecture-recitals, work- repertory, performer(s), and the duration of gram Committee and the Performance Com- shops, and other types of performances dur- each work; 3) a list of audio-visual and perfor- mittee are both selected, the applicant will be ing the 2019 Boston Annual Meeting, 31 Oc- mance needs; 4) a short (100-word) biography given an early opportunity to decide which tober–3 November. We encourage proposals of each participant named in the proposal; 5) invitation to accept. Though the AMS is un- that develop a point of view, offer a program- for concerts, a one-page explanation of the able to offer a fee to artists, modest subsidies matic focus, explore new musicological find- significance of the program or manner of per- are occasionally available for performance- ings, or relate to the meeting’s host city or formance; for lecture-recitals, a description related expenses. Please see the application region. Proposals that engage with the Soci- (two pages maximum) explaining the signifi- cover sheet (at ams-net.org/boston) for ety’s diversity of interests and methodological cance of the program and/or manner of per- proposal submission details. approaches (including proposals that expand formance, and a summary of the lecture com- Materials must arrive at the AMS office no on the concept of “performance” itself) are ponent, including information pertaining to later than 5 p.m. EST, 15 January 2019. Ex- especially welcome. the underlying research, its methodology, and ceptions cannot be made to this deadline, so Freelance artists as well as performers and conclusions; for workshops or other types of please plan accordingly. Receipts will be sent ensembles affiliated with colleges, universi- performance, a description (two pages maxi- to those who have submitted proposals by the ties, or conservatories are encouraged to sub- mum) explaining the concept of the activity deadline, and the committee will communi- mit proposals. Available presentation times or event and its musicological significance or cate its decisions by 15 April 2019. include lunch hours and afternoons on Friday relevance; and 6) representative audio or vi- —Ivan Raykoff Performance Committee Chair

Seminar FAQ Does a seminar paper “count” the same as appropriate. In all cases, however, the seminar a regular paper? participants, moderated by the convener(s), continued from page  Yes; seminar participants write papers, just will carry out most of the discussion. At the like other presenters. The rules regarding convener’s discretion, the discussion may be How are seminars different from Alterna- multiple appearances at the Annual Meeting opened up to the larger group. tive Format Sessions (AFS)? equally apply to seminar participants. Seminars are solely discussion-based, with How many seminar sessions are planned no papers read. Since papers are circulated Don’t seminars just take up slots that would for the 2019 meeting? in advance to all participants and auditors, be better used for formal papers? Up to three ninety-minute sessions, each with they permit greater in-depth discussion than Seminars are ninety-minute sessions that fea- three to six papers. AFS. Seminars are also designed more openly ture up to six participants, each of whom has than AFS: whereas the AFS conveners design written and pre-circulated a substantial paper, and propose an entire session, including par- so a seminar provides a platform for more ticipants, topics for seminars are chosen in a participants than does a regular paper session. AMS Boston 2019 separate process from the selection of partici- How large are the seminars, including Session Chairs pants, and anyone can apply to participate in auditors? Each year the Program Committee orga- a seminar. Based on the experience of other societies, nizes session chairs after their program How are seminar papers different from seminars will vary in size. Some may take selections are made. When the list of regular papers? place in smaller rooms, with participants sessions is prepared in April 2019, a call Seminar papers are circulated in advance to seated around a central table and auditors for session chair nominations will be dis- facilitate group discussion at the session. Be- seated around them; others may attract larger tributed to members. See ams-net.org/ cause they are not read aloud, they can be audiences, for which a seating arrangement boston for details. more substantial than orally delivered papers. resembling a panel discussion would be more

Changes at the AMS Website

The AMS website dates from 1994, when Mark Brill (who coinci- presence to better conformity with current standard practice. Mem- dentally is helping to prepare the San Antonio Annual Meeting) cre- bers will experience a new look and a number of newly available ated the AMS’s first internet presence. The AMS office took over in options, including a more effective member renewal process. 1997; the most recent major changes date from fall 2009. The new website will be evolving over the next several months, As indicated in the Feb. 2018 AMS Newsletter, the Board of Direc- and the old site will remain available until all its information has tors gave the go-ahead for the Society to move to a service provider been migrated. (Migration of a site like ours is not a one-day project: for membership management, Yourmembership.com (also used by hundreds of individual pages are accessed on a weekly basis, and over the Society for Ethnomusicology, the Society for American Music, a thousand annually.) and the Renaissance Society of America), to help bring our internet

 AMS Newsletter News Briefs from thirty countries in Asia, Africa, Europe, In spring 2018 The Metropolitan Museum of and the Americas participated, approaching Art reopened their musical instrument collec- Erica Buurman has been appointed Director the conference theme from angles informed tion following a two-year renovation. of the Ira F. Brilliant Center for Beethoven by historical musicology, ethnomusicology, Details: metmuseum.org/about-the-met/ Studies at San Jose State University. theory, music librarianship and information curatorial-departments/musical-instruments/ science, and pedagogy. Last April the Barry S. Brook Center for art-of-music. Music Research and Documentation at the During the opening reception, Barbara CUNY Graduate Center in New York hosted Dobbs Mackenzie, Director of the Brook the conference “Musicology in the Age of Center, unveiled the new Claire Brook (Post)Globalization,” in honor of the hun- Award, which honors an outstanding mono- dredth anniversary of Barry Brook’s birth. Fo- graph, dissertation, edited collection, or exhi- cused on two cultural and political currents bition catalogue on a designated topic related of the late twentieth century and twenty-first to the current work of the Brook Center. For century, the conference sought to address both the first years, nominations will be accepted the processes by which entities develop inter- for works on music iconography or the rela- national influence or start operating on an tionship between music and the visual arts. international scale (a phenomenon which has Details: rilm.org greatly affected music histories and practices), Warren Kirkendale and the ways in which many of the changes of has published a revised the twentieth century have been brought to a Italian edition of Ursula Kirkendale’s Georg Friedrich Händel, Francesco Maria Ruspoli e Warren Kirkendale received a papal gold medal from halt in a time of protectionism, social closure, 24 2018 2017 Pope Emeritus Benedict XVI ( May ) blocked labor markets, bureaucratic restric- Roma (Lucca, ). His work was recently tions on travel, and repatriation of migrant recognized by Pope Emeritus Benedict XVI. labor. How are these changes manifested in current research projects? Seventy speakers CFPs and Conferences The AMS posts Conference and CFP no- Composer(s) in the Middle Ages The Electric Guitar in American Culture tices at three bulletin boards: see ams- CFP deadline: 21 October 2018 12–14 October 2018 net.org/announce.php for complete list- 23–24 May 2019 Texas Tech Univ., Lubbock ings and information about subscribing to Université de Rouen Italian Musicological Society email notices. Hundreds have been posted The World of Bob Dylan 19–21 October 2018 2018 since the February AMS Newsletter CFP deadline: 15 January 2019 Bolzano was published; a small selection appears 30 May–2 June 2019 below. Modes, Church Tones, Tonality: Univ. of Tulsa Tonal Spaces, c. 1550 – c. 1720 Calls for Papers 8–10 November 2018 Bach Symposium Conferences Univ. of Ferrara CFP deadline: 1 September 2018 German Society for Popular Music Studies: 12–13 April 2019 The Organ in the Global Baroque “(Dis-)Orientations of Popular Music” 6 8 2018 Univ. of Massachusetts Amherst – September 16–18 November 2018 Cornell Univ., Ithaca Contested Frequencies: Sonic Oldenburg Representation in the Digital Age Italian Madrigal Conference Pierre de la Rue and Music at the 15 16 2018 CFP deadline: 14 September 2018 – September Habsburg-Burgundian Court 22–24 February 2019 Colgate Univ., Hamilton 20–23 November 2018 Univ. of Richmond The Idea of Canon in the Mechelen Society for Christian Scholarship in Music Twenty-First Century Elvis Lives in Amsterdam: 22 23 2018 CFP deadline: 1 October 2018 – September Manifestations of the Imaginary Musician 14–16 February 2019 Smith College, Northampton 29 November–1 December 2018 St. Michael’s College, Univ. of Toronto Claude Debussy: Past and Present Univ. of Amsterdam Society for Seventeenth-Century Music 25–26 September 2018 The Intellectual Worlds of CFP deadline: 1 October 2018 Metz Johannes Brahms 4–7 April 2019 Popular Music, Popular Movement(s) 1–3 February 2019 Duke Univ., Durham 5–6 October 2018 Univ. of California, Irvine Historical Keyboard Society of Case Western Reserve Univ., Cleveland Renaissance Society of America North America (HKSNA) “L’abbé Gounod”: French Sacred Music 17–19 March 2019 CFP deadline: 15 October 2018 during the Romantic Era Toronto 13–15 May 2019 5–7 October 2018 Huntsville Lucca August 2018  AMS Grants, Awards, and Fellowships

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

Additional Grants and Fellowships • Guggenheim Memorial Foundation Fellowships Many grants and fellowships that recur on • Harvard University Center for Italian annual cycles are listed at the AMS website: Renaissance Studies ams-net.org/grants.php. Policy on Obituaries • Humboldt Foundation Fellowships Grants range from small amounts The Society wishes to recognize the • International Research & Exchanges to full-year sabbatical replacement sti- accomplishments of members who Board pends. The list of programs includes the have died by printing obituaries in the following: • Institute for Advanced Study, School of Newsletter. Obituaries will normally • American Academy of Arts & Sciences Historical Studies not exceed 400 words and will focus on • American Academy in Berlin • Kurt Weill Foundation for Music music-related activities such as teach- • American Academy in Rome • Liguria Study Center for the Arts and ing, research, publications, grants, and • American Antiquarian Society Humanities service to the Society. The Society re- • American Brahms Society • Music Library Association quests that colleagues, friends, or family • American Council of Learned Societies • Monash University, Kartomi of a deceased member who wish to see • American Handel Society Fellowship him or her recognized by an obituary communicate that desire to the editor • Berlin Program for Advanced German • National Endowment for the of the Newsletter. The editor, in con- and European Studies Humanities • Camargo Foundation sultation with the advisory committee • National Humanities Center named below, will select the author • Columbia Society of Fellows in the Fellowships of the obituary and edit the text for Humanities • Newberry Library Fellowships publication. • Delmas Foundation • Northwestern University Library A committee has been appointed to • Deutscher Akademischer Austauschdienst oversee and evaluate this policy, to com- • Emory University, Fox Center for Hu- • Rice University, Humanities Research Center mission or write additional obituaries manistic Inquiry as necessary, and to report to the Board • Social Science Research Council • Fulbright U.S. Scholar Program of Directors. The committee comprises • University of London, Institute of • Grammy Foundation the executive director (chair), the sec- • Getty Library Research Grants Musical Research retary of the Council, and one other • Yale Institute of Sacred Music member.

 AMS Newsletter Obituaries 75 Years Ago: 1943 The Society regrets to inform its members of the deaths of the following members: • The war sharply impeded activity. Only twenty attended the Annual Meeting, E. Eugene Helm, 10 October 2015 at which three papers were presented. Carlos Messerli, 9 November 2017 singer Emma Nevada and presented confer- Symptomatic of the lack of activ- Virginia Raad, (27 January 2018) ence papers on writers Theodore Dreiser (Paul ity, Gustave Reese’s Business Meeting Ernest Sanders, (13 January 2018) Dresser’s brother) and Robertson Davies. minutes include the following: “The Robert Pascall, (9 June 2018) Henderson taught at San Diego State Uni- versity, the University of Denver, the Univer- President [Glen Haydon] requested Clayton Henderson (1936–2018) sity of Illinois, Southern Illinois University at the Secretary to report on the activities Edwardsville, and Beloit College before join- of the Membership Committee, which Clayton Henderson, scholar of American mu- ing Millikin University in Decatur, Illinois, he thereupon did. The President stated sic and former AMS archivist, passed away on where he was Dean of the School of Music that the activities of the Publication 7 January 2018. from 1974 to 1979. In 1980 he moved to Saint Committee had already been summed Born in Middletown and raised in North Mary’s College in Notre Dame, Indiana, serv- up in the Secretary’s report, [and] that Haven, Connecticut, Henderson sang in the ing as Chairman of the Department of Music those of the Program Committee had choir of Trinity Episcopal Church on the from 1980 to 1989 and of the Department of just been revealed through the papers Green in New Haven as a boy soprano and Communication, Dance, and Theatre from that had been read.” was a church organist from an early age, be- 1983 to 1989, then on the faculty until retir- 50 1968 ginning at the Montowese Baptist Church. ing in 2005. Years Ago: After earning undergraduate and graduate In addition to his teaching and administra- • The Board voted to explore moving degrees in music from Ohio University, he re- tive appointments, Henderson was organist the Annual Meeting to a different date ceived his PhD in musicology from Washing- and choirmaster at various churches for more from the last week in December. [It ton University in St. Louis in 1969, writing a than four decades, including thirteen years at was moved to November in 1970, per- pathbreaking dissertation under Paul A. Pisk St. James Episcopal Cathedral in South Bend, haps not coincidentally following a disas- on Charles Ives’s use of quotation. Indiana. He then served Gloria Dei Lutheran trous snowstorm during the St. Louis An- Henderson’s dissertation included lists of all church in South Bend as Director of Music, nual Meeting in December 1969.—ed.] the tunes then identified that Ives had bor- retiring in 2009. He was also a classical and • After eighteen years’ service, Helen rowed and of which tunes appeared in each jazz pianist who accompanied opera sing- Hewitt stepped down as editor of piece, along with the music for each tune. ers James McCracken and Sandra Warfield, Doctoral Dissertations in Musicology. He subsequently expanded these resources Broadway star Juanita Hall, and comedians • The Society ceased to issue member- into The Charles Ives Tunebook (1990; 2nd. Red Skelton and Bob Hope. ship cards. ed. 2008), a foundational reference work Henderson was a member of the AMS for for scholars and performers. Another major almost sixty years and served for nineteen 25 Years Ago: 1993 contribution is his definitive biography of years as its archivist. He was a cheerful and • Treasurer/Executive Director Alvin H. songwriter Paul Dresser, On the Banks of the supportive colleague, unfailingly generous to Johnson had an incapacitating stroke Wabash: The Life and Music of Paul Dresser younger scholars, and he will be missed. at the ACLS meeting in May. Assis- 2003 ( ). He also wrote on American opera —J. Peter Burkholder tant Jacqueline Bruzio stepped into the breach on an interim basis while the Board considered ways to establish a firmer administrative foundation for the Society. Martin Picker and Rebec- San Antonio Pre-conferences guided discussions, group work on proj- ca Baltzer began to work as Executive ects, and perhaps a salon-style gathering on Director and Treasurer, respectively, in Diversifying Music Academia (Wednesday Thursday morning with readings, elocution the fall. and Thursday) explores why many people and other performances, lecture-recitals, • The AMS Council formally requested marginalized by their race/ethnicity, gender, etc. See ams-net.org/sanantonio for further that the Board draft a statement of and/or sexuality continue to have difficulty information as available. finishing graduate degrees, attaining gainful professional ethics. employment, and receiving tenure within Staging Witches: Gender, Power, and Al- • In fall 1993 the Annual Meeting paper all fields of music studies. It also aims to terity in Music (Wednesday) aims to ex- length was reduced to twenty min- develop concrete tools to inspire systematic plore the witch in opera, musical theater, utes. “This shorter length is designed change within these fields. film, video games, and media that visu- to leave more time for questions and Details: projectspectrummusic.com ally and sonically represent witches, inter- discussion.” rogating alterity and non-normativity of The Mendelssohn Network (Wednesday all kinds: gender, race/ethnicity, disability, and Thursday), schedule still in prepara- age, madness, language, and even “making tion. It may present and discuss research sense.” See ams-net.org/sanantonio for fur- in the form of elevator and lightning talks, ther information as available.

August 2018  American Musicological Society New York University Nonprofit org. 20 Cooper Square, Floor 2 U.S. Postage PAID New York, NY 10003-7112 Mattoon, IL Permit No. 217 Address service requested

Funding for Chapter Activities Meetings of AMS and Related Membership Dues Societies The Chapter Activities Committee pro- Regular member * $120 2018: vides several opportunities for academic Sustaining member * $240 CMS: Vancouver, 11–13 Oct. and professional development through Income less than $30,000 $60 AMS/SMT: San Antonio, 1–4 Nov. the AMS Chapter Fund. These include Student member $45 SEM: Albuquerque, 15–18 Nov. supporting travel to the Annual Meeting Emeritus member * $60 for student chapter representatives and up 2019: Joint member * $50 to $250 for special events occurring as part SAM: New Orleans, 20–24 Mar. Life member varies; ask for details of a chapter’s meeting (for instance guest CMS: Louisville, 24–26 Oct. * 3-year payment option available speakers, guest performers, workshops). SMT: Columbus, 7–9 Nov. For more information please visit ams-net. Overseas, please add $20 for air mail AMS: Boston, 31 Oct.–3 Nov. org/chapters/chapterfund.php or email delivery. Students, please enclose a copy SEM: Bloomington, 7–10 Oct. Mary Paquette-Abt, committee chair, c/o of your current student ID. [email protected]. Next Board Meetings AMS Newsletter Address and Deadline The next meetings of the Board of Direc- tors will take place 31 October 2018 in San AMS Directory Items for publication in the next issue of Antonio and 27 April 2019 (location TBA). the AMS Newsletter must be submitted TheAMS Directory is now published only on- by 1 December to the editor: line (login required). It includes features such James Parsons Next Council Meeting as photo and document uploads, research interests, publication citations, and personal AMS Newsletter Editor The next meeting of the AMS Coun- links: members may share as much (or as lit- Missouri State University 3 cil will take place November in San tle) information with each other as they wish. [email protected] Antonio. It is also linked to member DDM records. TheAMS Newsletter (ISSN 0402-012X) See ams-net.org/council for more AMS Directory A PDF version of the (April is published twice yearly by the Ameri- news and information about AMS Coun- 2018) is also available at the website (login can Musicological Society, Inc. and cil, including recent initiatives involving required). Print versions will be sent upon re- mailed to all members and subscribers. student representatives to Council. quest: please contact the AMS office. Requests for additional copies of current and back issues of the AMS Newsletter Interested in AMS Committees? should be directed to the AMS office. More JSTOR Access The president is always grateful to All back issues of the AMS Newsletter hear from members who wish to vol- The AMS subsidizes access to JSTOR.org are available at the AMS website: unteer for assignments to commit- resources for members without institu- ams-net.org/newsletter tees. Send your assignment request to tional access. Access is arranged through Claims for missing issues must be the AMS office. If you would like to take Martha Feldman, [email protected]. 90 advantage of this benefit, please send a made within days of publication 180 New Books request to Bob Judd, [email protected]. (overseas: days). Moving? Please send address changes 101 titles have been added to the AMS New Since access accounts are limited, the one- 20 Books list since the beginning of 2018. year access account will be allocated on a to: AMS, New York University, Coo- 2 10003-7112 Details: ams-net.org/feeds/newbooks. first-come, first-served basis. per Sq., Fl. , New York, NY