AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLI, NUMBER 1 February 2011 ISSN 0402-012X AMS San Francisco 2011: 2010 Annual Meeting: Just Don’t Call it Frisco… Indianapolis AMS San Francisco 2011 one of the city’s countless cafes, admire its The attendance figure for the joint meeting 10–13 November famous “painted ladies” (Victorian houses), of AMS and the Society for Music Theory in take a stroll in the famously diverse Golden Indianapolis was 2,246, smashing the previ- www.ams-net.org/sanfrancisco Gate Park, the Presidio, Crissy Field, the Ma- ous record by a full ten percent. The program Though it may seem hard to believe, this will rina, or Lands End, visit the Castro neighbor- was the largest ever, with nine (rather than be the first time our Society meets in “the hood, walk down the most crooked block in six) simultaneous sessions offered in each of city,” arguably the best culinary center of the the country (Lombard Street), or one of hun- the daytime program slots. Accordingly, the country, home to one of the best opera com- dreds of other possibilities. And that’s with- acceptance rate for proposals was up to a bit panies and symphonies, in one of the most out even mentioning the many museums, over thirty percent (199 out of 609) this year. flourishing early music communities, and of- home to unexpected treasures. Not to miss The Program Committee met in April (we fering stunning sights and walks. There aren’t are the San Francisco Museum of Modern met in Pittsburgh for mutual convenience), many other cities that boast enough scenic Art (www.sfmoma.org), the De Young Mu- about a month after the AMS Board meeting stairs to warrant the publishing of multiple seum in Golden Gate Park (deyoung.famsf. in the host city. This marks a significant and maps and books on the subject. A city with org), the stunningly renovated Academy of useful change in the Society’s annual calen- astonishing landscapes, close to national Science, with its live roof, amazing planetari- dar. The extra month gives committee mem- parks, and boasting some picturesque neigh- um, and wonderful rainforest (www.calacad- bers additional time to read and comment in borhoods, San Francisco will amply reward emy.org), the Asian Art Museum across from writing on the large number of proposals we anyone willing to go out of the hotel and the Public Library in Civic Center (www. now regularly receive. I am extremely grateful stroll around, hop on a cable car, take a ride asianart.org), and the Museum of the Legion to all the committee members (Caryl Clark, north to the unique secular giant redwoods of Honor (legionofhonor.famsf.org). Beth Glixon, Roger Parker, Peter Schmelz, of Muir Woods (see the Ecocriticism Study The meeting takes place in the Hyatt Re- and Larry Starr) for their diligence and great Group news, p. 17), walk across the Golden gency Hotel (www.sanfranciscoregency.hyatt. humor throughout the daunting process Gate Bridge, take a ferry to Alcatraz, sit in com/hyatt/hotels), on the Embarcadero op- of selecting papers and organizing sessions. posite the piers, and right across from the Special thanks to AMS’s new Correspond- historic Ferry Building. Don’t let the name of ing Member, Roger Parker, for his generous the place trick you: the Ferry Building does provision of wry one-liners throughout our In This Issue… serve its primary purpose (that of selling tick- deliberations. President’s Message ...... 2 ets for the Ferry that goes up and down the At the Indianapolis meeting and in the AMS Pre-Conferences ...... 3 Bay and seeing its passengers off), but it is months following, the word I heard most of- Treasurer’s Message ...... 4 also one of the most beautiful conglomera- ten invoked by those in attendance was “di- Executive Director’s Message . . . .4 tions of shops, restaurants, and markets. In versity.” It was manifested across the whole of News from the AMS Board . . . . 4 the Ferry Building (www.ferrybuildingmar- the program (with papers taking us to ancient JAMS Editor’s Message ...... 5 ketplace.com) you can buy the best sour- Mesopotamia, modern Palestine, pre-modern Awards, Prizes, Honors ...... 6 dough bread at Acme, then walk five steps Iceland, 1940s Hollywood, and into the AMS Elections 2011 ...... 12 to one of the greatest cheese shops in the imaginative spaces of composers, perform- RILM News ...... 14 city, Cowgirl Creamery, turn on your heel ers and improvisers ranging from Haydn to Committee & Study Group News . 15 for about twelve steps and buy some exotic Anthony Braxton), as well as in individual News Briefs ...... 18 fruit and vegetables at the market, then put sessions. Topics included on the “Musicolo- Post-Conference Survey Report . . 19 all that in your AMS bag and proceed to eat gies” session, for example, ranged from aca- Conferences, CFPs ...... 19 on the waterfront in one of the dozen eater- demic historiography (beginning with Guido Papers Read at Chapter Meetings . .22 ies, from five-star fancy seafood restaurants Adler’s evolutionary model) to Beethoven’s Financial Summary 2010 . . . . .28 to cheap Italian sandwiches, and everything place in American race relations. “Special Obituaries ...... 29 in between. If you like seafood make sure Voices” embraced both the Ziegfeld Follies and Legacy Gifts ...... 31 continued on page  continued on page  President’s Message: After the Campaign

Our OPUS Campaign has ended on a high and involve as many of our members as teaching, and by numerous papers spon- note. We have all experienced the positive possible. An enhanced online AMS Direc- sored by the Pedagogy Interest Group of effects of so many new and enhanced op- tory, for instance, could assist us by emu- the SMT. Several AMS presentations in portunities for fellowships, awards, travel, lating the sense of connectedness that we historical musicology likewise examined research, publication, and teaching. But share with our colleagues as we prepare, aspects of music teaching from differ- beyond simply enumerating the benefits present, and disseminate our research. It ent viewpoints, including Katherine Kai- of the Campaign, what challenges does could record the relatively rapid transi- ser’s paper on Stockhausen’s use of vocal this achievement present to our Society? tions in the careers of our younger mem- pedagogical techniques in his Gesang der In short, in the wake of OPUS, what’s next bers – passage from graduate student to Jünglinge, Rebecca Bennett’s discussion of for the AMS? faculty member, from assistant to associate Sigmund Spaeth and the music-appreci- In this and future columns, I will re- professor, for instance – and it would per- ation industry in early twentieth-century flect on what the Society might do in mit members at any stage of career to add America, Jessica Payette’s presentation on the coming years in order to continue to areas of expertise to their profiles as new pianist Louis Horst’s courses on dance “advance research in the various fields of interests emerge and develop. It could even composition in New York beginning in music as a branch of learning and scholar- highlight the important extra-musical pro- the 1920s, and Stephanie Frakes’s paper on ship,” as our object statement states. Here Chopin’s cantabile and ninteenth-century I would like to focus on how one of our greatest strengths as a learned society, our In the wake of OPUS, piano pedagogy in Paris. Olivier Mes- scholarly interconnectedness, can help what’s next for the AMS? siaen’s work as composer and teacher at the AMS function more smoothly in its the Conservatoire was the focus of Mat- thew Odell’s noontime recital, “The Music administration. ficiencies of our colleagues. (The remark- of Messiaen and his Students.” Comple- An interesting way to look at this issue able skill of our esteemed Treasurer, James menting these teaching-related events, and is to consider how the AMS deploys and Ladewig, as manager of the investment reaching across the decades to Bennett’s maintains its endowment. The endow- portfolio of the AMS is but one example paper, was, of course, the array of the lat- ment provides funding that is crucial to of an ability that might be uncovered.) est textbooks, anthologies, histories, and “advancing” on many fronts, of course. With very little effort from each of us, the It takes dollars not only to pay for fellow- guides on music authored by AMS mem- universe of talent that exists in the AMS ships, awards, travel, research, publication, bers, which filled the tables of the Exhibit could be readily accessible to those who and teaching. In some respects, we behave Hall. And dovetailing all of these activi- work to fill our committees, as it would be like a foundation, giving away about 5% ties is the upcoming inaugural meeting of to those who seek like-minded colleagues of the value of our endowment annually: for purposes of planning conferences, per- the new committee for the AMS Teaching 37% for publications, 43% for fellowships, formances, and other events. Our inter- Fund, which will make its first award for and 20% for travel grants and awards. Last relatedness as a Society of individuals with innovative teaching in the Spring. year we handed out over $157,000 for these multiple talents could mirror the highly I’m confident that such happy intersec- endeavors. beneficial interaction that our members tions, both purposeful and accidental, But having a solid, multipurpose endow- constantly display in their work. will only increase, not least because of the ment also implies the obligation to carry steady growth in numbers of the AMS out the most thoughtful and creative stew- This scholarly interconnectedness was on show everywhere at our Annual Meet- Study Groups, the newest of which, the ardship of our resources. The Society dis- Popular Music Study Group, has just come tributes the majority of this work among ing in Indianapolis, and it struck me re- into being. I look forward to working with its Board and some forty committees, peatedly as an incoming President trying you on all the vital functions of the Soci- involving, at any given moment, around to take in as much as I could. The theme ety, and particularly on our scholarly and 350 members (including the Council and of “teaching music” is but one example: administrative interconnectedness. the fifteen regional chapters), or about one here, it was the seemingly serendipitous tenth of the membership. Each commit- offerings on practical, theoretical, and For providing us with such a stimulating tee has a specific charge, and most com- historical aspects of music pedagogy that gathering in Indianapolis, I want to thank mittees consist of representatives from the captured my attention. To begin with, the paper presenters, along with those who various categories of our members: music the AMS Pedagogy Study Group spon- masterminded the meeting, especially Mi- faculty, independent scholars, emeriti/ae, sored forward-looking sessions on “The chael Long, Program Chair; Jim Briscoe, and graduate students. How can we best Emerging Scholarship of Pedagogy” and Local Arrangements Chair; and David identify colleagues for the important work on “Rethinking Classrooms, Homework, Schulenberg, Performance Committee of serving the Society? and Learning.” These were matched by the Chair. We are truly grateful for your hard I believe we can harness technology to panel on “Musicology and the Documen- work and dedication. help us find the best prospects for service tary Film” as a medium for research and —Anne Walters Robertson  AMS Newsletter AMS/SMT Indianapolis 2010 AMS Pre-Conferences continued from page 

Last Fall the “Francophone Music Criticism, 1789–1914” network met at the AMS in In- Stockhausen’s recording studio. Cognition, dianapolis for a pre-conference symposium. Mark Everist submitted the following report: dance, philosophy, pedagogy, film produc- “Francophone Music Criticism, 1789–1914” is a network of around a hundred tion and sound studies were all represented scholars worldwide involved in the study or use of the French nineteenth-century in daytime and evening sessions. Outside the press for broadly musicological purposes. It was established in 2006 with a grant paper and panel venues, the meeting hosted from the UK’s Arts and Humanities Research Council and is directed by Katharine the first gatherings of several new study or Ellis (Royal Holloway) and Mark Everist (University of Southampton). Its princi- interest groups devoted to Philosophy, Jew- pal aims are to share expertise among and beyond its membership and to oversee ish Studies, and Popular Music. In short, the an expanding web resource preserving digital editions of significant parts of the vitality and intellectual range of our disciplin- nineteenth-century press as it relates to music. Its website is music.sas.ac.uk/fmc. ary practices were abundantly and encourag- The Indianapolis symposium took place on the Wednesday afternoon and Thurs- ingly evident throughout the weekend. The day morning preceding the AMS Annual Meeting, and was occupied with the Performance Committee, chaired by David presentation of scholarly papers and the development of ideas for future fund- Schulenberg, also worked hard to encour- ing bids to ensure the sustainability and impact of the network. The group heard age the spirit of musical diversity at “the papers from Diana Hallman, Katherine Kolb and Samuel Rosenberg, Kimberly crossroads of America,” sponsoring events White, Will Gibbons, Davinia Caddy, Annegret Fauser, Catherine Hughes and including a lecture-presentation on twenti- Megan Eagan, Benjamin Walton, Francesca Brittan, and Barbara Kelly. Subjects eth-century African-American art songs and ranged widely from Francophone criticism in Rio de Janeiro, to singers and the a multimedia performance combining recent press, to a project to document foreign musicians in nineteenth-century Paris. compositions with images and film. David The meeting was a success, and we were pleased to be able to arrange this conve- reports that recitals of Messiaen’s piano music niently in close proximity to the AMS gathering. and of Elizabethan lute songs were especially well attended. The AMS warmly encourages such pre-conferences or smaller events in conjunction There were, of course, the typical inconve- with upcoming AMS annual meetings; indeed, two organizations have already made con- niences involving the hotel venue(s): the long tact regarding potential pre-conferences in San Francisco next November. For more in- trek by indoor “skyway” from the Marriott to formation about setting up an event, either in a sub-discipline or across disciplines, please the Westin, the inevitable issues of acousti- contact Robert Judd, the AMS Executive Director. cal separation between session rooms, the less —Michael Beckerman than ideal quality of some of the sound sys- Chair, Committee on the Annual Meeting tems, and a few overcrowded meeting spaces. I concur with past committee chairs who have suggested that this last (usually unavoid- AMS San Francisco 2011 performance at the San Francisco Opera, fea- able) challenge often works to our advantage, continued from page  turing Handel’s Serse one evening and Bizet’s lending a sense of intimacy and community Carmen on the other. Also of interest will to a session. This was especially apparent in not to miss the typical Dungeness crab (sold be a special AMS-sponsored performance of Saturday afternoon’s panel on “Music and cooked on the street in the higher-numbered known as well as rarely heard Baroque works Biography: The Case of H. H. Eggebrecht.” piers from dozens of rickety stands or served by the American Bach Soloists, conducted by We are indeed fortunate that this unusual in most restaurants) and the sushi, a local Jeffrey Thomas. Of course you can also visit alternative format session was recorded and obsession, which from what I hear is one some of the famous jazz bars or other music that the audio is freely available on the AMS of the things San Franciscans in exile miss venues. web site. The recording preserves a significant the most, together with sourdough bread. If The AMS Performance Committee (Jeffery moment in the history of the annual meet- you like Chinese food you are in luck—San Kite-Powell, chair) will put together a slate of ing, our never-ending “work in progress.” The Francisco’s Chinatown is the largest in North daytime and evening concerts, and the AMS Eggebrecht session provides a template for America and you can find food from different Program Committee (Caryl Clark, chair) will the alternative format option, which could traditions and for all palates and wallets. assemble all paper and poster sessions. As in- serve others who might be planning propos- Make sure to eat dinner early because formation becomes available it will be posted als on different important and timely subjects you will not want to miss any of the excep- on the AMS web site (www.ams-net.org/san- for future meetings. Time was too short to al- tional performances in the evening. The year francisco). That will include a list of local res- low for a full consideration of every historical, 2011–12 marks the hundredth anniversary of taurants. However, making one that will fit in philosophical or disciplinary issue raised by the San Francisco Symphony and they are fewer than twenty single-spaced, eight-point all the speakers on the panel and in the audi- thrilled to have us in town. Not only will font pages will be tricky, so if you really want ence—the session was invitingly open-ended. we have the pleasure of attending their con- to know… buy a Zagat or some such. Take I think most who were in attendance would cert, conducted by Michael Tilson Thomas, it all in, perhaps diet for a few days prior to agree that the afternoon launched an impor- but they will also give us a presentation or the meeting, do your homework, then let the tant conversation in the AMS concerning two on the history of the organization, in city enchant you—we can’t wait to welcome matters of music, social ethics, and the acad- conjunction with an exhibit at the Public Li- you. Just don’t call it Frisco; nobody does, emy, one that will continue to inform our brary. On the night when you are not at the really. dialogues in the months and years to come. Symphony, you might be tempted to attend a —Alexandra Amati-Camperi —Michael Long February 2011  Treasurer’s Message As I complete my tenth year serving you now stand $384,000 or 11.4% above our late- Columbia’s gain of 17% easily surpassed all, and our Society as Treasurer, I am pleased to 2007 peak, which is a level far better than with the other six schools finishing the year report that our endowment has had a very achieved by a great number of endowments, between 9% and 13%. good year. When I assumed this position in many of which are still underwater. When There is an important reason why our 2000, I could never have imagined the gyra- we add to this the $967,000 received during endowment has done so well. We keep tions that lay ahead: two devastating market these last three years in your OPUS Cam- it simple, while other endowments have crashes with a spectacular five-year bull mar- paign contributions and from the National turned more and more to esoteric and il- ket in between and now the beginnings of a Endowment for the Humanities and Mellon liquid alternative investments. Our present second recovery. Foundation grants, our AMS Endowment approach is to aim for an approximate 50-50 It is, therefore, extremely gratifying to in- stands, as of 31 December 2010, at a new high split between stocks and bonds, and within form you that for the fiscal year ending 30 point of $4,451,000. stocks a 25-25 split between domestic and June 2010, our investments gained 13.1%. As noted, our endowment has recently international. We own no individual stocks The good news, however, does not stop been doing better than many others. You or bonds, so we avoid company-specific there. As I write this on 31 December, we might remember from my report in the Feb- meltdowns like an Enron. Rather, we do it have made a stunning additional 13.9% dur- ruary 2010 Newsletter that, last fiscal year, the all with low-cost, broadly diversified mutual ing the last six months of 2010. AMS outperformed every single Ivy League funds. The advantage of the simple approach Furthermore, with these and earlier gains, endowment by anywhere from 2% to 13%. is that it ensures that our money is invested our AMS endowment has now made back all This year the competition was much tighter. at relatively low risk, compared to that of the money it lost in the recent crash and then But with our 13% we still came in third place. many other endowments. some. Our investment gains in the market Prince­ton squeaked by us at 14%, while —James Ladewig

Executive Director’s Message

I’m looking forward to our San Francisco An- quantity of work. The Annual Meeting plan- generous and enjoyable breakfast and lunch nual Meeting in November, having just com- ning is fully a third of AMS income and ex- options throughout the meeting. Evening pleted the online proposal submission period pense (roughly $200,000), and we have a ded- is typically the time to explore the excellent a few days ago. (We received more proposals icated committee (the Board Committee on local restaurant options, and we have not 706 than ever: a total of .) Annual meeting the Annual Meeting (CAM)) and outsourced planned to order them from the hotel; but I’m preparation occupies the AMS office for a sig- professional meeting planners working year- open to suggestions on this, and if a number nificant portion of its annual cycle of work; round, in addition to my office staff and me, of members would like to see different hotel this year we have some changes in the routine. to ensure a satisfactory meeting. The few min- The Program Committee will not meet in a utes that the Board of Directors would be able options for the evening, I’m willing to work conference hotel this year, but at a small com- to contribute to the myriad planning details on it. Please let me know. fortable hotel central to attendees (in Phila- are no longer as important as in the past. Having just completed the précis of the delphia, 7–10 April). There are many exciting facets to meeting in post-conference survey for our 2010 India- For the past forty years or so, the Board San Francisco, as Alexandra Amati-Camperi napolis Annual Meeting (see p. 19), I feel of Directors has held its semiannual March points out so well in her introduction to the especially sensitive to the variety of feeling meeting in the city of the Fall Annual Meet- meeting (see p. 1). A difference that attend- about this important aspect of the Society. ing. This year, we are instead meeting in New ees will notice this year has to do with con- The survey responses are illuminating and York. There are several reasons for this. First tractual commitments for spending on food helpful; together with CAM, I hope to work and foremost, the San Francisco venue did and beverage for the meeting: we agreed to effectively to make our Annual Meetings the not give us a price break on a March meeting spend $100,000 on food and beverage in ex- (unlike usual). But it also indicates a change change for a better attendee room rate ($199 best possible experience for attendees. Have in the Society’s approach to the Annual Meet- per night). This means that the registration a look at the summary and the details at the ing venue, one that I think is healthy. The An- fee this year will be higher, but the increase web site. If you have additional thoughts, nual Meeting is just too important to be left will be devoted to supplying lots of food and please let me know. to the Board as a small element in their large drink! You may expect to reap the bounty in —Robert Judd

News from the AMS Board The AMS Board met in Indianapolis in November 2010. In addition amounts needed to fund the fellowship, subvention, and award. to reviewing reports from the officers and committees of the Society • Approved a new lecture series to be held in Cleveland in conjunc- and reviewing nominations and appointments to committees and tion with the Rock and Roll Hall of Fame. Society positions, the Board: • Approved the establishment of the Popular Music Study Group. • Reallocated funds from Current Operations to the Howard May- er Brown Endowment, the John Daverio Endowment, and the • Agreed to permit Study Groups and Chapters to establish sub- Ruth A. Solie Endowment to raise their respective values to the accounts with the AMS office to facilitate banking needs.

 AMS Newsletter Message from the Editor-in-Chief of JAMS

As I write these words, the first issue of JAMS is in production and And yet, the Journal is already accepting a higher percentage of the second one almost complete. Editing the journal has been a submitted articles than many of its peers in the humanities. I can fascinating experience thus far. I have discovered that—besides the only publish more articles if there are more submissions—the math fabulous editorial team (with Daniel Goldmark as review editor, is simple. Therefore, I would like to encourage especially these crit- Louise Goldberg as assistant editor, the distinguished members of ics: why not just send the essay that you are currently writing to the editorial board, and our wonderful research assistants)—my JAMS and see what happens? new collaborators in this venture are the members of the Society Second, I am worried about the representation of several demo- at large. You contribute as authors, referees, book reviewers, cor- graphics in the Journal. Our statistics along gender lines offer a respondents, and readers of the Journal. Each of those roles is in- good example. Although women make up almost fifty percent of dispensable. Yet I would like to highlight in particular the crucial the Society’s membership, over the last four years only one third but often unsung service that peer reviewers offer so unstintingly of submissions—and therefore a similar proportion of published to the journal, and present my heartfelt thanks to them. I have articles—were by women. I am concerned about this lower visibil- been humbled by the unassuming generosity of colleagues from ity for female scholars in our Society’s official Journal, but unless all fields and ranks who give their valuable time to, and share their more of you submit articles, nothing will change. Similarly, minor- expertise with, the Journal’s aspiring authors. As someone who sees ity scholars may well be underrepresented in the Journal. In our all the reports, I can only marvel at their detail and thoughtful- current anonymous review process, these aspects remain hidden, ness. Whether they lead to acceptance or rejection, they offer pre- and statistics win. cious advice, as more than one author—even when rejected—has If members of the society have any thoughts on these or any acknowledged. other issues concerning the Journal, the editorial team and I would Just as the Journal flourishes thanks to the selfless service of our be very glad to hear them. JAMS is a rich expression of our activi- readers, it reflects the interests and scholarly approaches of our ties as scholars and readers, and it is up to all of us to make and writers, presenting a microcosm of musicology that evolves with keep it a dynamic resource. My colleagues and I look forward to the field(s). There are at least two areas, however, where I would reading your submissions over the coming months, and to the ex- like to see some change over the next two or three years. Recently, citing issues to come. JAMS has been criticized for the low number of articles per issue. —Annegret Fauser

AMS Fellowships, Awards, and Prizes

Descriptions and detailed guidelines for all Eugene K. Wolf Travel Fund H. Colin Slim Award for an outstanding ar- AMS awards appear in the AMS Directory for European research ticle by a scholar beyond the early stages of and on the AMS web site. Deadline: 1 March her or his career 2 Publication subventions are drawn from AMS Publication Subventions Deadline: May the AMS 75 PAYS, Anthony, Brook, Bu- Deadlines: 15 February, 15 August Ruth A. Solie Award for an outstanding col- kofzer, Daverio, Hanson, Hibberd, Jackson, lection of essays Alfred Einstein Award for an outstanding Kerman, Picker, Plamenac, and Reese Funds. Deadline: 2 May Application deadlines are mid-February and article by a scholar in the early stages of her mid-August each year. or his career Robert M. Stevenson Award for outstanding Deadline: 1 May scholarship in Iberian music Janet Levy Travel and Research Fund Deadline: 2 May for independent scholars Otto Kinkeldey Award for an outstanding Deadlines: 25 January, 25 July book by a scholar beyond the early stages of Philip Brett Award of the LGBTQ her or his career Study Group for outstanding work in gay, M. Elizabeth C. Bartlet Fund Deadline: 2 May lesbian, bisexual, and transsexual/transgender for research in France studies Lewis Lockwood Award for an outstanding Deadline: 1 March Deadline: 1 July book by a scholar in the early stages of her or Jan LaRue Travel Fund his career MPD Travel Fund for European research Deadline: 2 May to attend the Annual Meeting Deadline: 1 March Deadline: 25 July Music in American Culture Award for out- Harold Powers World Travel Fund standing scholarship in music of the United Thomas Hampson Fund for research and for research anywhere States publication in classic song Deadline: 1 March Deadline: 2 May Deadline: 15 August Teaching Fund Claude V. Palisca Award for an outstanding Noah Greenberg Award for innovative teaching projects edition or translation for outstanding performance projects Deadline: 1 March Deadline: 2 May Deadline: 15 August

continued on page  February 2011  Awards, Prizes, and Honors

Honorary Members Music, Notes, College Music Symposium, and New Grove, and have been translated into Ital- J. Peter Burkholder is Distinguished Profes- ian, Spanish, Portuguese, Japanese, Chinese, sor of Musicology at Indiana University. He and Korean. joined the faculty there in 1988 after teaching Burkholder’s article “Johannes Martini at the University of Wisconsin-Madison. At and the Imitation Mass of the Late Fifteenth Indiana, he served for five years as Associate Century,” (JAMS 37, 1985) won the Society’s Dean of the Faculties and is currently chair Alfred Einstein Award. He has received two of the Musicology Department. He received Irving Lowens Awards from the Society for his M.A. (1980) and Ph.D. (1983) from the American Music for his book Charles Ives: The University of Chicago, where he studied Ideas Behind the Music (1985) and his article composition with Ralph Shapey, music the- “The Organist in Ives” (JAMS, 2002), and two D. Kern Holoman ory with Robert P. Morgan, and musicology ASCAP Deems Taylor Awards, most recently Honorary Member with Howard Mayer Brown, Edward Lowin- for “Music of the Americas and Historical sky, Robert L. Marshall, and Rose Rosengard Holoman served on the international com- Narratives” (American Music 27, 2009). Subotnik. His graduate studies were support- mission Berlioz 2003, co-authoring several of Burkholder is the current author of the ed by a Danforth Foundation Fellowship and its publications. In 1989, the French govern- widely used textbooks A History of Western Martha Baird Rockefeller Dissertation Grant. ment decorated him a chevalier of the Ordre Music Norton Burkholder has published extensively on (with Grout and Palisca) and des Arts et des Lettres; in 1999, he became an Anthology of Western Music (with Palisca). the music of Charles Ives. His book All Made officier. of Tunes: Charles Ives and the Uses of Musical Burkholder has served the Society in many Borrowing demonstrated the variety of Ives’s capacities, most notably as a member of the Richard Taruskin is the Class of 1955 Pro- borrowing techniques, their roots in prior Board of Directors (1992–94), Vice President fessor of Music at the University of Califor- traditions, and their development over Ives’s (2002–3), and President (2003–4). nia, Berkeley. He received his B.A. in music 1965 1968 1975 career. He has delineated the field of musical D. Kern Holoman is professor of music at ( ), M.A. ( ), and Ph.D. ( ) in his- torical musicology from Columbia Universi- borrowing studies in several articles and an the University of California, Davis, where ty, where he taught from 1976 to 1987. While online bibliography. Other articles have ad- he has taught music history and orchestral at Columbia, he served as director of the dressed modernist composers from Brahms to performance since 1973. He has served as Collegium Musicum and the Cappella Nova, Berg and their relationship to past music; mu- founding Dean of Humanities, Arts and Cul- and performed as viol soloist with the Aulos sical meaning; and music history pedagogy. tural Studies at UC Davis; the first Barbara K. Ensemble. He recorded over fifteen discs with His writings have appeared in JAMS, Journal Jackson Professor of Orchestral Conducting; these groups, and from 1978 to 1983 he edited of Musicology, Musical Quarterly, 19th-Centu- and fourth conductor of the UC Davis Sym- ry Music, Music Theory Spectrum, American phony Orchestra, 1977–2009. Holoman received his B.A. in music from Duke University and his Ph.D. from Prince­ ton University with a dissertation on the au- tograph musical documents of Hector Berlioz (ca. 1818–40). He has written extensively on French nineteenth-century music. Among his scholarly publications are the Catalogue of the Works of Hector Berlioz (1987), Berlioz (1989; 1990), the Société des Concerts du Conserva- toire, 1828–1967 (2007), and the forthcoming Charles Munch (2011). His books for students and the general public include Evenings with the Orchestra: A Norton Guide for Concert-Go- ers (1992), Masterworks, (1998; e-book, 2010), Writing about Music (1988; rev. 2nd ed. 2008), and The Orchestra: A Very Short Introduction, forthcoming (2011). He attended his first national AMS meeting in Toronto in 1970, and has since served the Society in various capacities, including na- tional Program Chair (1982), member of the Council, and member of the Board of Direc- tors. He was chair of the AMS 50 Campaign J. Peter Burkholder and co-chair with Anne Walters Robertson of Richard Taruskin Honorary Member the OPUS Campaign. Honorary Member  AMS Newsletter Fellow of the American Academy of Arts and Sciences. He has served as a member of the AMS 50 Fellowship Committee, Program Committee, and Board of Directors.

Judith Tick is a Matthews Distinguished University Professor in the Department of Music at Northeastern University, having joined the faculty in 1985 after teaching at Brooklyn College. She received her B.A. from Smith College (1964), M.A. from the Univer- sity of California, Berkeley (1967), and Ph.D. from the Graduate Center, CUNY (1979). Tick describes herself as a “second-wave” aca- demic feminist, her career trajectory shaped by both the women’s civil-rights movement and women’s history. Her dissertation was Judith Tick Honorary Member published as American Women Composers Be- fore 1870 (1983, repr. 1995, 2010). Her second eight volumes of Renaissance music for Ogni book, Women Making Music: The Western Art Sorte editions. Tradition, 1150–1950 (1986), co-edited with José López-Calo Taruskin’s scholarly work spans from the Jane Bowers, is today considered a classic in Corresponding Member fifteenth to the twenty-first centuries. He has the field. written extensively on Renaissance music, is- Simultaneously, Tick pursued her scholar- Corresponding Members sues of authenticity, music historiography, ship in American music studies, supported José López Calo and the relationship of music and politics. by her association with H. Wiley Hitchcock’s is professor emeritus at the University of Santiago de Compostela, hav- He is considered one of the foremost experts Institute for the Study of American Music. ing joined the faculty in 1973. Before his ar- on Russian music from the eighteenth cen- Publications in this area include her first ar- rival at Santiago de Compostela, he worked tury to the present. His major publications ticle, “Ragtime and the Music of Charles from 1965 to 1970 at the Pontifical Institute on this subject include: Opera and Drama in Ives” (Current Musicology 18, 1974), and her in Rome as professor of musicology and then Russia as Preached and Practiced in the 1860s biography, Ruth Crawford Seeger, A Composer’s vice-rector. A Jesuit, he served as general sec- (1981), Musorgsky: Eight Essays and an Epilogue Search for American Music (1997). Tick served (1993), Stravinsky and the Russian Traditions: A retary of the International Society of Sacred as an Associate Editor for “American Musics” Music (1963–1968) and musical advisor of the Biography of the Works through Mavra (1996), 1992 2009 at The Musical Quarterly ( – ) under Vatican Radio (1963–1970). Defining Russia Musically: Historical and Her- the leadership of Leon Botstein, with whom 1997 He received a master’s degree in philosophy meneutical Essays ( ), and On Russian Mu- she collaborated on a Bard Summer Festival sic (2008). from the Pontifical University of Comillas on Aaron Copland. This resulted in the book Taruskin is also well known to the general (1949), a master’s degree in theology and let- Aaron Copland and His World (2005), which public for his writings in the New York Times, ters from University of Granada (1956), and she co-edited with Carol Oja. Other impor- the New Republic, Opus, Atlantic Monthly, a doctorate in history from the University of tant publications include the article “Women Opera News, and other publications. Two col- Santiago de Compostela. He then studied at and Music” for the New Grove Dictionary of lections, Text and Act: Essays on Music and Per- the Pontifical Institute of Sacred Music in American Music (1986) and the New Grove formance (1995) and The Danger of Music and Rome where, under the supervision of his Dictionary of Music and Musicians (2001). In Other Anti-Utopian Essays (2008), chronicle mentor, Mons. Higinio Anglés, he earned 2007 his long career as a critic. He edited, together she served as the first scholar-in-resi- his doctorate (1962), with a dissertation on with Piero Weiss, Music in the Western World: dence for the Tanglewood Music Center’s Fes- music at Granada Cathedral in the sixteenth A History in Documents (1984; 2nd ed. 2007). tival of Contemporary Music. She is currently century. The breadth and depth of his engagement working on a biography of Ella Fitzgerald. López Calo has published more than eighty with music history are on full display in his Tick has twice won the ASCAP Deems Tay- books, catalogues, and music editions on six-volume Oxford History of Western Music lor Award and Irving Lowens Award from the topics ranging over four centuries of mu- (2005). Society for American Music for best article sic history in Spain and Western Europe. In His honors from the Society include the (“Charles Ives and Gender Ideology,” in Musi- particular, his publications have meticulously Noah Greenberg Award (1978), the Alfred cology and Difference, 1993) and for best book documented the musical tradition and prac- Einstein Award (1980) for his “Opera and (Ruth Crawford Seeger, 1998). She has received tice of cathedrals throughout Spain. He has Drama in Russia: The Case of Serov’s Judith ” fellowships and grants from the Rockefeller contributed numerous articles to several in- (JAMS 32, 1979), and the Otto Kinkeldey Foundation, the ACLS, and the NEH. In ternational encyclopedias including Dizion- Award, which he received twice, in 1997 for 2004, she was elected Fellow of the American ario enciclopedico della musica, Encyclopédie his Stravinsky biography, and in 2006 for the Academy of Arts and Sciences. She served as des musiques sacrées, Musik in Geschichte und Oxford History of Western Music. In 1987, he chair of the AMS Committee on the Status Gegenwart, and the New Grove. He has also won the Dent Medal from the Royal Musi- of Women, the Solie Award Committee, and cal Association, and in 2007 was elected a twice on the AMS Board of Directors. continued on page 

February 2011  Awards, Honors, Prizes Parker’s musicological work may be divided d’Amerval, Guyot de Châtelet, Pontus de into two distinct, sometimes even warring, Tyard, and René Ouvrard. Vendrix has conti- continued from page  fields of activity. One is edition making. He nued to pursue his interest in music historio- has completed or is working on editions of graphy and writings on music as seen in his twelve operas—by Donizetti, Bellini, Verdi, book La Renaissance et sa musique au XIXe and Puccini—and serves along with Gabri- siècle and his articles on Fétis, Combarieu, ele Dotto as General Editor of the Donizetti and Stendhal and Rossini. At the CESR, he critical edition. The other field is criticism in has served as Director of Ricercar, an ambi- its broadest sense. Most important here are tious program encompassing a number of two books: Leonora’s Last Act: Essays in Verd- musicological activities, including a series of ian Discourse (1997) and Remaking the Song: critical editions, databases, and study groups. Operatic Visions and Revisions from Handel Vendrix has been editor-in-chief of Acta to Berio (2006). He has also authored twelve Musicologica for the past ten years. He has also further books and many articles and reviews served on the editorial boards of several jour- (19th-Century Music, JAMS, Opera Quarterly, nals. Elected president of the Commission Cambridge Opera Journal, London Review of Internationale Mixte of RILM, he has partici- Books, Opera, etc.). He was founding editor pated on numerous national and European (with Arthur Groos) of the Cambridge Opera committees for the humanities. In 2000, Ven- Journal (1989–98). drix received the Dent Medal from the Royal He writes regular reviews for Opera maga- Musical Association. He was elected a mem- ber of the Academia Europaea (2008) and the Roger Parker zine, has produced close to a hundred pro- Corresponding Member gram-book essays for opera companies around College of Alumni of the Royal Academy of the world, and from 2006 to 2010 gave pub- Belgium (2010). served as co-editor, together with Emilio lic lectures as professor of music at Gresham Casares and Ismael Fernández de la Cuesta, College, London. Awards include the Premio AMS Awards and Prizes of the Diccionario de la música española e “Giuseppe Verdi” (1983), a Guggenheim Fel- hispanoamericana. lowship (1989), the Dent Medal (1993), and TheOtto Kinkeldey Award for a book of ex- In 1989, King Juan Carlos I of Spain be- election as a Fellow of the British Academy ceptional merit by a scholar beyond the early stowed upon him the National Gold Medal (2008). His latest book, due to be published stages of her or his career was presented to of the Arts, and in 1999 a Festschrift was pub- in 2011, is Opera’s Last Four Hundred Years, a Charles M. Atkinson (Ohio State Universi- lished in his honor. He has been a member of history of opera written with Carolyn Abbate. ty) for The Critical Nexus: Tone-System, Mode, the AMS for nearly fifty years. He is now working on a book about music in and Notation in Early Medieval Music (Oxford Roger Parker is professor of music at King’s London in the 1830s. University Press). College, London, where he received his Ph.D. Philippe Vendrix is senior researcher at The Lewis Lockwood Award for an out- (under the supervision of Pierluigi Petrobelli) the National Center for Scientific Research standing book by a scholar in the early stages in 1981. He has also taught at Cornell (1982– (CNRS) in France and a Fellow of the Cen- of her or his career was presented to Giu­ 93 1994 9 1999 ), Oxford ( – ) and Cambridge ( – tre d’Études Supérieures de la Renaissance seppe Gerbino (Columbia University) for 2006 ), holding visiting positions at Princeton (CESR) at the Université François-Rabelais 1987 2002 ( ), Berkeley (Bloch Lecturer, ) and in Tours, where he presently serves as Dean of 2007 the Institute for Advanced Study ( ). The the Center. Since the mid-1990s, he has also research area that has occupied him most of- held an appointment as professor of musicol- ten is Italian opera of the nineteenth century. ogy at the University of Liège. After studying in Belgium and France, Vendrix earned his M.A. (1988) from the University of Arizona, where he worked with James Anthony and John Boe. He received his Ph.D. in musicology from the University of Liège (1991). He has published extensively on French music of the early modern period. His early publications focused on the seventeenth and eighteenth centuries, in particular the tombeau, opéra-comique, and music histo- riography. When he joined the CNRS, he turned his attention to Renaissance studies, publishing on composers (Johannes Ciconia, musicien de la transition; Johannes Ockeghem), on the science of music (Music and Mathe- matics in Early Modern Europe; La musique de la Renaissance), and on music notation (La Philippe Vendrix notation musicale au Moyen Âge à la Renais- Charles M. Atkinson Corresponding Member sance). He has also edited the works of Eloy Kinkeldey Award Winner  AMS Newsletter Robin D. G. Kelley MAC Award Winner

Giuseppe Gerbino The Music in American Culture Award for Lockwood Award Winner a book of exceptional merit that both illumi- Nathan Seinen Music and the Myth of Arcadia in Renaissance Einstein Award Winner nates some important aspect of the music of Italy (Cambridge University Press). the United States and places that music in a The Robert M. Stevenson Award for out- rich cultural context was presented to Robin TheH. Colin Slim Award for an outstanding standing scholarship in Iberian music, includ- D. G. Kelley (University of Southern Califor- article by a scholar beyond the early stages of ing music created or descended from musi- nia) for Thelonious Monk: The Life and Times her or his career was presented to David Brod­ cal cultures of Spain, Portugal, and all Latin of an American Original (Simon & Schuster). beck (University of California, Irvine) for American areas, was presented to Geoffrey The Paul A. Pisk Prize for an outstanding “Hanslick’s Smetana and Hanslick’s Prague,” Baker (Royal Holloway, London), for Impos- paper presented by a graduate student at the Journal of the Royal Musical Association. ing Harmony: Music and Society in Colonial Annual Meeting was awarded to Remi Chiu Cuzco (Duke University Press). The Alfred Einstein Award for an article of (McGill University) for “St. Sebastian Motets exceptional merit by a scholar in the early The Claude V. Palisca Award for an out- as Curatives for the Plague.” stages of her or his career was given to Na­ standing edition or translation was given to The Noah Greenberg Award for outstanding than Seinen (University of Cambridge) for Patricia Brauner (University of Chicago) and contributions to historically aware perfor- “Kutuzov’s Victory, Prokofiev’s Defeat: The Philip Gossett (University of Chicago) for mance and the study of historical performing Revisions of War and Peace,” Music & Letters. their edition: Gioachino Rossini, Petite Messe practices was presented to Jesse Rodin and solennelle (Bärenreiter). Cut Circle for “Josquin’s Rome: Hearing and Composing in the Sistine Chapel.”

continued on page 

David Brodbeck Geoffrey Baker Jesse Rodin Slim Award Winner Stevenson Award Winner Greenberg Award Winner February 2011  Awards, Honors, Prizes continued from page  The Ruth A. Solie Award for a collection of essays of exceptional merit was presented to Annegret Fauser (University of North Caro- lina, Chapel Hill) and Mark Everist (Univer- sity of Southampton), eds., for Music, The- ater, and Cultural Transfer: Paris, 1830–1914 (University of Chicago Press). The inaugural Thomas Hampson Award supporting research and publication in clas- sic song was presented to Jennifer Ronyak (University of Alberta) for her research proj- ect “Singing the Self: Autonomy, Communi- Mark Everist Solie Award Winner cation, and Community in Lied Performance in Germany, 1790–1832.” Beholder: The Liberation and Subjugation of Salome in Strauss’s ‘Dance of the Seven Other Awards, Prizes and Honors Veils.’” Brigid Cohen (University of North Caro- The Philip Brett Award, presented by the Annegret Fauser LGBTQ Study Group of the AMS for ex- Solie Award Winner lina, Chapel Hill) received the Berlin Prize ceptional musicological work in the field of from the American Academy in Berlin gay, lesbian, bisexual, and transgender/trans- “The Rhetoric of Memory in Brahms’s Songs to conduct research for her book project sexual studies, was given to Roger Freitas for and Small‑Scale Chamber Music.” “Sounds of Translation: Musical Modernism Portrait of a Castrato: Politics, Patronage, and beyond the Nation.” Sally Bick (University of Windsor) received Music in the Life of Atto Melani (Cambridge Georgia Cowart an NEH Fellowship for her project “The (Case Western Reserve Uni- University Press). Musical Legacy of the New School of Social versity) received an NEH Fellowship for her Richard Benedum (University of Dayton) Research.” project “Watteau’s Utopias of Music and The- received a grant from the National Endow- ater: Visions of a New France.” Joanna Cobb Biermann (University of Ala- ment for the Humanities to direct an inter- Dorothy Lamb Crawford bama) received a grant from the Fritz Thyssen (Boston, Mass.) disciplinary Institute for teachers, “Mozart’s Stiftung of Cologne to work at the Beethoven received an ASCAP Deems Taylor Award for Worlds: Bridging West and East,” to be held A Windfall of Musicians: Hitler’s Émigrés and Archive (Bonn) on her project “Ludwig van in Vienna, 20 June—15 July 2011. Exiles in Southern California Beethoven, Piano Pieces: A Critical Edition (Yale University 2009 Margaret Bent (University of Oxford) re- with Commentary.” Press, ). ceived an honorary doctorate from the Uni- Alison DeSimone J. Peter Burkholder (Indiana University) re- (University of Michigan) versité de Montréal, the first ever presented to 2010 ceived an ASCAP Deems Taylor Award for his is a co-winner of the National Opera a musicologist. article “Music of the Americas and Historical Association Scholarly Paper Competition. Paul Berry (University of North Texas) re- Narratives,” American Music (Winter 2009). She received the Leland Fox Award for the ceived an NEH Fellowship for his project Anna Maria Busse Berger (University of California, Davis) re- ceived the Lise Meit- ner Fellowship for a fif- teen-month residency in Vienna in 2011–12. She will conduct re- search for a book en- titled Between Orality and Literacy: Music in the Moravian Missions, 1732–2009. Megan Varvir Coe (University of North Texas) won the AMS Southwest Chapter Hewitt-Oberdoerffer Award for the best Patricia Brauner and Philip Gossett graduate paper, for Jennifer Ronyak Palisca Award Winners “In the Eye of the Hampson Award Winner  AMS Newsletter paper “Médée et son pouvoir: Music and Dra- Public Utility in Third Republic France (Uni- matic Structure in Marc-Antoine Charpenti- versity of California Press, 2009). er’s Médée (1693),” read at the National Opera Vivian Perlis (Yale University) received the Association (San Antonio, January 2011). 2011 Educator of the Year award from Musical Melina Esse (Eastman School of Music, America Magazine. University of Rochester) received an NEH Colleen Reardon (University of California, Summer Stipend for her book project “Saffo’s Irvine) received an NEH Fellowship for her Lyre: Neoclassicism and Improvisation in project “A ‘Sociable Moment’: Sienese Opera Italian Opera.” Patronage and Performance, 1669–1704.” David Fallows (University of Manchester) Tilden Russell (Southern Connecticut State received an honorary doctorate from the Uni- University) received an NEH Fellowship to versité François-Rabelais de Tours. complete his book The Compleat Dancing Danielle Fosler‑Lussier (Ohio State Uni- Master: A Translation of Gottfried Taubert’s versity) received an NEH Fellowship for her Rechtschaffener Tantzmeister (1717). Intro- project “American Music, Global Messages: duction, Translation, and Annotations (Peter Building Bridges in the Cold War World.” Lang; forthcoming). Glenda Dawn Goss (Sibelius Academy) re- Peter J. Schmelz (Washington University in ceived an ASCAP Deems Taylor Award for Si- St. Louis) received an ASCAP Deems Taylor belius: A Composer’s Life and the Awakening of Award for Such Freedom If Only Musical: Un- Roger Freitas Finland (University of Chicago Press, 2009). Brett Award Winner official Soviet Music During the Thaw(Oxford University Press, 2009). Deborah H. How (University of Southern California) won the 2010 Mu Phi Epsilon Robin D. G. Kelley (University of Southern Kerala Snyder (Eastman School of Music, Musicological Research Competition (Cat- California) received an ASCAP Deems Tay- University of Rochester) received an honorary egory I: Ph.D. Dissertations) for her disser- lor Award for Thelonious Monk: The Life and doctorate from the University of Gothenburg. tation, “Arnold Schoenberg’s Prelude From Times of an American Original (Free Press, Benjamin Steege (Stony Brook University) the Suite for Piano, Op. 25: From Compo- 2009). was awarded an Alexander von Humboldt sition with Twelve Tones to the Twelve-Tone Thomas Forrest Kelly (Harvard University) Foundation Research Fellowship for Postdoc- Method.” 2010 11 was decorated as Chevalier de l’Ordre des Arts toral Researchers for the – academic Claudia R. Jensen (University of Washing- et des Lettres of the French Republic. year, hosted by Humboldt University, Berlin. ton) received the University of Southern Cali- Judith Tick (Northeastern University) re- fornia Book Prize in Literary and Cultural James Brooks Kuykendall (Erskine College) ceived an NEH Fellowship for her project Studies for her book Musical Cultures in Sev- received the 2011 Edith and Richard French “Ella Fitzgerald, a Biography: Life, Work, enteenth-Century Russia (Indiana University Fellowship from the Beinecke Rare Book and Legacy.” Press, 2009). Manuscript Library, Yale University, for his project “William Walton’s Compositional Gary Tomlinson (University of Pennsylva- Process.” nia) received the 2010 Derek Allen Prize from the British Academy. Yawen Ludden (University of Kentucky) re- Correction ceived a 2010–11 Fulbright Award for travel to Beijing, where she is conducting research at In the paper version of the August 2010 AMS the Musicology Institute of the Central Con- Newsletter, the title of Beverly Wilcox’s disser- servatory of Music for her dissertation “The tation was listed incorrectly. Wilcox (University of California, Davis) received a Eugene K. Wolf Chinese Music Revolution: From Beijing Op- Travel Award for work toward her dissertation era to Yangbanxi.” “The Concert Spirituel, Composers, and Audi- Drew Massey (Harvard University) received ences: Music in the Public Sphere.” an NEH Fellowship for his project “Between Guidelines for Announcements of Collaboration and Retrospection: John Kirk- Awards and Prizes patrick, American Music, and the Printed Page, 1929–1989.” Awards and honors given by the Society are announced in the Newsletter. In addition, the Laurie McManus (University of North editor makes every effort to announce widely Carolina, Chapel Hill) received the 2010 publicized awards. Other announcements come Karl Geiringer Scholarship from the Ameri- from individual submissions. The editor does can Brahms Society for her dissertation “The not include awards made by the recipient’s home Rhetoric of Sexuality in German Music Criti- institution or to scholars who are not currently cism, 1848–1883.” members of the Society. Awards made to gradu- ate student members as a result of national or Jann Pasler (University of California, San international competitions are also announced. Remi Chiu Diego) received an ASCAP Deems Taylor The editor is always grateful to individuals who Pisk Prize Winner Award for Composing the Citizen: Music as report honors and awards they have received. February 2011  AMS Elections 2011

AMS elections take place in the spring each Christopher Reynolds of Mistaken Identity,” Journal of Musicology year. This year, two candidates have agreed to (1997); “Rome as the Centre of the Universe: Professor of Music, University of California, stand for president, one for secretary, and six Papal Grace and Music Patronage,” Early Mu- Davis for member-at-large of the Board of Direc- sic History (1992); “The Ferrara Connection,” Degrees: PhD, Princeton, 1982; MA, tors (three are elected). Studi musicali (1989); “Music at the Margins Prince­ton, 1975; BA, UC Riverside, 1973 You may vote electronically at the web site, in Early Modern England “ (forthcoming) Research Areas: Renaissance; musical in- or by using the paper ballot sent to members Awards: Fellowships: American Philo- fluence; American music under separate cover; if you lose it, a replace- sophical Society (1993); ACLS (1989); NEH Publications: “Porgy and Bess: An ‘Ameri- ment may be obtained at the web site. Please (1988); American Academy in Rome (1984); can Wozzeck’,” JSAM (2007); Motives for Allu- follow the instructions found on the ballot 1984 sion: Context and Content in Nineteenth-Cen- Fulbright ( ) carefully. Ballots not conforming to the in- Administrative Experience: tury Music (Harvard, 2003); Papal Patronage University structions are rendered invalid. and the Music of St. Peter’s, 1380–1513 (Califor- of Nebraska-Lincoln: Medieval/Renaissance Detailed descriptions of the three offices are 2006 nia, 1995); editor-in-chief, Beethoven Forum Studies Executive Committee ( – ); Chair, found in the AMS By-laws, available in the 2005 06 (1989–96); JAMS articles (1992, 1987, 1984) Music History Search Committee ( – ); AMS Directory and at the web site. Awards: Kurt Weill Prize (2009); H. Colin Chair, Academic Rights and Responsibilities Slim Award (2008); finalist, Otto Kinkeldey Committee (1999–2000); College of Fine and Candidates for the Office Award (2004); Humboldt Foundation Fel- Performing Arts Executive Committee (1997– of President lowship (1991–92); NEH Fellowships (1988– 2000); School of Music Executive Committee 89, 1984–85) (2000–01, 1992–95) Walter M. Frisch Administrative Experience: UC Davis: AMS Activities: Secretary (2008–11); Di- Chair, Music Department (2009–12, 1992– rector-at-Large (2006–07); AHJ AMS 50 H. Harold Gumm/Harry and Albert von Til- 96); Chair, Committee on Academic Person- Fellowship Committee (2004–06); Review zer Professor of Music, Columbia University nel (2007–08); Director, Education Abroad Editor, JAMS (2001–04); Program Commit- Degrees: PhD, UC Berkeley, 1981; MA, UC Center (2000–02); Chair of the Faculty, Col- tee (1998) Berkeley, 1977; BA, Yale, 1973 lege of Letters and Science (1995–96). Direc- Research Areas: 19th- and 20th-century tor, UC Study Center in Germany (2002–04) Austro-German music; modernism in the AMS Activities: Editor, AMS Studies Candidates for the Office arts; American popular song (2009–14); Pisk Prize Committee (2005–07; of Members-at-Large, Publications: Brahms and His World (co- Chair, 2007); Director-at-Large (1996–98); editor), rev. ed. (Princeton, 2009); German Committee on the Publication of American Board of Directors Modernism: Music and the Arts (California, Music (1993–99); Program Committee (1992– 2005); Brahms: The Four Symphonies (Yale, 94; Chair, 1994) David Brackett 2003; Schirmer, 1996); The Early Works of Ar- Associate Professor of Music, McGill nold Schoenberg, 1893–1908 (California, 1993); Candidate for the University Brahms and the Principle of Developing Varia- Office of Secretary Degrees: DMA, Cornell, 1991; MMus, New tion (California, 1984) England Conservatory, 1986; BA, UC Santa Awards: De Bary Award for Distinguished Pamela F. Starr Cruz, 1981 Service to the Columbia Core Curriculum Research Areas: Popular music; jazz; con- (2008); Center for Scholars and Writers, New Professor of Music History, University of temporary art music; film music; critical York Public Library (2000); ASCAP Deems Nebraska Degrees: 1987 theory Taylor Awards (1994, 1985); Humboldt Foun- PhD, Yale, ; MLS, Columbia; BA, Harpur College Publications: The Pop, Rock, and Soul Read- dation Fellowship (1990); NEH Fellowship Research Areas: Music and music patron- er: Histories and Debates, 2nd ed. (Oxford, (1985) age at the papal court and other 15th-century 2009); “Questions of Genre in Black Popular Administrative Experience: Columbia court institutions; music and music patron- Music,” BMRJ (2005); “Where’s It At? Post- University: Director of Graduate Studies age in 16th–17th century England; music and modern Theory and the Contemporary Mu- 2008 ( – ); Chair, Music Humanities Program film sical Field,” in Postmodern Music/Postmodern 2003 08 ( – ); Chair, Executive Committee of Publications: “A Great Ornament and Thought, (Routledge, 2002); “Banjos, Biop- 2004 05 Faculty of Arts & Sciences ( – ); Chair, Pleasure: the Place of Music in the Education- ics, and Compilation Scores: The Movies Go Department of Music (2003, 1993–96); Chair, al Formation of Early Modern English Soci- Country,” American Music (2001); Interpreting Society of Fellows in the Humanities (2001– ety,” in Education Most Sovereign: The Teach- Popular Music, rev. ed. (California, 2000) 03, 1997–2000) ing and Learning of Music in the Renaissance Awards: Social Sciences and Humanities AMS Activities: Vice President (2006–08); (Indiana, 2009); “Musical Entrepreneurship Research Council of Canada (SSHRC) Grant Chair, H. Colin Slim Award Committee in Fifteenth-Century Europe,” Early Music (2006–11); SSHRC Major Collaborative Re- (2005–06); Chair, Publications Committee (2004); “Teaching Music History in the Cen- search Initiative (2007–14); NEH Summer (1998–2003); JAMS Editorial Board (1996– trifugal Classroom,” in Teaching Music History Fellowship (2000); New Music Delaware 98); Director-at-Large (1994–96) (Ashgate, 2002); “Josquin, Rome, and a Case Competition winner (2000); Phi Eta Sigma

 AMS Newsletter National Honor Society (teaching excel- David Gramit Administrative Experience: University at lence), Honorary Member (1999) Buffalo: Chair, College of Arts and Sciences Professor of Music, University of Alberta Administrative Experience: McGill Uni- Graduate Fellowships Committee (2006– ); Degrees: PhD, Duke, 1987; MA, Duke, versity: Musicology Area Chair (2009– ); De- Director of Graduate Studies, Dept. of Music 1982; BA, Carleton College, 1981 2005 07 (2004– ); Musicology Coordinator, Dept. of partment of Music Research Chair ( – ). Research Areas: Schubert; the lied; social Music (2000– ). Editorial Board, Journal of Chair, Lowens Book Award Committee, Soci- and cultural history; late 18th- and early 19th- Film Music (2001– ) ety for American Music (2005); President, US century German musical life; music in the AMS Activities: Program Committee Branch of the International Association for colonization of western North America (2009–10; Chair, 2010); Einstein Award the Study of Popular Music (US-IASPM) Publications: “Everyday Extraordinary: Committee (2003–2005); Council Nominat- (1998–2000); Secretary-Treasurer, US-IASPM Music in the Letters of a German Amateur, ing Committee (1994) (1995–98) 1803–08,” 19CM (2010); editor, Beyond “The AMS Activities: Program Commit- Art of Finger Dexterity”: Reassessing Carl Cz- Lois Rosow tee (2011); Lockwood Award Committee erny (Rochester, 2008); “Orientalism and (2007–09); Committee on Cultural Diversity the Lied: Schubert’s ‘Du liebst mich nicht,’” Professor of Music, Ohio State University (1997–2000) 19CM (2003); Cultivating Music: The Aspira- Degrees: PhD, Brandeis, 1981; BA, Oberlin tions, Interests, and Limits of German Musical College, 1971 Culture, 1770–1848 (California, 2002); “‘The Andrew Dell’Antonio Research Areas: 17th- and 18th-century Passion for Friendship’: Music, Cultivation, French opera; textual criticism; history of and Identity in Schubert’s Circle,” in The William David Blunk Memorial Professor of music printing Cambridge Companion to Schubert (1997) Music, University of Texas, Austin Publications: “The Descending Minor Tet- Awards: Alumni Distinguished Achieve- Degrees: PhD, UC Berkeley, 1991; MA, rachord in France: An Emblem Expanded,” in ment Award, Carleton College (2006); Social UC Berkeley, 1987; BA, Yale, 1985 New Perspectives on Marc-Antoine Charpentier Sciences and Humanities Research Council of (Ashgate, 2010); “Power and Display: Mu- Research Areas: Early modern Italy; post- Canada Grant (1998–2001); Alfred Einstein sic in Court Theatre,” in Cambridge History modernism; cultures of listening Award (1994); AMS 50 Fellowship (1986–87); of Seventeenth-Century Music (Cambridge, Publications: “‘Particolar gusto e diletto Fulbright Fellowship (1984–85) 2005); Jean-Baptiste Lully, Armide, critical alle orecchie’: Listening in the Early Seicen- Administrative Experience: University ed., in Oeuvres complètes (Olms, 2003); “The to,” in Culture and Authority in Baroque Eu- of Alberta Department of Music: Chair, Articulation of Lully’s Dramatic Dialogue,” 2005 rope (Toronto, ); editor and contribu- (2008– ); Associate Chair and Graduate in Lully Studies (Cambridge, 2000); “From tor (“Postmodern Listening Processes and Coordinator (2001–2004). Editor, JMR Destouches to Berton: Editorial Responsibil- MTV”), Beyond Structural Listening? Post- (1998–2001) ity at the Paris Opéra,” JAMS (1987) modern Modes of Hearing (California, 2004); AMS Activities: Graduate Education Steer- Awards: NEH Fellowships (2009, 1988–89); “Florestan and Butt-head: a Glimpse into ing Committee (2004–05); Einstein Award Ohio State University School of Music Dis- Postmodern Music Criticism,” AM (1999); Committee (2000–02); AMS 50 Campaign tinguished Scholar Award (2004, 1993); Ohio Syntax, Form, and Genre in Sonatas and Can- Committee (1988) State University research grants (2010, 1996, 1621 1635 zonas, – (Libreria Musicale Italiana, Michael Long 1988); Cornell University Society for the Hu- 1997); Listening as Spiritual Practice in Early manities Postdoctoral Fellowship (1984–85) Modern Italy (forthcoming) Ziegele Professor of Music, University at Buf- Administrative Experience: President, Awards: Regents’ Outstanding Teaching falo (SUNY) Society for Seventeenth-Century Music Award, University of Texas System (2009); Degrees: PhD, Princeton, 1981; MFA, (2009–12); Head, Musicology Area, Ohio Gladys Krieble Delmas Fellowship (2002); Princeton, 1977; BA, Amherst College, 1974 State University School of Music (1995–2004, Mellon Fellow, Harvard-Villa I Tatti (2001– Research Areas: Music of the 14th and 15th 2006– ); Guest Editor, JSCM (2004); Edito- 02); Premio Internazionale Latina di studi centuries; medieval music theory; film music rial Board, JSCM (2001–08); numerous uni- musicali (1994); American Philosophical So- and media culture versity committees Publications: ciety Grant (1993) “The Sound of Money in AMS Activities: Claude Palisca Prize Com- Late Medieval Music,” in Money, Morality, Administrative Experience: UT Austin: mittee (2008–10; Chair, 2010); Janet Levy and Culture (Ashgate, 2010); Beautiful Mon- Head, Musicology/Ethnomusicology Divi- Fund for Independent Scholars Commit- sters: Imagining the Classic in Musical Media sion (2004–08); Graduate Studies Chair, tee (2005–06; Chair, 2006); Council Secre- (California, 2008); “Singing Through the Music (2006–08); Member, University Com- tary (2000–03); Chair, Council Committee Looking Glass: Child’s Play and Learning in mittee for the Academy of Distinguished on Corresponding and Honorary Members Medieval Italy,” JAMS (2008); “Symbol and 2005 06 (1995); Program Committee (1993) Teachers ( – ); Graduate Studies Chair, Ritual in Josquin’s Missa Di Dadi,” JAMS Center for Women’s and Gender Studies (1989), “Landini’s Musical Patrimony: A Re- W. Anthony Sheppard (2003–05) assessment of Some Compositional Conven- AMS Activities: Program Committee tions in Trecento Polyphony,” JAMS (1987) Professor of Music, Williams College (2011); Council Secretary (2004–07); Presi- Awards: Otto Kinkeldey Award (2009); Degrees: PhD, Princeton, 1996; MFA, dent, Southwest Chapter (2003–05); Coun- SUNY Chancellor’s Award for Excellence Princeton, 1993; BA, Amherst College, 1991 cil Nominating Committee (2001–02); in Teaching (1997); Alfred Einstein Award Research Areas: 20th- and 21st-century art Secretary/Treasurer, Southwest Chapter (1990); Martha Baird Rockefeller Dissertation and popular music; cross-cultural influence, (1998–2000) Grant (1978–79) exoticism, and globalization; opera and vocal continued on page  February 2011  AMS Elections 2010 and is eligible to stand for re-election, unlike RILM News the President or directors. Candidates are re- continued from page  viewed carefully by the Board Nominating The Répertoire International de Littérature Committee and Board of Directors each year. timbre; film music analysis; American music Both the Committee and the Board look for Musicale (RILM) is inviting authors to history review their publications in the database, Publications: “Blurring the Boundar- three basic qualifications: demonstrated expe- rience and success in one’s chosen career, evi- create new records, and revise existing re- ies: Tan Dun’s tinte and The First Emperor,” cords, in an effort to provide more com- Journal of Musicology (2009); “Continuity in dence of success in administrative positions, plete and detailed bibliographic resources Composing the American Cross-Cultural: and experience in Society activities. At its Fall Eichheim, Cowell, and Japan,” JAMS (2008); meeting, the Board takes the Nominating to researchers worldwide. RILM records 184 000 “Cinematic Realism, Reflexivity and the Committee’s report as a starting point and are reviewed , times per week in li- American ‘Madame Butterfly’ Narratives,” draws up a long list of names—for the office braries around the world. Through RILM’s COJ (2005); “An Exotic Enemy: Anti-Jap- of President, the list might have at least six web site (www.rilm.org/submissions), and anese Musical Propaganda in World War II names; for Director-at-Large, at least twelve following the link for “submissions by in- Hollywood,” JAMS (2001); Revealing Masks: names. Individual Board members then pri- dividuals,” authors can interact directly Exotic Influences and Ritualized Performance vately rank them in order of preference in a with the database. An author search lists in Modernist Music Theater (California, 2001) paper ballot. The Secretary tallies the Board all entries by the searched author in reverse Awards: American Philosophical Society members’ rankings. These rank-ordered lists chronological order, providing a synoptic Sabbatical Fellowship (2007–08); ASCAP are then followed when candidates are in- view of publication history. By opening vited to serve. Since no one but the prospec- Deems Taylor Award (2006); Kurt Weill each record, authors can view the contents 2003 2002 tive candidates can truly know a fourth im- Book Prize ( ); NEH Fellowships ( – and add or revise as they see fit. It is also 04 2002 portant qualification—having sufficient time ); Alfred Einstein Award ( ) possible to attach new reviews to records, Administrative Experience: Society for available to handle the office—it is important and to add second abstracts in other lan- American Music, Program Committee (2011; to prepare lists long enough to account for Chair, 2012); Co-Chair, Williams College those who decline the invitation to stand for guages. Authors can also create new records Dance Department (2009–10); Co-Orga- candidacy. This is particularly true for the of- and they are especially encouraged to do so. nizer, Humboldt Foundation and American fice of President, which requires a significant Questions can be directed to questions@ Philosophical Society German-American commitment over four years. This ranking rilm.org. Frontiers of the Humanities International and candidate-selection system has many The work of U.S.-RILM receives much- Symposium (2007–08); Chair, Williams Col- merits, but one downside is that sometimes appreciated support from the AMS’s Le- lege Music Department (2006); Williams a slate may be underrepresented according to nore Coral Fund, created in honor of the College, Faculty Compensation Committee certain demographics. In 2010, for example, founder and first director of the U.S.- (Chair, 2004–06; 2000–02) five women and only one man were on the RILM office at Cornell University. Those AMS Activities: Publications Committee slate of candidates for Director-at-Large. This who would like to contribute to this fund (2010–14); AMS/Library of Congress Lecture year, inversely, five men and only one woman can easily do so online at www.ams-net. 2010 2007 ( ); Einstein Award Committee ( – are on the slate. org/endowments/coral.php, or simply 09; Chair, 2009); Chair, Council Nominat- Considerations in choosing candidates. write a check to the American Musicologi- ing Committee (2006); New England Chap- The Board has not been partisan or uncom- cal Society, stipulate that it is for the Coral ter, Program Committee (2004–06) fortably argumentative in my experience. Fund, and send it to the AMS office. All One cannot identify polarized “liberal / con- contributions to the Lenore Coral Fund are Voting in the AMS Election: servative” factions in the same way that one Background and Considerations might find in the political sphere, nor do can- tax deductible. —Honey Meconi Last year a few people asked me “why should didates formulate an “action agenda.” A cer- I bother to vote?” The statistics are also tell- tain amount of “identity politics” is present, ing: only about a third of those eligible actu- and probably necessary for good operations. It is useful for the Board to include a vari- ally cast a vote in the AMS election. I thought New Nomination Requirements it would be useful to draw members’ atten- ety of members according to constituencies and Application Deadlines tion to the process leading to the slate of such as gender, age, geographical location, candidates you find here, and suggest some and type of educational institution (public or Please note that all AMS awards now re­ considerations for those who may not other- private research university, liberal arts college, quire nominations; award committees wise be aware of how their vote might affect etc.). It is also helpful to have Board members will not consider work that has not been the Society. who have experience in budgets and staffing, nominated. See the individual award Constructing a slate. In accordance with or who work in places other than music de- guidelines, available in the AMS Directory the AMS Bylaws, we vote for officers and partments (e.g., librarians or professionals and at the AMS web site, for full details. directors-at-large each year. The directors from the field of publishing). serve overlapping two-year terms; the Presi- The ideal Board will have active members Application deadlines for AMS publica- dent serves one preparatory year (“President- who are willing to invest time and energy, tion subventions are now: elect”), two years as President, and one con- who have good experience in the work that 15 February cluding year (“Past President”), in order to needs to be done, and who, as a whole, bring 15 August provide as much year-to-year continuity as a wide variety of perspectives to the table. See the AMS web site for details. possible. The Secretary serves two-year terms —Robert Judd  AMS Newsletter Committee News Committee on Career-Related Issues Communications Committee Committee on Cultural Diversity The Committee on Career-Related Issues The AMS-LC Lecture Series will continue The Committee on Cultural Diversity host- hosted a number of exciting and produc- in Fall 2011. The Communications Commit- ed eight undergraduate and M.A. students tive events in Indianapolis. The committee’s tee welcomes proposals from AMS members from underrepresented groups at the Annual Buddy Program, which links new conference interested in giving a lecture as part of this Meeting in Indianapolis. All eight students attendees with experienced society members, distinguished series, which has included pre- received funding from the Eileen Southern once again drew record numbers, as over sentations (all available as webcasts) by Judith Travel Fund. The students met with each seventy-five new members participated. At Tick, Annegret Fauser, Jeffrey Magee, Walter other, their mentors and other members of the Master Teacher Session, Marjorie Roth Frisch, Steve Swayne, and W. Anthony Shep- AMS, and they attended papers and special (Nazareth College) gave an inspiring presen- pard. The most recent lecture, by Carol Oja, sessions. The eight students were Christopher tation entitled “Eros, Saturn, and Music His- took place on 7 February, 2011. Oja’s talk was Bowen (Catholic University of America), Vi- tory Pedagogy” to an enthusiastic audience. titled “Bernstein Meets Broadway: Race, the cente Chavarria (University of Miami), Faith The presentation began with a few general Blues, and On the Town (1944).” Links to the Avilene DePano (Rice University), Marion observations on the nature of music history webcasts and application information can be Jacob (University of Delaware), Lindsey Jones pedagogy, but the specific focus of Roth’s pre- (University of Toronto), Shamor Peeler-Dean found at www.ams-net.org/LC-lectures. sentation was the “state-of-research” paper she (University of North Carolina, Greensboro), The AMS Board has approved a new Amer- assigns to first-year music history students. Andy Tang (University of Texas, Austin), and ican Musicological Society/Rock and Roll In her experience, this project never fails to Alysse Padilla (UCLA). Hall of Fame Lecture Series, which was pro- achieve the main classroom goal—to kindle The Committee thanks George E. Lewis, posed by Jason Henley (in consultation with a sense of desire and of discipline in students, outgoing co-chair, for his service over the last the board of the Rock and Roll Hall of Fame) while acquainting them with the materials few years. Applications for the next Eileen and methods of music. The committee’s ses- and Joe Auner, last year’s committee chair. Southern Travel Fund competition, for AMS sion on alternative career paths for the Ph.D. The AMS/RRHOF Lecture Series will consist 2011 in San Francisco, should be directed to in musicology, the student session on how to of two events each year, featuring members Roe-Min Kok or Leonora Saavedra. Please en- choose a dissertation topic, and the session on of the Society presenting engaging and acces- courage promising minority undergraduate or the realities of today’s job market—cospon- sible lectures on topics relevant to the mission terminal master’s candidates to contact us if sored with the Graduate Education Commit- of the Rock and Roll Hall of Fame. Preference they would like more information (roe-min. tee—offered solid advice and gave audience will be given to topics dealing directly with [email protected]; [email protected]). members much to think about. The CV/Cov- rock and roll music, but proposals dealing The online application form will be available er Letter Workshop that took place again this with the tributaries of rock and roll will also in August 2011 through the AMS web site; ap- year in the exhibitor area of the conference be considered, including relations to blues, plications are due by 15 September 2011. was also very successful. Many of our students country, jazz, as well as hip-hop, singer-song- —Roe-Min Kok and Leonora Saavedra and colleagues signed up for a one-on-one writers, and offshoots in world music. Our consultation, although walk-in consultations goal is to present the first lecture in Fall 2011. Committee on Membership and were also supported. The Communications Committee is cur- Professional Development Planning for the committee’s offerings next rently discussing the possibility of expanding The Committee on Membership and Profes- year in San Francisco is already underway. the AMS lecture program to various other in- sional Development is happy to announce Among the ideas under discussion is a joint stitutions and venues. that, with its increased budget of $7,200, it session with the Committee on Cultural Di- AMS Musicology Podcasts have been trick- was able to award twenty-seven travel grants versity on securing a tenure-track position, ling in and will soon appear on the AMS web 2010 100 400 and an abstract writing workshop. Two of in . Ranging from $ to $ , they site. With a target audience of high school were awarded to students, faculty, and in- the committee’s sessions in San Francisco will and college students, as well as interested be devoted to grant writing. As in Philadel- dependent scholars to attend the Annual members of the general public, the brief video phia, Richard Benedum and Donald Polzella, Meeting in Indianapolis. Please consult the podcasts (three to five minutes long) will fea- along with a representative from the National Committee’s web page (www.ams-net.org/ ture a broad array of scholars speaking infor- Endowment for the Humanities, will con- committees/mpd) for the procedures and ap- mally on the theme “What I Do in Musicol- 2011 duct this workshop. In addition to these of- plication deadline for travel grants to the ogy.” Winners of AMS awards from the past ferings, the committee will again sponsor its Annual Meeting in San Francisco. very successful Master Teacher session and two years have been invited to participate, At the AMS/SMT Annual Meeting in In- the Buddy Program. For those who would but we also encourage other members of our dianapolis, the Committee continued to ex- be willing to act as a mentor to a young col- Society to send suitable podcasts for consider- plore initiatives that involve the Society’s in- league or graduate student, we encourage you ation. For further information, please contact dependent and unaffiliated scholars. Further to respond when a call goes out for partici- James Parakilas ([email protected]) and me information will soon be available on our web pants in the program. This is an opportunity ([email protected]). site. The Committee is happy to receive ques- to assist younger professionals in maneuver- I would like to thank the outgoing commit- tions and concerns about how it can best serve ing through the Society’s structure, as well as tee members Joe Auner, Anna Celenza, Victor members without institutional affiliation. to offer advice about jobs, publications, and Coelho, Melissa Goldsmith, and Jeff Wright Your suggestions and comments are always other career-related issues. for their service. welcome: [email protected]. —James P. Cassaro —Anna Maria Busse Berger —Eftychia Papanikolaou February 2011  Committee News University Press); supported by the Claire and Press); supported by the Margarita Hanson Barry S. Brook Endowment Endowment continued from page  Richard Jankowsky, Stambeli: Music, Travis D. Stimeling, Cosmic Cowboys and Trance, and Alterity in Tunisia New Hicks: The Countercultural Sounds of Publications Committee (University of Chicago Press); supported by the AMS 75 Austin’s Progressive Country Music Scene (Ox- The AMS Publications Committee has award- PAYS Endowment ford University Press); supported by the AMS ed the following publication subventions John Karr and Robert Lamar Weaver, eds., Publications Endowment at its two most recent meetings. Thirty-one The Music Library of a Noble Florentine Fam- Stefanie Tcharos, Opera’s Orbit: Musical books have been granted $69,000 in funds to ily: A Catalogue Raisonné of Manuscripts (Har- Drama and the Influence of Opera in Arcadian support publication expenses. monie Park Press); supported by the Manfred Rome (Cambridge University Press); support- This year is the first fully to utilize addition- F. Bukofzer and Martin Picker Endowments ed by the Margarita Hanson Endowment al funds made available through the successful Herbert Kellman, The Chigi Codex: A Andrew H. Weaver, Sacred Music as Public AMS OPUS Campaign, which came to a con- Monument of Late Burgundian Music and Art Image for Holy Roman Emperor Ferdinand III clusion at the end of 2009. Funding for AMS (University of Chicago Press); supported by (Ashgate Publishing); supported by the Mar- subventions is provided through the National the Martin Picker Endowment garita Hanson Endowment Those interested in applying for AMS pub- Endowment for the Humanities, the Andrew Judith Kuhn, Shostakovich in Dialogue: lication subventions are encouraged to do so. W. Mellon Foundation, and the generous Form, Imagery and Ideas in Quartets 1–7 (Ash- See the program descriptions for full details. support of AMS members and friends. Pub- gate); supported by the Dragan Plamenac Next deadlines: 15 August 2011, 15 February lication subventions are administered by the Endowment 2012. Publications Committee of the AMS. Philip Lambert, To Broadway, To Life! The —Susan Youens Franya Berkman, Monument Eternal: The Musical Theatre of Bock and Harnick(Oxford Music of Alice Coltrane (Wesleyan Univer- University Press); supported by the Lloyd sity Press); supported by the AMS 75 PAYS Hibberd Endowment Study Group News Endowment Tamara Levitz, Modernist Mysteries: Perse- Cold War Music Study Group Daniel Cavicchi, Listening and Longing: phone (Oxford University Press); supported Music Lovers in the Age of Barnum (Wesleyan by the Joseph Kerman Endowment The Cold War Music Study Group (CWMSG) University Press); supported by the Donna Beth Levy, Frontier Figures: American Music evening session in Indianapolis showcased Cardamone Jackson Endowment and the Mythology of the American West (Uni- cutting-edge research ranging from field work Eric Chafe, Bach’s Johannine Theology: The versity of California Press); supported by the on the acoustic ecology of Pacific nuclear cul- St. John Passion and the Cantatas for Spring AMS 75 PAYS Endowment ture in the Marshall Islands to the theorization 1725 (Oxford University Press); supported by Laura Lohmann, Umm Kulthum: Artistic of arena rock concerts in the United States as the Hanson Endowment Agency and the Shaping of an Arab Legend, Cold War spectacle. The panel, entitled “The Brigid Cohen, Modernism Untethered: 1967–2007 (Wesleyan University Press); sup- Cold War Sensorium: Sound, Affect, Poli- Wolpe, Music, and the Avant-Garde Diaspora ported by the AMS 75 PAYS Endowment tics,” was organized by Ryan Dohoney and (Cambridge University Press); supported by Carol Muller, Shembe Hymns (University featured presenters Nikita Braguinski, Brigid the Donna Cardamone Jackson Endowment of KwaZulu-Natal Press); supported by the Cohen, Michael Ethen, Philip Gentry, and Richard Cohn, Audacious Euphony: Chro- Manfred F. Bukofzer Endowment Jessica Schwartz. Caroline Polk O’Meara was matic Harmony and the Triad’s Second Nature Kristina Muxfeldt, Vanishing Sensibilities: the respondent. Each examined how music (Oxford University Press); supported by the Essays in Reception and Historical Restoration - and sound marked assemblages of affect and Otto Kinkeldey Endowment Schubert, Beethoven, Schumann (Oxford Uni- ideology during the second half of the twen- Todd Decker, Music Makes Me: Fred Astaire versity Press); supported by the John Daverio tieth century, and considered the implications and Jazz (University of California Press); sup- Endowment for Cold War historiography. The wide range ported by the AMS 75 PAYS and Claire and Nancy Newman, Good Music for a Free of subject matter and methodology on dis- Barry S. Brook Endowments People: The Germania Musical Society in Nine- play in this panel attests to the tremendous vibrancy in our field. Byron Dueck, Musical Intimacies and Indi­ teenth Century America (University of Roch- Shortly before the Annual Meeting in In- genous Imaginaries in Manitoba (Oxford ester Press); supported by the AMS 75 PAYS dianapolis, the CWMSG elected new leader- University Press); supported by the AMS 75 Endowment ship. As the incoming president, I thank my PAYS Endowment Joshua D. Pilzer, Hearts of Pine: Songs in the predecessor Laura Silverberg for her dedica- Sabina Feisst, Schoenberg’s New World: The Lives of Three Korean Survivors of the Japanese tion and for her fine work on behalf of the American Years (Oxford University Press); “Comfort Women” (Oxford University Press); study group. The new Members-at-Large are supported by the AMS 75 PAYS Endowment supported by the AMS 75 PAYS Endowment Andrea Bohlman, Lisa Jakelski, Anne Shref- Peter Franklin, Seeing through Music: Gen- Steven Rings, Tonality and Transformation fler, and Martha Sprigge. We look forward der and Modernism in Classic Hollywood Film (Oxford University Press); supported by the to working with and for our study group Scores (Oxford University Press); supported AMS 75 PAYS Endowment members to encourage new research and fos- by the Otto Kinkeldey Endowment David J. Rothenberg, Flower of Paradise: ter discussion about music of the Cold War Jeremy Grimshaw, Draw a Straight Line and Marian Devotion and Secular Song in Medi- era. To join the CWMSG, view a directory of Follow It: The Sonic Life of La Monte Young eval and Renaissance Music (Oxford Univer- current members and their research, or learn (Oxford University Press); supported by the sity Press); supported by the AMS 75 PAYS more about activities past, present, and fu- AMS 75 PAYS Endowment Endowment ture, please visit our web site: www.ams-net. Barbara Heyman, Samuel Barber: A The- David Schulenberg, The Music of Wilhelm org/cwmsg. matic Catalogue of the Complete Works (Oxford Friedemann Bach (University of Rochester —Joy H. Calico  AMS Newsletter Ecocriticism Study Group engaged in other, though perhaps related, areas of research. But The Ecocriticism Study Group (ESG) hosted the term Hispanic is increasingly the panel “A Changing Climate: Ecomusi- problematic. First of all, it is not cology and the Crisis of Global Warming” sufficiently inclusive, since it em- at the Annual Meeting in Indianapolis. Four phasizes Spanish-speaking areas at panelists led the wide-ranging discussion, the expense of Portugal and Bra- which benefited greatly from the contribu- zil. Furthermore, it is not univer- tions of many audience members. Topics sally accepted among the Latino/a of presentation and discussion included the community in the U.S. precisely role of the popular music industry, the im- because it stresses Spanish ancestry portance and challenges of teaching ecomu- and culture at the expense of other sicology, and the work of composers R. Mur- ethnic and racial backgrounds and ray Schafer, John Luther Adams, and David traditions, especially indigenous. Dunn. After thoughtful consideration of The ESG also held a business meeting and various alternatives, those pres- election. ESG founding member Robert Fal- ent at the Friday-night session 2008 10 lon finished his term ( – ) as secretary- voted to adopt the name “Ibero- treasurer, and former program committee American Music Study Group” chair Michael Baumgartner was elected to (IAMSG). Though no term will fill that vacancy. The electronic communi- satisfy everyone, this seemed the cations committee, which manages our web most inclusive and neutral op- site (www.ams-esg.org), continues to be led tion. It is also the most precise, by Tyler Kinnear (University of British Co- because it accurately conveys the lumbia). In addition, I would like to thank very broad range of our work and the following individuals who have volun- its fundamentally transnational teered to chair committees: prize commit- character. William Summers Bureau Visitors & Convention Francisco Courtesy San tee, Sabine Feisst (Arizona State University); stepped down as group coordina- Powell Street, San Francisco newsletter committee, Mark Pedelty (Uni- tor two years ago, but his vision versity of Minnesota); and program commit- lives on in the IAMSG. As the be named in the summer and recognized at tee, Rachel Mundy (Columbia University). new coordinator, I welcome questions and the Annual Meeting in San Francisco. In addition to the regular scholarly session suggestions regarding the group. Feel free to Next on the horizon is this year’s Teaching 2011 planned for the Annual Meeting in San contact me at [email protected]. Music History Day, expanded to two days Francisco, the ESG will also host one (or —Walter Clark and hosted by the University of North Caro- more) outing(s) to explore some of the char- lina, Charlotte on 18–19 March in conjunc- acteristic natural environments in the Bay Pedagogy Study Group tion with the spring meeting of the AMS Area. More information will follow in the Southeast Chapter. See the Pedagogy Study next issue of the AMS Newsletter. At the Annual Meeting in Indianapolis, the Group (PSG) web site for details of the con- —Aaron S. Allen AMS Council voted to form a subcommit- ference (ams-net.org/studygroups/psg). We tee to propose a revision of the AMS mis- invite all who have an interest in teaching sion statement (known as the “Object” of the Ibero-American Music Study Group music history to attend, including colleagues Society in the by-laws) to better reflect the (formerly the International Hispanic whose specialty lies outside of musicology. Music Study Group) central importance of teaching to members of the Society. We expect that this subcom- The Journal of Music History Pedagogy The International Hispanic Music Study mittee will propose a revised “Object” to the (JMHP ) is now online with articles on the Group met last November at the Annual AMS Council in San Francisco, and hope scholarship of pedagogy, the social dynam- Meeting in Indianapolis to hear and discuss that the Council will endorse and forward ics of classroom discussion, the uneasy four presentations dealing with issues of race the change to the AMS Board for consider- relationship of jazz textbooks to the jazz and ethnicity in Brazilian music. The subject ation by the full membership. Such a change canon, and the tensions among “coverage,” of Brazil, however, stimulated discussion would continue the welcome trend towards critical thinking, and relevance in teaching about the name of the study group itself. greater inclusion of pedagogy within the music history to undergraduates. The next Formed by Dartmouth musicologist Wil- Society, as indicated by the Society’s spon- issue (vol. 1, no. 2, Spring 2011) will focus liam Summers in 1992 to focus attention on sorship of the Journal of Music History Peda- on one of the main fixtures of music history a vast area of research often overlooked by gogy and the new AMS Teaching Fund. The teaching—the survey textbook, with articles mainstream musicology at the time, it has fund “supports innovative teaching practices by Mark Evan Bonds, J. Peter Burkholder, met every year since then and highlighted in the music history and appreciation class- John Walter Hill, and Kristy Swift. The PSG some fascinating and even groundbreak- room” and “provides the recipient an oppor- wishes to thank the Editor of the JMHP, ing work. In addition to offering a forum tunity to pursue work in support of student- Matthew Balensuela, for his service as Secre- for Hispanists to present and receive feed- centered learning.” Information is available tary; his successor, Christina Fuhrmann, was back on their research, it has also provided through the AMS web site (ams-net.org/ elected to a two-year term. a window on Hispanic musicology for those grants/teaching.php); the first recipient will —Matthew Baumer February 2011  News Briefs schema also serves an archival function. De- updated basic and advanced search interface, tails: www.music-encoding.org. and newly-added hyperlinks to dissertations published online and citations in RILM. The Chalice Consort has completed the sec- Notes: Quarterly Journal of the Music Li- ond round of its Early Music Scholars Com­ brary Association seeks contributors of HAYDN: Journal of the Haydn Society of petition, inaugurated to foster the discovery book reviews. Contact Book Review Editor North America is a new electronic journal of early music choral scores. The winners will Stephen Luttman (stephen.luttmann@unco. to be published by the Rochester Institute of be recognized at the Chalice Consort Early edu) for full details. Technology Press. It is dedicated to the dis- semination of all areas and methodologies Music Conference, San Francisco, 30 April The Tanglewood Music Center invites ap- 2011. The winner of the 2010 conference was of research and performance considerations plicants for a Publications Fellow for printed regarding the music, culture, life, and times Peter S. Poulos (University of Cincinnati), for concert programs and related activities. De- his edition of “Quae est ista que progreditur” of Joseph Haydn and his circle. Its web-based tails: www.tanglewoodmusiccenter.org. format will take full advantage of current and (1597) by Simone Molinaro (c. 1570–1636). emerging electronic media. Two issues per Details: www.chaliceconsort.org/emsc.html. The University of Michigan Press has an- nounced an expanded publishing program in year are projected. The Greenwood Encyclopedia of Latin musicology. The Press is now accepting book Details: www.haydnsocietyofnorthamerica.org. American Popular Music seeks authors to proposals and book-length manuscripts in The Morgan Library & Museum has made help complete a single-volume, 200,000-word the fields of classical music (especially the Ba- digital versions of more than forty celebrated project that began in 2007. Details: contact roque, Classical, and Romantic periods), the music manuscripts from its permanent collec- George Torres, Editor, [email protected]. Asian-American experience (including mu- tion available on its web site for the first time. The Grove Dictionary of American Music, sicology involving Korea or Japan), and late Eventually, as many as nine hundred manu- second edition (ed. Charles Hiroshi Garrett), twentieth- and twenty-first-century music. scripts containing more than 42,000 pages seeks specialists to contribute or update ar- Details: Ellen Bauerle, Editor, The University will be added to the Morgan’s web site. The ticles. The revised edition will contain 9,000 of Michigan Press, [email protected]. Morgan’s collection of music manuscripts is articles and will be published electronically New fellowships at the University of Notre considered one of the best in the world. (www.oxfordmusiconline.com) and in an Dame have been announced for the Ph.D. Details: www.themorgan.org/music. eight-volume hardbound set. Details: site- in Medieval Studies with a concentration in The Music Library Digital Scores Col­ maker.umich.edu/amerigrove. musicology. These new fellowships will be of- lection at the University of Washington The Library of Congress and the Univer- fered through the University’s Medieval Insti- Libraries is now available online. The col- sal Music Group (UMG) have announced tute, with the first student recipients arriving lection currently includes digital images of 2011 the donation of more than 200,000 historic in Fall . Details: www.nd.edu/~medinst/ manuscript musical scores dating from the seventeenth through nineteenth centuries, in- master recordings­—many long out of print The University of Rhode Island’s intensive cluding operas, opera excerpts, and other vo- or never released—to­ the Library’s Recorded German Summer School Program continues cal music. The original manuscripts are held Sound Section. UMG’s gift is the largest sin- its one-credit course “German for Musicians” in the Music Library’s Rare Book Collection gle donation ever received by the Library’s au- in 2011. This specialist course, taught by and are indexed in RISM A/II. Details: con- dio-visual division and the first major collec- Monika Hennemann, trains students in the tent.lib.washington.edu/mmweb/. tion of studio master materials ever obtained language skills for the study of German music by the nation’s oldest cultural institution. and its associated literature. Dates: 17 July—5 The research project Nineteenth- and Early Among the collection’s thousands of metal August, 2011. Details: www.uri.edu/iep/dssa. Twentieth-Century Performing Editions and lacquer discs and master mono tapes are of String Chamber Music, directed by Clive The NEH Summer Institute for Teachers released and unreleased versions of recordings Brown, is halfway through its four-year term. Voices Across Time: Teaching American His- by such seminal artists as Louis Armstrong, The web site holds a considerable amount of tory Through Song continues this summer. The Bing Crosby, Tommy Dorsey, Billie Holiday, scanned music files with much of interest to program is organized by the Center for Amer- the Andrews Sisters, Connee Boswell, Jimmy specialists in performance practice from this ican Music, University of Pittsburgh, with the Dorsey, the Mills Brothers, Guy Lombardo, period. Society for American Music, and takes place Ella Fitzgerald, Fred Waring, Judy Garland, Details: www.stringeditions.leeds.ac.uk 27 June—29 July 2011. Details: www.voic- and Dinah Washington, among others. esacrosstime.org. The North American Opera Journal, spon- Details: www.loc.gov/today/pr/2011/11-003.html. sored by OPERA America, is a new peer-re- The Music Encoding Initiative Council has viewed, semi-annual online journal for schol- announced the first collaboratively-designed Internet Resources News arship about North American opera that fea- method for encoding the intellectual and tures high-quality research with multimedia­ physical characteristics of music notation The SMT Disability and Music Interest elements. Details: www.operaamerica.org/naoj documents and their scholarly editorial ap- Group web site provides an extensive bibli- ography and an interactive panel of experts paratus. MEI has the ability to manage com- The Journal of Sonic Studies is a new inter- available to handle questions. plex source situations and will dramatically national peer-reviewed journal on the history Details: disabilityandmusic.esm.rochester.edu. improve the search, retrieval and display of of auditory culture, the ontology of sound, notated music online, benefiting music schol- Doctoral Dissertations in Musicology has the epistemology of sonic studies, and other ars and performers. Because of MEI’s software migrated to the AMS web site (www.ams- aspects of auditory culture. independence, the data format defined by the net.org/ddm/). Enhancements include an Details: www.sonicstudies.org.

 AMS Newsletter AMS/SMT Indianapolis 2010 Post-Conference Survey

This year’s post-conference survey was sent committee meeting; four requested a meeting 133 respondents commented regarding our to about 1,500 AMS members following the time change from 7 a.m. effort at making the meeting more accessible Annual Meeting. We received 785 responses, Seventy-one comments on study groups for those with disabilities. Thirty-three were so the results have little statistical reliability. were received. Many were specific to sessions, positive and encouraged continued work Nonetheless, they reveal a number of inter- and complimented organizers for good work in this area. Eleven were unaware that any esting points for consideration. Fuller details (LGBTQ and Music and Philosophy received special effort had been made. Thirty-two ex- regarding responses are at the AMS web site the highest praise). Eleven commented nega- pressed comments about handouts or display- (www.ams-net.org/indianapolis/survey/). tively regarding the quality of research pre- ing examples via projector; a number were sented. Eight commented negatively on the Demographics. Age: 49% of respondents concerned with balancing the efforts required 8–11 p.m. time slot. are 40 or younger. Gender: 51.2% female, to make accommodations with the relatively The survey invited those participating as 47.1% male. Residence: 89.7% of respondents small number of participants needing them 5 1 presenters or session chairs to comment on are from the U.S., . % from Canada, and (e.g. handout enlargements or reserved seats 2 6 session timing and logistics. Most (91%) . % from the U.K. or Ireland. Prior meet­ that were not used). Two drew attention to ings: 12 4 were satisfied with the 45-minute blocks. Only . % said it was their first meeting; for the needs of those who have special dietary those who had been to earlier AMS meetings, two of 183 respondents expressed interest in 45 requirements. 38.2% had been to ten or more; 25.6% had -minute papers and a longer time-block. 13 30 304 general comments were received. been to four to nine; and 22.7% had been to % expressed interest in -minute blocks. 38 Ninety-seven offered favorable or compli- one, two, or three meetings. Employment: % indicated satisfaction with three-hour 26 mentary suggestions. The most persistent 51% of attendees are employed full-time at sessions; % were amenable to two-hour sessions or a combination of the two. (The concern (heard from forty-six respondents) educational institutions; 32.5% are students; remainder did not respond to the question.) concerned the problem of moving between 5.1% are retired; 3.6% are fully employed but Most respondents said that the room size not by an educational institution. two hotels; fifteen expressed concern over the was acceptable (71%); equal numbers re- Responses to the question about having high cost of attending the meeting; fourteen sponded “too small” (14%) and “too large” nine simultaneous sessions were mixed. pointed out the sound bleed problem. A wide (14%). Many reported the problem of sound Over 16% did not respond; 48% said “it was variety of helpful, and sometimes unusual, bleed from adjacent rooms; 22% reported about right”; 13% said even more would be suggestions were made. problems with AV. 22 The Committee on the Annual Meeting acceptable; and % preferred fewer. 204 respondents had suggestions regarding and the Board of Directors will take respons- Respondents were lukewarm regarding holding “green” meetings. No one thought poster sessions 11 es into consideration for future meetings. ; only % said they would be the flyers and promotional brochures given (Change is sometimes slow, since meeting interested in submitting a poster session pro- to attendees were useful; on the contrary, 25 venues are already booked through 2014.) The posal. % did not answer the question. dozens of respondents suggested doing away Committee on Communications will also Many helpful suggestions were given in the with them. Pros and cons on the tote bags comments fields of the survey. They some- were roughly equal. Some commenters were consider how to continue the conversation times conflicted with each other, as is to be unaware of the recycling taking place already; regarding the best ways to move forward with expected. Some will be forwarded to appro- many encouraged recycling, posting handouts the Society’s Annual Meeting. It is clearly one priate people for consideration. Here follows online, electronic (“AMS ‘iPhone app’”) con- of our most important activities, and we wish a summary. ference materials, and conscientious selection to make it as effective and valuable as possible Forty-two comments from those attend- of hotels. A few commenters thought the con- for members. Thanks are due to those who ing committees were received. Five re- cept “silly,” or pointed to the environmental helped by completing the survey. quested better communication regarding the impact of air travel. —Robert Judd

Conferences

This is a highly selective listing; comprehen- Techno-soundings: Acousmatic list.bowdoin.edu/pipermail/ams- sive and up-to-date listings of conferences in Methodologies of the Ear announce/2010-June/002124.html 25 27 2011 musicology are posted online. See the AMS – March Society for Seventeenth-Century Music web site (www.ams-net.org/announce.php) University of Hong Kong 7–10 April 2011 for full details. www.hku.hk/music/events/conferences/ Minneapolis, Minn. technosonic Teaching Music History Day www.arts.uci.edu/sscm/ 18 19 2011 Music, Gender, and Globalization – March Negotiating ‘The West’ Music(ologic)ally University of North Carolina, Charlotte 1–2 April 2011 11–12 April 2011 www.ams-net.org/studygroups/psg/ Cornell University Utrecht University www.musicgenderglobalization.org/ American Handel Festival www.uu.nl/EN/faculties/Humanities/con- 24–27 March 2011 Franz Liszt: 1811–2011 gres/negotiatingthewest/Pages/default.aspx Seattle 1–3 April 2011 www.americanhandelfestival.org/ Utrecht University continued on page 

February 2011  Conferences Nach Mahlers Tod The Diva 24–28 May 2011 5–8 July 2011  continued from page Vienna, Austria Liverpool Hope University www.mdw.ac.at/maed/wz/Symposien.html www.hope.ac.uk/music/the-diva-an-interdis- ciplinary-conference.html Early Modern Women in the Arts Baltic Musics and Musicologies 16 April 2011 26–28 May 2011 Medieval & Renaissance Music Conference West Chester University Canterbury Christ Church University 5–8 July 2011 list.bowdoin.edu/pipermail/ams- www.cccubalticmusic.org.uk Barcelona, Spain announce/2010-September/002233.html www.medrenconference.org Crossroads: Greece as an Intercultural Pole Southeastern Historical Keyboard Society of Musical Thought and Creativity North American Conference on 19th- 12–14 May 2011 6–10 June 2011 Century Music Macon, Ga. Aristotle University, Thessaloniki 7–9 July 2011 www.sehks.org info.mus.auth.gr University of Richmond music.richmond.edu/resources/conference/ Congress on Medieval Studies International Association for the Study of 12–15 May 2011 Popular Music-Canada Music in Russia and the Soviet Union: Western Michigan University, Kalamazoo 16–19 June 2011 Reappraisal and Rediscovery www.wmich.edu/medieval/congress/ McGill University, Montreal 11–14 July 2011 American Musical Instrument Society www.iaspm.ca/2010/09/iaspm-canada-con- University of Durham 18–22 May 2011 ference-2011-june-16-19-montreal/ www.dur.ac.uk/music/ russianmusicconference2011 Phoenix, Ariz. Innovation and Creative Collaboration: www.amis.org Song, Stage and Screen VI International Council for Traditional Music and the Moving Image 20–23 June 2011 Music 20–22 May 2011 University of Missouri-Kansas City 13–19 July 2011 New York University mith.umd.edu/sss/ Memorial University of Newfoundland, St. steinhardt.nyu.edu/music/scoring/ Arts, Ideas, and the Baroque John’s www.mun.ca/ictm2011/ conference/ 24–26 June 2011 McGill University, Montreal Royal Musical Association www.mcgill.ca/iplai/ 14–16 July 2011 Society for Musicology in University of Sussex Ireland www.sussex.ac.uk/mfm/research/music/ rmahorizonsconference 24–26 June 2011 Royal Irish Academy of Music, Music in Nineteenth-Century Britain Dublin 21–24 July 2011 www.riam.ie Queen’s University, Belfast Music and Liturgical Reform, list.bowdoin.edu/pipermail/ams- 2010 002427 1611–present announce/ -December/ .html 29 June—2 July 2011 Music Since 1900 / Lancaster University University of Valencia, Spain Music Analysis Conference list.bowdoin.edu/pipermail/ams- 28–31 July 2011 announce/2010-October/002330. Lancaster Institute for the Contemporary html Arts International Medieval Society www.lancs.ac.uk/sma/msnmac 30 June – 2 July 2011 Chant: Old and New Paris, France 4–7 August 2011 www.ims-paris.org/ Dalhousie University, Halifax Royal Musical Association www.gregorian.ca Music and Philosophy Study Society for Music Perception and Group Cognition 1–2 July 2011 11–14 August 2011 University of London Eastman School of Music, University of list.bowdoin.edu/pipermail/ams- Rochester announce/2010-July/002136.html www.esm.rochester.edu/smpc2011 2011 CMS International Euro-Mediterranean Music Conference Conference 8–10 September 2011 3–10 July 2011 University of Cyprus, Nicosia

Courtesy San Francisco Convention & Visitors Bureau Visitors & Convention Francisco Courtesy San Seoul and Gyeongju, South Korea list.bowdoin.edu/pipermail/ams- The TransAmerica Building, San Francisco www.music.org/Korea.html announce/2010-December/002446.html  AMS Newsletter Music in Divided Germany After the End of Music History 9–11 September 2011 10–12 February 2012 Meetings of AMS and University of California, Berkeley Princeton University Related Societies list.bowdoin.edu/pipermail/ams- list.bowdoin.edu/pipermail/ams- announce/2010-December/002454.html announce/2010-November/002399.html 2011: The Soundtrack of Conflict: The Role of CMS: 20–23 Oct., Richmond, Va. Music in Radio Broadcasting in Wartime Calls for Papers SEM: 17–20 Nov., Philadelphia, Pa. and in Conflict Situations SMT: 27–30 Oct., Minneapolis, Minn. 15–17 September 2011 Historical Keyboard Music: Sources, AMS: 10–13 Nov., San Francisco, Ca. University of Göttingen Contexts, and Performance www.uni-goettingen.de/en/195842.html CFP deadline: 14 March 2011 2012: University of Edinburgh International Alliance for Women in AMS/SEM/SMT: 1–3 July 2011 Music 1–4 Nov., New Orleans, La. list.bowdoin.edu/pipermail/ams- 15–18 September 2011 15 18 announce/2010-December/002460.html CMS: – Nov., San Diego, Ca. Northern Arizona University, Flagstaff 2013 www.cal.nau.edu/iawm/ International Musicological Society : CFP deadline: 31 March 2011 AMS: 7–10 Nov., Pittsburgh, Pa. Feminist Theory & Music Rome, Italy 22–25 September 2011 1–7 July 2012 Next AMS Board Meetings Arizona State University, Tempe www.ims2012.net music.asu.edu/ftm11 Luigi Boccherini (1743–1805) The next meetings of the Board of Di- Tracking the Creative Process in Music CFP deadline: 4 April 2011 rectors will take place on 5–6 March 29 September—1 October 2011 Lucca, Italy in New York City and 9 November Lille, France 1–3 December 2011 2011 in San Francisco. tcpm2011.meshs.fr/ www.luigiboccherini.org European Music Analysis Conference Re-creation: Musical Reception of 6–9 October 2011 Classical Antiquity Policy on Obituaries Università di Roma Tor Vergata CFP deadline: 15 April 2011 www.gatm.it University of Iowa The following policy on discursive obit- 27–29 October 2011 uaries in the Newsletter was approved by Music and Minimalism www.uiowa.edu/~classics/events/music_clas- the Board of Directors in 2002. 12 15 2011 – October sics_conf.html 1. The Society wishes to recognize the Katholieke Universiteit Leuven accomplishments of members who minimalismsociety.org Historic Brass Society CFP deadline: 1 May 2011 have died by printing obituaries in Mozart Society of America Indiana University, Bloomington the Newsletter. 20–22 October 2011 5–7 August 2011 2. Obituaries will normally not exceed Minneapolis-St. Paul www.historicbrass.org 400 words and will focus on music- www.mozartsocietyofamerica.org related activities such as teaching, Women and the Nineteenth-Century Lied research, publications, grants, and Africa Meets North America in New York CFP deadline: 9 May 2011 service to the Society. 20–23 October 2011 National University of Ireland, Maynooth 3 New York 9–10 December 2011 . The Society requests that colleagues, nyafricanensemble.com list.bowdoin.edu/pipermail/ams- friends, or family of a deceased mem- announce/2011-January/002535.html ber who wish to see him or her rec- Music in the Carolingian World: Witnesses ognized by an obituary communi- to a Metadiscipline The European Sound in the Era of Liszt: cate that desire to the editor of the The Musical Tour in the Nineteenth 28–30 October 2011 Newsletter. The editor, in consulta- Century Ohio State University tion with the advisory committee CFP deadline: 14 May 2011 music.osu.edu/atkinsonconference/ named below, will select the author Briosco, Italy Brahms in the Home 30 September—2 October 2011 of the obituary and edit the text for 4–6 November 2011 www.luigiboccherini.org/europeansound. publication. Royal College of Music, London html 4. A committee has been appointed to www.rcm.ac.uk/brahms/ oversee and evaluate this policy, to Music in Goethe’s Faust: commission or write additional obit- The Gothic Revolution: Music in Western Goethe’s Faust in Music uaries as necessary, and to report to Europe, 1100–1300 CFP deadline: 20 May 2011 the Board of Directors. The commit- 4–6 November 2011 National University of Ireland Maynooth tee comprises the executive director Princeton University 20–22 April 2012 music.princeton.edu/~rwegman/gothicrevo- music.nuim.ie/newsevents/conferences/ (chair), the secretary of the Council, lution.htm goethesfaustinmusic and one other member.

February 2011  Papers Read at Chapter Meetings, 2009–10

Allegheny Chapter Norris L. Stephens (University of Pittsburgh), 17 April 2010 “The Remarkable Charles Avison (1709–1770): Towson University 17 October 2009 The Life and Venues of a Novacastrian Musi- Indiana University of Pennsylvania Matthew Wallace (Catholic University of Amer- cian and Entrepreneur Part II: A Biographical ica), “Crossing Periods: Placing Beethoven’s Christina Fuhrmann (Ashland University), Sketch of Charles Avison” Septet” “Spohr’s Der Alchymist Alchemized; or, the End of Pastiche in London” Alicia Kopfstein-Penk (Catholic University of America), “Leonard Bernstein’s Young People’s Mia Tootill (Pennsylvania State University), Capital Chapter Concerts as Political and Social Activism” “Performance Traditions of Schumann’s 25–26 September 2009 Manfred ” Christopher Newport University Elise Steenburgh (Virginia Commonwealth University), “‘Africa’: An Assessment of the In- Marie Sumner Lott (Pennsylvania State Univer- Joint with Southeast Chapter fluence of Africa in the Music of John Coltrane” sity), “The Relationship between Audience and Style in Brahms’s String Sextets, Opp. 18 and Alicia Levin (University of North Carolina, Sterling E. Murray (Williamsburg, Va.), “Love 36” Chapel Hill), “Navigating the Virtuoso Mold: in a Village and a New Direction for Musical Theater in Eighteenth-Century America” Colin Roust (Oberlin College), “‘O vent de Chopin’s Professional Tactics in Paris” notre liberté’: Singing Resistance in Occupied Stephen Pysnik (Duke University), “Swing Tan- Bonny H. Miller (Rockville, Md.), “A Songbook Paris” zen Verboten: Swing Dance in Nazi Germany” and a Sea Voyage: The Legacy of Louisa Wells Aikman” Sabra Statham (University of Virginia), “The Daniel Guberman (University of North Caro- George Antheil Digital Edition: A Presentation lina, Chapel Hill), “Elliott Carter’s Cello So- Larry C. Taylor (Bridgewater College) and Mary and Demonstration of New Methods for Elec- nata: Mediating Schoenberg and Stravinsky in Jean Speare (James Madison University), “The tronic Documentary Editing” Post-War America” Organ as a Symbol of Evil in Opera” Robert Fallon (Carnegie Mellon Univer- Yen-Ling Liu (Stanford University), “Paint- Sara Jameson (Washington, DC),“‘But Where sity), “Creating Mount Messiaen: A Study in ing and Musical Depiction in Franz Liszt’s is He, the Pilgrim of My Song’: The Evolving Ecomusicology” Hunnenschlacht” Voices of the Hero and the Artist in Hector Berlioz’s Harold en Italie” James Dearing (Indiana University of Pennsyl- Laura Dolp (Montclair State University), “Vi- vania), “Edmund Louis Najera (1936–2009): A ennese ‘Moderne’ and its Spatial Planes, Presentation of his Works” Sounded” Greater New York Chapter Norris L. Stephens (University of Pittsburgh), William Gibbons (University of North Caro- 3 2009 “The Remarkable Charles Avison (1709–1770): lina, Chapel Hill): “The Trials of Authenticity: October The Life and Venues of a Novacastrian Musi- The Magic Flutein 1909 Paris” Stony Brook University Manhattan Center cian and Entrepreneur” James M. Doering (Randolph-Macon College), Edward Green (Manhattan School of Music), 24 April 2010 “Curing Mahleritis and Other Philharmonic “Schoenberg’s Serenade Op. 24 (1921–1923)” Carnegie Mellon University Ailments: Arthur Judson, Clarence Mackay, Jeff Dailey (Five Towns College), “Weill’s and the 1923 Fix” Frauentanz (1923)” Aaron Grant (Pennsylvania State University), Christina Taylor Gibson (Catholic University “Duality in Igor Stravinsky’s Compositional Leslie Sprout (Drew University), “Duruflé’s Re- of America), “Carlos Chávez’s Horsepower and Process as Seen in The Nightingale( 1908–1914)” quiem (1947)” U.S.-Mexican Cultural Exchange” Theodore Albrecht (Kent State University), Stephen Arthur Allen (Rider College), “Britten’s Dale Cockrell (Vanderbilt University), “Writing “Sounds Familiar: Humperdinck’s Hänsel und A Midsummer Night’s Dream (1960)” the Great American Family Songbook: Laura Gretel as Janus” Mimi S. Daitz (City College of New York), Ingalls Wilder and Her American Music” Michael Boyd (Chatham University), “Formal “Tormis’ Piispa ja pakana (1992/1995)” Naomi Graber (University of North Carolina, Discomfort: The Afghan Whigs’ ‘My Curse’” Stephen Blum (Graduate Center, CUNY), “Re- Chapel Hill), “‘Es war inmitten unsres Wegs Christopher Wilkinson (West Virginia Univer- lationships among Verse, Rhythm and Tune in im Leben’: Stefan George’s Dante in Arnold Arabic and Persian Theory” sity), “Conditions and Consequences: Why Schoenberg’s Die Jakobsleiter” Big Bands Went to Black West Virginia in the Bethany Cencer (Stony Brook University), “The Noel Verzosa (Hood College), “Debussy, Mod- 1930s” Rhetorical Function of Cadences in Lassus’ ernism, and the Concept of Purity” Laura Youens (George Washington University), Penitential Psalm V” Andrew H. Weaver (Catholic University of “Ezra Pound, Walter Morse Rummel, and the Jonathan Waxman (New York University), America), “Representing the Monarch in Troubadours” “Composer versus Critic: The Politics of Writ- Sound: Sacred Music as Public Image for Holy ing Programs at the New York Philharmonic” Jack Crotty (West Virginia University), “The Po- Roman Emperor Ferdinand III at the End of Maja Cerar (Columbia University), “Hearing etic Narrative of Beethoven’s Piano Sonata in A the Thirty Years’ War” major, Op. 101” Words in the First Movement of Schubert’s A- Blake Stevens (College of Charleston), “Mono- Minor String Quartet D. 804” Elizabeth Hoover (University of Pittsburgh), logue and Ruptured Dialogue in the Tragédie Sarah Adams Hoover (Concordia Conservato- “Music in Terms of Painting, Painting in Terms en musique” of Music: A Comparative Analysis Using the ry), “‘Making the Verses of Another Her Own’: Aesthetic of Morton Feldman and Philip Lili Boulanger’s Clairières dans le ciel and the Guston” Conflation of Life and Work”

 AMS Newsletter Jonathan Boschetto (Princeton University), Midwest Chapter Paul R. Laird (University of Kansas), “The “Musical Meaning and Narrative in Britten’s Influence of Leonard Bernstein on Stephen 17–18 October 2009 Canticle II: Abraham and Isaac” Schwartz” National-Louis University, Chicago Kendra Leonard (Westminster Choir College), Laura Pita (University of Kentucky), “Teresa “Passion, Devotion, Sacrifice: Reading Talma’s Monica Hershberger (Michigan State Univer- Carreño and the Piano Music of Edward Mac- The Alcestiad ” sity), “Peter Maxwell Davies’ Yellow Cake Dowell: New Discoveries in the Carreño Col- Revue” lection in Caracas, Venezuela” 23 January 2010 Lisa Feurzeig (Grand Valley State University), Marian Wilson Kimber (University of Iowa), Montclair State University “Politics Old and New: Multiple Meanings of “In a Woman’s Voice: Musical Recitation and Jacob A. Cohen (Graduate Center, CUNY), an Operetta Revival” the Feminization of American Melodrama” “‘The Compass Always Points to Terrapin’: Glen Carruthers (Brandon University), “The Michael F. Vincent (Bowling Green State Uni- Harmonic and Geographic Ambiguity in the Ontology of Recordings” versity), “Continuous Expositions and Static Grateful Dead’s ‘Terrapin Station’” Dina Lentsner (Capital University), “Farewell, Harmonic Modules in Boccherini’s Op. 32 Wayne Heisler, Jr. (College of New Jersey), Dichterliebe…: Schumann, Kurtág and the String Quartets” “‘You’ll Never Get Away from the Sound of the Intertext” Peter S. Poulos (University of Cincinnati), “Pi- Woman That Loves You’: Stevie Nicks Haunts Erin Brooks (Washington University in St. ety, Remembrance, and ‘The Good Shepherd’: Fleetwood Mac” Louis), “Massenet, Saint-Saëns, and Incidental A Gift of Sacred Music for the Doge of Genoa” Rachael C. Brungard (Graduate Center, Music for Racine” Francesco Dalla Vecchia (University of Iowa), CUNY), “‘From the Top of the Pole, I Watch Sarah Ruddy (Muskegon, Michigan), “Mass- “‘Ma su qual voce canti ed in qual tuono?’ The Her Go Down’: The Appropriation, Hetero- enet’s Passion of Marie-Magdeleine” Keys of Francesco Cavalli’s Lost Arias” sexualization, and Masculinization of Dead or Sherri Bishop (Indiana University), “Market- Kerry O’Brien (Indiana University), “Early Alive’s ‘You Spin Me Round (Like a Record)’” ing and the Madrigal: Changing Approaches Steve Reich and Techno-utopianism” Anna Stephan-Robinson (New York Univer- to the Title Page in Venetian Madrigal Prints, S. Andrew Granade (University of Missouri, sity), “Peggy Sue Got Updated? Intertextuality, 1538–1560” Kansas City), “Reconsidering the ‘Maverick:’ Reworking, and the Present in Paul Simon’s Holly Holmes (University of Illinois), “Ku Klux Harry Partch and the Politics of Labeling” ‘Old’” Klan Sheet Music: ‘Creating Desire’ in 1920s Ryan Bunch (Holy Family University), “Get- Middle America” ting Over the Rainbow: Crossing Boundaries Katerina Lichtenwalter (University of Notre New England Chapter in the Reception and Performance of a Queer Dame), “Lieder eines fahrenden Gesellen: An 3 October 2009 Anthem” Aesthetic Dichotomy” University of Connecticut Christopher Doll (Rutgers University), “‘Move Alison DeSimone (University of Michigan), Hilary Poriss (Northeastern University), “Prima On’”: Representations of Early Rock’n’Roll in “‘Médée et son pouvoir’: Musical and Dramat- Donnas and the Performance of Altruism” Post-Sixties Popular Music” ic Structures in Marc-Antoine Charpentier’s Médée” Andrew Shenton (Boston University), “Negoti- 1 May 2010 ating Rapture: Tekno, Teknival and the T.A.Z.: Heather Strohschein (Bowling Green State New York University The Temporary Autonomous Zone” University), “‘Are You My Mother?’ Wagner’s Mark Seto (Columbia University), “Chausson’s Women and an Absence of the Maternal” Seth Brodsky (Yale University), “Memorial Uto- Viviane, ‘Déwagnérisation,’ and the Problem of pianism in Late Twentieth-Century European Matt Kickasola (Webster University), “Gran- Descriptive Music” Composition” ville Bantock’s Redefinition of the Choral Sylvia Kahan (CUNY-Staten Island), “‘Bent Symphony” Stefano A. Graziano (Boston University), “The Scales and Stained Glass Attitudes’: Critical Lute and the Dance: The Intabulatura de Elissa Harbert (Northwestern University), Reception of Debussy’s Music in the United lauto Libro Quarto of Joan Ambrosio Dalza “Italian Musicians in the Early United States, States, 1884–1918” ‘Milanese’” 1780–1830” Kassandra Hartford (Stony Brook University), Michael Baumgartner (Milton, Mass.), “Fune- 17–18 April 2010 “From ‘O Boi no Telhado’ to Le boeuf sur le real Music, War, Sarajevo and Silent Cinema: toit: Milhaud, Brazil, and the Discourse of University of Kansas Theo Angelopoulos Ulysses’ Gaze (1995)” Latinness” Aaron Ziegel (University of Illinois, Urbana- Paula J. Bishop (Boston University), “Salty Dog Michael Beckerman (New York University), Champaign), “Reshaped and Redefined: Two Blues: A Ragtime-Blues-Hillbilly-Swing Band- “Michna’s Crucible” Film Scores for Cocteau’s La Belle et La Bête” Bluegrass Standard and the Concept of Origi- William E. Hettrick (Hofstra University), “Jo- Stevie Garza (University of Iowa), “‘An einem nality in the 1920s and 30s” seph P. Hale (1819–1883), Piano Manufacturer kahlen Baum’: Representations of Lynching in of New York: His Work, Reputation, and Alexander Zemlinsky’s Symphonische Gesänge, 6 February 2010 Legacy” Op. 20” Brandeis University Ronald Cross (Wagner College), “Matthaeus Pi- Laura E. Kennedy (Bowling Green State Univer- Jeremy Leong (Jefferson Community College), pelare, a Fresh Look” sity), “The Sketch Materials of Dmitri Shosta- “The Influence of Kant in Chinese Music Edu- Maria van Epenhuysen Rose (RILM), “‘Like kovich: Symphonies Nos. 8 and 10 in the Com- cation under the Pre-Communist Regime” poser’s Manuscripts” Courtiers in the Presence of the Master’: The Matthew Mugmon (Harvard University), Accompanied Keyboard Sonata and the Ori- Craig B. Parker (Kansas State University), “The “Making Mahler French: Bernstein’s Case for gins of Instrumental Balance in Piano Trios” Compositions of Nicolas Slonimsky” the Composer in 1960” Edward Green (Manhattan School of Mu- James A. Naumann (Ohio State University), sic), “‘Lovely Ritmos, Meter Mad’—Irregular “Das Schöne Unendliche: Jean Paul’s Paradox Phrase Rhythms in the Music of the Beatles” and Schumann’s Sphinx” continued on page 

February 2011  Papers read at Chapter Meetings Kathryn Fenton (University of Western Ontar- Jessica Balik (Stanford University), “Interpreting io), “Creating the Sounds of Place in Puccini’s Illusion: New Left, New Right, and Schnebel’s continued from page  La fanciulla del West” Schubert-Phantasie” Christopher Lynch (University at Buffalo), Joseph Kerman (University of California, Berke- Mark DeVoto (Tufts University), “Memory and “Twentieth-Century American ‘Opera’ and ley) and Jesse Rodin (Stanford University), Tonality in Debussy’s Prelude a l’Apres-midi Two West Side Storys” “Recent Scholarship Concerning Josquin” d’un faune” Claudine Jacques (McGill University), Alexandra Amati-Camperi (University of San David Schulenberg (Wagner College), “Forged “The Power of a Female Gaze: The Case of Francisco), “A Surprising Metamorphosis, or: in the Workshop of J. S. Bach: The Divergent Schumann’s Genoveva” How Did Shakespeare Get into the Orpheus Careers and Music of Friedemann and Eman- Myth?” uel Bach’” Alex Dean (Nazareth College/Hamilton Col- lege), “Dance Rhythms, Strummed Guitar, JoAnn Taricani (University of Washington), “A Erik Entwistle (Longy School of Music), “Mar- and the Basso Continuo in Seventeenth-Cen- Covert Musical Tribute to the Restoration of tinu and the Saint Wenceslas Chorale” tury Song” Charles II (1661)” Sarah Caissie Provost (Brandeis University), Rachel Mundy (New York University), “Mes- Lydia Mayne (Stanford University), “Music “The Early Performed Jazz Retrospective” siaen and the Ornithologists” Contra Text: Musical Prosodic Dissonance in Eunmi Shim (Worcester Polytechnic Institute), David Rosen (Cornell University), “Layers of Two Nineteenth-Century Operas” “Charlie Parker’s Influence on Lennie Tristano” Ambiguity in La muette de Portici ” William Quillen (University of California, Berkeley), “Back to the Future: The 1920s in 17 April 2010 Russian Music Today” University of New Hampshire Northern California Jennifer Eklund (California State University, Feng-Shu Lee (University of Chicago), “Con- 6 February 2010 Long Beach), “The Rise of Swedish Rap in the textualizing the ‘Götter Ende’: The Conclusion Stanford University Wake of Immigrant Segregation” of the Ring in Relation to the Creation of the Wye Jamison Allanbrook (University of Cali- 1848 1852 Cycle ( – )” fornia, Berkeley), “Is the Sublime a Musical Mary J. Greer (American Bach Society), “The Topos?” Pacific Northwest Chapter Identity of the Previous Owner of J. S. Bach’s Erinn Knyt (Stanford University), “Busoni 27–28 March 2010 Calov Bible and Commentary Revealed: Impli- and the Absolute in Music: Freedom from all University of Calgary cations for Bach Scholarship” Constraints” Dorothy Lamb Crawford (Independent schol- André Mount (University of California, Santa Kimberly Back Seder (University of British Co- ar), “Adventures in Research for A Windfall Barbara), “Does Serious Music Belong in Pop? lumbia), “Schütz and the Solo Voice” of Musicians: Hitler’s Émigrés and Exiles in Borrowings from Stravinsky in the Music of 2009 Southern California (Yale )” Frank Zappa” Neil Cockburn (University of Calgary), “Re- constructing alternatim Chants in Late Seven- Diane M. Paige (Hartwick College), “Vitěslava J. Griffith Rollefson (Chapman University), teenth-Century France: a Case Study in Perfor- Kaprálová and the Muses” “Heisse Waren [Hot Commodities]: Black mance Practice” Erik Entwistle (Longy School of Music), “Vá- Music and African Americanization in Aggro clav Kaprál and the Second World War” Berlin” Barbara Reul (University of Regina), “‘Perform- ing under the Influence?’ J. H. Heil (1708– Peter Laki (Bard College), “‘Le petit macabre’: D. Kern Holoman (University of California, 1764), Organist at St. Bartholomäikirche in The Personification of Death in Ullmann’s Kai- Davis), “Charles Munch, André Cluytens, and Zerbst” ser von Atlantis and Ligeti’s Le grand macabre” Questions of Sympathy, Resistance, and Post- War Purification” Maria Noriega (University of Calgary), “‘Un- abashedly Excluded’ from the Stage?: A Re- Rebecca Plack (San Francisco Conservatory of examination of Women as Musicians in Mid- New York State–St. Lawrence Music), “Recycling Richard: Exploring Strauss’ Twentieth-Century Canada” Chapter Recordings of His Own Lieder and Reexamin- Tanya Hage (University of Calgary), “Ragtime 10 2010 ing the Purpose of Notation” April and Stravinsky: An Examination of Ragtime Emiliano Ricciardi (Stanford University), “Com- Ithaca College Elements in Histoire du Soldat” binative Secular Settings of L’homme armé and Susan M. Taffe (Cornell University), “Coloni- their Relation to the Sacred Tradition” Alberto A. Requejo (University of Washington), zation’s Chain: Tracing the Links That Bond “Jesus Guridi’s Lyric Drama Amaya and the Laurenz Lütteken (University of Zürich), “Re- Communities through the Delaware Skin Creation of a Basque Volksbewußtsein” naissance—Epoch without Music” Dance” Mary Térey-Smith (Western Washington Uni- Joseph E. Morgan (Brandeis University), “We- 24–25 April 2010 versity), “The Theatre Overtures of Thomas ber, Schumann and the Latent Motive” University of California, Berkeley Arne: Early Examples of English Symphonic Alex Stefaniak (Eastman School of Music, Uni- Joint with Pacific Southwest Chapter Music in Classical Style” versity of Rochester), “Liszt’s Cantata Para- Chantal Frankenbach (University of California, Bertil van Boer (Western Washington Universi- phrase: Reinterpreting Genre and Narrative in Davis), “Waltzing Hypocrisies: Hanslick’s Dual ty), “The Aria-cum-Chorus ‘Förkunnom högt the ‘Weinen Klagen’ Variations” Attitudes to Dance” hans lof och magt’: The Recovery of a Lost Tekla Babyak (Cornell University), “Spoofing Anthony Barone (University of Nevada, Las Ve- Work by Joseph Martin Kraus?” Transcendence: Debussy’s Critique of Wagne- gas), “Sexual Violence, Musical Rhetoric, and Deanna Davis (University of Alberta), “The rian Metaphysics” Authorial Voice in Wagner’s Ring” Politics of Conviviality: Nina d’Aubigny von Natalie Anderson (University of Western On- Kiri Heel (Stanford University), “Popular Mod- Engelbrunner’s Briefe an Natalie (1803)” tario), “Composing Social Realism: The Mass ernism: Germaine Tailleferre’s Ballet Le March- Eleonora M. Beck (Lewis & Clark College), Songs of Shostakovich and Copland” and d’oiseaux” “Michael Jackson and Classical Music”  AMS Newsletter Pauline Minevich (University of Regina), “Map- Catherine M. Brown (University of California, Charles Leinberger (University of Texas, El ping the World: Reflections on Place in Con- Los Angeles), “Music in a Library!? The UCLA Paso), “Musical Gesture, Modality, and Dis- temporary Soundscapes” Powell Library as a Non-Traditional Perfor- sonance in ‘L’Estati dell’Oro’ from Il Buono, il Emily Nelson (Lewis & Clark College), “‘Music mance Space” Brutto, il Cattivo: Decoding Ennio Morricone’s is never about anything’: Issues of Program in Maureen Demaio (University of California, Micro-Cell Technique” Leonard Bernstein’s Second Symphony ‘The Santa Barbara), “The Decline of Anti-Semitic Engelbert Indo (University of Arizona), “An- Age of Anxiety’” Antimodernism: Daniel Gregory Mason and dean Soundscape: A Celebration of Peruvian Ed Jurkowski (University of Lethbridge), “Ran- American Responses to Nazism in the 1930s” Folk and Faith” dom Sounds or Organized Design? What the Eric J. Wang (University of California, Los Jaime Bofill (University of Arizona), “Entre Pe- Compositional Sketches Tell Us About Morton Angeles), “The Outer Limits of the Universe: ruanos, A Musical Ethnography of the Peru- Feldman’s Late Works” Experiments with Tuning in Seventeenth-Cen- vian Community in Tucson” Friedemann Sallis (University of Calgary), tury Keyboard Music” Yan Chun Su (Waterdrop Films, Colorado), “György Kurtág’s Grabstein für Stephan Op. 15c William Weber (California State University, “‘Chiben Without Notes’: Filming the Lives (1978–89): Between Compositional Fragment Long Beach), “Wagner and the Emerging Op- and Music of a Tibeto-Burman Ethnic Group and Composed Concert Programme” era Canon: Extracts and Transcriptions in Paris in Southwestern China” Jennifer Paulson (University of British Colum- Concerts” Frank Riddick (University of Oklahoma), “The bia), “Mechanisms of Humour in Chabrier’s Stephen Penner (California State University, Harmonic Language of the Third Movement of ‘Chanson de l’homme armé’” Northridge), “Hype in Classical Music—Good Zemlinsky’s Third String Quartet” Marilyn Engle (University of Calgary), “Re-Fan- or Bad?—A Quantitative, Historical Analysis Russ Knight (San Diego State University), “Lin- tasizing the Sonata: Schumann’s Piano Sonata of the Effects of Hype Surrounding the Antici- ear Projection in Atonal Works: Synchronic/ in F-sharp Minor, Op. 11” pation of Incoming Music Directors at the Los Diachronic Chord Constructions” 1962 Jamie Meyers-Riczu (University of Calgary), Angeles Philharmonic since ” Israel Solis (University of Arizona), “An Intimate “Form and ‘Expression’ in Schumann’s Man- Roger Hickman (California State University, Relationship between Symbolism and Form: fred Overture” Long Beach), “Miklós Rózsa’s March Madness” Trichord Collections in the Text of Ancient 24–25 April 2010 Voices of Children, Last Movement” University of California, Berkeley Jessie Fillerup (University of Mary Washington), Pacific Southwest Chapter Joint with Northern California “Ravel at the Gallows: Temporal Strategies in 26 September 2009 See Northern California Chapter listing for pa- ‘Le Gibet’” Mount San Antonio College pers read. Ellon Carpenter (Arizona State University), “‘Prometheus,’ Synaesthesia, and Light-mu- Alexander Sigman (Stanford University), “The Rocky Mountain Chapter sic: Bulat Galeyev’s Contributions to Scriabin Research” Cycle as Compositional Category: Properties 16–17 April 2010 and Approaches” Norman Ludwin (University of California, Los University of Arizona Daniel Zuluaga (University of Southern Cali- Angeles), “Elements of Tonality and Ambigu- fornia), “‘[Come] Fare Lo Amore Alla Spagnola’: John Peterson (University of Colorado, Boul- ity in Leonard Bernstein’s ‘Kaddish’ Symphony Spanish Alfabeto Song and the Sexually Explicit der), “Unearthing the Pastoral: A Study of Two No. 3” Lyric in Italian Territories, 1580–1630” Movements in Carl Nielsen’s Third Symphony” Edmond Johnson (University of California, Scott Farrah (Tarrant County College), “‘Pat- Santa Barbara), “Recording the Musical Past: tin’ Juba’ in Florence Price’s Symphony in E The Harpsichord on Disc, 1920–1940” Minor” continued on page  Adriana Martínez (Eastman School of Music, University of Rochester), “North, South, and In-Between: Carlos Chávez’s Horse Power” Elisabeth Kotzakidou Pace (Columbia Univer- sity), “The Conceptual Affinity between the Arts of Music and Rhetoric in the German Renaissance” David Kendall (University of California, River- side), “Musicology in the Philippines: Sources and Invented Traditions”

13 February 2010 California State University, Long Beach

Seth Houston (University of Southern Cali- fornia), “Restoring Self through an Exotic Other: Orientalism and the Poetic in Robert Schumann’s Das Paradies und die Peri” Alejandro Planchart (University of California,

Santa Barbara), “The Nature of the Prose Rep- Bureau Visitors & Convention Francisco Courtesy San ertory in Southern Italy” The Golden Gate Bridge, San Francisco February 2011  Papers read at Chapter Meetings Katherine Campe (University of Cincinnati), Karen Bottge (University of Kentucky), “Read- “A Critical Review of the Neuromusicological ing Adorno’s Reading of the Rachmaninov Pre- continued from page  Research in Subjects with Williams-Beuren lude in C-Sharp Minor: Metaphors of Destruc- Syndrome” tion, Gestures of Power” Kathleen Kirk (Northern Arizona University), Peter Purin (University of Kansas), “Deforma- Mark McFarland (Georgia State University), “Generic Self-reflection: The Evolution of tions of Sonata Form and the Pachelbel Se- “Bill Evans Plays the Standards” Southern Hip-Hop” quence: A Plethora of Hearings as Traversing Christina Smith (Northern Arizona University), James M. DeFazio (Arizona State University), Alternate Realities in the Finale of Bruckner’s “Worship and Controversy: Music in Southern “Early Music in Arizona: Motivation, Relation, String Quintet in F Major” Baptist Churches in the Twenty-First Century” and Exoticism” Amy Holbrook (Arizona State University), “A Ben Dumbauld (Arizona State University), Rachel Peterson (University of Arizona), “Perfor- Look at Mozart’s Preludes to Fugues” “Musical Performance as Cultural Negotiation mance, Time, and Space in Jazz Performance” Heeseung Lee (Greeley, Colo.), “Beethoven as in the Chinese Christian Church” Aaron Templin (University of Arizona), “Hid- ‘Cultural’ Man in Contemporary Reception of Richard Haefer (Arizona State University), den in Plain Sight: The Tonally Overt in Beethoven’s Folksong Settings” “Multi-layered Symbolism in Native American Stravinsky’s Neo-Classic Cadential Gestures” Carol Padgham Albrecht (University of Idaho), Peyote Music and Instruments” Helen Brown (Purdue University), “Double “Before the Immortal Beloved: The Opera Identities in Music and Verse: Margaret Allison Career of Beethoven’s Early Love, Magdalena Bonds’ ‘Minstrel Man’” Willmann Galvani” South-Central Chapter Tahirih Motazedian (University of Arizona), Eva Sigerstad (Northern Arizona University), 5–6 March 2010 “Stravinsky’s Compositional Process: Revela- “Jazz in South Africa: The Medium for Social Emory University tions from a Sketch Study” Change” David Haas (University of Georgia), “The Sym- Hendrik van der Werf (Tucson, Az.), “The Gen- Mackenzie Pickard (University of Arizona), phony Within the Quintet: The Lost Austrian esis of Polyphony” “What’s Happening on Stage? The Mbira and Contexts of Schoenberg’s First Grosses Werk of Ian Houghton (University of Arizona), “Imita- Contemporary Performance Practice” the Twelve-Tone Method” tive Technique in the Missa pourquoy non of Edward Jurkowski (University of Lethbridge), Jamison Tyler Fritts (University of Louisville), Mathieu Gascongne” “Bruckner the Classicist: The High Classical “Transforming the Past: Luciano Berio’s Ap- Richard Agee (Colorado College), “The Printed German Style as the Foundation of the Com- propriation of Folk Material and Idioms in Dissemination of the Roman Antiphoner in poser’s Thematic Construction” Folk Songs (1964)” Italy During the Early Modern Period” Kyle Jenkins (University of Arizona), “Obscured Arreanna Rostosky (Vanderbilt University), Jelena Vladikovic (Arizona State University), Articulations: Brahms and the Recapitulatory “Desperate Times, Desperate Measures: Swee- “Dyslexia, Gifted Learners, Music, and the Overlap” ney Todd as Open Text” Piano: Rude, Inattentive, Uncooperative, or Darryl White (University of Arizona), “Motions Mark McFarland (Georgia State University), Something Else?” Like a Pendulum: Hexatonicism in the Key “For the Love of Money: Stravinsky and the Brian Moon (University of Arizona), “Teaching and Chord Relations of the Song ‘Morgens Pianola” Pop and Rock in the Age of the iPad: Electron- steh ich auf und frage’ by Franz Liszt” Meagan Mason (Emory University), “The Mean- ic Textbooks in Gen. Ed. Music Courses” Laura Dolp (Montclair State University), “Mark ing of Plainchant in Contemporary Music” Morris, Dido and Aeneas, and the Politics of Brenda Romero (University of Colorado), “A Norbert Dubowy (Ann Arbor, Mich.), “Alessan- Fate” Theory of Infinite Variation” dro Scarlatti and the Pastoral Mode: Emireno David Goldblatt (University of Florida), “Hugo Jason Solomon (Western Carolina University), and Gl’inganni felici ” Kauder (1888–1972) and Julius Chajes (1910– “The Shaping of Sound and the Sounding of Wojciech Odoj (University of Memphis), “The 1985): Evidence for an Alternative Early Twen- Shape: The Analysis of Spatial Gestures“ Anonymous Motet Ave rosa speciosa from the tieth-Century Viennese School” Chigi Codex and Its Two Possible Renderings” Jason Thompson (University of Arizona), Janice Dickensheets (University of Northern “Through the Looking Glass: Symmetry, Pal- Elizabeth Kramer (University of West Geor- Colorado), “Musical Topoi, Leitmotifs, and indrome, and Mirror Constructs in the Late gia), “Composing Farewell in 1809 and 1810: Tolkien’s Lord of the Rings: An Exploration of 23 25 Beethoven’s Sonata in E flat, Op. 81a” Songs (Op. and ) of Anton Webern” Romantic Musical Influence on Modern Fan- James Mackay (Loyola University), “Beethoven’s Paul Miller (University of Colorado, Boulder), tasy Movies” “Stockhausen in Space/Space in Stockhausen” Anti-Sonata: The Piano Sonata in A-Flat Ma- Deborah Crall (Mt. Holly, NJ), “Greed Versus jor, Op. 110” Robin Sacolick (University of Arizona), “Trans- Generosity in Marketing Art: Libby Larsen’s Elizabeth Whittenburg Ozment (University of formations of Indigenous Idioms in Music of Barnum’s Bird 2002 ( )” Georgia), “Civil War Contrabands and Twen- de Baratta, Castillo, and Chávez” Kevin Romero (University of Colorado), “Phry- ty-First Century Folk-Opera” Lisa Munro (University of Arizona), “El Rock gian Tonality: Aspects of Functional Tonality John Hausmann (University of Louisville), “The Chapín (Guatemalen) on Local, Regional, and in Flamenco Guitar Practice” Russians are coming! Notes on Shostakovich International Stages” Christian Vincent (University of Arizona), “Fla- and Cold War Politics on the Fiftieth Anniver- Adriana Martinez-Figuer (Phoenix, Az.), “Bi- menco in Tucson Past and Present” sary of his Trip to Louisville” national Indianism in James DeMars’s Guada- Renato Serrano (University of Arizona), “The Catherine Greer (University of Tennessee, lupe, Our Lady of the Roses” Influence of Mapuche Music upon Chilean Knoxville), “Brundibar: Confronting the Rep- Steven Mathews (University of Cincinnati), Contemporary Composition” resentation of Resistance in Theresienstadt” “Representing Linear Intervallic Patterns in Scott Cook (University of British Columbia), Mona Kreitner (Rhodes College), “Happiness Schenkerian Notation and Pedagogy: Problems “Understanding Bill Evans’s Pre-Composition- Self-made: The Sears Roebuck Catalog and of Presentation and Prolongation” al Harmony through Improvised Melody” Amateur Music in America, 1897 to 1927”

 AMS Newsletter Southeast Chapter Toni Casamassina (Florida State University), Christopher Smith (Texas Tech University), “‘The Old Ways’: Energizing Your Students 25–26 September 2009 “On the Path to Maturity: An Analysis of Two Reinick-Lieder with Participatory Learning” Christopher Newport University Songs from Hugo Wolf’s ” Joint with Capital Chapter Gregory Harwood (Georgia Southern Univer- Gregory Straughn (Abilene Christian Uni- sity), “Robert Schumann’s Repertory Deci- versity), “Using Technology in Creative See Capital Chapter listing for papers read. sions and Rehearsal Practice in his Career as a Assignments: Google Earth and iPhone Choral Conductor” Applications” 27 March 2010 Ling Fung Chan (University of Florida), “Rein- Dorothea Gail (University of Oklahoma), University of North Carolina, Greensboro venting Francisco Goya in Enrique Granados’ “Charles Ives’s Concept of Morality and Im- Kristen Turner (University of North Carolina, Goyescas the Opera” morality in Music” Chapel Hill), “Pietro Giovanelli and the Novus Amy Zigler (University of Florida), “‘Innocents’ Masataka Yoshioka (University of North Tex- Thesaurus Musicus: An Example of Sixteenth- Condemned: An Examination of Ethel Smyth as), “Embracing Venetian Liberty: Giovanni Century Merchant-Class Patronage” and Francesca da Rimini” Gabrieli’s Late Polychoral Music” Christopher M. Reali (University of North Car- Stephen Thursby (Florida State University), 27 March 2010 olina, Chapel Hill), “Fame by Association: The “Louis Sullivan, J.S. Dwight, and Wagne- Legacy of Palestrina” Texas Christian University rian Aesthetics in the Chicago Auditorium Sarah Williams (University of South Carolina), Building” “‘Mere claptrap jumble’: Dysfunctional Nota- John L. Snyder (University of Houston), “To- Elisa Weber (Florida State University), “Be- tion and Musical Literacy in Late Seventeenth- wards a Critical Edition of Coleridge-Taylor’s Century London” tween Temporal Art and Object Art: Minimal- Symphony in A Minor: Sources, Chronology, ism and Charlemagne Palestine’s Body Music I Robert Fallon (Carnegie Mellon University), and Issues” and Body Music II” “Messiaen’s Cosmology and the Quartet for the Kevin Salfen (Southern Methodist University), End of Time” Michael B. O’Connor (Palm Beach Atlantic “Genre and Irony in Britten’s Variations on a Laurie McManus (University of North Caro- University), “The Polyphonic Regina coeli of Theme of Frank Bridge” lina, Chapel Hill), “‘Musik für’s Auge:’ A Ger- Juan de Esquivel: Reconciling Tradition, Re- R. Allen Lott (Southwestern Baptist Theologi- man Requiem, the Rise of Musical Elitism, and form, and Innovation in Early Seventeenth- cal Seminary), “The Biblical Context of Jo- the Challenge of Tradition” Century Spain” hannes Brahms’s Ein deutsches Requiem” Elizabeth Terry (Duke University), “A Märchen Eric Lubarsky (University of Florida), “The Sanna Pederson (University of Oklahoma), Revised: Text and Instrumental Augmentation Consolation of Death in Marguerite of Aus- “Two Kinds of Absolute Music at the Begin- in Gustav Mahler’s Das klagende Lied” tria’s Chansonnier” ning of the Twentieth Century” James Brooks Kuykendall (Erskine College), Zoë Lang (University of South Florida), “Jo- Stuart G. Cheney (Texas Christian Univer- “William Walton’s Film Scores: New Evidence hann Strauss Jr. as Jew” sity), “French Choirboys and the Viol, 1580 in the Autograph Manuscripts” Michael Broyles (Florida State University), to 1700” Elizabeth Whittenburg Ozment (University of “Beethoven Was Black: Why Does It Matter?” Sara Doan (Texas Christian University), Lec- Georgia), “Prelude to Freedom: Oppositional ture Recital: “Development of Writing Styles Knowledge in African American Opera” Southwest Chapter through Left Hand Transcriptions” Martin Nedbal (University of Arkansas), “Mo- 10 October 2009 zart’s Didactic Nationalism: The Immoral- Southern Chapter University of Texas at San Antonio ity of Così fan tutte versus Die Zauberflöte’s 5–6 February 2010 Germanness” University of Florida Jimi Michiel (Texas Christian University), Juanita Ulloa (Texas State University), “Ma- “Miles Davis as College Student and Classical riache: A Newly Discovered Mariachi Opera John D. Spilker (Florida State University), Musician” “Jean­ette B. Holland Meets Henry Cowell: Written in 1941 by Antonio Gomezanda” Mark Brill (University of Texas at San Anto- New Archival Evidence for Dissonant Coun- Caroline Polk O’Meara (University of Texas, nio), “Depiction of the Exotic Other in the terpoint in the 1950s” Austin), “Uptown, Downtown, and the Cul- Films of Ray Harryhausen” Bryan Proksch (McNeese State University), tural Economy of New York: New Music at “Schenker and the Revival of Haydn in Austria” Megan McCarty (Southwestern University), the End of the Twentieth Century” Scott Warfield (University of Central Florida), “Franz Liszt’s Settings of Poems by Vic- “‘Playin’ House’: Broadway’s ‘First’ Rock ’n tor Hugo: A Previously Unrecognized Song Roll Song” Cycle” John C. MacInnis (Florida State University), Robin Wallace (Baylor University), “A Did you know... “An Educational Mission: Leonard Bernstein’s Non-chronological Approach and Innova- and Roger Englander’s Young People’s Concerts” tive Listening Guides in Teaching Music The AMS web page and RSS feed “New Elizabeth Clendinning (Florida State Univer- Appreciation” Books in Musicology” has been active sity), “The Head, the Hands, and the Heart: John Michael Cooper (Southwestern Universi- since 2007 and lists hundreds of books Visual and Aural Rhythm in Fritz Lang’s ty), “Towards a Structured Sequence of Writ- published over the past four years. Send Metropolis” ing and Research Assignments in the Music publication info to the AMS when you Timothy Love (Louisiana State University), History Curriculum” can. “Mise Éire: A Juxtaposition of Nationalist and Ted DuBois (West Texas A & M University), www.ams-net.org/feeds/newbooks/ Modernist Elements” “Teaching Music History Online”

February 2011  50 Years Ago: 1960–61 American Musicological Society, Inc. Statement of Activities for the Fiscal Year Ending • Preparations for the New York Con- June 30, 2010 gress of the International Musicological Endowment: Society (the first IMS meeting in the Fellowships, U.S.) dominated AMS activities. Hun- Current Awards, dreds of musicologists participated in Revenue operations Publications Undesignated TOTALS the meeting. (By way of contrast, the Dues & subscriptions $ 356,165 $ 356,165 December 1960 AMS Annual Meet- Annual meeting $ 208,093 $ 208,093 ing in Berkeley/Palo Alto was attended Sales/Royalties $ 47,353 $ 7,165 $ 54,518 by about seventy and included twelve Government grants $ 57,300 $ 45,265 $ 102,565 papers.) Concerts included music of Contributions $ 61,390 $ 320,197 $ 381,587 Babbitt and Carter at the Metropolitan Investment income $ 4,533 $ 64,207 $ 130,335 $ 199,075 Unrealized gain in investment $ 105,941 $ 215,050 $ 320,991 Museum of Art and Webern cantatas by the Princeton High School Chorus. Jan Total revenue $ 616,145 $ 296,003 $ 710,847 $ 1,622,994 LaRue edited a volume of papers prior to the meeting (Bärenreiter, 1961; 473 Expenses 14 2 pp.), and copies of JAMS / (Summer Salaries & benefits $ 124,163 $ 124,163 1961) were distributed to all attendees. Fellowships & awards $ 9,145 $ 55,317 $ 76,215 $ 140,677 • Reporting to the Board, JAMS editor Dues & subscriptions $ 2,729 $ 2,729 David G. Hughes “observed the dearth Publications $ 98,177 $ 98,177 of good papers, especially those con- Professional fees $ 95,646 $ 71,719 $ 167,365 cerning 18th-, 19th-, and 20th-century Annual meeting $ 130,296 $ 27,095 $ 157,391 topics, as a continuing problem, and Chapters $ 5,241 $ 5,241 expressed the desire for more good Office expense $ 60,032 $ 1,278 $ 61,310 short papers.” Total expenses $ 525,428 $ 128,314 $ 103,310 $ 757,052 • The AMS Allegheny Chapter was organized. Change in Net Assets $ 90,716 $ 167,689 607,537$ 865,942 25 Years Ago: 1985–86

• The first round of AMS 50 fellowships Statement of Financial Position was announced (August 1985). David E. June 30, 2010 Gramit received the first award (Spring Endowment: 1986). Fellowships, • The AMS published Cynthia Verba’s Current Awards, guide The Ph.D. andYour Career. Assets Operations Publications Undesignated TOTALS • Joseph Kerman’s book Contemplating Cash $ 255,738 $ 255,738 Music: Challenges to Musicology (Har- Accounts receivable $ 358 $ 358 vard, 1985) was issued in paperback. Investments $ 1,284,144 $ 2,606,696 $ 3,890,840 Equipment $ 18,130 • The American Handel Society was Funds held in trust $ 13,863 $ 9,142 $ 23,005 organized. • The Ira F. Brilliant Center for Total assets $ 269,959 $ 1,302,274 $ 2,615,838 $ 4,188,071 Beethoven Studies (San Jose, Califor- nia) was established. Liabilities • Edward E. Lowinsky died. Accounts payable $ 4,248 $ 4,248 • 111 of the 231 proposals submitted for Accrued expenses $ - the 1986 Annual Meeting in Cleveland Payroll taxes payable $ - were accepted. Deferred Income $ 12,860 $ 12,860 • Executive Director Alvin Johnson re- Funds held in trust $ 13,863 $ 9,142 $ 23,005 ported to the Board that “the AMS Total Liabilities $ 30,971 $ 9,142 $ 40,113 typewriter has reached the end of its usefulness,” and suggested replacing it Net assets $ 238,988 $ 1,302,274 $ 2,606,696 $ 4,147,958 with “a computer system.” • In discussion concerning the size of Total Liabilities & Net Assets $ 269,959 $ 1,302,274 $ 2,615,838 $ 4,188,071 JAMS, the Board urged the editor to limit the journal to 500 pages per year. Total Liabilities & Net Assets, June 30, 2009: $ 3,378,087 Future editors were “to be made well aware that the Board favors brevity of expression, and should be strongly ad- vised against exceeding the 500-page limit set by the Board.”

 AMS Newsletter Obituaries in Piano in 1971, both at McGill University, then three master’s degrees, the M.M. in pi- The Society regrets to inform its members of the deaths of the following members: ano from the Catholic University of America in 1974, the M.A. in Historical Musicology Edward Wolf, 24 January 2010 Reinhold Brinkmann, 10 October 2010 from New York University in 1978, and the Martha N. Clinkscale, 24 April 2010 Robert Matthews, 12 November 2010 M.A. in Theology from the Washington Edward Lippman, 9 June 2010 Hans Tischler, 18 November 2010 Theological Union in Silver Spring, Md., Wye Jamison Allanbrook, 15 June 2010 James Tyler, 23 November 2010 in 1979. At New York University he earned Alan Krueck, 24 June 2010 Sylvie Minkoff, 9 December 2010 the Ph.D. with a dissertation prepared un- Nancy Catherine Phillips, 24 July 2010 Milton Babbitt, 29 January 2011 der Edward Roesner, “Cantica Carmelitana: The Chants of the Carmelite Office,” which Wye Jamison Allanbrook of service due to the onset of her final illness. was completed in 1984. Boyce studied piano She continued to teach until 2005, to advise (1943–2010) with Charles Reiner, Ney Salgado, Thomas dissertations until 2007, and to write and Mastroianni, and Beveridge Webster and publish up to the time of her death and even Wye Jamison (Wendy) Allanbrook, the gave concerts at Carmelite parishes through- beyond: her final articles are still appearing. thirty-third president of the AMS (elected out his life. A priest at Our Lady of Mount 2002 A classics major at Vassar (magna cum ) and an honorary member of the Soci- Carmel Church in Tenafly, N.J., in 2009 he 2008 laude, 1964), Allanbrook served for a quarter ety (elected ), died at her home in Oak- was named Eastern regional provincial of the 15 2010 of a century as a tutor at St. John’s College, land, Calif., on July after a seven-year American Carmelite Province of the Most Annapolis, before coming to Berkeley, and battle with cancer. Pure Heart of Mary (Chicago) for the sec- spent the fall semester of 1989 as a visiting Allanbrook was born in Hagerstown, Md., ond time. 15 1943 professor at the University of North Carolina on March . She is best known as the Boyce devoted his academic career to the at Chapel Hill. Her research was supported author of Rhythmic Gesture in Mozart: Le study of the sources and history of the chant, 1983 by all the major funding organizations, in- nozze di Figaro and Don Giovanni ( ), liturgy, legislation, and spirituality of the cluding the John Simon Guggenheim Me- based on her Stanford University disserta- Carmelite Order, a mendicant order estab- 1974 morial Foundation, the American Council tion ( ). This book was a milestone not lished in the Holy Land in the late twelfth of Learned Societies, the National Endow- only in Mozart scholarship, but also in his- century. His articles, books, musical editions, ment for the Humanities, and the National torically-informed interpretive criticism of facsimile editions, and CANTUS indices Humanities Center. music. It combined a study of eighteenth- made available important Carmelite codi- Allanbrook had a fabulous mind, a witty century dance types with semiotics and topi- ces he identified in Pisa, Mainz, Salamanca, tongue, a deft hand at the keyboard, and a cal analysis to explain how Mozart’s dramatic León, and Kraków, and the chant of many huge heart. Her colleagues both admired music achieved its power to “move audiences Carmelite saints’ offices, including those and loved her, and students flocked to her through representations of its own human- composed by Carmelites after the Council of seminars, which had, in the words of one of ity.” Its impact was felt far beyond the walls Trent. His publications also examine the na- them, “a charmed atmosphere.” One of her of the academy. Directors, including Peter ture of liturgical tradition in the Order, the keenest fans was Virgil Thomson, who (as Sellars, and conductors, including Roger unique features of Carmelite devotion to the a friend of her then husband, a composer) Norrington, have acknowledged its influ- Virgin Mary, and the problems of the style of knew the papers on which Rhythmic Gesture ence. At the time of her death, Allanbrook responsory verses and the adaptation of bor- was based. He was bowled over by their in- was completing a second major book, The rowed material in Carmelite offices. His last sights into characterization and their impli- Secular Commedia: Comic Mimesis in Late major book, Carmelite Liturgy and Spiritual 18 cations for establishing tempos, and even th-Century Music, which will broaden the Identity. The Choir Books of Kraków (Brepols, proposed that Allanbrook collaborate with purview of her interpretive approach to in- 2008), is the first study of the collection of him on a book about Mozart’s piano mu- clude instrumental as well as vocal music. twenty-six manuscripts at the Carmelite sic. All of this can be found in a letter dated The book will be published by the University convent in Kraków, which includes three an- 10 February 1975, published in The Selected of California Press. She was also the editor of tiphoners from 1397 and others dating from Letters of Virgil Thomson, ed. Tim Page and the fifth volume (The Late Eighteenth Cen- the fifteenth to eighteenth centuries. James Vanessa Weeks Page (1988). The letter ends, tury) of the revised edition of Strunk’s Source Boyce was an active member of the AMS and 1998 “Hooray for Wendy Allanbrook,” and that is Readings in Music History ( ). of the IMS Study Group “Cantus Planus.” how we, too, would like to end. The Secular Commediais based on the Er- His sense of humor and collegiality will be —Mary Ann Smart and Richard Taruskin nest Bloch lectures Allanbrook delivered at missed. the University of California at Berkeley as James John Boyce (1950–2010) visiting professor in the fall of 1994. She was —Barbara Haggh-Huglo made a full-time member of the faculty the James Boyce, a pianist, a Carmelite since next year and served as chair of the music 1973, ordained in 1977, professor of mu- Reinhold Brinkmann (1934–2010) department from 1997 to 2003. During her sic at Fordham University since 1998, and term as chair, she oversaw the planning, chairman of Fordham’s Department of Art Reinhold Brinkmann was a distinguished fund-raising, and early construction of the History and Music since 2006, died of liver scholar whose writings on music of the nine- Jean Gray Hargrove Music Library, which and pancreatic cancer on 21 February 2010 teenth and twentieth centuries made an in- was dedicated in 2003. That same year she in New York City. Born in Campbellton, delible mark on musicology in Germany and was installed as the president of the AMS, New Brunswick, in 1950, he earned a B.A. the United States. He taught in the Depart- but had to step down after only a few months in French with honors in 1970 and a B.Mus. ment of Music at Harvard University from February 2011  1985 until his retirement in 2003, serving as under Tyranny, 1933–1945, ed. Michael Kater Hoger’s authorship was limited to Musica. James Edward Ditson Professor of Music and Albrecht Riethmüller, 2003), gives a Her articles and essays examine not only the and, from 1990 to 1994, as department chair. tantalizing glimpse of the direction that his Enchiriadis treatises, but also other theoreti- In 2007 he was elected an honorary member planned project on how the Nazi regime ap- cal writings of the ninth–twelfth centuries of the American Musicological Society. Those propriated and misused the German classi- and the sequence. who knew him will remember his brilliance, cal musical tradition might have taken. His Phillips leaves her friends and colleagues wit, immense erudition, and his passionate last published work was the whimsical and with the memory of her sharp intelligence, devotion to the department and to his col- learned essay, Harvard’s Paine Hall: Musical talent as a pianist, passion for the archaeology leagues and students. Canon and the New England Barn (2010). of Europe and the Middle East, and particu- Brinkmann came to Harvard from Berlin, Brinkmann’s breadth of vision, critical in- larly her discreet devotion to all those who where he had been Professor at the Hoch- telligence, and deep humanity characterized needed her. schule der Künste since 1980, and prior to his teaching and mentoring of students as —Michel Huglo that, Professor of Musicology at the Univer- well as his scholarship. Conversations always sity of Marburg. He received his doctorate branched out from music to art, literature, Hans Tischler (1915–2010) from the Universität Freiburg (with H. H. architecture, history, sports, and politics, and The musical world and the Indiana Univer- 1967 Eggebrecht) in , and his Habilitation he always had time to talk. Most inspiring to sity community mourn the passing of Hans from the Freie Universität, Berlin (with Ru- his students was his conviction that musicol- Tischler on 18 November 2010. His career was dolf Stephan) in 1970. In 2001, Brinkmann ogy was not simply an academic discipline, among the longest and most productive in was the first musicologist to be awarded the but rather a deeply ethical undertaking that the history of musicology, spanning seventy prestigious Ernst von Siemens Musikpreis. could have a real impact on the way we hear years from dissertation to final publication. His writings span a broad range of top- music and see the world. Musicology has lost After degrees in piano pedagogy, conduct- ics, including the Second Viennese School a scholar of great insight and integrity, and ing, and composition at the Vienna State (especially Schoenberg), the Romantic Lied we will miss him. Academy, Tischler completed his first Ph.D. tradition, Wagner, Skryabin, Varèse, Eisler, —Anne C. Shreffler in musicology at the University of Vienna in and Ives. Passionate about new music, 1937 with a dissertation on harmony in Gus- Brinkmann enjoyed close friendships with Nancy Catherine Phillips tav Mahler’s music. The next year, forced out composers Helmut Lachenmann, Wolfgang (1929–2010) of Austria by the political situation, he im- Rihm, and Luciano Berio, who dedicated migrated to the United States. To familiarize his Sonata per pianoforte solo to him in 2001. Nancy Phillips died on 24 July 2010. She was himself with his new country, he took a sec- Brinkmann’s work combines intimate knowl- born in Louisville, Ky., and earned a B.A. at ond Ph.D. at Yale University in 1942, among edge of the music, often shown in detailed, Sophie Newcomb College in New Orleans, the first in the nation in musicology. 1963 painstaking analyses, with an awareness of its a B.Mus. in piano at Yale University in , His second dissertation, “The Motet in social and political backgrounds and ramifi- where she also played in the famed Colle- 13th-Century France,” set the course for his cations. His publications include his nuanced gium under Hindemith’s direction, and an work in French medieval music, including M.F.A. from the University of South Caroli- and thought-provoking study of Brahms’s over sixty articles and numerous editions na. She and her husband raised four adopted Second Symphony, Late Idyll (1995), and a such as the Montpellier Codex (1978), trou- children. In 1976, she returned to her stud- volume on German musicians who fled Fasc­ vère songs (1981), and the earliest motets ies, completing the Ph.D. in musicology at ism, co-edited with Christoph Wolff, Driv-“ (1982 and 1985). He also contributed over New York University in 1984 under Edward en Into Paradise”: The Musical Migration from two dozen articles on Mahler, nineteenth- Roesner’s supervision. During this time, she Nazi Germany to the United States (1999). His and twentieth-century music, aesthetics, and held a Fulbright Fellowship, studying at the edition of Schoenberg’s Pierrot Lunaire for pedagogy, and produced several textbooks. École Pratique des Hautes Études of the the Schönberg Gesamtausgabe, in particular His research was supported by grants from Sorbonne. the American Philosophical Society, Guggen- his book-length critical report on the work’s After defending her dissertation, “Musica heim Foundation, NEA, ACLS, and AMS, sources and its historical context, was a and Scolica enchiriadis: The Literary, Theo- among others. groundbreaking contribution to the Schoen- retical, and Musical Sources,” the same Octo- Tischler taught at West Virginia Wesleyan berg literature. His 1967 dissertation, Arnold ber day as James Boyce, she assisted me with College (1945–1947), Roosevelt University Schönberg, Drei Klavierstücke Op. 11: Studien RISM B III 4 (The Theory of Music. Manu- (1947–65), and Indiana University (1965– zur frühen Atonalität bei Schönberg, was re- scripts [...] in the United States of America), 1985). He was a member of the AMS for over published in a second edition (with a new visiting American libraries in December sixty years, was Midwest Chapter Chair, and 2000 foreword) in . A lifelong interest in Ger- 1984 and January 1985. She taught musicol- served on the Council twice. He was also a man Lieder and poetry was reflected in his ogy at Indiana University (1986–87) and at member of the International Musicological monograph Schumann und Eichendorff: Stu- the University of California at Santa Barbara Society and honorary member of the Aus- dien zum Liederkreis Op. 39 (1997) and in his (1987–88). In November 1989, Frieder Za- trian Musicological Society. substantial contribution on the nineteenth- miner invited her to contribute a major study The most extraordinary aspect of Tischler’s century Lied tradition in the volume Musi- of medieval musical notations to volume 4 of career was the quarter century after his retire- kalische Lyrik (2004). A selection of his essays the Geschichte der Musiktheorie (2000). That ment from teaching. He was astonishingly in German, Vom Pfeifen und von alten Damp- year, in Plainsong and Medieval Music, she productive as an editor of medieval music, fmaschinen: Aufsätze zur Musik von Beethoven reviewed Dieter Torkewitz’s book in which producing editions of The Parisian Two-Part bis Rihm, appeared in 2006. His article “Dis- he proposed Hoger of Werden as author of Organa (1988), The Monophonic Songs in the torted Sublime” (in Music and Nazism: Art Musica and Scolica enchiriadis, arguing that Roman de Fauvel (1991), Trouvère Lyrics with

 AMS Newsletter Melodies: Complete Comparative Edition (15 love with the sound of the instrument and for his numerous publications on early in- vols., 1997, rev. 2006), Conductus and Con- its rich repertory. Iadone, a member of Noah struments, their repertories, and performing trafacta (2001), songs of individual trouvères Greenberg’s New York Pro Musica, accepted practices. He was the consummate perform- (2001 and 2002), The Earliest Laude: The Cor- him as a private student and by 1963 Tyler, er-scholar as his numerous articles and three tona Hymnal (2002), and The Earliest Poly- too, became a member of Pro Musica. On books for Oxford University Press attest. His phonic Art Music: The 150 Two-Part Conductus 30 April of that year he performed with the first book, The Early Guitar: A History and in the Notre-Dame Manuscripts (2005), which Consort Players in “An Elizabethan Evening a Handbook (1980), almost single-handedly appeared when Tischler was 90. He contin- at the White House” before President and initiated the revival of the Renaissance and ued to research and lecture, publishing arti- Mrs. Kennedy. Baroque guitar. The subsequent books that cles in major journals and speaking at confer- During the 1970s and ’80s Tyler spent his he co-authored with Paul Sparks—The Early ences almost every year. His last publication career in London performing and recording Mandolin (1989) and The Guitar and Its Mu- was a book chapter in 2007, and his last AMS with such groundbreaking period-instru- sic: From the Renaissance to the Classical Era appearance was a short paper at the 2009 na- ment ensembles as Musica Reservata, the (2002)—remain the most authoritative in the tional meeting. He was an inspiration, sup- Consort of Musicke (which he co-founded), field. portive to colleagues, students, and perform- the Early Music Consort of London under From 1986 until his retirement in 2006, ers alike. He leaves an enduring legacy. David Munrow, and his own ensemble, the Tyler served as Professor of Music and direc- —J. Peter Burkholder London Early Music Group. He was also a tor of the graduate degree programs in early James Tyler (1940–2010) member of the Julian Bream Consort and music performance that he established at the founded the New Excelsior Talking Machine University of Southern California. His pas- Lutenist, early music director, author, and to recreate the sounds and performing styles sion for early music and his joi de jouer in- educator James Tyler died suddenly on 23 of the ragtime era. spired numerous students to embrace early November 2010 in Los Angeles. Born on 3 As a dynamic soloist and versatile ensem- music performance as a career. August 1940 in Hartford, Conn., Tyler began ble musician, Tyler performed extensively Indiana University Press will publish his his musical training in 1954, studying man- throughout Europe, North America, Asia, final publication, A Guide to Playing the Ba- dolin, tenor banjo, and the classic five-string the Middle East, and Australia, and made roque Guitar, in 2011. banjo. In his late teens he attended a recital more than sixty recordings. While on tour, —Nina Treadwell by lute virtuoso Joseph Iadone and fell in he visited the manuscript sections of libraries

Interested in AMS Committees? The president would be pleased to hear from AMS Legacy Gifts members of the Society who wish to volun- teer for assignments to committees. Those interested should write Anne Walters Rob- Gustave Reese (1899–1977) ertson, and are asked to enclose a curriculum vitae and identify their area(s) of interest. Gustave Reese’s first love was music. After Anne Walters Robertson completing a law degree at his parents’ insis- University of Chicago tence, he took a position at G. Schirmer under Dept. of Music Oscar Sonneck and worked indefatigably on 1010 East 59th Street music and (with Carl Engel) as editor of The Chicago, IL 60637-1512 Musical Quarterly. Even before he received his [email protected] baccalaureate in music in 1930, he taught at AMS Membership Totals the music department of New York Univer- sity. In 1934 he became the first Secretary of Current total membership (as of 31 October the American Musicological Society; his ser- 2010): 3,533 (2009: 3,572). vice to the AMS did not stop until his death (at an AMS meeting in conjunction with the 2009 members who did not renew: 496 IMS in Berkeley, September 1977). He served Institutional subscriptions: 974 as Secretary (1934–47), Vice President (1947– 50 and 1959–60), President (1950–52), mem- Photo: Barry Photo: S. Brook Breakdown by membership category 1953 1954 1956 1958 1962 ber of the Board ( , , , , , Gustave Reese about 1974 Regular, 1,606 1964, 1970, 1971), and Honorary President Sustaining, 17 (1974 until his death). He chaired the Publi- W. Norton), provided the foundation for an Low Income, 385 cations Committee from 1955 to 1973. entire generation of American musicologists. Student, 946 He was the primary force behind the 1939 Reese worked tirelessly and selflessly for Emeritus, 359 New York Congress of Musicology. A year the Society and the discipline. At his death, Joint, 82 later, his monumental Music in the Middle he left $15,000 to the AMS. His bequest, now Life, 66 Ages was published. It is no exaggeration to valued at over $50,000, provides the Society Honorary and Corresponding, 56 say that that volume and its 1954 sequel, Mu- with funds to support publication activities in Complimentary, 16 sic in the Renaissance (both published by W. perpetuity. February 2011  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.

AMS Fellowships, Awards, and Prizes Eggebrecht Session Moving? continued from page  Available Online To send AMS mailings accurately, the Eileen Southern Travel Fund to attend the Audio recordings (mp3 files) of the three- AMS must receive notice of changes of address at least four weeks prior to each Annual Meeting hour AMS Session “Musicology and Biog- mailing. Deadline: 25 September raphy: The Case of Hans Heinrich Egge­ brecht” held at the Indianapolis Annual AMS 6010 College Station Paul A. Pisk Prize for an outstanding paper Meeting on Saturday 6 November are avail- Brunswick ME 04011-8451 presented by a graduate student at the Annual able at the AMS web site: www.ams-net. (207) 798-4243; toll free (877) 679-7648 Meeting org/indianapolis/ (see here also for the [email protected] Deadline: 3 October abstract, located on p. 210 of the PDF ab- www.ams-net.org stract book). The session led to lengthy dis- Howard Mayer Brown Fellowship for mi- cussion on the AMS electronic discussion Newsletter Address and Deadline nority graduate study in musicology list AMS-L (see www.ams-net.org/ams-l/ Items for publication in the next issue of Deadline: 15 December for information on accessing the archives). the AMS Newsletter must be submitted electronically by 1 May to: Alvin H. Johnson AMS 50 Dissertation- year Fellowships Marica Tacconi, AMS Newsletter Editor Deadline: 15 December Pennsylvania State University [email protected] Call for Nominations: The AMS Newsletter (ISSN 0402-012X) Ongoing Grants and Fellowships Session Chairs, AMS is published twice yearly by the American San Francisco 2011 Musicological Society, Inc. and mailed to Grants and fellowships that recur on all members and subscribers. Requests for annual cycles are listed at the AMS Nominations are requested for Ses- additional copies of current and back is- web site. Granting agencies such as the sion Chairs at the AMS Annual sues of the AMS Newsletter should be di- National Endowment for the Humani- Meeting in San Francisco, 10–13 rected to the AMS office. ties, the Guggenheim Foundation, the November 2011. Please send nomi- All back issues of the AMS Newsletter American Council of Learned Societ- nations via mail, fax, or e-mail to the are available at the AMS web site: ies, the International Research and Ex- office of the AMS, including name, www.ams-net.org changes Board, and the National Hu- contact information, and area of manities Center are included in this list. Claims for missing issues must be expertise. Self-nominations are wel- made within 90 days of publication (over- www.ams-net.org/grants.php come. Deadline: 31 March 2011. seas: 180 days).