AMS NEWSLETTER
THE AMERICAN MUSICOLOGICAL SOCIETY
CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES
VOLUME XL, NUMBER 2 August 2010 ISSN 0402-012X “Dialogue…is Indianapolis talk” AMS/SMT Indianapolis 2010 4–7 November www.ams-net.org/indianapolis/ “Dialogue…is Indianapolis talk.” Native son Kurt Vonnegut thus remarked on In dianapolis discourse in a 1987 interview. Indianapoliscourtesy Convention & Visitors Association Indeed, opportunities for dialogue will abound when AMS and SMT meet jointly in Indianapolis this November for the first time in the societies’ histories. Whether in comments following papers, at panels, or in fruitful hallway discussions, the critical exchange of ideas promises to follow upon Vonnegut as a trope throughout the Annual Meeting. Although the twelfth-largest city in the Indianapolis and the Central Canal country, Indianapolis is remarkably genial, progressive despite the tough economic times, and stimulating in its civic and arts Gauguin’s Breton Blessing of the Animals and von Wolkenstein to eighteenth-century Na culture. Downtown Indianapolis is com Kara Walker’s remarkable silhouette They ples to Mozart; or “Musicology and Place,” pact and eminently walkable. Local sights Waz Nice White Folks While They Lasted), which includes papers on pre-Columbian of special interest include the Indianapolis the Eiteljorg Museum of American Indi Mexico, twentieth-century Chile, seven Museum of Art (whose masterpieces include ans and Western Art; and the White River teenth-century Massachusetts, and Celtic Park, Zoo, and Butterfly Garden. Theatres antiquity. Yes, Schumann and Chopin will will be at the peak of their seasons, present be well represented in their anniversary year, ing Louis Sachar’s Holes and Stephen Mas but there is much more. Attendees may also In This Issue… sicotte’s Mary’s Wedding (Indiana Repertory choose from four daytime lecture-recitals of Theatre), Henry Krieger and Tom Eyen’s twentieth-century chamber music, African- 2 President’s Message ...... Dreamgirls (Murat Theatre), and Ariel Dorf American music for voice and piano, con Musicology and the Blogosphere . 4 man’s Death and the Maiden (The Theatre temporary piano music, and a lute concert Awards, Prizes, Honors . . . . . 6 Within). Ample information on restaurants of English Golden Age repertoire. Evening Humanities Advocacy Day . . . .8 and city sights will be included in the meet Panels include sessions on Schumann, docu AMS-LC Lecture Series . . . . .9 ing registration packet. mentary film, and pedagogical scholarship, News from the AMS Board . . . 9 The Program. This year’s Program and Per in addition to panels by AMS Committees Indianapolis Preliminary Program .11 formance Committees have selected a par and Study Groups. Browse the Preliminary Indianapolis Performances . . . 23 ticularly stimulating array of papers, lecture- Program carefully (pp. 11–22) to see the de Indianapolis Program Selection . 23 recitals, concerts, and panels. Their creative lights that await you! AMS San Francisco 2011 . . . . 24 work in constructing sessions makes for in Special Performances. The Indianapolis Committee & Study Group News .25 teresting combinations, such as, for example, Symphony Orchestra has tailored a program News Briefs, Conferences . . . . 28 the session on “Modes of Listening,” which partly with the AMS and SMT audience Legacy Gifts ...... 30 includes discussions of Monteverdi, elec in mind, including Wagner’s Siegfried Idyll AMS Fair Use Statement . . . . 30 troacoustic music, and film; or “Cognition and Mahler’s Fifth Symphony, under the Obituaries ...... 31 and History,” which ranges from Oswald continued on page President’s Message
Change is in the air! Our OPUS campaign recent initiatives include increased funding alternative formats proposed by AMS com and seventy-fifth anniversary celebrations for the Professional Development Travel mittees and study groups will now regularly have drawn to a close, and now is the time Grant program to assist scholars without take their place alongside formal paper pre to look back at what we have accomplished institutional support to attend the annual sentations. over the past few years. It is gratifying to see meeting and the Eileen Southern Travel Communications. Our Society recognizes so many important initiatives, some begin Fund, which encourages undergraduate the importance of reaching out to our mem ning as much as eight years ago and per and terminal master’s students from under bership and to the public at large. Dramatic colating ever since, come to fruition. These represented groups to attend our meeting. transformations have taken place in the way endeavors have strengthened the core objec Most recently, the AMS Teaching Fund we connect with one another. E-mail dis tives of our Society: to enhance the profes has been established to support innovative cussion lists, wikis, blogs, and tweets have sional development of scholars, to support teaching practices in the music history and recently joined our traditional modes of the publication of worthy works, to meet appreciation classroom. communication. The AMS web site has together annually and as chapters, and to Honors and Awards. Acknowledgment of been redesigned and the AMS Newsletter, present a vital face to the scholarly world academic excellence is another important under Marica Tacconi’s editorship, is now and the public at large. It is all the more endeavor of the AMS. Each year we pay undergoing a makeover. We have estab noteworthy that some of these endeavors tribute to the distinguished scholarship of lished a Google Group to help AMS chap have been achieved through the generosity our members through honorary awards. ter officers stay in touch throughout the of our membership. It gives me great pride The Society presented the first two prizes, year. Reaching out beyond the Society, the to point out that, although we are a small the Einstein and Kinkeldey Awards, in 1967; Communications Committee, chaired by society, we are one of the strongest in all the the Greenberg Award was introduced a de Director-at-Large Joseph Auner, has been humanities when it comes to honoring our cade later. It is remarkable that in the past working energetically on several ventures. scholars and providing them with financial five years, the number of prizes conferred at The AMS-Library of Congress Lecture se support. Simply put, relative to our size, the our annual meeting has swelled from this ries, in full swing for two years, offers live number of fellowships, travel and research presentations and webcasts by distinguished awards, and honorary prizes we confer each It is gratifying to see so many scholars, highlighting the collections of the year is without equal among our peers. Library of Congress Music Division (see p. Publications. Financial support of publica initiatives come to fruition. 9). Lecture series in collaboration with oth tions has always played a central role in the er public institutions are now being pur AMS. In recent years, our subventions have small handful to nearly a dozen for books, sued. The Communications Committee’s increased exponentially. Thanks to the con articles, editions and translations, papers, latest project, video podcasts by several mu tributions of foundations and our member and performance and recording projects. sicologists featured on the AMS web site, ship through the OPUS Campaign, nine Annual Meeting. The Annual Meeting will introduce our discipline to a younger new funds named in honor of esteemed serves as the jewel in the crown of our So generation (see p. 5). members have been established to assist ciety’s activities—a place to present new Over the past few years, we have achieved music scholars with publication costs. In scholarship, connect with colleagues, and a great deal in furthering our Society’s mis addition, our new AMS PAYS fund with its exchange ideas. We have all noticed the sion of “advancing research in the various $900,000 endowment will provide support dramatic growth in abstract submissions, fields of music as a branch of learning and for the publication of first books by those which has made it all the more competi scholarship.” Needless to say, none of these in the early stages of their careers. tive for scholars to garner a place on the enterprises could have happened without Professional Development. The Society program. During the past two years, the your support. In this, my final President’s has actively encouraged the professional de Committee on the Annual Meeting, un Message, I would like to take the oppor velopment of our membership, whether it der the leadership of our Vice President, tunity to express my gratitude to those of be through financial assistance or recogni Honey Meconi, has sought tangible ways you who have served on AMS commit tion of scholarly excellence. Support of our to enhance the program. The first and most tees, the AMS Council, the AMS Board of graduate students, independent scholars, significant initiative that will occur in Indi Directors, the JAMS Editorial Board, and and those at the beginning of their aca anapolis is an augmentation in the number the OPUS Campaign. I am particularly demic careers has been a primary interest. of daytime sessions on the program (see the indebted to Bob Judd—our Executive Di Since 1984, the AMS has awarded over one report from the Committee on the Annual rector par excellence—who has worked tire hundred graduate fellowships under the Meeting, p. 25). These additional sessions lessly behind the scenes to make the Society auspices of the Alvin H. Johnson AMS 50 will allow for a 33% increase in paper accep a better place for us all. Finally, I want to Dissertation and the Howard Mayer Brown tances, enabling a considerably larger num thank all AMS members for your dedica Fellowship programs. To these resources, we ber of scholars to present their research. tion to our Society. I look forward to seeing have added five new grant programs to help Another change in the program diversifies you in Indianapolis. May we continue to defray research travel expenses for scholars the type of daytime offerings. Instituted move ever upward! in the early stages of their careers. Other at our Philadelphia meeting, sessions with —Jane A. Bernstein
AMS Newsletter AMS Indianapolis 2010 AMS Annual Meeting Hotel and Travel Information continued from page 1 A block of rooms has been reserved at the Indianapolis Marriott Downtown, 350 The Westin Indianapolis, 50 direction of Juraj Valcuha, the young Slo West Maryland Street, and South Capital Ave. Rates are $169 $189 $209 $350 vak conductor who will take the podium for a single or double, for a triple, for a quad, and for a suite, plus 15 as a featured guest. The performances will % tax. Reservations may be made either through the meeting web site or by tele 800 266 9432 506 474 2009 800 937 8461 be presented on 5 November at 8:00 p.m. phone: Marriott, ( ) - or ( ) - ; Westin, ( ) - (ask for 13 and 6 November at 5:30 p.m. in the Hilbert “AMS/SMT Joint Annual Meeting”). Conference rates are valid through October, Circle Theatre on Monument Circle, three subject to availability. Air travel to Indianapolis. blocks away from the conference hotels. Indianapolis is served by the Indianapolis International On 6 November at 8:00 p.m., the In Airport (IND), which hosts all major carriers. For transportation from the airport, dianapolis Symphonic Choir, under the Indianapolis public transportation (IndyGo Green Line Airport/Downtown Express) 20 $7 $35 $50 direction of Eric Stark, will perform Sergei runs every minutes for one-way. Taxi fare runs from to . Train and bus service. 39 Rachmaninoff’s All-Night Vigil of 1915 (the Amtrak comes to Union Station located at Jackson Place 0.3 350 “Vespers” are only one part). The venue ( miles from conference hotels). The Greyhound bus terminal is located at South 0.5 for the performance, the Catholic Church Illinois Street ( miles from conference hotels) and the Trailways bus terminal is lo 1810 16 0.5 of St. John the Evangelist, is within three cated at West th Street ( miles from conference hotels). Driving directions. blocks of the conference hotels. The AMS A downtown area map is available at the AMS web site (www. and SMT are holding a block of tickets ams-net.org/indianapolis/travel-info.php) as well as links to both hotel sites which have $15 $28 $32 available through early registration; addi driving directions. Parking rates at the Marriott: per hour, daily self park, $25 $30 tional tickets may be purchased at the AMS daily valet; and at the Westin: daily self park, daily valet. Annual Meeting registration desk. British Music Studies Association, the Soci October): $ ($, student/retired); Late/ The Society will host the Buselli-Wallarab ety for Eighteenth-Century Music, and the Onsite: $ ($, student/retired). AMS Jazz Orchestra in a Thursday evening caba Society for Seventeenth-Century music will members receive a conference registration ret-concert at the Marriott Hotel, featuring hold public meetings or receptions. Addi form via U.S. mail; a PDF version, as well rare small-combo tunes by Duke Ellington, tionally, the standard array of receptions as online registration are available at the including “Menelik – The Lion of Judah,” web site. “Subtle Slough” (a.k.a. “Just Squeeze Me, and parties will take place over the course Child Care. If a sufficient number wishes Don’t Tease Me”), and “The Jeep is Jumpin’.” of the weekend. Details can be found in the 11 22 to arrange child care, the AMS office will Christ Church Episcopal Cathedral will be Preliminary Program (pp. – ), and an assist in coordinating it. Please contact the the venue for an organ recital on Friday at nouncements from the membership about AMS office if this is of interest. 12:30. Sunday morning, the Cathedral will meeting events can be found at the meeting Scheduling. Please contact the AMS of also present a worship service with music web site. fice to reserve rooms for private parties, re for the feast of All Saints’ Day sung by the Interviews. A limited number of rooms at ceptions, or reunions. Space is limited, so Cathedral’s Men and Boys Choir. the Indianapolis Marriott Downtown Ho please communicate your needs as soon as Weather. Early-November temperatures in tel will be available for job interviews dur possible. The AMS web site provides fur Indianapolis range from the 50s to the 30s. ing the meeting. To reserve a room, please ther information. You will want to pack a coat and umbrella. consult the web site or contact the AMS Student Assistants. The AMS and SMT Ancillary Meetings. Organizations with ties office. Job candidates can sign up via the seek students to help during the confer to the AMS continue to participate enthu web or (if spots are still available) at the in ence in return for free registration and $11 siastically during the Annual Meeting. This terview desk in the hotel. AMS policy pro per hour (six hours minimum). If this is of year, the American Bach Society, American hibits interviews in private rooms without interest, please see the web site or contact Brahms Society, Early Music America, the appropriate sitting areas. the AMS office. Forum on Music and Christian Scholar Registration. Conference registration ship, the Haydn Society, the Lyrica Society, fees: Early (till p.m. ET September): —James R. Briscoe the Mozart Society, the North American $ ($, student/retired); Regular ( to Local Arrangements Chair
The Indianapolis Symphonic Choir will perform Rachmaninoff’s All-Night Vigil August 2010 Introducing Some Changes to the Newsletter: A Note from the Editor
As anticipated in my message in the February 2010 issue, the AMS Newsletter is undergoing some changes. Beginning with this issue, the Newsletter will include one or two brief articles on subjects of general interest to our readership. We feature here two contributions on musicology blogs, a relatively new and quickly expanding medium that is providing a rich outlet for the exchange of ideas and scholarly communication. The first article provides a general overview, while the second is an interview with the authors of “The Taruskin Chal lenge” blog. Future Newsletter issues will continue to address topics of current relevance, and will feature interviews with persons of note in our Society: former AMS presidents, honorary members, winners of AMS awards, etc. Together with the members of the Communications Committee, I am also giving some thought to the design of the Newsletter and am considering ways in which the Newsletter can more effectively complement the material posted on the AMS web site. I welcome your ideas and suggestions, and would be happy to receive proposals for future articles and interviews ([email protected]). —Marica Tacconi
Musicology in the Blogosphere
Before the rise of the academic journal, learn more about a different one, or just sit public can be daunting—at least in a con intellectuals shared their ideas through an in the hotel lobby with colleagues, throw ference room you can see who is listening. informal network of correspondence that some ideas together and see what happens. Some of the challenges of blogging have became known as the “invisible college.” But most national conferences and profes been shared by Jonathan Bellman, a blog More recently, this seventeenth-century sional meetings happen only once a year. It ger on the site “Dial M for Musicology” who retired from blogging at the end of term has been applied to the modern-day occurred to us that blogs were underutilized May. Bellman felt he had simply run out as a form of scholarly communication. We equivalent: the academic blog. Consider the of things to say, commenting that he was parallels: the blogosphere allows individual quickly arrived at a couple of ground rules “keenly aware that if I’m not exactly a One- scholars to share casually formal ideas with for our own blog posts, as well as those of Trick Pony, readers know this pony’s very colleagues beyond their home institution. our guest contributors. First, all posts had few tricks too well” (“Exit (Still) Writing,” At the same time, the public nature of a to be 1,000 words or less. Second, we want
Selected Musicology Blogs • 2' 23" (blog.pmgentry.net): Phil Gentry tackles a range of classroom issues and scholarship • Dial “M” for Musicology (musicology.typepad.com/dialm): Jonathan Bellman and Phil Ford were the first musicology professors to enter the academic blogosphere • Joe Musicology (www.joemusicology.com): musings by a Boston-area musicologist named Joe (Joseph E. Morgan, Ph.D., Brandeis) • Musically Miscellaneous Mayhem (miscellaneousmayhem.blogspot.com): Rebecca Marchand, Ph.D. describes her blog as “Musicological Musings with a smattering of Miscellanea” • Musicology/Matters (musicologymatters.blogspot.com): a group blog run by UCLA graduates as they navigate the early stages of their careers • The Taruskin Challenge (taruskinchallenge.wordpress.com): Graduate students Mark Samples and Zach Wallmark blog their way through all 3,856 pages of Taruskin’s Oxford History of Western Music
AMS Newsletter An Interview with Mark Samples and Zach Wallmark, authors of the blog “The Taruskin Challenge”
AMS Newsletter Editor Marica Tacconi recently through, we will have a collection of essays spoke with Ph.D. candidates Mark Samples and discussions to draw from in our research (University of Oregon, Eugene) and Zach and teaching. Wallmark (University of California, Los Angeles) ZW: The discussion part is key. Often the about their blog “The Taruskin Challenge.” conversations on the blog generate more in taruskinchallenge.wordpress.com teresting food for thought than the posts themselves. It is amazing to be able to get MT: What is “The Taruskin Challenge” and feedback so quickly, and from such a wide how did the project start? range of readers. ZW: When the paperback edition of Rich MT: What role do you think blogging can play Mark Samples Zach Wallmark ard Taruskin’s The Oxford History of Western in music scholarship? ideal conduit to reach a potentially unlimited Music (OHWM) came out in 2009, I decided ZW: We think the blog format can be a audience. It is a safe venue for people to work to take the plunge and read the whole thing. valuable tool in facilitating communication out ideas collectively, probe interesting top Knowing that I would never hold myself to among music scholars, students, and anyone ics, and think aloud without having to pro it without an accountability buddy, I spoke who is curious. Blogging is fundamentally vide footnotes. We can really use some online with my old friend Mark at the University quick, improvisatory, flexible, and multi spaces where scholars and students can speak of Oregon about taking “the challenge” with media in nature. The Taruskin Challenge freely about music away from the pressures of me. includes lengthy essays, casual observations, the conference room and the academic jour MS: So we decided provocative quotes from the text, discussion nal. to read—and write— questions, and guest posts. Our engagement MS: Reactions to our blog have ranged our way through the with the book is also supplemented by sound from sharp skepticism to warm empathy and entire set, at ten pages files, video clips, and images to illustrate what encouragement. Many believe that blogs are a day. Originally the text alone cannot. In addition, we try to pro simply an avenue for people to express their idea to turn the “Tar vide useful resources for teachers and students, feelings, like an online diary. But that is only uskin Challenge” into such as our “musicology must-reads” feature. Taruskin’s Oxford History one type of blog. I think of our current proj of Western Music a blog was just to fa Blogging is perfect for this sort of thing. ect more as a seminar, with a common set of cilitate our discussion MS: Also, Richard Taruskin and others have readings for the participants and an ongoing across distance, from Los Angeles to Eugene. called for musicologists to take on a more discussion in written form. It is a place for The project resonated with many people, public role and to write for more general au us to formulate new ideas, whether they are including graduate students, for whom the diences. Zach and I share this view, and a blog fully formed or nebulous, in a relaxed setting. reading of the OHWM has already become can be a powerful public forum. We regularly The academic blog is more rigorous than a ca a rite of passage as they prepare for doctoral have professional musicologists, musical ama sual conversation with colleagues, but it does comprehensive exams. teurs, and students responding to the same not replace peer-reviewed journals. I think MT: How has the experience been so far? Do post. All parties are enriched, I think, by the there is ample room for a third space between you find that it is benefiting your work in any conversation. these extremes, and this is being borne out by practical way? MT: Why do we need blogs when we have the growing number of excellent musicolo MS: One very practical benefit of keeping academic conferences and journals? gist bloggers out there. Discussions on blogs up a blog is that it forces you to write fre ZW: All scholarship is a conversation. The have the potential to encourage, not encroach quently and with some level of efficiency and more people we have engaging with ideas and upon, those other areas of scholarly discus speed. Another benefit is getting to know offering commentary, the livelier this con sion. Taruskin’s text inside and out. When we are versation will be, and the blog medium is an
Announcing Musicology Podcasts In keeping with its charge to “develop the public image of the AMS podcasts can take any form, but should include reference to the in North American media, academia, and public life generally,” the AMS. Since part of the goal is to get high school and college stu Communications Committee is pleased to launch a pilot program dents to consider studying musicology, brief commentary on how featuring podcasts about musicology in January 2011. scholars became involved in the field would also be useful. With a target audience of high school and college students, as well The podcasts will be featured in rotation on the home page of as interested members of the general public, the brief video podcasts the AMS web site. The Communications Committee is currently (three to five minutes long) will feature a broad array of scholars selecting the first podcast speakers for the pilot program, but we also speaking informally on the theme “What I Do in Musicology.” The encourage members to send suitable podcasts for consideration. goals are to present engaging and personal introductions to the wide range of interesting musicological work now being done, to feature For further information, please contact me (joseph.auner@tufts. some of the scholars and students who are doing it, and to give a edu) or Anna Maria Busse Berger ([email protected]). sense of the various career paths musicologists might pursue. The —Joseph H. Auner
August 2010 Awards, Prizes, and Honors
AMS Awards and Prizes Berkeley), for research on his project “Ver nacular Piety, Polytextual Polyphony, and AHJ AMS 50 Fellowships: Four doctoral the Motets of the La Clayette Manuscript.” candidates in musicology have been select The Janet Levy Fund for Independent ed for Alvin H. Johnson AMS 50 Disserta Scholars supports travel and research ex tion Fellowship Awards for 2010–11: Ryan penses. In late 2009, Monique Ingalls re Bañagale (Harvard University), “Rhapso ceived a Levy Grant to travel to England to dies in Blue: Alternative Interpretations of conduct ethnographic research at the King an Iconic American ‘Composition’”; Ali- sway Music’s Mission: Worship Confer son Altstatt (University of Oregon), “The ence. In early 2010, Tina Fruehauf received Music and Liturgy of Kloster Preetz: Ritual a Levy Grant for travel to Germany to work Practice in a North German Benedictine on the book project “Music in the Jewish Women’s Community, 1350-1550”; Tes Slo- Community in Germany, 1945–1989.” minski (New York University), “Music, Gender, and the Public Sphere in 20th- A grant from the Harold Powers World Elizabeth Mellon Travel Fund was awarded to Harald Century Ireland”; and Ryan Bañagale (University of Pennsylvania), “Inscribing Kisiedu (Columbia University) for his his AHJ AMS 50 Fellow Sound: Medieval Remakings of Boethius’s torical and interpretative study of post-1965 De institutione musica.” One of the four ac experimental improvised music in West the London Stage to Westminster Abbey: cepted the award on an honorary basis. and East Germany. Cultural Mobility of Handel’s Oratorios in Britain, 1732–1784.” He also received Re Eugene K. Wolf Travel Grants from the search Fellowships at the Houghton Library Award were awarded to Kimberly White (Harvard), at the Burney Centre (McGill), (McGill University), for work toward her and a Kluge Fellowship at the Library of dissertation, “Female Singers at the Opéra Congress. and Opéra Comique, 1825-1850: A Social History,” and to Beverly Wilcox (Univer Jessie Fillerup (University of Mary Wash sity of California, Davis), for work toward ington) received an NEH “Enduring Ques her dissertation, “The Concert Spirituel, tions” grant, which supports the develop Composers, and Audiences: Music in the ment of an undergraduate course that Public Sphere.” explores concepts of time through music, philosophy, and literature. Other Awards, Prizes, and Honors Charles Hiroshi Garrett (University of Rebekah Ahrendt (University of Cali Michigan) received the Irving Lowens Me fornia, Berkeley) received an Andrew W. morial Book Award from the Society for Mellon Foundation/ACLS Early Career Fellowship for Dissertation Completion for the dissertation “A Second Refuge: French Opera and the Huguenot Migration, 1685–1713.” Tes Slominski AHJ AMS 50 Fellow M. Jennifer Bloxam (Williams College) and the Dutch early music ensemble Cap The Howard Mayer Brown Fellowship pella Pratensis, directed by Stratton Bull is presented by the Society to promis and Peter Van Heygen, along with organist ing minority graduate students pursuing Wim Diepenhorst, received the Diapason a doctoral degree in music. The 2010–11 d’Or Découverte award for their DVD+CD fellowship recipients are William Cheng Jacob Obrecht: Missa de Sancto Donatiano (Harvard University) and Jacqueline Avila (Bruges 1487) (FineLine Classical FL72414, (University of California, Riverside). One 2009), a collaborative project that recreates of the recipients accepted the award on an this late medieval Mass in its liturgical and honorary basis. historical context. A grant from the M. Elizabeth C. Bartlet Ilias Chrissochoidis (University College Fund for Research in France was awarded London/University of London) received William Cheng to Sean Curran (University of California, an ACLS Fellowship for his project “From Howard Mayer Brown Fellow AMS Newsletter Museum of Art to complete her book proj ect “Animating Ovid: Opera, Spectacle, and the Metamorphosis of Antiquity in Early Modern Italy.”
Kevin C. Karnes (Emory University) re ceived an ACLS Charles A. Ryskamp Re search Fellowship for his project “Wagner, the Arts, and Utopian Visions in Fin-de- Siècle Vienna.”
Kathryn Libin (Vassar College) was award ed the 2010 International Visitor grant by the Jane Austen Society of North America for a residency at Chawton House Library in Chawton, England to pursue research on music in the life and novels of Jane Austen.
Laurence Libin (Oxford University Press) was awarded a Likhachov Foundation Fel Jacqueline Avila Alison Altstatt lowship for work in St. Petersburg to im 50 Howard Mayer Brown Fellow AHJ AMS Fellow prove coverage of Russian topics in the Doctoral Recipients for the project “Gen American Music for Struggling to Define a Grove Dictionary of Musical Instruments. der, Music, and the Public Sphere in Twen Nation: American Music and the Twentieth Matthew J. McDonald tieth-Century Ireland.” Century (University of California Press, (Northeastern Uni versity) received an ACLS Fellowship for his 2008). The book also received an honor Marica S. Tacconi (Pennsylvania State Uni project “Breaking Time’s Arrow: Temporal able mention for the 2009 Woody Guth versity) has been named the 2010-11 Robert ity in the Music of Charles Ives.” rie Book Award, presented by the Interna Lehman Visiting Professor in Residence at tional Association for the Study of Popular Roberta Montemorra Marvin (University Villa I Tatti, the Harvard University Center Music–U.S. Branch. of Iowa) was awarded a NEH Summer Sti for Italian Renaissance Studies in Florence, pend for “The Politics of Verdi’s Cantica,” Italy, where she will work on the project Thomas Hampson, baritone and creator of which was also designated a “We the Peo “The Rhetoric of Echo in Late Renaissance the AMS Hampson Endowment, was elect ple” project. Music.” ed a member of the American Academy of Arts and Sciences. bruce d. mcclung (University of Cincin Kate van Orden (University of California, nati) has received an NEH Summer Stipend Berkeley) received an ACLS Fellowship for Wendy Heller (Princeton University) was for his book project “The World of Tomor her project “Musica Transalpina: French awarded the Sylvan C. Coleman and Pame row: Music and the 1939 New York World’s Music, Culture, and Identity in Sixteenth- la Coleman Fellowship at the Metropolitan Fair.” Century Italy.” Somangshu Mukherji (Princeton Uni Craig M. Wright (Yale University) was versity) received an Andrew W. Mellon elected a member of the American Acad Foundation/ACLS Early Career Fellowship emy of Arts and Sciences. for Dissertation Completion for the dis sertation “Generative Musical Grammar: A Guidelines for Announcements of Minimalist Approach.” Awards, Prizes, and Honors Harvey Sachs received a one-year fellow Awards and honors given by the Society ship from the NEH to assist in research are announced in the Newsletter. In addi for an updated and rewritten edition of his tion, the editor makes every effort to an biography of Arturo Toscanini (Da Capo nounce widely publicized awards. Other 1978 Press, ), by Oxford University Press. announcements come from individual Allen Scott (Oklahoma State University) submissions. The editor does not include received a Fulbright Award for travel to awards made by the recipient’s home insti tution or to scholars who are not currently Poland, where he will teach courses at the members of the Society. Awards made to Musicology Institute at the University of graduate student members as a result of Wroclaw. national or international competitions Tes Slominski (New York University) re are also announced. The editor is always ceived an Andrew W. Mellon Foundation/ grateful to individuals who report honors Elizabeth Mellon and awards they have received. AHJ AMS 50 Fellow ACLS Early Career Fellowship for Recent August 2010 ACLS Annual Meeting National Humanities Alliance Annual Meeting and Humanities The American Council of Learned Societies (ACLS) held its 2010 Annual Meeting in Philadelphia on 6–7 May. A session on the first Advocacy Day 2010 evening introduced the database ARTstor (a cousin of JSTOR, avail This year, for the first time, the AMS was represented at the National able through institutional subscription) and its “Shared Shelf” proj Humanities Alliance (NHA) 2010 Annual Meeting and Humanities ect. Designed to assist a “horizontal community of scholars,” the Advocacy Day, which took place on 8–9 March in Washington, DC. project is a large and fast-growing interdisciplinary collection that is The event is a meeting ground for members of the Alliance—such gathering all kinds of images from fine arts to journalism and beyond as AMS—and others interested in humanities policy and advocacy, (www.artstor.org). including higher education leaders, college and university faculty, The luncheon speaker on 7 May was James Leach, Chairman of teachers, students, museum professionals, librarians, and independent the National Endowment for the Humanities, who inspired those scholars. Joined by four undergraduate students from the University of present by reading from the National Foundation for the Arts and Mary Washington, we participated in both policy briefings and visits Humanities Act of 1965 (www.neh.gov/whoweare/legislation.html), to congressional offices on Capitol Hill. which forcefully declares that the government must encourage and The main goal of the Humanities Advocacy Day is to preserve, and support financially the arts and humanities. He spoke of recent deci if possible increase, the budget of the NEH, which supports AMS’s sions by Congress, the Supreme Court, and other governmental enti Music of the United States (MUSA) publication series and OPUS ties that might have been improved by a better knowledge of history, projects, as well as independent musicological research activities. The $7 2 or even of the dictionary. NHA strongly opposes the . million cut proposed by the Obama Administration for NEH programs in the fiscal year 2011 budget. Be The afternoon included a lively panel discussion on the recent cause of severe budget reductions since 1979, the NEH supports only Google Books settlement. Daniel Clancy, engineering director for 16.9% of peer-reviewed project proposals (with funding as low as 6 Google Books, described some of the issues confronted in the course to 10% in some categories), compared to the 32% of projects funded of scanning such huge numbers of books, reminding scholars that, by the National Science Foundation (NSF). While the NEH budget for most of us, royalty payments are far less substantial than the im was once 17% of the NSF budget, it is now merely 4%—arguably portance of getting our books read. An associate program officer from representing a shift in the value placed on the humanities in American the Mellon Foundation suggested that learned societies need to have society. more input into such schemes and should broaden the mandates of One of the aims of the Humanities Advocacy Day is to introduce their publications committees accordingly. An expert on intellectual humanities scholars and practitioners to select U.S. Representatives property law reminded us that current copyright law is well suited and Senators, and to petition them directly to support an increased to the technology of the printing press, but not to digitization proj NEH budget. We met a number of congressional staffers and two Vir ects. James O’Donnell, the Secretary of ACLS’s Board of Directors, ginia Representatives, including Congressman Gerry Connolly (11th observed that, on the whole, the project is a good thing, but also district), who expressed interest in biographies and jazz. By meeting suggested that it is less imaginative than it might be because “none of face-to-face, AMS representatives can more effectively explain “what these folks know how to read”—at least the way scholars do. musicologists really do” and why research in the humanities is worth On the fellowship front, we learned that ACLS’s finances have sta supporting. As beneficiaries of NEH support, members of the AMS bilized since last year’s crisis, and an increase in fellowship money should meet with policy makers and underscore the value of the En was available in 2009–10; applications had also increased markedly dowment’s work. Moreover, attending these meetings provides an for the last round of competitions. According to statistics distrib opportunity to explore some of the strongest arguments in favor of supporting the humanities. Especially in times of economic decline, uted, scholars from the music societies that belong to ACLS (AMS, humanistic studies offer a reinvestment in American education and SAM, SEM, and SMT) did well this year. In the regular fellowship creativity, emphasizing intellectual resilience over task-specific train program, they constituted 3.8% of the fellowship applications, but ing. Advocating for such a cause is, indeed, an empowering experience, 8 8 garnered . % of the awards, or five fellowships; six more received and attending this meeting convinced us that AMS representatives 1 grants in the ACLS’s other programs. Names are announced around should be involved in it every year. July. For more information on fellowship programs and other activi For more information on the NHA and Humanities Advocacy Day, ties of the ACLS, visit www.acls.org. visit www.nhalliance.org. —Ruth A. Solie —Jessie Fillerup and Ronit Seter
Doctoral Dissertations in Musicology to Move Last winter the AMS Board of Directors decided to move Doc each month. The AMS is deeply indebted to Professor Math toral Dissertations in Musicology (DDM) from its current home iesen and his assistants for their considerable efforts in planning, at the Center for the History of Music Theory and Literature, guiding, and carefully maintaining the database. More about the Indiana University, to the AMS office. DDM has been at In history of DDM and plans for the move can be found at www. diana University since its move from the University of North ams-net.org/ddm/. The current timetable for the move is to have Texas in 1996. At that time, a monumental effort coordinated by everything complete and in place by August 2011; its current lo Thomas J. Mathiesen brought DDM online; the database now cation at www.chmtl.indiana.edu/ddm will remain fully opera comprises over 14,000 records, and receives thousands of visits tional until the move is complete.
AMS Newsletter AMS / Library of Congress Lecture Series
The American Musicological Society and the sought to make music new over the past hun Fay Foster and the 1910 song cycle Sayonara by Music Division of the Library of Congress are dred years. The history of this cross-cultural Charles Wakefield Cadman, to Harry Partch’s pleased to announce the fifth event in their se interaction is documented in unpublished 1955 dance drama The Bewitched and the nu ries of lectures showcasing research conducted and published scores, manuscripts, and cor merous Japanese-influenced works of Alan using the Music Division’s extraordinary re respondence held, often uniquely, in the Mu Hovhaness. In this lecture, I will focus on sources. The lectures, which take place in the sic Division of the Library of Congress. These four American composers—Henry Eichheim Coolidge Auditorium in the Jefferson Build range from a 1917 set of innovative songs by (1870–1942), Claude Lapham (1890–1957), ing, are made available to viewers world wide Henry Cowell (1897–1965), and Roger Reyn via webcasts by the Library of Congress. olds (b. 1934)—who each traveled to Japan W. Anthony Sheppard, Professor of Music and approached the creation of modern mu at Williams College, will present the next sic in ways profoundly shaped by this experi AMS-Library of Congress Lecture, “Ameri ence.” can Musical Modernism and Japan,” at noon The AMS-LC Lecture Series will continue on 25 October. In describing his upcoming in Spring 2011 with Carol Oja (Harvard Uni lecture, Sheppard writes: “The influence of versity), “Leonard Bernstein on Broadway: Japanese culture on the development of mod Archival Revelations of a Creative Journey.” ern American architecture, painting, theater, The Communications Committee wel and poetry has long been documented in comes proposals from AMS members inter numerous publications and exhibitions. Less ested in giving a lecture as part of this dis well known is the impact of Japanese tradi tinguished series, which has included presen tional music in shaping American musical tations (all available as webcasts) by Judith modernism. As early as 1882, the zoologist Tick, Annegret Fauser, Jeffrey Magee, Walter and Japanophile Edward Sylvester Morse Frisch, and Steven Swayne. Links to the we pointed to Japanese music as offering ideas bcasts and application information can be that could take the ‘power of music in a new found at www.ams-net.org/LC-lectures. The direction.’ Morse’s statement proved pro application deadline for the Fall 2011–Spring 2012 1 2010 phetic, for numerous American composers W. Anthony Sheppard series is December . have turned to Japan for inspiration as they AMS / Library of Congress Lecturer —Joseph H. Auner
News from the AMS Board Executive Director’s Position Increased to Full Time At their meeting in Indianapolis on 6–7 • approved revised guidelines for organizing March 2010, the AMS Board of Directors: AMS Study Groups The AMS Executive Director position was • approved application guidelines for the • reappointed JAMS Assistant Editor Louise established by the Board of Directors in Thomas Hampson Fund and the AMS Goldberg. 1978, when it became apparent that the Teaching Fund Society’s growth and level of activities • approved the Committee on the Annual Durrell Bowman Appointed AMS/ required a more formal level of adminis Meeting recommendation to expand con BIMF Summer Intern tration. Alvin H. Johnson, who had been current breakout sessions from seven to nine [see p. 25] serving as AMS Treasurer, served in this The AMS appointed a summer intern for • approved two new study groups: Jewish post until 1993; Martin Picker, Ruth Stein 2010. Durrell Bowman, who holds a Ph.D. Studies and Music; Philosophy and Music er, and Jacqueline Bruzio served during a in Musicology from UCLA and is currently [see p. 27] period of transition. Robert Judd took the completing a Computer Applications Devel • approved the AMS Council’s document post, then a half-time position, in 1997. In opment Certificate at Conestoga College, is “Best Practices in the Fair Use of Copy 1998 working at the AMS office in Brunswick this , with duties continuing to expand, righted Materials in Music Scholarship” summer. Bowman, who is assisting with AMS the position was increased to three-quarter and agreed to publish it at the AMS web web site and database development, brings time. Last May the Board again reviewed site and in the AMS Directory considerable technical and musicological ex the position and its responsibilities, and • encouraged the Pedagogy Study Group to pertise to the position. determined that it should be increased to utilize AMS resources in developing a new The internship is held [see p. 27] full time. Accordingly, Judd’s terms of em electronic journal jointly at the AMS • approved the Membership and Professional ployment and compensation were revised, and the Bowdoin In effective 1 July 2010. While the Board re Development Committee’s request to in ternational Music Fes alized that this change requires a signifi crease the budget for travel grants to attend tival (www.summer 26 the Annual Meeting [see p. ] music.org), where he cant addition to the Society’s budget, it • approved the Committee on the Status of will prepare program recognized the growth and complexity of Women’s request to change the name of the notes for their concert the position and the best interests of the committee to the Committee on Women series. Durrell Bowman Society. and Gender [see p. 26] August 2010 AMS Fellowships, Awards, and Prizes Descriptions and detailed guidelines for all Otto Kinkeldey Award for an outstanding MPD Travel Fund to attend the Annual AMS awards appear in the AMS Directory book by a scholar beyond the early stages of Meeting and on the AMS web site. her or his career Deadline: 25 July Publication subventions are drawn from Deadline: 2 May Thomas Hampson Fund for research and the AMS 75 PAYS, Anthony, Brook, Bukofz Lewis Lockwood Award for an outstanding publication in classic song er, Daverio, Hanson, Hibberd, Jackson, Ker book by a scholar in the early stages of her Deadline: 15 August man, Picker, Plamenac, and Reese Funds. or his career Application deadlines are mid-February and Deadline: 2 May mid-August each year. Noah Greenberg Award for outstanding Music in American Culture Award for out performance projects Janet Levy Travel and Research Fund for standing scholarship in music of the United Deadline: 15 August independent scholars States Deadlines: 25 January, 25 July Deadline: 2 May Eileen Southern Travel Fund to attend the M. Elizabeth C. Bartlet Fund for research Annual Meeting Claude V. Palisca Award for an outstanding in France Deadline: 25 September edition or translation Deadline: 1 March Deadline: 2 May Jan LaRue Travel Fund for European Paul A. Pisk Prize for an outstanding paper H. Colin Slim Award for an outstanding ar research presented by a graduate student at the An ticle by a scholar beyond the early stages of Deadline: 1 March nual Meeting her or his career Deadline: 3 October Harold Powers World Travel Fund for re Deadline: 2 May search anywhere Ruth A. Solie Award for an outstanding col Howard Mayer Brown Fellowship for mi Deadline: 1 March lection of essays nority graduate study in musicology Eugene K. Wolf Travel Fund for European Deadline: 2 May Deadline: 15 December research Robert M. Stevenson Award for outstand Deadline: 1 March ing scholarship in Iberian Music Alvin H. Johnson AMS 50 Dissertation- AMS Publication Subventions Deadline: 2 May year Fellowships Deadlines: 15 February, 15 August Deadline: 15 December Philip Brett Award of the LGBTQ Alfred Einstein Award for an outstanding Study Group for outstanding work in gay, article by a scholar in the early stages of her lesbian, bisexual, and transsexual/transgen or his career der studies Deadline: 1 May Deadline: 1 July
New Nomination Requirements and Application Deadlines Please note that all AMS awards now require nominations; award com mittees will not consider work that has not been nominated. See the courtesy Indianapoliscourtesy Convention & Visitors Association individual award guidelines, avail able in the AMS Directory and at the AMS web site, for full details.
Application deadlines for AMS publication subventions are now: 15 February 15 August See the AMS web site for details. The Indianapolis Symphony Orchestra in Hilbert Circle Theatre
AMS Newsletter AMS/SMT ANNUAL MEETING Indianapolis, 4–7 November 2010 Preliminary Program
WEDNESDAY 3 November Beyond Pianism (AMS) Kenneth Hamilton (University of Birmingham), Chair 2:00–8:00 AMS Board of Directors Meeting Elizabeth Morgan (St. Joseph’s University), “Provoking the Audience: 2:00–6:00 Francophone Music Criticism, 1789–1914: Haydn’s C Major Fantasia” Session 1 (http://music.sas.ac.uk/fmc) Halina Goldberg (Indiana University), “Chopin and the Stammbuch Tr a 2:00–6:00 SMT Executive Board Meeting dition: Conventions and Contexts” Jonathan D. Bellman (University of Northern Colorado), “Consumer 6:00–7:30 SMT Executive Board, Networking Music as a Stylistic Context for Chopin” Committee, Publications Committee, and Stephanie Frakes (Ohio State University), “Cantabile in Chopin: Pianistic Awards Committee Dinner Culmination of a Vocal Ideal” 7:30–11:00 SMT Awards Committee Close Reading (AMS) 7:30–11:00 SMT Networking Committee Robert Hatten (Indiana University), Chair 7:30–11:00 SMT Publications Committee Áine Heneghan (University of Washington), “‘Motivicization’ and Schoen bergian Semantics” THURSDAY 4 November Chia-Yi Wu (Rutgers University), “Schubert’s String Quartet No. 15 in G Major, D 887: Opera Without Words” 7:30–9:00 Meeting Worker Orientation Johanna Frymoyer (Princeton University), “The Morphology of Musi 8:00–12:00 AMS Board of Directors Meeting cal Topoi: Topical Analysis and Stylistic Growth in Twentieth Century Music” 8:00–12:00 SMT Executive Board Breakfast Meeting Molly Breckling (University of North Carolina, Chapel Hill), “The 9:00–1:00 Francophone Music Criticsim, 1789–1914: Sketches for Gustav Mahler’s ‘Der Tamboursg’sell’: The Making of a Session 2 (http://music.sas.ac.uk/fmc) Kunstballade” 9:00–7:00 Registration The Composer’s Hand (AMS) 11:00–12:30 Howard Mayer Brown Award Simon Morrison (Princeton University), Chair Committee Meeting Emily Richmond Pollock (University of California, Berkeley), “Italy, 11:00–1:30 Society for Seventeenth-Century Music, Atonally: The Modernist Origins of the ‘Canzona di Checco’ from Hen Governing Board Meeting ze’s König Hirsch” Jeffrey Wright (Indiana University, South Bend), “Politics of a Program: 12:00–2:00 AMS Membership and Professional The Composition, Reception, and Renunciation of Samuel Barber’s Sec Development Committee Meeting ond Symphony” 1:00–6:00 Exhibits Laura Kennedy (Bowling Green State University), “The Sketch Materials of Dmitri Shostakovich: Symphonies Nos. 8 and 10 in the Composer’s THURSDAY AFTERNOON SESSIONS Manuscripts” Pietro Dossena (University of Padua), “At the Intersection of Three Forms 2:00–5:00 of Art: The Genesis of Erik Satie’s Le Golf” American Experimentalism (AMS) Film Music (AMS) Denise Von Glahn (Florida State University), Chair David Neumeyer (University of Texas), Chair David W. Bernstein (Mills College), “Opening the Sound Field: Pauline James Parsons (Missouri State University), “Hanns Eisler’s Hollywooder 1957 1966 Oliveros and the ‘Aesthetic of Spontaneity,’ – ” Liederbuch and Sonic Montage” Eric Smigel (San Diego State University), “Metaphors on Vision: James Nathan Platte (University of Michigan), “Audray Granville and Musical Tenney, Stan Brakhage, and the Objectification of Subjectivity” Mediation at Selznick International Pictures” Jonathan Goldman (University of Victoria), “The Buttons on Pandora’s Patricia Hall (University of California, Santa Barbara), “Leni Riefenstahl’s Box: Meaning and Gesture in Experimental Bandoneon Music by Kagel, ‘Ballet’ Olympia” Tudor, Mumma and Oliveros” Todd Decker (Washington University in St. Louis), “Bespoke Song-tailoring Kate Meehan (Washington University in St. Louis), “‘One Man’s Kitsch is for Mr. Astaire, Courtesy of Messrs. Berlin, Gershwin, Porter and Kern” Another (Wo)Man’s Kunst’: Cathy Berberian as Composer”
August 2010 Fin-de-siècle France (AMS) Music Informatics: Research, Representations, and Tools Steven Huebner (McGill University), Chair (Poster Session) Sponsored by the SMT Music Informatics Interest Group Bruno Forment (Ghent University), “Recovering the Color and Dimen sions of Belle Époque opera: Albert Dubosq’s Forgotten Stock Scenery” Eric Isaacson (Indiana University), Moderator Elinor Olin (National-Louis University), “Antigone and Medee: Cultural Robert T. Kelley and Gilliean Lee (Lander University), “Ptolemaic: A Archeology in the Antique Works of Saint-Saëns and d’Indy” Computer Application for Music Visualization and Analysis” Noel Verzosa (Hood College), “Absolute Music in France” Christopher Ariza and Michael Scott Cuthbert (Massachusetts Institute of William Gibbons (University of North Carolina, Chapel Hill), “Build Technology), “Modeling Musical Structures as Objects in Music21” ing the Operatic Museum: Eighteenth-Century Opera in Fin-de-siècle Justin Lundberg (Eastman School of Music, University of Rochester), “Vi Paris” sualizing Voice-Leading Spaces” Haydn and Mozart (AMS) Leigh VanHandel (Michigan State University), “National Metrical Types in Nineteenth-Century Art Song” Elaine Sisman (Columbia University), Chair Johanna Devaney (McGill University), “AMPACT: Automated Music Per W. Dean Sutcliffe (University of Auckland), “Haydn and the Shapes of formance Analysis and Comparison Toolkit” Sociability” Jordan B. L. Smith (University of Southern California), “A Survey of Ap János Malina (Hungarian Haydn Society), Carsten Jung (Perspectiv–Asso proaches to the Automatic Formal Analysis of Musical Audio” ciation of Historic Theatres in Europe), Edward McCue (Kirkegaard As John Ashley Burgoyne (McGill University), “Alternative Statistical Models sociates, Consultants in Acoustics), and Ferenc Dávid (Research Institute for Musical Data” for Art History, Hungarian Academy of Sciences), “Haydn’s Workshop: The Second Opera House at Eszterháza” THURSDAY AFTERNOON SHORT SESSIONS Peter Hoyt (University of South Carolina), “Mozart in Estonia (1788) and 2:00–3:30 Prussia (1789)” Pierpaolo Polzonetti (University of Notre Dame), “Figaro’s Transatlantic Knets and Cubes (SMT) Crossings” Gretchen Foley (University of Nebraska), Chair In Search of Rhythm (SMT) Dave Headlam (Eastman School of Music, University of Rochester), “Im Gretchen Horlacher (Indiana University), Chair provising with Perle Knets” Paul M. Lombardi (Albuquerque, New Mexico), “Serial N-Cubes” Benjamin R. Levy (Arizona State University), “A New Species of Counter point: Rules for Rhythmic Regulation in Ligeti’s Lux Aeterna” Mahler’s Middle Symphonies (SMT) Dora A. Hanninen (University of Maryland), “Nancarrow’s Study No. 37: Steve Bruns (University of Colorado), Chair Calibrated Canons, Changeable Landscapes” Greg McCandless (Full Sail University), “Metal as a Gradual Process: Min Ryan C. Jones (Graduate Center, CUNY), “Ikonic Sonority and Tonal imalist Rhythmic Practices in the Music of Dream Theater” Language in Mahler’s Fifth Symphony, Second Movement” Phillip Duker (University of Delaware), “Tenuto Ostinato? Listening Seth Monahan (Eastman School of Music, University of Rochester), “‘I Strategies for Ligeti’s Fanfares” have tried to capture you…’: Rethinking the ‘Alma’ Theme in Mahler’s Sixth Symphony” Jazz (AMS) 3:30–5:00 George E. Lewis (Columbia University), Chair Saariaho (SMT) Harald Kisiedu (Columbia University), “Emancipation Revisited: The Curious Case of Peter Brötzmann” Marianne Kielian-Gilbert (Indiana University), Chair Marc Medwin (American University), “Ghost in the Machine: John Col Yayoi Uno Everett (Emory University), “Musical Signifiers of Trauma and trane as Paradigm for Anthony Braxton’s Ghost Trance Music” Ambivalence: Kaija Saariaho’s Adriana Mater (2006)” Ryan Bañagale (Harvard University), “Rewriting the History of (Sym Judy Lochhead (Stony Brook University), “Technê of Radiance: Kaija Saa phonic) Jazz: Duke Ellington’s Arrangements of Rhapsody in Blue” riaho’s Lonh (1996)” Vilde Aaslid (University of Virginia), “The Rise of the Jazz Lament” Schoenberg Early and Late (SMT) Meaning in Mass and Motet (AMS) Áine Heneghan (University of Washington), Chair Pamela Starr (University of Nebraska), Chair Benjamin Wadsworth (Kennesaw State University), “Semitonal Pairings in Christopher Macklin (Mercer University), “Charles d’Orléans and the Schoenberg’s Atonal Keyboard Music” Chapel Royal of Henry V after the Battle of Agincourt: Plague, Peni Joe Argentino (McMaster University), “Transformations and Hexatonic tence, and the Possibilities of Performance” Cycles in Schoenberg’s Late Works: Modern Psalm Op. 50c and A Survi- Michael Alan Anderson (Eastman School of Music, University of Roches vor From Warsaw” ter), “Of Widowhood and Maternity: La Rue’s Missa de Sancta Anna” Nicholas Johnson (Ohio State University), “Carolus Luython’s Missa super 4:00–6:00 Mozart Society of America Board Meeting Basim: Caesar Vive and Hermetic Astrology in Early Seventeenth-Cen 4:30–5:30 AMS Development Committee Meeting tury Prague” 5:00–5:30 SMT Conference Guides Meeting Remi Chiu (McGill University), “St. Sebastian Motets as Curatives for the Plague”
AMS Newsletter 5:15–6:15 AMS Committee on Career-Related Issues Eugene Montague (George Washington University), “Gesture and Habit Conference Buddy Meeting in Merleau-Ponty and Ligeti” 5:30–8:00 Opening Reception Violaine Anger (Université d’Evry Val d’Essonne / École Polytechnique), “The Legacy of Merleau-Ponty’s Conception of Rhythm and its Impact 6:00–7:30 Journal of Musicology Board Meeting on Music” 6:00–8:00 Journal of Seventeenth-Century Music, Richard H. Brown (University of Southern California), “‘Nature in Her Editorial Board Manner of Operation’: Merleau-Ponty, John Cage, and the American Neo Avant-Garde” 7:00–9:30 IMS Cantus Planus Meeting Robert Schumann at 200: New Paths (AMS) 7:30–9:00 Buselli-Wallarab Jazz Orchestra in Concert David Ferris (Rice University), Chair 8:00–11:00 AMS Jewish Studies and Music Study Group Panelists: Rufus Hallmark (Rutgers University), Roe-Min Kok Inaugural Meeting (McGill University), Harald Krebs (University of Victoria), Sezi 8:00–10:30 AMS Committee on Women and Gender Seskir (Cornell University), Laura Tunbridge (University of Panel Discussion: “Beyond Women and Manchester), Susan Youens (University of Notre Dame) Music” Teaching Counterpoint in the Twenty-First Century 9:30–11:00 Student Reception Sponsored by the SMT Pedagogy Interest Group THURSDAY EVENING SESSIONS Mary Arlin (Ithaca College), Moderator Robert Gauldin (Eastman School of Music, University of Rochester), 8:00–10:00 “Plaine and Easie Counterpoint: How Does Morley’s Treatise Fare as a Addressing Ethnic and Racial Diversity in Music Theory Modern Textbook?” Sponsored by the SMT Committee on Diversity Peter Schubert (McGill University), “Is Fux Necessary? (Or Why We Have to Stop Teaching Species the Way We Do)” Tomoko Deguchi (Winthrop University), Moderator Dariusz Terefenko (Eastman School of Music, University of Rochester), Irna Priore (University of North Carolina, Greensboro) and Alexander “The Passacaglia: A Primer for Teaching Baroque Improvisation” Sanchez-Behar (Ashland University), “From Within: The Demographics of Race and Ethnicity in Music Theory” Gavin Douglas (University of North Carolina, Greensboro), “Decoloniz FRIDAY 5 November ing Music Theory: Some Thoughts from Outside the Field” 7:00–8:45 AMS Chapter Officers’ Meeting John Turci-Escobar (Washington University), “Musical Go-Betweens: Im migrant Sensibilities and the Analysis of Non-Western Musics” 7:00–8:45 AMS Committee on Career-Related Teresa Reed (University of Tulsa), “Ethnicity, the European Canon, and Issues Meeting the Music Theory Classroom” 7:00–8:45 AMS Committee on 8:00–11:00 Communications Meeting A Changing Climate: Ecomusicology and the Crisis of Global 7:00–8:45 AMS History of the Society Warming Committee Meeting Sponsored by the AMS Ecocriticism Study Group 7:00–9:00 SMT Committee for Professional Aaron S. Allen (University of North Carolina, Greensboro), Chair Development Breakfast Reception for Panelists: Stephanie Doktor (University of Virginia), Kate Graduate Students Galloway (University of Toronto), Mark Pedelty (University of 7:00–9:00 SMT Committee on the Status of Women Minnesota) Breakfast Musicology and the Documentary Film: Three Test Cases (AMS) 7:30–8:30 Editorial Board, Journal of Music Theory Panelists: Margot Fassler (University of Notre Dame), Mellonee 7:30–8:45 Alvin H. Johnson AMS 50 Dissertation Burnim (Indiana University), M. Jennifer Bloxam (Williams Fellowship Committee Meeting College), Michael Beckerman (New York University) 7:30–8:45 AMS Joint Meeting of the 2010 and 2011 Local Arrangements Committees Perception in the Flesh: What Can Merleau-Ponty Contribute to Music? 7:30–8:45 AMS Program Committees for the 2010 and Sponsored by the SMT Music and Philosophy Interest Group 2011 Annual Meetings Jairo Moreno (University of Pennsylvania), Moderator 7:30–8:45 Student Representatives to AMS Council Meeting Amy Cimini (New York University), “Hearing the Flesh of the World: Music and Sound in Maurice Merleau-Ponty’s ‘Intertwining—The 7:30–9:00 Alexander Street Press Breakfast Reception Chiasm’” 7:30–9:00 American Brahms Society Board Meeting 8:30–5:00 Registration 8:30–6:00 Exhibits August 2010 9:00–12:00 SMT Graduate Student Workshops Making Musical Communities (AMS) Michael Baumgartner (Milton, Mass.), Chair FRIDAY MORNING SESSIONS Erica Scheinberg (Lawrence University), “Different Trains: Kurt Weill’s 9:00–12:00 Railroads on Parade” Analyzing the Music of Twentieth-Century Women Esther Morgan-Ellis (Yale University), “‘And how they sing with him’: Composers Movie Theater Sing-Alongs at the End of the Silent Era” Sponsored by the SMT Committee on the Status of Women Tim Carter (University of North Carolina, Chapel Hill), “Celebrating America: Kurt Weill and the Federal Theater Project (1937)” Patricia Hall (University of California, Santa Barbara), Moderator YouYoung Kang (Scripps College), “Legacies of the WPA on the American Brenda Ravenscroft (Queen’s University, Ontario), “Music as a Mirror: Musical Landscape” Libby Larsen’s Chanting Towards Paradise” Mapping Music (SMT) Joseph Straus (Graduate Center, CUNY), “Ursula Mamlok’s Pathways through the Magic Square: Panta Rhei (1981)” Jay Hook (Indiana University), Chair John Roeder (University of British Columbia), “Superposition in Saaria Thomas Robinson (University of Alabama), “Pitch-Class Multisets and ho’s ‘The Claw of the Magnolia . . .’” the Z-Relation” Diana Luchese (Towson University), “Pozzi Escot’s Mirabilis IV: O quam Rachel Hall (Saint Joseph’s University), Dmitri Tymoczko (Princeton mirabilis” University), and Jason D. Yust (University of Alabama), “Upright Pe Joshua B. Mailman (Hunter College, CUNY / Eastman School of Mu trouchka, Proper Scales, and Sideways Neapolitans” sic, University of Rochester), “Emergent Flux Projecting Form in Ruth Robert Peck (Louisiana State University), “Imaginary Transformations” Crawford Seeger’s Quartet (1931)” Michael Buchler (Florida State University), “Are There Any Bad (or Good) Duke Ellington’s Late, Extended Works: Transformational Analyses?” Some New Critical Perspectives (AMS) Means of (Musical) Production (SMT) John Howland (Rutgers University, Newark), Chair Steve Larson (University of Oregon), Chair Anna Celenza (Georgetown University), “Duke Ellington, Billy Strayhorn Brett Clement (Stephen F. Austin State University), “Chord-Bible Har and the Adventures of Peer Gynt in America” mony in Frank Zappa’s Middle-Period Orchestral Music” David Schiff (Reed College), “Othello Revisited: Such Sweet Thunder and Chris Stover (New School for Jazz and Contemporary Music), “Subtend Politics” ing the Tonal/Atonal Nexus through Multiplicative Operators in Cecil Edward Green (Manhattan School of Music), “Did Ellington Truly Be Taylor’s Early Music” lieve in an ‘Afro-Eurasian Eclipse?’” Matthew Butterfield (Franklin and Marshall College), “Multiparametric John Wriggle (City College of New York, CUNY), “‘The Mother of All Complexity in Charlie Parker’s ‘Confirmation’” Albums’: Duke Ellington’s A Drum Is a Woman” Noriko Manabe (Princeton University), “The Role of the Producer in Hip- Exoticism in Shifting Contexts, 1840 to Today (AMS) Hop: An Ethnographic and Analytical Study of Remixes” Ralph P. Locke (Eastman School of Music, University of Modes of Listening (AMS/SMT) Rochester), Chair John Latartara (University of Mississippi), Chair Shay Loya (Guildford, England), “Auto-exoticism? The Hungarian Re Jeffrey Levenberg (Princeton University), “Troppo Troppo Discordante: sponse to Viennese style hongrois” Monteverdi’s Mean-Tones and the Seconda Prattica” David Brodbeck (University of California, Irvine), “Essentialism, Orien Sherry Lee (University of Toronto), “Forêts profondes: Contested Spaces in talism, and Musical Identity in Goldmark’s Queen of Sheba” Electroacoustic Music” Leonora Saavedra (Univeresity of California, Riverside), “Nationalism and Deirdre Loughridge (University of Pennsylvania), “Magnifying Instru Exoticism in Fin-de-siècle Mexico” ments, Scopic Looking, and Early Romantic Listening” W. Anthony Sheppard (Williams College), “The Persistence and Parody of Berthold Hoeckner (University of Chicago), “Film Songs and Things” Orientalism in Recent Opera and Operatic Production” Musical Experiencers: Composer, Performer, Listener (SMT) Fin-de-siècle Germany (AMS) Jeff Perry (Louisiana State University), Chair Walter Frisch (Columbia University), Chair Panayotis Mavromatis (New York University), “Exploring Tonal Struc Bryan Gilliam (Duke University), “Richard Strauss and the Sexual Body: ture in Modal Polyphony: A Schenkerian Perspective on Psalm-Tone The Erotics of Humor, Philosophy, and Ego-Assertion” Tonalities” Charles Youmans (Pennsylvania State University), “Business, Politics, and Timothy Chenette (Indiana University), “Confounding the Medieval Lis Aesthetics in the Friendship of Gustav Mahler and Richard Strauss” tener: The Role of Complexity in Medieval Rhythm” Christopher Morris (University College, Cork), “Music, Modernism, and Vasili Byros (Northwestern University), “Schemas versus Schemes: Com the Alpine Sublime” municative Strategies in Mozart” Nicholas Attfield (University of Oxford), “Hans Pfitzner, the Anti-Ger Mitch Ohriner (Indiana University), “Projected Tension in Performances man? Einfall Revisited” of Chopin”
AMS Newsletter Musicologies (AMS) 12:00–2:00 SMT Committee on Diversity Brown Bag Lunch Scott Burnham (Princeton University), Chair 12:00–2:00 SMT Jazz Theory and Analysis Benjamin Breuer (University of Pittsburgh), “The Birth of Musicology Interest Group from the Spirit of Evolution: Biological Sources for Guido Adler’s Con ception of Musikwissenschaft ” 12:00–2:00 SMT Queer Resource Interest Group Bonnie Gordon (University of Virginia), “The Secret of the Secret Chro 12:00–2:00 SMT Scholars for Social Responsibility matic Art” 12:15–1:15 AMS Committee on Career-Related Issues Jennifer Shaw (University of New England), “Histories of an Idea: Con Session I: Master Teacher textualizing Twelve-Tone Composition in the Second Viennese School” Michael Broyles (Florida State University), “Beethoven Was Black. Why 12:15–1:45 Early Music America Open Session for Does It Matter?” Early Music Directors Schumann, Liszt, Brahms (AMS) 12:15–1:45 Recital: “The Music of Olivier Messiaen and Daniel Beller-McKenna (University of New Hampshire), Chair His Students” Matthew Odell, piano Christopher Ruth (University of Pittsburgh), “Schumann’s Inner Drama: Genoveva and the Unconscious Mind” 12:15–1:45 JAMS Editorial Board Meeting Joanne Cormac (University of Birmingham), “From Stage to Concert 12:15–1:45 Mozart Society of America Meeting Hall: Genre, Program, and Form in Liszt’s Hamlet” 12:15–1:45 SSCM Business Meeting Laurie McManus (University of North Carolina, Chapel Hill), “‘Musik für’s Auge:’ A German Requiem, the Rise of Musical Elitism, and the Chal 12:30–1:30 Internship Possibilities in the Library of lenge of Tradition” Congress Collections Margaret Notley (University of North Texas), “Ancient Tragedy and 12:30–2:00 Friends of Stony Brook Reception Anachronism in Brahms’s Gesang der Parzen” 1:00–3:00 SMT C.V. Review Special Voices (AMS) 2:00–3:30 Lecture Recital: “Black Experience and Heather Hadlock (Stanford University), Chair Song: Art Songs by David N. Baker and Amy Brosius (New York University), “Leonora Baroni cantatrice: The Ro Mark Fax” man virtuosa as Courtier” Horace J. Maxile (Columbia College Chicago), Jeffrey Magee (University of Illinois, Urbana-Champaign), “The Story of lecturer; commentary by William Patterson ‘A Pretty Girl’” (University of Michigan); Louise Toppin, Katherine Kaiser (Stony Brook University), “Who Sang Stockhausen’s Ge- Soprano; John O’Brien, piano sang der Jünglinge?” Katherine Preston (College of William & Mary), “‘The American Jenny FRIDAY AFTERNOON SESSIONS Lind’ or an ‘Unfinished and Inartistic’ Singer? The Perplexing Career of 2:00–5:00 Emma Abbott” Beyond the Book (AMS) FRIDAY MORNING SHORT SESSIONS Lawrence Earp (University of Wisconsin-Madison), Chair 9:00–10:30 Arni Ingolfsson (Iceland Academy of the Arts), “Orality, Modal Change, The Significance of Terms (AMS) and the Transmission of Medieval Music in Seventeenth-Century Iceland” John Butt (University of Glasgow), Chair Karl Kügle (University of Utrecht), “The Veneto Connection: New Light Bettina Varwig (King’s College London), “Metaphors of Time and Mo on Turin J.II.9” dernity in Bach” Pieter Mannaerts (Katholieke Universiteit Leuven), “Exceptions to the J. Peter Burkholder (Indiana University), “Musical Borrowing or Curious Rule: The Thirteenth-Century historiae for Mary of Oignies and Arnulf Coincidence? Testing the Evidence” Cornibout” 10:30–12:00 Ruxandra Marinescu (University of Utrecht), “Manipulating the Manipu lator: The Vernacular Lais in the Roman de Fauvel” Vocal Music in Eighteenth-Century France (AMS) Constructing “Japan” in Japanese Music: Charles Dill (University of Wisconsin-Madison), Chair A Hundred-Year Analytical Survey (SMT) Don Fader (University of Alabama), “Parody, Satire, and Imitation: The David Pacun (Ithaca College), Moderator Early Eighteenth-Century Italian-French Controversy in the Recueil Noriko Manabe (Princeton University), Respondent d’airs sérieux et à boire” Michele Cabrini (Hunter College, CUNY), “Witness to the Execution: Akane Mori (Hartt School of Music), “Rentaro Taki and the Birth of Japa The Composer’s Perspective in French Baroque Cantatas on Judith” nese Art Song: An Analytical Study of the Transition from Folk Tune to Westernized Song” 12:00–1:30 AMS Committee on Cultural Diversity: David Pacun (Ithaca College), “The Transformation of the Style Japonaise 1890 1930 Reception for Travel Fund Recipients, in Early Yôgaku, c. – ” Associates, and Alliance Representatives Tomoko Deguchi (Winthrop University), “Reminiscences of the Past in Yoshinao Nakada’s Art Songs” August 2010 Hideaki Onishi (Yong Siew Toh Conservatory of Music and National Jennifer Ronyak (University of Alberta), “‘Mignon as Public Property’: University of Singapore), “Toru Takemitsu and the Japanese Garden: In The Early Public Performance of the ‘Intimate’ German Lied” Quest of His Origin, and the Reconciliation of the East and West” Leon Chisholm (University of California, Berkeley), “The ‘McGibbon MS’: Early Nineteenth-Century Music (SMT) A Scottish Source of Ornaments for Corelli’s Violin Sonatas, Op. 5” William Rothstein (Queens College and Graduate Center, The Politics of Race in America (AMS) CUNY), Chair Benjamin Piekut (University of Southampton), Chair Daniel Barolsky (Beloit College), “‘Wohin?’: From Poetry into Perfor Danielle Fosler-Lussier (Ohio State University), “‘The right and the best mance” ambassador’: Marian Anderson, Louis Armstrong, and the U.S. Recep Wayne C. Petty (University of Michigan), “After the Fantaisie- tion of Cultural Diplomacy” Impromptu” Emily T. Abrams Ansari (University of Western Ontario), “Ulysses Kay’s Stephen Rodgers (University of Oregon), “Thinking (and Singing) in Jubilee and the Politics of Race During the American Bicentennial” Threes: Triple Hypermeter in the Songs of Fanny Hensel” Holly Holmes (University of Illinois, Urbana-Champaign), “Ku Klux Eric McKee (Pennsylvania State University), “Lanner and Strauss and ‘The Klan Sheet Music: ‘Creating Desire’ in 1920s Middle America” Future of Rhythm’” Stephanie Stallings (Washington, D.C.), “Mexico Sings the Blues: Anti- Lynching Songs by Silvestre Revueltas and Carlos Chávez” Europe and Politics in the Mid-Twentieth Century (AMS) Process and Metaphor in Twentieth-Century Music (AMS/SMT) Laura Silverberg (A-R Editions), Chair Brian Alegant (Oberlin College), Chair Florian Scheding (University of Southampton), “Ideological Battles in Ex ile and Beyond: Avant-garde Music and Anti-Semitism in the Free Ger David Feurzeig (University of Vermont), “On Shifting Grounds: Mean man League of Culture” dering, Modulating, and Möbius Passacaglias” Joy H. Calico (Vanderbilt University), “Schoenberg’s A Survivor from War- Michael Vidmar-McEwen (Indiana University), “Poetic Image and Tonal saw in Warsaw (1958)” Disorientation: The Curious Case of Benjamin Britten” Leslie Sprout (Drew University), “Honegger’s Chant de Libération: Resis Gurminder Kaur Bhogal (Wellesley College), “Stravinsky the Decorator: tance and Rehabilitation in Postwar France” Stylized Embellishment, Decorative Design, and Arabesque Melody in Rachel Mundy (New York University), “Alfred Cortot and the State’s The Rite of Spring” Avant-garde” Matt BaileyShea (Eastman School of Music, University of Rochester), “Agency and Musical Forces in Barber’s String Quartet, Op. 11” Italian Baroque Opera (AMS) Querelles des philosophes (AMS/SMT) Wendy Heller (Princeton University), Chair Gary Tomlinson (University of Pennsylvania), Chair Hendrik Schulze (University of North Texas), “Representing the Proper ties of Affects: Cavalli’s Revisions to the Opera Artemisia (1657) and Their Michael Gallope (New York University), “The Note and the Wave in Textual Roots” Adorno” Nathan Link (Centre College), “Handel’s Cleopatra and the Nightingale” Stephen Decatur Smith (New York University), “The Sound of ‘Life that does not live’: Adorno, Bergson, Life, and Musical Time” Robert Torre (University of Wisconsin-Madison), “The Siren Reconstitut ed: Silvio Stampiglia’s La Partenope and the Walled Garden of Knowledge James Currie (University at Buffalo), “Dislocating Musical Ethics: Said, in Early Eighteenth-Century Naples” Barenboim, and the Limits of Belonging” Valeria De Lucca (University of Southampton), “Semi-Private Opera in Martin Scherzinger (New York University), “Boulez, Prophet (or How Seventeenth-Century Rome: The Teatro Colonna (1676–1689)” Deleuze Misunderstands Music)” Reassessing the Nineteenth Century (AMS) Music and Text (AMS) Gundula Kreuzer (Yale University), Chair Jonathan Glixon (University of Kentucky), Chair Yen-Ling Liu (College of Charleston), “Monumental Ruins: Promethean Vassiliki Koutsobina (Music Library of Greece Lilian Voudouri), “A King, Myth and the Myth of Prometheus” a Pope, and a War: Economic Crisis and Faulte d’argent Settings in the Opening Decades of the Sixteenth Century” David Trippett (University of Cambridge), “‘Bayreuth in Miniature’: Wag ner and the Melodramatic Voice” Ljubica Ilic (Belgrade, Serbia), “In Pursuit of Echo” Feng-Shu Lee (University of Chicago), “‘First Bayreuth; Second, Wagner; Daniel Zuluaga (University of Southern California), “‘[Come] fare lo amore Third, the Theatre’: Reception of the First Ring through the Lens of the alla Spagnola’: Spanish Alfabeto Song and the Sexually Explicit Lyric in Bayreuther Tagblatt” Italian Territories, 1580–1630” Timothy McKinney (Baylor University), “A Tale of Two Critics; or, A Wolf Seth Coluzzi (Brandeis University), “Black Sheep: The Phrygian Mode at the Door: Subtext in the Wolf/Hanslick Controversy” and a Misplaced Madrigal in Marenzio’s Seventh Book (1595)” Transformation and (De)Coding, Sound Performance Studies (AMS) and Music (SMT Poster Session) Guido Olivieri (University of Texas), Chair Robert Hasegawa (Eastman School of Music, University of Rochester), Darla Crispin (Orpheus Research Centre, Ghent), “From Territories to “Combination-Tone Harmony” Transformations: Anton Webern’s Piano Variations Op. 27 as a Case Erin Mayhood (University of Virginia) and Perry Roland (University of Study for Research in-and-through Musical Practice” Virginia), “Toward Electronic Music Editions: The Music Encoding Ini Friedemann Sallis (University of Calgary) and Ian Burleigh (University of tiative” Lethbridge), “Venetian Soundscapes Past and Present: Studying a Perfor Marek Zabka (Comenius University, Slovakia), “Miroslav Filip and Amer mance of Luigi Nono’s A Pierre, ‘Dell’azzurro silenzio, inquietum’ (1985)” ican Transformational Theories” AMS Newsletter 8 00 10 00 FRIDAY AFTERNOON SHORT SESSIONS : – : AMS LGBTQ Study Group Program and Business Meeting 2:00–3:30 8:00–11:00 Jazz Jam Session Dylan’s Voice (SMT) 9:00–11:00 University of Chicago Alumni Reception Janna Saslaw (Loyola University), Chair 9:00–12:00 University of Pittsburgh Alumni and Friends Steven Rings (University of Chicago) “A Foreign Sound to Your Ear: Bob Reception 1964 2009 Dylan Sings ‘It’s Alright, Ma (I’m Only Bleeding),’ – ” 10:00–12:00 AMS LGBTQ Study Group Party Sumanth Gopinath (University of Minnesota), “Dylan’s Speech: A Perfor mative (and Musical) Poetics?” 10:00–12:00 Harvard Music Reception Extracurricular Activities: Two Pedagogues (AMS) 10:00–12:00 Reception, Forum on Music and Christian Scholarship Martha Hyde (University at Buffalo), Chair 11:00–11:30 AMS Pedagogy Study Group Business Janet Pollack (Colorado State University), “Johann Baptist Cramer, His Meeting toricism, and the London Pianoforte School” Kimberly Francis (University of Guelph), “The End of a Creative Dia FRIDAY EVENING SESSIONS logue: Nadia Boulanger and Robert Craft’s Stravinsky” 3:30–5:00 8:00–11:00 Improvisation (SMT) The Cold War Sensorium: Sound, Affect, Politics Steven Laitz (Eastman School of Music, University of Rochester), Sponsored by the AMS Cold War and Music Study Group Chair Ryan Dohoney, Montclair State University, Moderator and David Neumeyer, (University of Texas, Austin), “Schubert’s ‘Riemannian Organizer Hand’: An Archaeology of Improvisation for Social Dancing” Caroline Polk O’Meara (University of Texas), Respondent Michael Callahan (Michigan State University), “Riffing on Buxtehude: Panelists: Nikita Braguinski (Berlin, Germany), Brigid Cohen Hierarchical Memory and the Teaching of Keyboard Improvisation” (University of North Carolina, Chapel Hill), Michael Ethen (McGill University), Philip Gentry (University of Delaware), 3:30–5:00 AMS/MLA Joint RISM Committee Meeting Jessica Schwartz (New York University) 4:00–6:00 Center for Black Music Research Reception The Emerging Scholarship of Pedagogy (AMS) Honoring Horace Maxile Sponsored by the AMS Pedagogy Study Group 5:00–7:00 AMS/SMT Joint Philosophy Interest Group Business Meeting Robin Elliott (University of Toronto), Chair 5:00–7:00 SMT Demographics Ad-hoc Committee Panelists: James R. Briscoe (Butler University), Mary Natvig Meeting (Bowling Green State University), Matthew Balensuela (DePauw University), Jessie Fillerup (University of Mary Washington) 5:00–7:00 SMT Mathematics of Music Analysis 5:30–6:30 Singing from Renaissance Notation, directed Rethinking Race and Ethnicity in Brazilian Music by Valerie Horst and hosted by Early Music Sponsored by the AMS Hispanic Studies Group America Rogério Budasz (University of California, Riverside), Chair 5 30 7 30 : – : University of North Carolina at Chapel Hill Rogério Budasz (University of California, Riverside), “Zealous Clerics, Alumni Reception Mischievous Musicians, and Pragmatic Politicians: Music and Race Rela 6:00–8:00 Boston University Alumni Reception tions in Colonial Brazil” 6:00–8:00 Florida State Universtity School of Music Marcelo Campos Hazan (Columbia University), “Music and Sociopoliti cal Instability in Rio de Janeiro during the Regency Period (1831–1840)” Alumni Reception Frederick Moehn (Universidade Nova de Lisboa), “Race, Ethnicity, and 6:00–8:00 W. W. Norton Reception Difference in a Contemporary Carioca Pop Music Scene” 6:30–8:00 Oxford University Press and Grove Music Walter Clark (University of California, Riverside), “‘Vulgar Negroid Sam Reception bas’: Issues of National Identity, Race, and Gender in That Night in Rio, with Carmen Miranda” 6:45–7:45 AMS Committee on Career-Related Issues Session II: Alternate Career Paths Sound Studies (AMS) 7:00–9:00 A-R Editions Online Music Anthology Phil Ford (Indiana University), Organizer Reception Panelists: Andrea F. Bohlman (Harvard University), James Buhler (University of Texas, Austin), Mark J. Butler (Northwestern 8:00 Indianapolis Symphony Orchestra, Music of University), Benjamin Piekut (University of Southampton), Jason Mahler and Wagner Stanyek (New York University)
August 2010 Tenure and the Musical Scholar: Philosophical and Practical SATURDAY MORNING SESSIONS Issues Sponsored by the SMT Professional Development Committee, 9:00–12:00 the AMS Committee on Membership and Professional Cadence and Form (SMT) Development, and Scholars for Social Responsibility William Caplin (McGill University), Chair Patrick McCreless (SMT Committee on Professional Development), Chair John Koslovsky (Oberlin College), “Nineteenth-Century Form in Early- Cristle Collins Judd (Bowdoin College), Moderator Twentieth-Century Scholarship: The Case of Franz Schubert” Brian Black (University of Lethbridge), “Schubert’s Transformation of the Karen A. Faaborg (Vice Provost for Academic Personnel, University of Classical Style: The New Role of the Perfect Authentic Cadence in his Cincinnati), “Legal Issues Concerning Tenure” Sonata-Form Transitions” Cristle Collins Judd (Dean for Academic Affairs and Professor of Music, Lauri Suurpää (Sibelius Academy), “Deferral of a Cadentially Confirmed Bowdoin College), “The History and Philosophy of Tenure: The Liberal Tonic: First Movement of Haydn’s F-Sharp Minor Piano Trio (Hob. Arts College” XVI:26)” Don Randel (President, Andrew W. Mellon Foundation; Former Presi L. Poundie Burstein (Hunter College / Graduate Center, CUNY), dent, University of Chicago), “Tenure, the Research University, and “Half, Full, or In Between? Distinguishing Half and Elided Authentic Scholarship in the Humanities and the Arts” Cadences” Mary Wennerstrom (Associate Dean for Instruction and Professor of Mu Choreographies (AMS) sic Theory, Jacobs School of Music, Indiana University, Bloomington), “Working Toward Tenure in a Comprehensive School of Music” Tamara Levitz (UCLA), Chair Chantal Frankenbach (University of California, Davis), “Waltzing Hypoc risies: Hanslick’s Dual Attitudes to Dance” SATURDAY 6 November Davinia Caddy (University of Auckland), “Opera’s Gestural Turn: Le Coq d’or, 1914” 7:00–8:30 SMT Committee on Diversity Breakfast Jessica Payette (Oakland University), “‘Emotions must be transposed into 7:00–8:30 SMT Committee on Professional a form’: Louis Horst and Martha Graham’s Overthrowing of Exoticism Development Breakfast in American Dance” 7:00–8:30 SMT Regional and Affiliate Societies Paul Cox (Case Western Reserve University), “An Imaginary America: Cage and Cunningham’s Credo in U.S. (1942)” Breakfast Cognition and History (AMS) 7:00–8:45 AMS Committee on Career-Related Issues Joint Session with Graduate Education Eugene Narmour (University of Pennsylvania), Chair Committee: Realities of the Anna Maria Busse Berger (University of California, Davis), “How Did Job Market Today Oswald von Wolkenstein Make His Contrafacta?” 7:00–8:45 AMS Committee on Women and Gender Craig Wright (Yale University), “Mozart and the Kingdom of Back: An Meeting Oddity in His Cognitive Process” Robert Gjerdingen (Northwestern University), “The Phrasicon of Nea 7:00–8:45 AMS Publications Committee Meeting politan Solfeggi” 7:00–9:00 A-R Recent Researches Series Editors’ Commonality and Otherness (AMS/SMT) Breakfast Meeting Lewis Rowell (Indiana University), Chair 7:00–9:00 Journal of Music History Pedagogy Editorial Rebecca Jemian (Ithaca College), “Flowers We Are: Kurtág’s Mixed Board Bouquet” 7:30–8:45 AMS Committee on Cultural Diversity David Claman (Lehman College, CUNY), “Shakti’s Common Ground: Meeting Scalar Conception and Usage in a Cross-Cultural Musical Endeavor” 7:30–9:00 SMT Music and Disability Interest Group Kassandra Hartford (Stony Brook University), “How Danças Caracteristi- cas Africanas Métis Organizational Meeting Became ” Nalini Ghuman (Mills College), “Modes, Mantras and Gandharvas: John 7:30–9:00 Society for Eighteenth-Century Music Foulds’s Passage to India” Board of Directors Meeting Eastern Europe Since 1980 (AMS) 7:45–8:45 American Bach Society Lisa Jakelski (Eastman School of Music, University of Rochester), Editorial Board Meeting Chair 8:30–5:00 Registration Anna Nisnevich (University of Pittsburgh), “Wagner, Sokurov and Dolby 9:00–12:00 AMS Committee on Career-Related Issues, SR: Absorption in Moloch” C.V. and Cover Letter Workshop Cindy Bylander (San Antonio, Texas), “We Don’t Want to Play That Game Anymore: Polish Composers in the 1980s” 8:30–6:00 Exhibits Maria Cizmic (University of South Florida), “Witnessing History during Glasnost: Arvo Pärt’s Tabula Rasa and Tengiz Abuladze’s Repentance” William Quillen (University of Cambridge), “Cage in the USSR”
AMS Newsletter French Opera from Rameau to Gluck (AMS) Twentieth-Century American Works (SMT) Jacqueline Waeber (Duke University), Chair Andrew Mead (University of Michigan), Chair Alexandra Amati-Camperi (University of San Francisco), “Cherchez la Brendan McConville (University of Tennessee), “Isomorphic Mapping, femme: A Feminist Critique of Operatic Reform in Pre-Josephinian Self-Similarity, and ‘Nesting’ in Charles Wuorinen’s Cello Variations” Vienna” Nancy Yunhwa Rao (Rutgers University), “Tracing an Intertextual Rela Amber Youell-Fingleton (Columbia University), “Reforming Operatic tion: Reading Carter’s First String Quartet Through Crawford’s String Luxury in Maria Theresia’s Vienna” Quartet (1931)” Nathan Martin (Columbia University), “The Armide Monologue, Guy Capuzzo (University of North Carolina, Greensboro), “Text, Music, 1686–1777: Rameau, Gluck and the philosophes” and Irony in Elliott Carter’s Opera What Next?” Rebecca Harris-Warrick (Cornell University), “Parsing the Prologue” Emily Adamowicz (University of Western Ontario), “Structure and Sub In the Company of Wagner (AMS) jectivity in Milton Babbitt’s Philomel ” Visual Impairment in the Music Theory Classroom: Policies Matthew Gelbart (Fordham University), Chair and Practicalities Katharine Ellis (Royal Holloway, University of London), “Wagner’s Music Sponsored by the SMT Interest Group on Music and Disability Dramas in Turn-of-the-Century France” Dave Headlam (Eastman School of Music, University of Marie-Hélène Benoit-Otis (University of Montreal / Free University of Berlin), “‘Délicieux oubli des choses de la terre’: The Genesis of a Wag Rochester), Introduction nerian Love Duet” Jeff Gillespie (Butler University), “Serving the Visually-Impaired in the Monika Hennemann (University of Birmingham), “Jewish Cupids and College Music Classroom: Building Bridges Toward Understanding” Scottish Valkyries: Once More Mendelssohn and Wagner” Bruce Quaglia (University of Utah), “Policy and Practicalities in Music- Michael J. Puri (University of Virginia), “Ravel’s Wagnerism” Theory Education of Visually-Impaired Students” Italian Modernism, 1930–1950 (AMS) Carlos Taylor (Adaptive Computer Technology Specialist, Ball State Uni versity), Special Guest Anne C. Shreffler (Harvard University), Chair SATURDAY MORNING SHORT SESSIONS Ben Earle (University of Birmingham), “Verdi, Dallapiccola, and Melo dramatic ‘Gesture’: Ottocento Practice in Il prigioniero” 9:00–10:30 Emiliano Ricciardi (Stanford University), “Twelve-tone Music in Fascist Marian Topics (AMS) Italy: The Cases of Rome and Milan” Francesco Parrino (Conservatorio di Musica “Giuseppe Verdi,” Como), David Rothenberg (Case Western Reserve University), Chair “The Modern Interpreter: Alfredo Casella and the 1930s Italian Debate Gordon Haramaki (San José State University), “‘In the Flesh as Well as in on Musical Interpretation” Spirit’: (Meta) Physical Embodiment in Claudio Monteverdi’s Ave Maris Peter Roderick (University of York), “The Birth of an Avant-garde Dialec Stella (1610)” tic: Subverting Realism and Formalism in Italy, 1948–49” Hannah Mowrey (Eastman School of Music, University of Rochester), “A The Long Nineteenth Century (SMT) Rose from the Line of Judah: Ancestry and Imagery in Jena Universitäts bibliothek MS 22” Matthew Bribitzer-Stull (University of Minnesota), Chair 10:30–12:00 Joseph Kraus (Florida State University), “The ‘Tchaikovskian Sublime’: Rhythmic Gesture, Narrative Archetype, and Metonymical Realism in Race, Politics, American Music (AMS) the First Movement of the Fourth Symphony” Guthrie Ramsey (University of Pennsylvania), Chair Blair Johnston (Indiana University), “Rachmaninoff’s ‘Fantastic’ Phrygian Symphony” James Leve (Nothern Arizona University), “Golden Boy and ‘Black-Jewish Sarah K. Sarver (Oklahoma City University), “Embedded and Parentheti Relations’” cal Chromaticism: An Exploration of Their Structural and Narrative Im Jennifer Myers (Northwestern University), “Sounding Left: Shirley Gra plications in Select Songs from Richard Strauss’s Brentano Lieder, Op. ham’s Emerging Political Consciousness in the Chicago Federal Theatre 68” Project’s Little Black Sambo (1938)” Jeremy Orosz (University of Minnesota), “Schumann’s Musical Seams” Selling Music (AMS) 12:00–2:00 American Bach Society Advisory Board, Luncheon Meeting Christina Bashford (University of Illinois, Urbana-Champaign), 12 00 2 00 Chair : – : American Handel Society, Board Meeting 12:00–2:00 SMT Committee on the Status of Women Ayden Adler (Philadelphia Orchestra), “The Critical Response to Profitable Concerts: Arthur Fiedler and the Boston Pops Orchestra, 1930–1950” Affiliates Lunch James O’Leary (Yale University), “Selling Oklahoma! : The enesisG and 12:00–2:00 SMT Music Cognition Interest Group Reception of the ‘First Ever’ Integrated Musical” 12:00–2:00 SMT Performance and Analysis Interest Patrick Warfield (University of Maryland), “The March as Musical Drama Group and the Spectacle of John Philip Sousa” Rebecca Bennett (Northwestern University), “A ‘Tune Detective’ at Work: 12:00–2:00 Society for Seventeenth-Century Music: Sigmund Spaeth Interrogates ‘Music Appreciation’” Editorial Board Meeting, Web Library of Seventeenth-Century Music
August 2010 12:00–5:00 AMS Committee on the Publication of James Grier (University of Western Ontario), “The Office of the Trinity at American Music, Luncheon Meeting Saint Martial in the Eleventh Century” 12:15–1:45 AMS Committee on Career-Related Luisa Nardini (University of Texas), “Prosulas for the Proper of the Mass in Beneventan Manuscript” Issues, Student Session: How to Choose a Dissertation Topic Musicology and Biography: The Case of H. H. Eggebrecht (AMS) 12:15–1:45 AMS Council Meeting David Josephson (Brown University), Chair 12:15–1:45 Concert: “Accompanying Metropolis and Boris von Haken (Goethe-Universität Frankfurt), Pamela Potter Jerry Springer: Syncing Sound and Motion (University of Wisconsin-Madison), Alexander Rehding (Harvard Through a Multimedia Performance of University), Albrecht Riethmüller (Freie Universität Berlin), Anne Chamber Music by Louis Andriessen and C. Shreffler (Harvard University), and Christoph Wolff (Harvard Jacob Ter Veldhuis” University) Fountain City Ensemble (Andrée Martin, flute; Lisa Oberlander, clarinet; Amy Griffiths, Musicology and Place (AMS) saxophone; Paul Vaillancourt, percussion) Anne Dhu McLucas (University of Oregon), Chair 12:15–1:45 North American British Music Studies Association Meeting Anna Ochs (University of North Carolina, Chapel Hill), “Cuauhte’moc, Emperor of Mexico: The ‘European’ Hero?” 2:00–3:30 Lecture Recital: “Ornamentation and Glenda Goodman (Harvard University), “Colonial Encounter and Atlan Subjective Feeling in the ML Lutebook” tic Musicology: A Case Study in Seventeenth-Century Massachusetts” Elizabeth Kenny (Royal Academy of Music / Robert M. Stevenson (UCLA), “High Society Musicology in Chile” University of Southampton), presenter and lute Sarah Clemmens Waltz (University of the Pacific), “The Limits of Exoti 2:00–3:00 SMT Business Meeting cism: Germans and the Image of Celtic Antiquity” 3:00–3:15 SMT Awards Presentations Opera Studies (AMS) 3:30–5:00 SMT Keynote Address Mary Ann Smart (University of California, Berkeley), Chair Patrick McCreless (Yale University) Beth Snyder (New York University), “Exorcising Wagner, Re-Romanticiz ing the Gypsy: Adorno’s ‘Fantasia sopra Carmen’” SATURDAY AFTERNOON SESSIONS Diana R. Hallman (University of Kentucky), “Clari, Halévy’s Italian Man ner, and the Rossini Effect” 2:00–5:00 Emily Frey (University of California, Berkeley), “Drawing Blanks: Tchaik Debussy (AMS) ovsky and Eugene Onegin from Pushkin to Dostoyevsky” Carolyn Abbate (University of Pennsylvania), Chair Winnie Starke (University of Heidelberg), “Opera Revival ‘alla veneziana’ at the Turin Court in 1688: A Glimpse behind the Curtains” Barbara Kelly (Keele University), “Commemorating Debussy in Post World War I France: Nostalgia, Modernism and the Press” Out of the Roots (AMS) Brian Hyer (University of Wisconsin-Madison), “On the Survival of Im David Brackett (McGill University), Chair ages in Act 1 Scene 3 of Pelléas et Mélisande” Gwynne Kuhner Brown (University of Puget Sound), “Interpreting Af David J. Code (University of Glasgow), “Cross-Dressing with Debussy: rican-American Spirituals through Arrangement and Performance: Eva The Trois chansons de Bilitis as Allegory” Jessye and Jester Hairston” Jane Harrison (Ohio State University), “Debussy’s Influence on French Andrew Flory (Shenandoah University), “From Motown to Mowest: Mar Salon Music Composers, 1902–1930” vin Gaye’s Trouble Man” Heroines and Others (AMS) Kevin Kehrberg (University of Kentucky), “The Music of Albert Edward Paula Higgins (University of Nottingham), Chair Brumley” Mark Burford (Reed College), “Black Gospel Music on Main Street, Marian Wilson Kimber (University of Iowa), “In a Woman’s Voice: Recita U.S.A., in Sam Cooke’s ‘That’s Heaven to Me’” tion, Music, and the Feminization of American Melodrama” Susan Cook (University of Wisconsin-Madison), “Beethoven Heroine” Reality, Illusion, and the Fantastic (AMS) William Cheng (Harvard University), “Hearts for Sale: The French Ro- Annette Richards (Cornell University), Chair mance and the Sexual Traffic of Musical Mimicry” Colleen Renihan (University of Toronto), “‘I shall show you history as it Adeline Mueller (University of California, Berkeley), “Medea Redeemed: should have been’: The Historical and Musical Sublime in John Coriglia Moral and Musical Legacies in Die Zauberflöte” no’s The Ghosts of Versailles” Liturgical Music (AMS) Inge van Rij (New Zealand School of Music), “Back to (the Music of) the James Borders (University of Michigan), Chair Future: Aesthetics of Technology in Berlioz’s ‘Euphonia’ and Damnation de Faust” Catherine Saucier (Arizona State University), “The Earliest Sequence for Marianna Ritchey (UCLA), “Echoes of the Guillotine: Berlioz and the Corpus Christi: Conflating Sacrament and Sacrifice in Medieval Liège” French Fantastic” Daniel DiCenso (College of the Holy Cross), “How One Source Could Marjorie Hirsch (Williams College), “Schubert’s Schauerballaden: From Change our Understanding of ‘Chant Transmission’: Monza, Biblioteca Gothic to Romantic” Capitolare f. 1/101”
AMS Newsletter Robert Hatten (Indiana University), “Performing Expressive Closure in 5:30–7:00 AMS Business Meeting and Awards Structurally Open Contexts: Chopin’s Prelude in A Minor and the Last Presentation Dance of Schumann’s Davidsbündlertänze” 5:30–7:00 SMT Sustainability Study Group Harald Krebs (University of Victoria), “Treading Robert Schumann’s New 5:30–7:30 SMT Music Informatics Interest Group Path: Analysis and Recomposition as Aids in the Performance of the Late Lieder” 5:30–7:30 SMT Music Theory Pedagogy Interest David Kopp (Boston University), “On Performing Chopin’s Barcarolle” Group (Per)Form In(g) Rock 5:30–7:30 SMT Popular Music Interest Group Sponsored by the SMT Popular Music Interest Group 5:30 Indianapolis Symphony Orchestra, Music of Nicole Biamonte (McGill University), Moderator Mahler and Wagner Mark Spicer (Hunter College / Graduate Center, CUNY), 7:00–9:00 University of Illinois Reception for Alumni Respondent and Friends Jay Summach (Yale University), “The Structural Origins of the Prechorus” 8:00–10:00 University of Texas at Austin Reception Christopher Doll (Rutgers University), “Rockin’ Out: Expressive Modula 8:00 Indianapolis Symphonic Choir, tion in Verse-Chorus Form” Rachmaninoff’s All-Night Vigil Brad Osborn (Rhodes College), “A Genetic Taxonomy of Through-Com position in Post-Millennial Rock” 9:00–11:00 Indiana University Reception Timothy Koozin (University of Houston), “Musical Form and Guitar 9:00–12:00 AMS Dessert Reception Voicing in Pop-Rock Music: A Performance-Based Analytical Approach” 9:00–12:00 Brandeis University Alumni Reception Vladimir Jankélévitch’s Philosophy of Music (AMS) 10:00–12:00 University of Western Ontario Reception Sponsored by the AMS Music and Philosophy Study Group Brian Kane (Yale University), Chair 10:00–1:00 Columbia University Department of Music Reception Panelists: Michael Gallope (New York University), James Hepokoski (Yale University), Judith Lochhead (Stony Brook University), Michael 10:00–1:00 Cornell University and University of Puri (University of Virginia), Steven Rings (University of Chicago), California, Berkeley, Joint Reception James Currie (University at Buffalo), Carolyn Abbate (University of 10:00–1:00 McGill University Reception Pennsylvania), Respondent 10:00–1:00 Princeton University Department of Music Reception SUNDAY 7 November 10:00–1:00 Stanford University Reception 10:00–1:00 University of North Texas Alumni Reception 7:00–8:45 AMS Board of Directors Meeting 10:00–1:00 University of Pennsylvania Party 7:00–8:45 AMS Performance Committee Meeting 10:00–1:00 Yale Party 7:00–8:45 SMT 2010 and 2011 Program Committees Breakfast Meeting SATURDAY EVENING SESSIONS 8:15–9:00 SMT Interest Group, Standing Committee, 7:00–10:00 and Program Committee Chairs Meeting Schumann’s Lieder as the Refuge of Memory 8:30–12:00 Registration Lyrica Society Paper Session 8:30–12:00 Exhibits Paul-André Bempéchat (President, Lyrica Society / Center for European Studies, Harvard University), Chair SUNDAY MORNING SESSIONS Alexandra Monchick (Harvard University), Respondent 9:00–12:00 Jennifer Ronyak (University of Alberta), “Schumann in the ‘Hall of the Past’: The Wilhelm Meister Project of 1849” Arrangements (AMS) Anders Tobiason (University of Wisconsin-Madison), “Hearing Her David Kasunic (Occidental College), Chair Little Song: Music and Consciousness in Schumann’s ‘Hör’ ich das Lied Alexander Stefaniak (Eastman School of Music, University of Rochester), chen Klingen’” “Liszt’s Cantata Paraphrase: Reinterpreting Genre and Narrative in the Jürgen Thym (Eastman School of Music, University of Rochester), ‘Weinen, Klagen’ Variations” “Schumann: Song as Memory” Emily H. Green (Peabody Conservatory), “The Marketing of Collabora 8:00–11:00 tion: Multiple Authorship in the First Half of the Nineteenth Century” Analytic Pathways to Successful Performance Strategies for Kenneth Hamilton (University of Birmingham), “Busoni’s Schoenberg Critique—The Strange Case of Op. 11 No. 2” Works by Chopin and Schumann Sponsored by SMT PAIG (Performance and Analysis Mark Kroll (Boston University / Northeastern University), “Mosche les’ Handel: The Performance and Reception of Handel’s Music in Interest Group) Nineteenth-Century England” David Kopp (Boston University), Moderator August 2010 Bodies and Machines (AMS) Elizabeth Keathley (University of North Carolina, Greensboro), “Alma Andrew Dell’Antonio (University of Texas), Chair Mahler, Arnold Schoenberg, and Traditions of Women’s Philanthropy” Flora Willson (King’s College London), “Viardot’s Orpheus: Animating Alexander Bonus (Case Western Reserve University), “Johann Maelzel, the History in Second-Empire Paris” Metronome, and Mechanical Music in Nineteenth-Century America” Kimberly White (McGill University), “Female Singers and the ‘maladie Karen Ahlquist (George Washington University), “Anvils and Choruses: morale’ in Paris, 1830–48” Festivities of Art and Industry in 1870s United States” Rethinking Classrooms, Homework, and Learning: New Lindsey Strand-Polyak (UCLA), “Performing Faith: Scordatura, Medita Models for Teaching Music History in the Online Age (AMS) tion and the Violinist in Biber’s Rosary Sonatas” Sponsored by the AMS Pedagogy Study Group Rebecca Cypess (New England Conservatory), “Carlo Farina’s ‘Capriccio Matthew Baumer (Indiana University of Pennsylvania), Moderator stravagante’: A Musical Kunstkammer” José Antonio Bowen (Southern Methodist University), Mark Clague Cooperative Multiplicities (SMT) (University of Michigan), Jocelyn Neal (University of North Carolina, William Kinderman (University of Illinois, Urbana-Champaign), Chair Chapel Hill) States of Mind (AMS) Patrick Fitzgibbon (University of Chicago), “Materializing Hauptmann’s Idealism: Generality and Late Beethoven” Alexander Carpenter (University of Alberta), Chair Peter H. Smith (University of Notre Dame), “Tonal Pairing and Monoto Clara Latham (New York University), “‘After the first words uttered in an nality in Instrumental Forms of Beethoven, Schubert, Schumann, and intimate, endearing voice, I felt I had known her all my life’: A History of Brahms” Freudian Affect and its Relationship to Musical Experience” Samuel Ng (College-Conservatory of Music, University of Cincinnati), Jenny Olivia Johnson (Wellesley College), “The Touch of the Violin, the “Rotational Form as Metaphor: Fanny Hensel’s Formal and Tonal Logic Coldness of the Bell: Synaesthesia, Sound, and the Unlocking of Traumat Revisited” ic Memory in Bunita Marcus’s ‘The Rugmaker’ and Andra McCartney’s Anna Gawboy (Ohio State University), “Scriabin and the Possible” ‘Learning to Walk’” Julie Pedneault Deslauriers (University of Ottawa), “Hysteria, Voice, and Poulenc and Ravel (AMS/SMT) the Body in Schoenberg’s Pierrot lunaire” Mary Davis (Case Western Reserve University), Chair Morten Solvik (IES Vienna), “The Death of Transfiguration: Memory and Demise in Gustav Mahler’s Ninth Symphony” Christopher Moore (University of Ottawa), “Francis Poulenc and Camp Aesthetics” Tracing the Paths of Ideas (SMT) Sigrun B. Heinzelmann (Oberlin College), “Ravel’s Tonal Axis” Richard Kurth (University of British Columbia), Chair Jessie Fillerup (University of Mary Washington), “Eternity in Each Mo Jason Hooper (University of Massachusetts, Amherst), “Heinrich Schen ment: Temporal Strategies in Ravel’s “Le Gibet” ker’s Early Theory of Form, 1895–1914” Keith Clifton (Central Michigan University), “Musique à la mode: Pou Maryam Moshaver (University of Alberta), “Music Theory and Language lenc’s Babar and the Rebirth of ‘Lifestyle Modernism’” Formation: Reading Rameau’s Génération harmonique” Pre-Tonal Theories and Practices (AMS) Christoph Hust (Mainz University / Bern University of the Arts), “Re- Calvin Bower (University of Notre Dame), Chair Evaluating the ‘Wagner Question:’ Joachim Raff’s Conception of Music Theory” Andrew Hicks (University of Toronto), “Re-interpreting an Arithmetical Christoph Neidhöfer (McGill University), “Analytical Contexts for the Error in Boethius’ De Institutione Musica (3.14–16)” Writings of Luciano Berio” Charles M. Atkinson (Ohio State University), “Fifteen Modes versus Visualizing Music (SMT) Eight: On the Ancient Greek Background of a Medieval and Renaissance Theoretical Conflict” Steven Cahn (University of Cincinnati), Chair Marjorie Roth (Nazareth College), “The Song of the Prophets: A Musical S. Alexander Reed (University of Florida), “In C on Its Own Terms: A Model for Orlando di Lasso’s Carmina Chromatico” Statistical View” Sam Mirelman (University of London), “The First Chapter of Music His Dmitri Tymoczko (Princeton University), “Which Graphs Can We tory: Southern Mesopotamia, 3000–1500 BC” Trust?” Private Musics (AMS) José Oliveira Martins (Eastman School of Music, University of Rochester), “Lutosławski’s Harmony and Affinity Spaces in Works of the 1950s” Mary Natvig (Bowling Green State University), Chair Christopher White (Yale University), “‘Scriabin Kites’ and Tritone Map Candace Bailey (North Carolina Central University), “The Challenge of ping in the Opus 74 Preludes” Domesticity in Men’s Manuscripts in Restoration England” SUNDAY MORNING SHORT SESSION Laurie Stras (University of Southampton), “Musica secreta: Nuns and the Craft of Esoteric Composition in Sixteenth-Century Ferrara” 9:00–10:30 Lisa Nielson (University of Maine), “Gender and the Politics of Music in Music and Fascism (AMS) the Early Islamic Courts” Pamela Potter (University of Wisconsin-Madison), Chair Ryan Minor (Stony Brook University), “Die Meistersinger, Indoors and Out” Real Women (AMS) Davide Ceriani (Harvard University), “‘Ardent in His Adherence to Mr. Mussolini’s Principles:’ The Politics of Giulio Gatti-Casazza’s Manage Katherine Bergeron (Brown University), Chair ment of the Metropolitan Opera House in the 1920s” Benjamin Walton (University of Cambridge), “Teresa Schieroni and the Eva Moreda (Royal Academy of Music / Open University), “Music, Fas Idea of Global Opera” cism, Race, Canon: Musical Exchanges between Spain and Germany, 1939–45” AMS Newsletter Noontime Performances in Indianapolis
Following the successful expansion of noon On Friday at Christ Church Cathedral, may be viewed at www.youtube.com/ time concerts sponsored by the AMS last 2 p.m., Horace J. Maxile, Jr. will present watch?v=4Zzo9Mhry9Y. Also on the pro year in Philadelphia, the AMS Indianapolis a lecture recital, “Black Experience and gram is Jacob Ter Veldhuis, Heartbreakers 2010 Performance Committee, in conjunc Song: Art Songs by David N. Baker and (2004). The Fountain City Ensemble is tion with the Local Arrangements commit Mark Fax.” He will be joined by singer Al based at the Schwob School of Music, Co tee, has selected four particularly interesting lison Elizabeth Jones. The Center for Black lumbus State University. programs from over a dozen proposals. Two Music Research (CBMR) has generously On Saturday at Christ Church Cathedral, will take place at noon Friday and Saturday, provided support for this event. Horace J. and two will take place at 2 p.m. at Christ Maxile is Associate Director of Research at 2 p.m., Elizabeth Kenny will present a lec Church Cathedral, located on Monument the CBMR, which is hosted by Columbia ture-recital, “Ornamentation and Subjec Circle near the conference hotels. College Chicago. tive Feeling in the ML Lutebook.” The ML On Friday 5 November at 12:15 p.m. at On Saturday 6 November 12:15 p.m. at Lutebook (London, British Library, Addi the Marriott, Matthew Odell will present the Marriott, the Fountain City Ensemble tional MS 38539) is a collection of courtly “The Music of Messiaen and his Students.” will present “Accompanying Metropolis and repertoire compiled by a court lutenist who In this piano recital, Odell will juxtapose Jerry Springer: Syncing Sound and Mo taught “Margaret” between 1610 and 1640, works of Messiaen with those of his stu tion Through a Multimedia Performance of and is a locus for trends in technique and dents. The program includes excerpts from Chamber Music by Louis Andriessen and performance practice that were current in Messiaen’s Préludes, the Vingt regards sur Jacob Ter Veldhuis.” The program features the 1620s. Elizabeth Kenny is Professor of l’Enfant-Jésus, his groundbreaking Can- a live performance of Louis Andriessen’s téyodijayâ; and works by George Benja partially aleatoric chamber piece, Work- Lute at the Royal Academy of Music and min, Pierre Boulez, Michel Merlet, Tristan ers Union (1990), with a showing of Fritz Lecturer in Performance and Head of Early Murail, Karlheinz Stockhausen, and Iannis Lang’s groundbreaking silent science fic Music at Southampton University. Xenakis. Matthew Odell is a doctoral can tion film Metropolis (1927). An earlier per —David Schulenberg didate at the Juilliard School. formance by the Fountain City Ensemble Performance Committee Chair
Indianapolis Program Selection
The business of the Program Committee what we trust are some interesting and po music” in its familiar sense) are well rep of the Indianapolis Annual Meeting was tentially lively offerings. The committee was resented on the Indianapolis program. The affected by a number of significant proce pleased with the results of having reduced committee was especially pleased about the dural changes generated by conversations the word limit for individual abstracts to number of successful proposals that bring involving the Committee on the Annual 350 words. But the small proportional re musicological research into deep and prof Meeting, the Board, and the 2009 and 2010 duction in our reading load up front was itable interdisciplinary conversation with Program Committee chairs over the course more than counterbalanced by the decision the areas of dance, film, philosophy, poli of the past year. The Program Committee, to increase the number of simultaneous ses tics, and psychology. which traditionally had met in March in sions at the annual meeting from seven to While on one hand the program for the the host city, concurrent with the meeting nine, resulting in a madder-than-usual dash annual meeting offers a snapshot of “the discipline” (whatever that word means), it of the Board, is now free to select a date to the finish line during the last hours of more significantly provides a framework and place for their meeting that best suits our meeting. I am grateful to my colleagues for the live exploration of individual and the requirements of the committee mem on the committee for their willingness to shared ideas and interests. The topics, rep bers. Our committee met in early April in carry on the business of tweaking sessions ertories, and disciplinary areas featured at Pittsburgh. This gave us more time to read and identifying appropriate chairs by email the annual meeting are defined by the pro 600 and to evaluate the more than abstracts communication in the weeks following. We posals submitted. The Program Committee received during the busy second semester of have recommended to the Committee on makes its judgments based on the texts of the academic year, and also provided time the Annual Meeting that future program individual abstracts and summary presenta for the committee members to study each committee meetings could usefully be ex tions of sessions. Successful proposals this other’s written comments on individual ab tended by a half day. year, as in years past, were those that most stracts before the meeting. We noted an increase over last year of suc effectively communicated to the committee This year also witnessed a number of cessful proposals in several “traditional” ar members the significance and thoughtful changes to the Call for Papers. While we eas (late nineteenth-century and early twen ness of whatever research, pedagogical, or were hardly inundated with “Alternative tieth-century Germany and France; opera creative projects they represented. Format” session proposals, the new cat studies). Avant-garde music and music of —Michael Long egory will be represented in Indianapolis by the Americas (extending beyond “American Program Committee Chair
August 2010 Annual Meeting, San Francisco, California 10–13 November 2011
Call for Papers or critical approach, or lay the groundwork the remaining proposals, for a total of about for a new research direction. Such panels 190 papers. No paper accepted during the Deadline: 5 p.m. EST, should comprise participants’ brief position first round of discussion will be eliminated 18 January 2011 statements, followed by general discussion in the second round. Alternative format ses The 2011 Annual Meeting of the AMS will among panelists and audience. Panel discus sions and evening panel discussions are re be held in San Francisco, California, from sions will be scheduled for the same duration viewed separately from individual proposals Thursday, 10 November, to Sunday, 13 No of time as full or half sessions of papers. For and formal sessions. vember. The Program Committee welcomes this proposal, organizers should outline the Application restrictions. No one may proposals for individual papers, formal ses rationale and issues behind the proposal, de appear on the San Francisco program more sions, evening panel discussions, and sessions scribe the activities envisioned, and explain than twice. An individual may deliver a paper using alternative formats in all areas of schol why each panelist has been chosen. Evening and appear one other time on the program, arship on music. Please read the guidelines panel discussions will be considered only as a whether participating in an evening panel Maximum length: 500 words. carefully: proposals that do not conform whole. discussion or alternative format session, Daytime sessions using alternative for- will not be considered. functioning as a chair-organizer of a formal mats. Proposals will be accepted according to the Members are encouraged to submit session, or serving as a respondent, but may following four categories: proposals for sessions utilizing alternative not deliver a lecture-recital or concert. Par Individual proposals. Proposals should formats. The San Francisco meeting will ticipation in extra-programmatic offerings represent the talk as fully as possible. A suc include six daytime three-hour time blocks such as interest-group meetings or standing cessful proposal typically articulates the main utilizing alternative formats, i.e. activities committee presentations (e.g., the Commit aspects of the argument or research findings other than “traditional” papers. Both three- tee on Career-Related Issues) does not count clearly, positions the author’s contribution hour and ninety-minute sessions may be as an appearance for this purpose. with respect to earlier work, and suggests the proposed. Examples of alternative formats Only one submission per author will be ac paper’s significance for the AMS community. include, but are not limited to, sessions com cepted. Authors who presented papers at the Authors will be invited to revise their pro bining performance and scholarship, ses 2010 AMS meeting may not submit propos posals for the Program and Abstracts, dis sions discussing an important publication, als for the 2011 meeting. Organizers of eve tributed at the meeting; the version read by sessions featuring debate on a controversial ning panel discussions or alternative format the Program Committee may remain confi issue, and sessions devoted to discussion of sessions may not also present a formal paper dential. Maximum length: 350 words. papers posted online before the meeting. in the same year or in the preceding one, but Formal sessions. An organizer represent Sessions may be proposed by an individual participants may do so. ing several individuals may propose a Formal or group of individuals, by a Study Group, Submission procedure. Proposals must be Session, either a full session of four papers, by a smaller society that has traditionally met received by 5 p.m., EST, Tuesday, 18 January or a half session of two papers. For this pro during the Annual Meeting, or by an AMS 2011. Electronic proposal submission is en posal, organizers should prepare a rationale, committee wishing to explore scholarly is couraged. (A link to online submission will explaining the importance of the topic and sues. Proposals for alternative format sessions be provided at the AMS web site by mid-De the proposed constituent papers, together should outline the intellectual content of the cember.) Please note that electronic proposal with the names of the organizer, partici session, the individuals who will take part, submission ceases precisely at the deadline. In Maximum pants, respondent (if applicable), and a sug and the structure of the session. order to avoid technical problems with sub length: 500 words. gested chairperson. The organizer should mission of a proposal, it is strongly suggested also include a proposal for each paper, which Length of presentations: Forty-five min that proposals be submitted at least 24 hours conforms to the guidelines for individual utes are allotted for each individual proposal before the deadline. Due to the volume of proposals above. Formal Session proposals and constituent formal session proposal. The proposals received, proposals received after will be considered as a unit, and accepted or length of presentations is limited to thirty the deadline cannot be considered. A FAQ rejected as a whole. Paper abstracts included minutes in order to allow ample time for on the proposal submission process will be in a formal session proposal are components discussion. Formal sessions must observe the available at the web site, and those planning of the session proposal as a whole, and will forty-five-minute slots for paper presentation to submit proposals are encouraged to review not be considered for individual presenta and discussion. Position papers delivered as the information posted there. tion. Maximum length: 350 words for the part of evening panel discussions should be Proposals may also be mailed to the AMS rationale, and 350 words for each constit- no more than ten minutes long. San Francisco Program Committee, attn: uent proposal. Program Committee procedures: The Robert Judd, American Musicological Soci Evening panel discussions. Evening panel Program Committee will evaluate and dis ety, Bowdoin College, 6010 College Station, discussions are intended to accommodate cuss individual paper proposals anonymously Brunswick ME 04011-8451, to be received by proposals that are amenable to a more infor (i.e., with no knowledge of authorship). Af 18 January 2011. If mailed, proposals must be mal exchange of ideas in a public forum than ter an initial selection of approximately 150 printed in 10- or 12-point single-spaced type in paper sessions. These can cover a wide papers, including those in formal sessions, face on one 8.5 x 11-inch or A4 page. Pro range of topics: they may examine a cen the authors of all proposals will be revealed, posals sent by regular mail must include (on tral body of scholarly work, a methodology and additional papers will be selected from a separate page): the author’s name, institu AMS Newsletter tional affiliation or city of residence, audio- Call for Performances manner of performance; for lecture-recitals, a visual requirements, and full return address, description (two pages maximum) explaining including e-mail address whenever possible. Deadline: 5 p.m. EST, the significance of the program or manner of Receipts will be sent to all who submit pro 18 January 2011 performance, and a summary of the lecture posals. Those who submit proposals via mail The AMS Performance Committee invites component, including information about should provide either an e-mail address or proposals for concerts, lecture-recitals, and the underlying research, its methodology, 6 self-addressed stamped postcard for this pur other performances and performance-related and conclusions; ( ) audio or visual materials pose. Receipts will be sent by the beginning events during the 2011 San Francisco Annual twenty minutes maximum) that are represen of February 2011. Meeting. The committee encourages propos tative of the program and performers. Organized, ongoing affiliated societies. als that demonstrate the Society’s diversity of An individual may not present both a paper Such groups should contact Robert Judd at interests, range of approaches, and geographic and a performance (or lecture-recital) at the the AMS office about scheduling a room for and chronological breadth. We welcome per meeting. If an individual submits proposals to their meetings rather than applying through formances that are inspired by or complement both the Program Committee and the Perfor program committee procedures. new musicological finds, that develop a point mance Committee and both are selected, she or he will be given an early opportunity to de —Caryl Clark of view, or that offer a programmatic focus. cide which invitation to accept and which to Program Committee Chair Freelance artists as well as performers and ensembles affiliated with colleges, universities, decline. The AMS can sometimes offer mod or conservatories are encouraged to submit est financial support for performance-related proposals; available times for presentations expenses. include lunch hours, afternoons, and Thurs Please see the Application Cover Sheet for Call for Nominations: day evening (10 November 2011). proposal submission details. Materials must Session Chairs, AMS San Required application materials include: (1) be received at the AMS office no later than Francisco 2011 an application cover sheet (available from 5 p.m. EST, 18 January 2011. Due to the high volume of applications, exceptions cannot be Nominations are requested for Session the AMS office or at www.ams-net.org/san francisco); (2) a proposed program, listing made to this deadline; please plan accord Chairs at the AMS Annual Meeting in ingly. Receipts will be sent to those who have San Francisco, 10–13 November 2011. repertory, performer(s), and the duration 3 submitted proposals by the deadline, and the Please visit the web site (www.ams-net. of each work; ( ) a list of audio-visual and performance needs; (4) a short (100-word) committee’s decisions will communicated by org/sanfrancisco) for full details. Self- 15 April. 15 biography of each participant named in the nominations are welcome. Deadline: —Jeffery Kite-Powell March 2011. proposal; (5) for concerts, a one-page expla nation of the significance of the program or Performance Committee Chair Committee News Committee on the Annual Meeting ers should contact the AMS office directly for effective tenure case; and the practice of post- information on such logistical matters. tenure reviews. The Committee on the Annual Meeting Finally, due to insufficient interest among CCRI will also join forces with the Gradu (CAM) has recommended, and the AMS the more than thirty universities contacted, ate Education Committee in a discussion fo Board has approved, a major change to the there will not be a joint alumni party at this rum centered on the state of today’s job mar Annual Meeting. Beginning with the India year’s Annual Meeting in Indianapolis. ket in the humanities. Taking several articles napolis meeting, the number of concurrent —Honey Meconi that have appeared recently in The Chronicle daytime sessions is expanding from seven to of Higher Education as a starting point, this nine. One of the nine sessions is reserved for Committee on Career-Related Issues session promises to be timely, pertinent, and scholarly presentations using alternative for The Committee on Career-Related Issues lively. Links to the Chronicle articles will be mats; the other eight are for formal papers. (CCRI) has put together an exciting array of sent via the AMS electronic discussion list This increase results in a total of 192 formal sessions for the Annual Meeting in Indianap (AMS-L) prior to the meeting. papers, up from the previous 144. Selection olis, focusing on the issues of tenure, the job In addition to these joint sessions, CCRI for the program remains highly competitive, market, and alternate career paths in this era will host other offerings, some old and some but the expanded program permits more re of economic uncertainty. new. This year’s “Master Teacher” session will search to be shared; in the past, strong papers A session jointly sponsored with SMT’s feature Marjorie A. Roth, associate professor had to be turned down for lack of space. We Professional Development Committee, along of music history and studio flute, and the anticipate that session audiences will remain with the Scholars for Social Responsibility, en director of the honors program at Nazareth substantial. titled “Tenure and the Musical Scholar: Phil College. Our student session will focus on Following another recommendation by osophical and Practical Issues,” will feature how to choose a dissertation topic, and will CAM, the Society wishes to encourage schol five speakers, who will address the following include the perspectives of senior as well as ars to organize pre-conference symposia before topics: the rationale for tenure and its history younger scholars you have recently completed the Annual Meeting. While such symposia are in American higher education; legal issues in their doctoral studies. Another session is de independently organized, the AMS office can volving tenure; issues involving tenure from voted to alternate career paths and will feature advise organizers on meeting space, catering, the point of view of a senior administrator of archivists, editors, music critics, program an and guest reservations. Symposium organiz a school of music; strategies for preparing an continued on page August 2010 Committee News Committee on the Publication of of Women” to the “Committee on Women and Gender.” There are a number of reasons continued from page 25 American Music why this seemed to be the right moment to notators, and librarians who utilize their mu The Committee on the Publication of make this important change. As we acknowl sicological expertise daily, although not in the American Music is glad to report that, on 1 edged the crucial work that the Committee confines of the classroom. CCRI will again April 2010, Dorothea Gail began her work on the Status of Women has done during sponsor its very successful Buddy Program, as Executive Editor of Music of the United the past twenty-five years, it was evident which links new conference attendees with States of America (MUSA), a national se that both the field of musicology and the de experienced society members, and its C.V./ ries of scholarly editions sponsored by the mographics of the profession have changed Cover Letter Workshop. AMS. She is a graduate of the Institute of enormously. While the Committee recogniz —James P. Cassaro Music and the Performing Arts in Frank es that gender discrimination is by no means furt, Germany, and a scholar specializing a thing of the past, it is also apparent that sta- Committee on Membership and tus is no longer the central issue with which Professional Development in the music of Charles Ives. She succeeds James Wierzbicki, who served ably in the the Committee is concerned. The changing As incoming chair of the Committee on post from 2003 through 2009 before leav and improving status of women, both in our Society and elsewhere in the academy, means Membership and Professional Development ing for a position on the faculty of the Uni that this Committee can now expand its fo (CMPD), I look forward to working with our versity of Sydney in Australia. Thanks are cus and better safeguard gender equality in several constituent groups (the Committee due to Nathan Platte for filling in efficient on Career-Related Issues, the Committee on all of its complexities. At the same time, the ly as Interim Executive Editor in February Cultural Diversity, the Committee on Wom Committee will continue to fulfill its stated and March. en and Gender, and the Graduate Education mission to represent the professional needs Committee) in order to coordinate our vari We are also pleased to announce that the of women in the Society and to promote re ous initiatives. publication of Six Marches by John Philip search on women and gender. Under Richard Freedman’s leadership, Sousa, edited by Patrick Warfield, is expect The Committee has had a particularly twenty-four travel grants were awarded in ed some time this summer as volume 21 in exciting year. At the Annual Meeting in 2009 to students, faculty, and independent our projected forty-volume series, which is Philadelphia, we had the opportunity for the scholars (ranging from $100 to $350) to attend funded in part by the National Endowment first time to present a session during “prime the Annual Meeting in Philadelphia. The for the Humanities and the American Mu time,” featuring speakers who had served ei AMS Board has generously voted to increase sic Institute of the University of Michigan ther as chairs or members of the Commit the Committee’s budget for travel grants for School of Music, Theatre and Dance. tee on the Status of Women. The panelists this year’s meeting from $6,600 to $7,200. Dorothea Gail will gladly respond to spoke with eloquence and passion about the At the upcoming AMS/SMT Annual Meet anyone contemplating an editorial project challenges of the past and extraordinary ac ing in Indianapolis, the Committee will con in the field of American music. She can complishments that women in our Society tinue to explore initiatives that extend access be reached at (734) 647-4580; musa-info@ have made over the past few decades. Our of digital resources to independent scholars, umich.edu. For additional information, next Open Meeting will be held at the An nual Meeting in Indianapolis on Thursday, as discussed at last year’s Annual Meeting. please visit MUSA’s web site: www.umich. One such resource brought to our attention 4 November at 8 p.m. Organized by the in edu/~musausa. is the web site of the National Coalition of coming chair, Bonnie Gordon (University of —Richard Crawford Independent Scholars (www.ncis.org). Virginia), Laurie Blunsom (Morehead State For more information, please visit our web Committee on Women and Gender University) and myself, our program, en site (www.ams-net.org/committees/mpd). titled “Beyond Women and Music,” will be Your suggestions and comments are always At its March meeting, the AMS Board ap dedicated to the memory of Adrienne Fried welcome ([email protected]). proved the Committee’s proposal to change Block. —Eftychia Papanikolaou the name from the “Committee on the Status —Wendy Heller
Study Group News Cold War and Music Study Group for Cold War historiography. Caroline Polk Ecocriticism Study Group O’Meara will be the respondent. Information 2010 The Cold War and Music Study Group about the panel will be posted to the Cold At the Annual Meeting in Indianapolis, (CWMSG) aims to encourage new research War and Music Study Group blog in advance the Ecocriticism Study Group will host the and foster discussion about music of the Cold of the meeting (amscoldwar.blogspot.com). panel “A Changing Climate: Ecomusicology War era. The CWMSG will sponsor an eve Our web site (www.ams-net.org/study and the Crisis of Global Warming” to discuss ning session at the 2010 Annual Meeting in groups/cwmsg) offers information about past recent environmental, ecocritical, ecomusi Indianapolis entitled “The Cold War Sensori and future activities, membership informa cological, and musicological writings in the um: Sound, Affect, Politics.” Panelists Nikita context of climate change. Before arriving Braguinski, Brigid Cohen, Ryan Dohoney tion, and a directory of current members and in Indianapolis, panelists and interested par (organizer), Michael Ethen, Philip Gentry, research interests. If you are interested in be ticipants will read a variety of works, have an and Jessica Schwartz will address how music coming involved with the CWMSG, please electronic discussion, and develop a short list and sound marked assemblages of affect and contact me at laura.silverberg@areditions. ideology during the second half of the twenti com. of supplementary readings. Rather than for eth century and will consider the implications —Laura Silverberg mal papers, this discussion allows for more AMS Newsletter voices to be heard regarding this developing Jewish participation in Western music. The losophy, as well as literary, cultural, gender topic. By addressing the changing climate in study group aims to offer a forum for schol and psychoanalytic theory, and beyond. We the context of musicology and music theory, ars working on related topics, and encourages do not wish the term to be restrictive and we we hope to demonstrate the broadening of research in unexplored areas. For more infor thus expect to cultivate a rich and extensive scholarly inquiry in music and to provide mation please visit our web site at www.ams- purview. In coming years, we hope to pro greater understanding of musical communi net.org/studygroups/jsmsg. vide a forum for the discussion and analysis ties in the context of a warming world. In musicological studies, most Jewish top of topics as diverse as musicology’s recent The session will address the following ques ics appear under the rubrics “Jewish music” engagements with critical theory and phi tions: How do musical communities fit into and “Jewish musicians.” The second category losophy; historical points of contact between the global warming conversation? How do is notoriously problematic. What (and, most music and philosophy, as well as historical composers and performers engage with this difficult, whose) are the pertinent criteria for philosophies of music; and even, continuing ecological and cultural crisis? What role do inclusion in this category? The category of an impulse at work in the writings of Adler critics have in interrogating music-cultural “Jewish music” is perhaps even more slippery. and Seeger, the philosophical examination of products in relation to the environment? No wonder that in the 1980 edition of the musicology’s foundations as a discipline. To a How do music industries contribute to global New Grove Dictionary of Music and Musicians, large extent, the newly established AMS Mu warming? How can academics question and under “Jewish Music” the authors limited the sic and Philosophy Study Group is modeled teach music as part of a dialogue between art topic to “the traditional music of the Jews, on the SMT Music and Philosophy Interest and environmental crisis? What roles have reflected in oral tradition as well as written Group, which has experienced a renaissance these constituencies had, and what might documents,” and excluded “individual com in recent years, hosting discussion sessions they yet have? posers of Jewish descent working outside the on Gilles Deleuze (2007), Jean-Luc Nancy Readings include: Al Gore, Our Choice: Jewish tradition” and “the music of modern (2008), Stanley Cavell (2009) and Ludwig A Plan to Solve the Climate Crisis (2009); Israel.” Acknowledging new research in the Wittgenstein (2010), as well as special eve Cheryl Glotfelty, “Literary Studies in an Age field in the revised version of the entry (now ning sessions on Deleuze (2008) and Nancy of Environmental Crisis” (in The Ecocriticism online), the new, more extensive team of au (2009). This year, at the Annual Meeting in Reader: Landmarks in Literary Ecology, 1996); thors has widened the scope of the entry to Indianapolis, the SMT Group will host a and Nancy Guy, “Flowing Down Taiwan’s include “the contribution of Jewish perform special evening session on Maurice Merleau- Tasumi River: Towards an Ecomusicology of ers and composers within their surrounding Ponty; the Group’s 2009 discussion of Stanley the Environmental Imagination,” Ethnomusi- non-Jewish societies, and the musical culture Cavell has led to a forthcoming special issue of cology 53/2, 2009. Further information will be of ancient Israel/Palestine.” It is here, namely the Journal of Music Theory (fall 2010) devoted posted at www.ams-esg.org. in “the contribution of Jewish performers and to his writings on music, co-edited by myself —Aaron S. Allen composers within their surrounding non-Jew and Brian Kane (Yale). The AMS Group plans ish societies” that most musicologists, work to maintain a close relationship with its SMT International Hispanic Music Study counterpart, including joint meetings when Group ing on topics related to the history of Western music, regularly encounter questions relevant AMS and SMT meet together, as will be the Walter A. Clark, director of the Center for to Jewish studies. case this year in Indianapolis. Iberian and Latin American Music at the Our inaugural meeting will be held on 4 If you are interested in learning more about University of California at Riverside, is the November 2010 at the Annual Meeting in In the group, being added to our e-mail list, or new coordinator of the International His dianapolis. We invite scholars to make short joining as a member, feel free to contact me panic Music Study Group (IHMSG). For presentations (ca. ten minutes) that address ([email protected]) or any member of information about the IHMSG, please visit the question of integrating Jewish topics into our organizing board: Seth Brodsky (Yale Uni the Center’s web site (www.cilam.ucr.edu). the historiography of music. In the past, mu versity), Keith Chapin (New Zealand School Those wishing to contact the IHMSG with sicology has tended to remain silent about of Music), Amy Cimini (NYU), Michael questions, comments, suggestions, or to be various composers’ ties to Jewish culture; or Gallope (NYU), Jairo Moreno (University of put on the mailing list should contact Walter else, during politically tumultuous times, Pennsylvania), and Holly Watkins (Eastman A. Clark at [email protected]. has been overly loud about it. Both attitudes School of Music). We are very excited to be —Walter A. Clark have created difficulties for historians today. up and running, and we hope to see many of you at our inaugural events in Indianapolis. We invite scholars whose research has inter —Stephen Decatur Smith Jewish Studies and Music Study sected with Jewish topics to reflect on these Group questions and to propose new approaches. Pedagogy Study Group In recent years, an increasing number of AMS Please send short (one paragraph) proposals The Pedagogy Study Group (PSG) is pleased members have engaged in the study of a wide to Klara Moricz ([email protected]) or to announce that the inaugural issue of the range of topics related to Jewish studies. They Ronit Seter ([email protected]) by 15 Journal of Music History Pedagogy (JMHP) petitioned the AMS Board for a new study September. will appear this fall. The JMHP is a biannual, group, and the Board approved its establish —Klara Moricz and Ronit Seter peer-reviewed, open-access, on-line journal ment last March. The Jewish Studies and Mu Music and Philosophy Study Group dedicated to the publication of original ar sic Study Group welcomes all work concern ticles and reviews related to teaching music ing the musical aspects of Jewish culture, yet The establishment of the AMS Music and history of all levels (undergraduate, graduate, its focus is not necessarily “Jewish music,” a Philosophy Study Group was approved by the or general studies) and disciplines (western, concept with disquieting historical connota AMS Board at its March 2010 meeting. The non-western, concert and popular musics). It tions, but the social, historical, and cultural Group takes the word “philosophy” in a broad significance of music in Jewish culture and of sense, including analytic and continental phi continued on page August 2010 News Briefs Bärenreiter has announced a new edition of New blog: Bibliolore. By virtue of what they Con la mente e con le mani: Teaching the complete works of Gabriel Fauré. Gen do, RILM editors have a unique perspective and Learning the Art of Counterpoint eral editor Jean-Michel Nectoux and a team on music literature, and they have launched on the Keyboard (1581–1671) of a dozen European and American scholars the blog “Bibliolore” for sharing their obser 18–20 November 2010 are collaborating on the project. The set will vations with people who find them interest Smarano (Trento), Italy extend to twenty-seven volumes of music, ing and relevant to their work. www.albengamusica.it/counterpoint plus a catalogue of works and an iconography. bibliolore.org Italy and Its Pasts: An Interdisciplinary The Editor invites communications from any * * * individual or library owning manuscripts by Conference (Association for the Study of Fauré (or printed music bearing his marks); New online journal: Hellenic Journal of Modern Italy Annual Conference) please send information to jmnectoux@ Music, Education, and Culture (HeJMEC). 19–20 November 2010 gmail.com. HeJMEC is a new international, open-access, Institute of Germanic & Romance Studies, and peer reviewed online journal devoted to University of London * * * critical study and analysis of issues related www.asmi.org.uk/conferences The Grove Dictionary of American Music, to the fields of music, education, and cul second edition, will contain 9,000 articles ture. The journal offers a unique forum for Calls for Papers that address the musical life and cultures, past researchers to develop views on music as a and present, within the regions now consti social and cultural product, as part of human France the Lewd—France the Prude tuting the fifty states, the District of Colum behavior, and in relation to broadly perceived France Erotique—France Pudique bia, and U.S. territories. The revised diction educational issues at the leading edge of mu (Lyrica Society) ary will be published electronically (www. sical and multidisciplinary scholarship. The 1–2 April 2011 oxfordmusiconline.com) and in an eight-vol editors welcome submissions for the forth Dialogues at Harvard, Harvard University, ume hardbound set. The editorial team seeks coming issues. The deadline for submissions Cambridge, Massachusetts specialists from a wide variety of disciplines for the next issue is 31 October 2010. CFP deadline: 1 September 2010 to write articles on topics across the musical www.hejmec.eu www.lyricasociety.org spectrum. See http://list.bowdoin.edu/piper International Council for Traditional 2010 002072 mail/ams-announce/ -May/ .html Conferences Music, World Conference for details and for a list of dictionary subject 13–19 July 2011 areas with available articles. This is a highly selective listing: comprehen Memorial University, St. John’s, Newfound sive and up-to-date listings of conferences in land, Canada Internet Resources News musicology are posted online. See the AMS CFP deadline: 7 September 2010 web site (www.ams-net.org/announce.php) www.mun.ca/ictm for full details. The Centre d’Études Supérieures de la Re Enhancing Music Iconography Re- naissance in Tours, France, has launched a Music for the Office and Its Sources in search (Répertoire International new electronic resource, Les livres de chansons the Low Countries, 1050–1550 d’Iconographie Musicale) nouvelles de Nicholas Duchemin, dedicated to 20 22 2011 (IMS “Cantus Planus” Study Group) – July sixteen sets of books expertly crafted by the Salvador (Bahia), Brazil 21–24 August 2010 Parisian printer Nicolas Du Chemin between CFP deadline: 25 September 2010 Antwerp, Belgium 1549 and 1568. Focusing on a neglected but www.ridim-br.mus.ufba.br/ridim2011 www.cantusplanus.org important repertory of polyphonic songs Society for Seventeenth-Century Music College Music Society Annual Conference from mid-sixteenth-century France, this Annual Conference 23–26 September 2010 unique project puts old books before a diverse 7–10 April 2011 Minneapolis, Minnesota audience of modern scholars and musicians in Minneapolis, Minnesota www.music.org/Minneapolis.html ways that will prompt renewed understanding CFP deadline: 1 October 2010 of these cultural artifacts and their meanings. Tonality 1900-1950: Concept and www.arts.uci.edu/sscm/SSCMCall10.html ricercar.cesr.univ-tours.fr/3-programmes/ Practice Franz Liszt: 1811-2011 EMN/Duchemin 1 2 2010 – October 1–3 April 2011 * * * University of North Carolina at Chapel Hill Utrecht University, The Netherlands and Duke University Wurlitzer-Bruck has published on its web site CFP deadline: 1 November 2010 www.music.duke.edu/performances/tonal a catalog of music of the Bach Family (J.S. list.bowdoin.edu/pipermail/ams- ity1900-1950 Bach and his sons, C.P.E. and J.C.). The list announce/2010-June/002124.html comprises twenty first and early printed edi Jazz and Race, Past and Present American Handel Festival tions (1761–1840) and sixteen facsimile edi 11–12 November 2010 (American Handel Society) tions. For a description of the collection and The Open University, Milton Keynes, Eng 24–27 March 2011 links to the online catalog: land Seattle, Washington www.wurlitzerbruck.com/News/music-of- www.open.ac.uk/researchprojects/blackbrit CFP deadline: 15 November 2010 the-bach-family ishjazz/events www.americanhandelfestival.org AMS Newsletter Claude Debussy’s Legacy: Du Rêve for Future Generations RISM Catalog of Music Sources Goes Online 29 3 2012 February– March A new online, open-access catalog of the Répertoire International des Sources Musicales Montreal, Canada (RISM) was announced last June. The database includes around 700,000 sources—pri 1 2010 CFP deadline: December marily music manuscripts before 1800—catalogued in detail according to academic crite www.oiccm.umontreal.ca/doc/appels/call- ria. The manuscripts are currently housed in hundreds of libraries and archives around the 2012 for-papers_Debussy_ .pdf world. They include the musical works of 30,000 composers. The catalog, compiled by researchers in over thirty countries, was made possible through the cooperative efforts of Thanatos as Muse? Schubert and Con- RISM, the Bavarian State Library (Bayerische Staatsbibliothek), and the State Library of cepts of Late Style Berlin (Staatsbibliothek zu Berlin). 21–23 October 2011 The manuscripts included in the catalog are described in detail, with information pro National University of Ireland, Maynooth vided about scribes and the sources’ dating and place of origin. Music incipits are provided CFP deadline: 31 January 2011 for nearly every work. The catalog includes search facilities for composers, work titles, music.nuim.ie/newsevents/schubertandcon genres, performance forces, date, place of origin, librettists, previous owners, and dedica ceptsoflatestyle tees. To access the online catalog, visit opac.rism.info.
Study Group News continued from page 27 holds no single viewpoint on what constitutes good teaching and endorses all types of schol arship on music history pedagogy that are well-researched, objective, and challenging.” Edited by Matthew Balensuela, the journal will use Open Journal Systems software and be hosted on the AMS web site. Prospective authors can submit articles via the web site or by contacting the editor at balensue@depauw. edu. At the Annual Meeting in Indianapolis, the PSG will sponsor two sessions devoted to music history teaching. The first, a daytime Alternative Format session entitled “Rethink ing Classrooms, Homework, and Learning: New Models for Teaching Music History in the Online Age,” turns a critical eye towards technology in the classroom. Panelists José Indianapolis Canal Walk along the Historic Central Canal Antonio Bowen, Mark Clague, and Jocelyn Neal will engage the question “Can the on line environment improve our students’ abil ity to learn, or does technology at some point become the master rather than the servant?” Policy on Obituaries The second session, an Evening Panel entitled The following, revised policy on discursive obituaries in the Newsletter was approved by “The Emerging Scholarship of Pedagogy,” the Board of Directors in 2002. features Matthew Balensuela, James Briscoe, 1 Robin Elliott, Jessie Fillerup, and Mary Nat . The Society wishes to recognize the accomplishments of members who have died by vig, and seeks to define the scope and aims printing obituaries in the Newsletter. of research in the field. The PSG business 2. Obituaries will normally not exceed 400 words and will focus on music-related meeting, which is open to all, will follow this activities such as teaching, research, publications, grants, and service to the Society. session. We welcome all who are interested in 3. The Society requests that colleagues, friends, or family of a deceased member who attending these sessions and in participating wish to see him or her recognized by an obituary communicate that desire to the in the PSG. editor of the Newsletter. The editor, in consultation with the advisory committee —Matthew Baumer named below, will select the author of the obituary and edit the text for publica tion. Ongoing Grants and Fellowships 4. A committee has been appointed to oversee and evaluate this policy, to commission Grants and fellowships that recur on an or write additional obituaries as necessary, and to report to the Board of Directors. nual cycles are listed at the AMS web site. The committee comprises the executive director (chair), the secretary of the Coun www.ams-net.org/grants.php cil, and one other member.
August 2010 50 Years Ago: 1960 AMS Legacy Gifts • William Mitchell represented the AMS at a meeting of President Eisenhower’s Otto Kinkeldey (1878–1966) Advisory Committee concerned with the creation of a National Cultural Cen Otto Kinkeldey grew up in New York City ter in Washington, D.C. (a preliminary and attended City College and New York meeting to the formation of the Nation University. In 1902 he went to Berlin, where al Endowment for the Humanities). he completed his Ph.D. on sixteenth-cen • Considerable Society energy was devot tury keyboard music in 1909. Returning to ed to getting caught up with the publi New York in 1914, he became head of the cation of JAMS; the Spring 1959 issue Music Division of the New York Public Li came out in May; the Summer and Fall brary (1915-23, 1927-30). He took the first 1959 issues appeared in October. Vol chair in musicology in the United States 13 ume , a special three-issue volume that at Cornell University, where he also served served as festschrift for Otto Kinkeldey, as University Librarian (1930-46). He also was in page proofs by December. served at the American Council of Learned • Planning for the New York Congress Societies, the Music Teachers’ National As of the International Musicological So sociation, and as first President of the Mu ciety (1961) engaged a large part of the Otto Kinkeldey in 1914 sic Library Association. Society. Kinkeldey was closely involved with Otto Kinkeldey left bequests to the New • Twelve papers were presented at the York Public Library, Cornell University, Annual Meeting in Berkeley and Palo the genesis of the American Musicologi and the AMS. Five percent of his estate Alto. Sixty-five members attended the cal Society, and served as its first President 1935 36 ($30,000) came to the American Musico meeting. ( - ). He was presented with a fest 1968 • Board and Council members held infor schrift from the Society that appeared as logical Society in . Its current value $180 000 mal talks concerning a possible merger volume 13 of JAMS (the only festschrift to is , . The Kinkeldey Endowment with the Society for Ethnomusicology; have appeared in the journal). Shortly after generates about $9,000 annually, used to no action was taken. his death, the Board of Directors institut support fellowships and publications in ed the Kinkeldey Award for distinguished musicology. Some of the books that have 25 Years Ago: 1985 musicological scholarship, first awarded in received Kinkeldey support are listed at 1968 • Cynthia Verba’s essay “The Ph.D. and . www.ams-net.org/pubs/Books.php. Your Career: A Guide for Musicolo gists” was published and distributed to the student membership. • The Board received a petition submit ted by twelve of the fifteen chapters re Best Practices in the Fair Use of Copyrighted questing that chapter dues be collected together with national dues. Materials in Music Scholarship • 632 ballots were received in the AMS election. Membership stood at 3,456 Following extended discussion and preparation, the AMS Council has prepared a (with an additional 1,241 institutional statement on the fair use of copyrighted materials in music scholarship. The Board subscribers). of Directors approved the statement in March 2010, and it may now be found at the • Executive Director Alvin H. Johnson web site and in the AMS Directory. The statement outlines the legal basis for copyright “observed that the AMS typewriter has and fair use, and clarifies certain situations pertaining to printed music, lyrics, music reached the end of its usefulness, and he recordings, transcriptions of recordings or live performances, paintings and photo proposed that it be replaced by a com graphs, film stills and publicity photographs, and video recording. puter system. He will investigate the The right of fair use of copyrighted material for scholarly purposes is important various possibilities and report back to to claim, and the AMS Board and Council hope that members find the new state the Board concerning them.” ment helpful in clarifying their rights in reproducing material still under copyright. • Philip Gossett was appointed chair of Please bear in mind that an initial consideration always should be whether the work the AMS 50 Capital Campaign com is in the public domain and therefore no longer protected under copyright law. As mittee. James Haar was appointed chair of January 2010, any U.S. work published prior to 1923 is in the public domain. of the first AMS 50 Fellowship Award For works published after 1923, several variants affect its copyright status. To learn committee. more, and find guidance for determining whether a work is in the public domain, • The U.S. RILM office at Cornell Uni versity was opened, under the director the “Copyright Term and the Public Domain in the United States” chart at Cornell ship of Lenore Coral. University’s Copyright Information Center should be consulted: www.copyright.cor • Martin Picker retired from the Publica nell.edu/resources/publicdomain.cfm. If you determine that the work you are using tions Committee after ten years of ser is in the public domain, there are no restrictions on how much or for what purpose vice. the work is used.
AMS Newsletter Obituaries nual Meeting of the AMS in 1948. Levarie joined the Society in 1940, serving on the The Society regrets to inform its members of the deaths of the following members: Committee on Education in 1949 and on Janet Knapp, 22 January 2010 Margaret G. Cobb, 24 March 2010 the Council for several terms beginning James Boyce, 21 February 2010 Paul Newton, 1 May 2010 in 1958. Following an assignment as Dean of the Chicago Musical College in 1952, a Toni E. Stanick, 4 March 2010 Siegmund Levarie, 7 May 2010 year in which he was appointed director of the newly established Fromm Music Foun Janet Knapp (1922–2010) of Notre Dame, in particular the genre of dation, Levarie was invited to take on the the conductus. Beginning as the subject of chairmanship of the Department of Music Janet Knapp was born on 1 September her doctoral dissertation, her research on at Brooklyn College, where he taught from 1922 and raised in New York State. She re the conductus extended to numerous pub 1954 until his retirement in 1984. He was ceived both bachelor’s and master’s degrees lications: the performing edition Thirty-five among the founding fathers of the doctoral from Oberlin College and participated in Conductus for Two and Three Voices(Yale, program at the Graduate Center of the City the Oberlin in China program between 1965); articles, translations, and reviews in University of New York. 1946–49, just prior to the Cultural Revo JAMS and in the Journal of Music Theory; Levarie’s published writings embrace lution. She earned the Ph.D. from Yale the article on conductus in The New Grove those timeless themes that were at the root University in 1961, where she was a student Dictionary of Music and Musicians (1980 of his music making. The modestly titled of Leo Schrade. Her teaching career was edition); nine articles on Notre Dame top Guillaume de Machaut (1954; reprint 1969) spent at Oberlin, Yale (1958–1963), Boston ics in The New Harvard Dictionary of Music sets its subject against the violent tapestry of University (1963–66), Brown University (1986 edition); the chapter on the School France during the Hundred Years’ War. At (1967–1971), and Vassar College (as Mellon of Notre Dame in The New Oxford His- the heart of this little book is an apprecia Professor of Music, 1971–86), leaving a trail tory of Music (1990 edition); and a chapter tion of the Mass; the experience of having of dedicated students and colleagues who in Essays in Musicology: A Tribute to Alvin performed it leads to fresh hearings and sage remained lifelong friends. Following her re Johnson (AMS, 1990). Knapp was a fre reflections on the resonance over the centu tirement with emeritus status from Vassar, quent invited participant in international ries of this singular work, and a resistance to she and her husband, G. Huntington Byles, conferences and the recipient of prestigious antiquarian performance that would stress a prominent church musician, moved to fellowships from the Guggenheim Founda only its distance from us. In Mozart’s Le the Raleigh-Durham area in North Caro 1952 tion (1966–67) and the National Humani Nozze di Figaro: A Critical Analysis ( ), lina, where they spent a number of years ties Institute (1987–88). She was elected an the daunting detail of analysis never ob before settling in the Oberlin community. honorary member of the AMS in 2000. scures those splendid insights of a mind Knapp was also a visiting professor at the Her husband preceded her in death, but she saturated in the performance of the work. University of Pittsburgh in 1982–83 and at 1963 1973 continued to enjoy living as a member of Musical Italy Revisited ( ; reprint ) is the University of North Carolina at Chapel the Kendal at Oberlin retirement commu pure Levarie, a warmly engaging companion Hill while a resident in North Carolina. nity until her passing on 22 January 2010, for that obligatory journey. Here, as every Knapp was the first woman to be elected following a brief illness. where in Levarie’s writing, the encyclopedic President of the AMS, serving in that ca —Rebecca A. Baltzer learning is worn with grace and wit. The an pacity in 1975–76. One of her important ecdotes spill freely, always with point, each acts as President was to establish the Com Siegmund Levarie (1914–2010) with its lesson. mittee on the Status of Women, which Of foundational meaning for Levarie was today, as the Committee on Women and With the passing of Siegmund Levarie on the exploration of what might be called the Gender, still plays a significant role in the 7 March 2010, the musicological community Pythagorean tradition, a way of thinking Society. Prior to her election as President, has lost a distinguished colleague whose vast about musical phenomena shared with the Knapp served as Chair of the New Eng learning embraced the entirety of Western composer and pianist Ernst Levy, whose pro land Chapter (1963–65), as a member of music in the richness of its cultural milieu, lific work Levarie celebrated in many ways. the AMS Council (1965), and as a Member- and whose extraordinary mind seemed to About their most significant collaboration, at-Large of the Board (1972–73). She was retain it all, in meticulous detail and un Musical Morphology: A Discourse and a Dic- twice a member of the Nominating Com common depth. For Levarie, the adventure tionary (1983), Joscelyn Godwin wrote: “It is mittee (in 1972 and in 1981, as chair), and in of music meant always a marriage of intel a book for the future, if the future holds any 1983 she served on the Program Committee lectual reflection with the making of music promise of an enlargement of man’s view of for the Annual Meeting in Louisville, KY. as a shared experience, touching mind and himself, his world, and his art.” From 1984 to 1989 she was a member of soul. This invigorated his teaching, first at Levarie was forced to leave his Vienna the AMS 50 Campaign Committee, which the University of Chicago, where he taught in 1938, which by then had ceased to ex worked to raise the initial endowment for from 1938 until 1952, and where his duties in ist. Educated in the midst of its vibrant AMS 50 dissertation fellowships in honor cluded directing the university orchestra and turbulence, this wise and humane man be of the Society’s fiftieth anniversary. a collegium musicum. Among the first of its queathed to us the legacy of a cultural mo Knapp’s scholarly work focused on the kind in American universities, the collegium ment now vanished. music, notation, and theory of the School performed under his direction at the An —Richard Kramer
August 2010 American Musicological Society Bowdoin College Nonprofit org. 6010 College Station U.S. Postage Brunswick ME 04011-8451 PAID Springfield, IL 500 Address service requested Permit No.
Meetings of AMS and AMS Publications Available Society Election Results Electronically Related Societies The results of the 1 election of AMS Electronic versions of AMS publications officers and the Board of Directors: 2010: from 1962 to 1990 are now freely available Vice President: Michael Beckerman CMS: 23–26 Sept., Minneapolis, Minn. at the AMS web site, courtesy of Google AMS/SMT: 4–7 Nov., Indianapolis, In. Books. Treasurer: James Ladewig www.ams-net.org/GoogleBooks.php SEM: 11–14 Nov., Los Angeles, Ca. Directors-at-Large: Bonnie Blackburn 2011: Wendy Heller CMS: 20–23 Oct., Richmond, Va. James Parakilas Moving? SMT: 27-30 Oct., Minneapolis, Minn. AMS: 10–13 Nov., San Francisco, Ca. To send AMS mailings accurately, the AMS must receive notice of changes of address at 17 20 SEM: – Nov., Philadelphia, Pa. least four weeks prior to each mailing. Newsletter Deadline AMS 2012: Items for publication in the next issue of 6010 College Station the AMS Newsletter must be submitted by AMS/SEM/SMT: Brunswick ME 04011-8451 1 December to: 1–4 Nov., New Orleans, La. (207) 798-4243; toll free (877) 679-7648 CMS: 15–18 Nov., San Diego, Ca. [email protected] Marica Tacconi, AMS Newsletter Editor www.ams-net.org Pennsylvania State University 4 Next Board Meetings mst @psu.edu The next meetings of the Board of Direc The AMS Newsletter (ISSN 0402-012X) tors will take place on 3 November 2010 is published twice yearly by the American in Indianapolis, and on 6 March 2011 in Musicological Society, Inc. and mailed to San Francisco. all members and subscribers. Requests for additional copies of current and back is sues of the AMS Newsletter should be di Interested in AMS Committees? rected to the AMS office. The president would be pleased to hear All back issues of the AMS Newsletter from members who wish to volunteer are available at the AMS web site: for assignments to committees. Send www.ams-net.org your assignment request and CV to Jane Claims for missing issues must be made Bernstein, Tufts University: within 90 days of publication (overseas: The interior of Christ Church Cathedral, 180 days). [email protected]. site of AMS Indianapolis 2010 concerts