AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLII, NUMBER 1 February 2012 ISSN 0402-012X AMS/SEM/SMT New Orleans 2012: “Do You 2011 Annual Meeting: Know What it Means to Miss New Orleans?” San Francisco

AMS New Orleans 2012 New Orleans can be a performance: from jazz By all reports, the meeting of the AMS in 1–4 November funerals to Mardi Gras parades, brass bands “the city” was a huge success. 1,563 delegates www.ams-net.org/neworleans to zydeco to bounce, music is in the very air converged on San Francisco from 10 to 13 of the city. As a port city with a multicultural November for the annual event, greeted by Apparently many of you do know what it heritage, New Orleans is a perfect place to fabulous weather, a friendly youthful vibe, means to miss New Orleans: I’ve heard that, have a joint meeting with our colleagues in the and a range of world-class culinary and cul- after the 1987 meeting, some began to question Society for Music Theory and the Society for tural opportunities to choose from. We were why the Annual Meeting needed to be held in Ethnomusicology. You should be aware that grateful that threats of labor unrest at the ho- a different city each year. In any case, those Halloween is a major holiday for some New tel did not materialize, allowing us to enjoy of you who have been awaiting a return to Orleanians, so, if you’re planning to come a a luxurious facility replete with a grand “city the Crescent City and those who missed that day or more ahead, book early! of lights” lobby familiar from the Mel Brooks meeting now have your chance! (By the way, November is a terrific time to visit southern parody High Anxiety. Even the nearby Oc- locals don’t actually call it “new or-LEANS,” Louisiana: the heat has broken, and the peak cupy San Francisco site was peaceful. except if they’re singing that song; it’s “or- of hurricane season is past. (One local me- I’m exceedingly grateful for all the hard LEANS” parish but “new OR-leans,” often teorologist emphasizes that no hurricane has work that members of the Program Commit- slurred into the two-syllable “N’AW-lins.”) ever struck Louisiana in November, so there tee—David Brackett, Andrew Dell’Antonio, The capital of French colonial Louisiana, New should be no reason to worry on that score.) Emma Dillon (2012 Chair), Judy Lochhead, Orleans is a cultural crossroads, with musical Average highs are around 70, lows around 50, Michael Marissen, and Roberta Marvin—put traditions going back to the eighteenth cen- but the weather may go through wide mood tury. It was the first city in North America to swings; last November ranged between 85 and into evaluating the record number of submis- 2011 boast a permanent opera company, and it is 30. We’ll be based at the Sheraton on Canal sions we received. When we met in April well known as the birthplace of jazz. More re- Street (www.sheratonneworleans.com), but for our marathon committee meeting, excite- cently, it is home to the first musician-owned you’ll want to get out: the river levee is just ment was high as we began the final task of full-time orchestra in the U.S. But life itself in a few blocks away, and the French Quarter assembling the raw data into workable ses- is right across the street. Early arrivers may sions. During this crucial stage, David’s wry want to take a wetlands tour or another trip interjections added a regular dose of levity. In This Issue… with the AMS Ecocriticism Study Group Amid intense concentration leavened with (www.ams-esg.org), or participate in SEM’s laughter, such session title names as “Mad, 2 President’s Message ...... pre-conference symposium “Crisis and Cre- Bad, and Lewd on the Seventeenth-Century 3 Ora Frishberg Saloman Endowment . ativity” (www.indiana.edu/~semhome/2012/ Italian Stage,” “Mourning and Purging in Treasurer’s Message ...... 4 special.shtml). Individual tourists can visit the Renaissance,” “Also Sprach Weber und Executive Director’s Message . . . .4 the National World War II Museum (www. Riemann,” “Highbrow/Nobrow,” and “Hip News from the AMS Board . . . . 4 nationalww2museum.org) or the Ogden Mu- Hop to Honky Tonk” began to emerge, all AMS-Sponsored Lectures . . . . .5 seum of Southern Art (www.ogdenmuseum. calculated to draw members to sessions in Awards, Prizes, Honors ...... 6 org), both within a short streetcar ride from spite of the enticements of the host city. AMS Studies Editor’s Message . . . 11 the Sheraton. Of course, you can also simply Once the sessions and chairs were lined AMS Elections 2012 ...... 12 stroll through the Quarter, people-watch over up, the delicate balance of programming the News Briefs ...... 14 café au lait and beignets at Café du Monde, four-day meeting commenced. Which panels 14 Conferences, CFPs ...... take the streetcar through the Garden District, to program up against one another? Which 15 Committee & Study Group News . or just sit on the levee and watch the river go ought to be in a larger venue versus a smaller 18 Post-Conference Survey Report . . by. Those who are interested in assisting with one? How to accommodate the various needs 19 Papers Read at Chapter Meetings . . the continued recovery of the city may also and wishes of individuals against those of Financial Summary 2011 . . . . .25 Obituaries ...... 26 continued on page  continued on page  President’s Message: Covering the AMS

As I reflect with great satisfaction on our For Straus, performance was his entrée— ams-net.org/feeds/news for links). Fasci- rich and stimulating meeting in San Fran- and, through him, his readers’ introduc- nated by the concept of “music in society,” cisco, I’m struck by a rare occurrence: The tion—to the field of musicology that was Smoliar attended our Thursday session gathering was covered in the media. This quickly gaining a foothold in America. on “Institutionalizing Music.” Here, Leta captured my attention, not least because Fast-forward almost sixty years. When Miller’s paper on Ernest Bloch’s years at the one of the important questions for the James R. Oestreich attended our Boston San Francisco Conservatory led Smoliar to Board at its upcoming retreat in March meeting in 1998, he fully expected to wit- recall the composer’s works that are most 2012 is how the AMS can reach out to ness an academic “donnybrook” on several closely associated with this institution. On non-specialists who love music, want to fronts (NYT, 2 November). After describ- the same session, Smoliar was intrigued by learn more about it, and are interested (al- ing the skirmish between Joshua Rifkin and Michael Mauskapf’s discussion of the reor- though they may not know it) in the ques- Robert Marshall over whether or not Bach’s ganization of the New York Philharmonic tions that we consider daily. In short, how works were performed with one singer to a in light of the rise of the city’s elite class in can we do “public musicology” better? Al- part, he turned to the session “most likely the early twentieth century, which helped though press coverage is by no means the to explode.” The papers here centered on to align the orchestra’s musical and eco- only gauge for this issue, the reporting in music and politics, as engaged through nomic objectives. And the John Cage ses- San Francisco was noteworthy because it Solomon Volkov’s Testimony (1979), the sion on Friday morning elicited both praise happens infrequently. A brief look back on purported memoir of Shostakovich. Allan from Smoliar for the “theorizing [that is] four instances of media notice, spanning B. Ho and Dimitry Feofanov spoke for the now taking place around the work of Cage more than seven decades, is both interest- missing Volkov, while Richard Taruskin and his colleagues,” and lament about the ing and instructive. and David Fanning represented the absent dearth of performances of Cage’s music Heralding the International Congress Malcolm H. Brown and Laurel Fay, author these days. For Smoliar, music in its social of the AMS (11–16 September 1939) on of Shostakovich: A Life (2000). This was context is a compelling paradigm, and he the eve of its opening, music critic Noel found much at our meeting to nourish his Straus published a substantial piece about How can we do “public interest. the upcoming activities in the New York musicology” better? Music performance, music and politics, Times. What caught my eye is what Straus music in society and culture: the press chose to discuss: the music. In particular, coverage of AMS meetings, not surpris- he describes an upcoming concert of then- gloves-off musicology at its best, although, ingly, parallels the trajectory of our work unpublished works by Handel, includ- as Oestreich remarked—with a bit of re- as a Society over almost eighty years. If our ing “four vocal cantatas, three sonatas for gret, I think—“no blows were struck.” primary purpose is cutting-edge research, various combinations of instruments, two At the joint meeting of the AMS, SMT, then understanding music in all its con- arias and an operatic duet, all of which and SEM, inter alia, in Toronto in 2000, texts follows on immediately. This comes were unearthed by Dr. [J. M.] Cooper- Edward Rothstein (NYT, 11 November) as no surprise, but it is worth noting as we smith.” Announcing the Handel concert detected a “four-line counterpoint” of embark on a process of strategic thinking was more important to Straus than detail- themes, consisting of “politics, art music, that will, in part, include raising the profile ing the paper sessions that would also be ethnomusicology and pop.” Recalling that of public musicology. presented, although he acknowledged the the previous AMS conferences that he had The reporting in San Francisco is just one research that Coopersmith had carried out covered in New York and Chicago revolved of the many reasons for the success of our in “some fifty libraries” to prepare scores around debating the “new musicology” meeting. The superb papers that I heard, for the collected works of the composer. (NYT, 26 November 1995 and 17 Novem- the scholarly interaction I witnessed, the Only in a follow-up article on 14 Sep- ber 1991), Rothstein noted that in Toronto, hard work of our Board and committees, tember did Straus (I assume it was Straus, “it was as if the struggle had ended.” He and the outstanding musical performances although the article is unattributed) talk remarked especially on the freer boundary- truly inspired me. What’s more, the city about one of the paper sessions, “Primitive crossing between fields that he witnessed. lived up to everything that the Society has and Folk Music in North America,” focus- For Rothstein, the meeting was something waited so many years to enjoy. I’m enor- ing on George Herzog’s and George Pul- akin to a “meta-composition, an impres- mously grateful to you all for your enthusi- len Jackson’s presentations, respectively, on sionist portrait of intertwining tastes and astic participation. Most of all, I thank the African influence in Negro spirituals and talents.” Local Arrangements Committee and Alex- “American Indian” music, and on Ameri- In San Francisco, print media gave way andra Amati-Camperi, Chair; the Program can folk song. He then turned to the re- to web posting. Even as our sessions were Committee and Caryl Clark, Chair; and maining musical performances of the con- taking place, Stephen Smoliar, a San- the Performance Committee and Jeffery ference: demonstrations of indigenous and Francisco-based writer and classical mu- Kite-Powell, Chair, for their dedication in folk music, and John Kirkpatrick’s recital sic reporter for Examiner.com, was blog- planning such a rewarding event. of piano music by American composers. ging about the papers he heard (see www. —Anne Walters Robertson

 AMS Newsletter AMS San Francisco 2011 The Ora Frishberg Saloman Endowment continued from page  Ora Frishberg Saloman (1938–2011; see her trans-Atlantic connections between European the society at large? And what to do with all obituary on p. 27), professor of music at and American music criticism and reception those opera sessions—fifteen in total?! With Baruch College and the Graduate Center, history. Saloman’s books include Beethoven’s nine simultaneous sessions to be accommo- CUNY, contacted the Society in early July Symphonies and J. S. Dwight: The Birth of dated, and with four large and five smaller 2011 to discuss her intent to endow a fund American Music Criticism (1995) and Listening venues available during each slot in the pro- to support research in music criticism and Well: On Beethoven, Berlioz, and Other Mu- gram, scheduling and other conflicts were reception history, hoping, in her words, “to sic Criticism in Paris, Boston, and New York, 2009 inevitable. On two occasions I must confess encourage young scholars to pursue worthy 1764–1890 ( ); among her many scholarly I was shut out of a paper I wanted to hear, projects in these fields.” The language es- articles are studies of the Leopold Damrosch turned back by the crowds at the door and tablishing the endowment, which was fully Orchestra, Beethoven’s Ninth in Paris, and not the pleasant student assistant whose task funded by her gift, was agreed upon by the the music of Berlioz in New York. 2012 it was to respond to immediate needs and donor and the Board of Directors within a The first award will be given during . matter of days. The Ora Frishberg Saloman The maximum award at present is $2,000. distribute the inevitable handouts. Thank- Fund was announced at the General Meeting Eligible applicants must currently attend or fully, I could visit and revisit some of the in San Francisco, and a video clip of President have graduated from a doctoral program in a presentations I missed or heard only in part Robertson’s remarks reached her household North American university. Full instructions by consulting the online repository of papers shortly before her death on 25 November. for applying are found at www.ams-net.org/ and handouts. Is a paperless AMS looming “We in the AMS remain deeply touched grants/saloman.php. on the horizon? that Ora thought of the Society in what The Performance Committee (Jeffery Kite- turned out to be the final months of her ex- Powell, Chair, assisted by Alexandra Amati- ceptional life,” Robertson wrote. “The award Camperi, David Schulenberg, and Steve in her name is all the more precious to us Swayne) scheduled four fine noontime con- because of this. But it is also testimony to a certs; evening panels and other special events life well lived, recognizing an esteemed and featured a wide range of topics, methodolo- productive scholar, and a cherished colleague gies, and intergenerational participation. Of at Baruch and the CUNY Graduate Center.” particular interest were the presentations by D. Kern Holoman, chair of the Development guests from Beijing and Shanghai on “Teach- Committee, noted the active role she had al- ing Western Music in China Today.” These ready played in both the AMS 50 and OPUS and other participants from the Pacific Rim campaigns, twenty-five years apart. provided further international perspectives to The Ora Frishberg Saloman Fund supports an already very international gathering. Not musicological research oriented toward music one complaint was heard about compressing criticism and reception history. It encourages evening events into the first two days of the work in areas where Prof. Saloman herself did conference, leaving delegates “free” on Satur- path-breaking scholarship and graduate teach- day night. ing, notably research in nineteenth-century Ora Frishberg Saloman According to the word on the street, alter- native-format daytime sessions are a welcome AMS New Orleans 2012 plan also to create a list of clubs and other mu- change to “business as usual.” Topical, flex- sic venues in the Quarter and on Frenchmen ible, and engaging, these self-designed ses- continued from page  Street for informal entertainment. sions permit examination of a subject from And then there are the restaurants! New Or- want to come early and spend a day working multiple perspectives while allowing ample leans is well known as a food-lover’s paradise, time for sustained discussion with a large and with Habitat for Humanity or another simi- lar group; such pre-conference volunteerism so bring a good appetite! Gulf seafood is leg- animated audience. In some situations, they endary, and numerous tests since the oil spill even bring classroom pedagogical techniques has become a common part of life for post- Katrina visitors, and I’d be glad to help make show there’s no reason to be concerned about into the conference setting, enacting a kind eating plenty of it. There’s something for all of “musicology of presence” for presenters arrangements for anyone who’s interested. Beyond the conference program, which tastes and all budgets: From muffalettas at and audience members alike. They attest to will be assembled by the Program Commit- Central Grocery to upscale dinners at Com- the vibrancy, creativity, and intellectual rich- tee (Emma Dillon, chair), there will be op- mander’s Palace, it’s hard not to eat well in ness of the AMS, and to the commitment portunities to hear live music, including a per- New Orleans. of all to the broader mission of the society. formance of Tchaikovsky’s Sixth Symphony Further information about the meeting will Whereas “diversity” was the buzzword heard along with Schnittke’s Viola Concerto and appear on the Society’s web site (www.ams- most often at the Indianapolis meeting in Shchedrin’s Naughty Limericks by the Louisi- net.org/neworleans) as it becomes available. 2010, the terms voiced frequently to me this ana Philharmonic (www.lpomusic.com). The Program and registration information will be year were “youthfulness” and “vitality.” With AMS Performance Committee (Steve Swayne, posted in August as usual. Whether you fly matters of social ethics and efficacy upper- chair) will assemble the usual array of noon- or drive, or even find yourself walkin’ to New most in many of our minds, the next genera- time and evening concerts as well. The Local Orleans along with Fats Domino, we look for- tion is enthusiastically leading the way. Arrangements Committee, in conjunction ward to seeing you here. —Caryl Clark with our counterparts from SEM and SMT, —Alice V. Clark February 2012  Treasurer’s Message Executive Director’s Message

I am pleased to report that as I write this in December our AMS en- I would like to share with you some of the more salient aspects of my dowment stands above $4.3 million. Also, the recent reporting year activities of late; the common thread will be clear by the end, I think. ending 30 June 2011 showed an investment return of 20.3% and num- As Anne Walters Robertson hinted in her February 2011 AMS News- bers among our very best during the time that I have served as your letter message, the AMS is working on a new online member direc- Treasurer. Since June the markets have been buffeted by the shock tory that will increase the information members share with each other. waves from the European financial crisis. Nonetheless, our endow- It will include a section for uploading documents such as CVs and ment has given up only a third of its gains and remains up 14%, which syllabi, as well as providing for additional “basic” information such by itself would be an extremely strong return in any year, especially for as members’ research interests, publications, departmental web sites, a conservative, balanced portfolio such as ours. connections to social media, and so forth. We hope to unveil the new In order to put our 20.3% gain for the fiscal year in context, it is directory by the end of May. It will contain plenty of member options, helpful to compare us, as I did last year, to the Ivy League endow- including complete control of what information is for members only ments. I single them out because, at this point in the yearly cycle, they and what (if any) information is available to non-members. For those are the endowments that as a group report earliest and are covered who like the paper directory: we do not have plans to discontinue that most thoroughly in the press. This year we stand right in the middle of publication at this time, although you may opt out of receiving a paper the eight Ivies, which are clustered within an unusually narrow range directory (see the AMS Members Home web site after logging in at from up 18 to 23%. Coming in first, for the second year in a row, is www.ams-net.org). Columbia, followed by Princeton and Yale (tied), Harvard, the AMS, This time last year, Doctoral Dissertations in Musicology (DDM) and the other four. What is impressive is that all of the Ivy endow- had just migrated to the AMS web site. It has proven to be the most ments posted very strong results. popular page of the site, with about 1,100 searches conducted each When one calculates the cumulative performance of these endow- month. Accordingly, the Board of Directors agreed to hire a student ments over the past three fiscal years since the financial crisis of 2008, worker to assist with database maintenance, and I’ll report on DDM there emerges something of which the AMS can be very proud. Co- progress in August. Meanwhile, if you haven’t yet done so, please lumbia ranks first, up 21.6%, with the AMS in second place, up 17.7%. ensure that your own doctoral dissertation is correctly presented in The other seven endowments span a range from +12.6% to -5.2%. DDM (www.ams-net.org/ddm/). After doing your search, choose the It is heartening that our investments have performed so well. What “update my entry” or “add a new dissertation” link if necessary. DDM is more important, however, is what we as a Society are doing with now has an RSS feed, so you can see the most recent additions to the most of our profits, which is reinvesting them to advance the careers database. of the younger generation among us. Fully 59% of our $4.3 million The Communications Committee has collected several videos endowment is targeted toward scholars in the early stages of their ca- in which musicologists describe their work, answering the question reers, through our AHJ AMS 50 and Howard Mayer Brown graduate “what do musicologists do?” With Phil Ford’s assistance, the AMS has fellowships, our AMS 75 PAYS book subventions, and ten other award created a YouTube account and channel for these videos as well as oth- and grant programs. Only 1% is earmarked for more senior scholars ers that are of interest to the musicological community. We’re feeling through the Kinkeldey and Slim awards, and the remaining 40% is our way forward here, to some degree, but the committee is excited available to anyone. about the potential that the medium has for engaging both musicolo- One of my greatest pleasures as your treasurer is participating in gists and the general public. these efforts that benefit all of us, but especially our younger members, I’ve been using Twitter to get AMS news and announcements to the not just of the present generation but of all generations to come, as public square. The AMS has set up automatic forwarding for its three long as our society remains. So let us all rejoice in the financial suc- main RSS news feeds (AMS announcements, New Books in Musicol- cess of the AMS and hope that 2012 will be another good year for our ogy, and Musicology in the News), which generate three or four tweets endowment. a day. The AMS Twitter account has about 650 followers. But I have —James Ladewig shied away from Facebook, and I would be interested in hearing your thoughts on whether, or how, the AMS ought to appear on that social media site. The AMS Board of Directors will soon be holding a retreat, as Anne News from the AMS Board Walters Robertson announced in her August 2011 AMS Newsletter The AMS Board met in San Francisco in November 2011. In addition message. The four electronically-based AMS developments I’ve de- to reviewing reports from the officers and committees of the Society scribed here may not be strategically significant enough for the Board and reviewing nominations and appointments to committees and So- to discuss at length, but I think the indications are clear: the Society ciety positions, the Board: is moving toward more, and improved, electronic communication in • Approved the establishment of the Music and Disability Study a big way. I welcome your thoughts and ideas for helping direct this Group. movement in the most effective way possible. • Approved a work-study position to maintain and update the Doc- —Robert Judd toral Dissertations in Musicology database. • Emended Board Nominating Committee procedures to incorpo- rate the rubric that the President and Vice President may not be Next AMS Board Meetings from the same institution. 3–4 March, New Orleans • Accepted recommendations from the Ad-Hoc Committee on Study 31 1 Groups to regularize procedures with regard to AMS Study Groups. October– November, New Orleans

 AMS Newsletter Rock and Roll Hall of Fame Library of Congress Lecture Series and Museum Lecture Series The next AMS / Library of Congress Lecture will take place in the Coolidge Auditorium at noon on Thursday 29 March. Thomas Broth- The next AMS / Rock and Roll Hall of Fame and Museum ers, Professor of Music at Duke University, will present a lecture en- (RRHOFM) Lecture will take place on Wednesday 25 April at 7:00 titled “Louis Armstrong, the Making of a Great Melodist.” He de- p.m. in the Foster Theater of the RRHOFM, Cleveland, Ohio. Da- scribes the lecture as follows: “Louis Armstrong was a great trumpeter, vid Brackett, Professor of Musicology at McGill University, will pres- a great singer, a great jazz innovator, and a great entertainer. But the ent “‘Fox Trots, Hillbillies, and the Classic Blues’: Categorizing the main reason he is still known today is that he was a great melodist. 1920s.” Brackett describes his lecture as follows: “From radio formats We are not used to thinking of him in this way, but that is the main and record store bins to the graphic interface for iTunes and the way reason why musicians memorized his solos, imitated them, and have musicians and fans talk about music, categories play a central role in never gotten tired of hearing them. the production and consumption of popular music. Many of these This paper explains the training and categories—for example, R&B and country—connote a demographic practice that brought him to that lofty group usually assumed to be the primary audience for that type of mu- height. I trace his mastery of melodic sic. My talk will explore the relationship between categories of music styles from blues journeyman through and people in popular music by focusing on the 1920s, the period that apprentice with King Oliver, from les- saw the establishment of the three main categories for popular music sons with classical musicians in Chi- that have subsequently dominated the U.S. popular music industry in cago to composer of notated tunes one form or another. These categories, known as ‘popular,’ ‘race,’ and for copyright, from hot soloist with ‘old time tunes’ at the time, implied a connection between an audi- Fletcher Henderson to featured act at ence and a type of music: middle- the Vendome Theater, and from para- class, bourgeois, urban, northern, phrasing singer of popular songs to and white for popular; African best seller among white record buyers American for race; and southern, in the early 1930s. His flexible musical rural, working-class, white for hill- mind made it possible to learn from, billy. Yet the use of these categories, transform, and synthesize this daunt- then and now, highlights numerous ing variety of melodic idioms, which Thomas Brothers contradictions, foremost of which were conditioned by social forces as AMS / Library of Congress Lecturer is their inconsistency in musical diverse as the Great Migration and terms, as many recordings/songs the patronage of white primitivists.” Thomas Brothers is the author of that are similar musically are clas- Louis Armstrong’s New Orleans (Norton, 2007) and the editor of Louis sified differently. Furthermore, the Armstrong in His Own Words (Oxford, 1999). His forthcoming book audiences for a given category often from W. W. Norton is entitled Louis Armstrong: Master of Modernism. do not match its demographic con- The Communications Committee welcomes proposals from AMS notations, and members of a given members interested in giving a lecture as part of this distinguished David Brackett demographic group often have series, which is intended to showcase research conducted using the AMS / RRHOFM Lecturer divergent musical tastes. In other extraordinary resources of the Library of Congress Music Division. All words, categories of music (and lectures are available as webcasts. Links to the webcasts and applica- people, for that matter) are neither true nor false, but rather ‘ideologi- tion information can be found at www.ams-net.org/LC-lectures. The cal’ in that they speak to a shared, tacit understanding of which, and application deadline for the Fall 2013–Spring 2014 series is 1 December how, these differences are meaningful. 2012. “My discussion of this period will compare recordings at the bound- aries of categories, such as those by Marion Harris—a singer singled out by W. C. Handy as the only white musician who understood the blues—with those by African American artists, such as Mamie Ongoing Grants and Fellowships Smith, who helped establish the then new category of race music. This Grants and fellowships that recur on annual cycles are listed analysis has implications for our current understanding of the fluid at the AMS web site. Granting agencies include the following: nature of popular music categories, and emphasizes how the etching of their boundaries is related to musical sound and technological de- • American Academy in Berlin velopments as well as to the circulation of discourses about music and • American Academy in Rome identity.” • American Council of Learned Societies The AMS/RRHOFM Lecture Series continues in Fall 2012 with a • Guggenheim Foundation lecture by Andy Flory (Carleton College) entitled “Reissuing Marvin: • Humboldt Foundation Musicology and the Modern Expanded Edition.” • International Research and Exchanges Board Webcasts of the lectures are available at the AMS web site. The AMS • National Endowment for the Humanities is grateful to the RRHOFM’s Jason Hanley, Director of Education, • National Humanities Center for helping to organize this series. The Communications Committee is • Newberry Library Fellowships happy to receive proposals from those interested in giving a lecture as part of this series; see www.ams-net.org/RRHOFM-lectures/ for full Details: www.ams-net.org/grants.php details.

February 2012  Awards, Prizes, and Honors

Honorary Members the influence of homosexual culture on their texts and musical settings. The book won the Ellen Harris Kinkeldey Award from the AMS, as well as the Louis Gottschalk Prize from the American Ellen T. Harris is Class of 1949 Professor Society for Eighteenth Century Studies. Emeritus at MIT. She received her B.A. in As a musicologist-singer, Harris served as music (1967) from Brown University and an consultant to Renée Fleming on her record- M.A. (1970) and Ph.D. (1976) in musicology ing of Handel arias and to Santa Fe Opera from the University of Chicago. Harris taught on their production of Mozart’s Mitridate. at Chicago (1980–89) and at Columbia Uni- She also served as musicological advisor to versity (1977–80). She was Associate Provost the complete recording of Handel’s Italian for the Arts at MIT (1989–96) and chaired instrumental cantatas by the group La Riso- the music departments at both Chicago and nanza and has given joint presentations with MIT. its musical director Fabio Bonizzoni. She has Elaine Sisman Harris has published extensively on the mu- performed twice with John Williams and the Honorary Member sic of George Frideric Handel and baroque Boston Pops. opera. Her first book, Handel and the Pastoral Harris’s current research toward a book on range of subjects, including the opus concept Tradition (Oxford, 1980), examined the influ- Handel in London society includes inves- in the eighteenth century, Haydn’s theater ence of national styles of pastoral drama on tigation of the composer’s will, his bank ac- symphonies, Die Schöpfung, Mozart’s string Handel’s theatrical and dramatic works. counts, and the influence of British interna- quartets, Don Giovanni, ideas of pathétique Her continuing interest in Handel’s texts led tional trade in his dramatic works. Her article and fantasia around 1800, Haydn’s Metasta- to the thirteen-volume facsimile edition, The “Handel the Investor” (Music & Letters, 2004) sian opera, the role of memory and invention Librettos of Handel’s Operas (Garland, 1989), was winner of the Westrup Prize. in the late works of Beethoven, and Brahms’s while her further exploration of English oper- Harris has received fellowships and grants variations and slow movements. For her essay atic traditions resulted in her edition of Pur- from the ACLS and NEH. She was a Fellow on Heinrich Christoph Koch’s formal theories cell’s Dido and Aeneas for Oxford University at the Bunting Institute of Radcliffe College and the music of Haydn, she received the So- Press (1987), and in the monograph Henry at Harvard (1995–96) and at the Institute for ciety’s Alfred Einstein Award in 1983. Purcell’s Dido and Aeneas (Oxford, 1987). Advanced Study in Princeton (2004). She was Sisman is editor of Haydn and His World The cantatas of Handel have been an im- elected Fellow of the American Academy of (Princeton, 1997). She is currently at work on portant focus of Harris’s work since her first Arts and Sciences in 1998. She has served the two major projects: Don Giovanni: Of Mar- article, “The Italian in Handel” (JAMS 1980). AMS on the Board; as chair of the Howard riages, Mourning, and Mythology; and The This research culminated in the publication Mayer Brown Fellowship and the Kinkeldey Music of Illumination: Haydn, Mozart, and of Handel as Orpheus: Voice and Desire in the Award Committees; and twice as a member Beethoven in the Era of Enlightenment, which Chamber Cantatas (Harvard, 2001), in which of the Board of JAMS. considers scientific knowledge, astronomical Harris discussed the cantatas and examined observation, and art and melancholy within Elaine Sisman musical conceptions of shadow and light. Elaine Sisman is the Anne Parsons Bender In addition to serving both as Vice-Presi- Professor of Music at Columbia University, dent and President of the American Musico- where she has taught since 1982. After study- logical Society (2001–02, 2005–06), Sisman ing piano and modern dance at the Juilliard has chaired the Kinkeldey Award Commit- School of Music’s pre-college division, she tee, and is the current AMS delegate to the received her B.A. from Cornell University, American Council of Learned Societies. She where she studied with Malcolm Bilson. is also an elected member to the boards of In 1978, she became the first woman to re- the Joseph Haydn-Institut, Cologne, and the ceive a Ph.D. in musicology from Princeton Akademie für Mozartforschung, Salzburg, University. and has received fellowships from the NEH Sisman’s studies of Haydn, Mozart, and and the ACLS. Beethoven interweave music with history, bi- Sisman chaired the Music Department at ography, aesthetics, and analysis. Her Haydn Columbia for six years and is the recipient of and the Classical Variation (Harvard, 1993) the university’s Great Teacher Award as well demonstrates the centrality of variation as a as its award for Distinguished Service to the vehicle of musical discourse, complementing Core Curriculum. She has also held teaching her book-length survey of the genre of varia- appointments at the University of Michigan tion for New Grove. Her Mozart: The ‘Jupiter’ and at Harvard University. Symphony (Cambridge, 1993) places one of the Active in public outreach, Sisman has been best-known works of the Classical repertory interviewed on multiple occasions by NPR Ellen T. Harris in contexts of musical topics, rhetoric, and and WQXR and has been a consultant to Honorary Member the sublime. Her essays have examined a wide the Mostly Mozart Festival and PBS. She has  AMS Newsletter lectured to general audiences at such venues exemplifies the “cognitive turn” in epistemol- as seen in his Deutsche Leitkultur Musik? Zur as Lincoln Center, the Bard Festival, Carnegie ogy, made an early contribution to the field of Musikgeschichte nach dem Holocaust (2006) Hall, and the Orchestre National de Lyon. cognitive science. Together with Ruth HaCo- and his Music and Nazism: Art under Tyranny hen, she published Tuning the Mind: Con- (with Michael Kater, 2003). He has tirelessly Corresponding Members necting Aesthetics to Cognitive Science (2003) exhorted his colleagues not to equate the Ger- and The Arts in Mind (2003). Among Katz’s man musical tradition with “Die Musik.” In Ruth Katz best-known works is her four-volume anthol- his astute awareness of the political dimension ogy of writings on music aesthetics, which Ruth Katz, Professor emeritus of the Hebrew of music, and in his willingness to look out- she edited with Carl Dahlhaus, Contemplat- University in Jerusalem, is one of the found- side the German musical tradition, Riethmül- ing Music: Source Readings in the Aesthetics of ing figures of musicology in Israel. She emi- ler is a veritable internationalist and an intel- Music (1988–1992). Her most recent book, A grated to Palestine in 1934, where she studied lectual leader of German musicology. Language of Its Own: Sense and Meaning in the piano with E. Rudiakoff and music theory Making of Western Art Music (2009), relates with P. Ben-Haim in Tel Aviv. After complet- the development of music to the history of ing her Ph.D. at Columbia University with a Western ideas. dissertation on early opera (1963), Katz joined Contributions to non-Western traditions the newly created department of musicology are likewise far-reaching in Katz’s scholar- at Hebrew University in 1964, where she re- ship. In 1957 she developed, along with Dalia mained until her retirement in 1995, serving Cohen, the Jerusalem Melograph—an instru- as head of the School of Graduate Studies, ment for the continuous graphic representa- (1983–87) and chair of the University’s inter- tion of melody or any monophonic vocal ex- disciplinary Excellence Program (1989–1995). pression. The melograph is used for analyzing Katz was a fellow of the Institute of Advanced melodic elements that cannot be expressed Studies in Berlin (1986–87), the Center for Ju- precisely in traditional Western notation. This daic Studies at the University of Pennsylvania method was applied by Katz in her studies of (1995), the Bellagio Study Center of the Rock- “musical acculturation” (1968), “the reliability efeller Foundation (1997), and the Liguria of oral transmission” (1974), and “oral group Center for Arts and Letters of the Bogliasco notation” (1974). The Cohen-Katz melograph Foundation (1999). forged the basic methodology and interpreta- Katz’s work is distinguished by its broadly tive approach that is still in use today as in interdisciplinary purview. Throughout her ca- their major joint publication, Palestinian reer, she has endeavored to give musicology Arab Music: A Maqam Tradition in Practice Albrecht Riethmuller the rigors of science without ever forgetting Corresponding Member (2005). Notable also is Katz’s The Lachmann the rich complexity of the intellectual heri- Problem: An Unsung Chapter in Comparative tage of our field. Her research on the origins Musicology (2003), which explores the work of opera sought to view it, like science, as Riethmüller’s many other publications of an emigre scholar caught in the turmoil of collective problem-solving, culminating in range widely from studies of music from the World War II. Die Musik her book, Divining the Powers of Music: Aes- earliest to recent times: he edited des Altertums 1989 thetic Theory and the Origins of Opera (1986). (with Frieder Zaminer, ) Albrecht Riethmüller Geschichte der Musik im 20. Katz’s study of music and language, which and authored Born in 1947, Albrecht Riethmüller studied at Jahrhundert: 1925–1945 (2006). His founda- the Universität Freiburg, completing his Ha- tional and prolific work on music aesthetics bilitation in 1984. He served as visiting pro- and criticism includes Die Musik als Abbild fessor at the Universität Heidelberg and the der Realität: Zur dialektischen Widerspiege- 1976 University of Illinois (Urbana-Champaign). lungstheorie in der Ästhetik ( ), Die Wal- 1993 He achieved the rank of full professor at the halla und ihre Musiker ( ), Gedichte über 1996 Universität Frankfurt am Main (1986–92) and Musik: Quellen ästhetischer Einsicht ( ), Interpretation has taught in the Seminar für Musikwissen- (with Gerhard Funke and Otto Zwierlein, 1998), and Annäherung an Musik: schaft of the Freie Universität in Berlin since Studien und Essays (2007). Riethmüller’s re- 1992. Riethmüller is an affiliated member of search on individual composers includes his the Canada Centre for German and European major study of Busoni, Ferruccio Busonis Po- Studies at York University in Toronto. etik (1988); as well as his editorship of volumes The editor of Archiv für Musikwissenschaft on Busoni and Beethoven, especially Busoni Handbuch für musika- and of the invaluable in Berlin: Facetten eines kosmopolitischen 2000 06 lische Terminologie ( – ), Riethmüller Komponisten (with Hyesu Shin, 2004), Das stands as one of the most important German Beethoven-Handbuch (2008), and Beethoven: musicologists of the post-war generation. At Interpretationen seiner Werke (with Carl Dahl- the same time, as a member of the generation haus and Alexander L. Ringer, 1994). of 1968, he has never given the musicologi- Among his many honors, Riethmüller cal establishment an easy time: he is a pioneer was elected to the Academy of Sciences and Ruth Katz in examining the institutional history of the Corresponding Member discipline during the National Socialist era, continued on page  February 2012  Awards, Honors, Prizes musical cultures of Spain, Portugal, and all Latin American areas, was presented to continued from page  Susan Thomas(University of Georgia), for Literature (Mainz) in 1991. He garnered Cuban Zarzuela: Performing Race and Gen- the John Diefenbaker Award of the Canada der on Havana’s Lyric Stage (University of Il- Council for the Arts in 1999. linois Press). AMS Awards and Prizes The Claude V. Palisca Award for an out- standing edition or translation was given to The Otto Kinkeldey Award for a book of Magnus Williamson (University of New- exceptional merit by a scholar beyond the castle) for the edition: The Eton Choirbook: early stages of her or his career was presented Facsimile and Introductory Study (DIAMM to Katherine Bergeron (Brown University) Publications). for Voice Lessons: French Mélodie in the Belle Epoque (Oxford University Press). The Music in American Culture Award Mark Everist for a book of exceptional merit that both Slim Award Winner The Lewis Lockwood Award for an out- illuminates some important aspect of the standing book by a scholar in the early stages lesbian, bisexual, and transgender/transsex- music of the United ual studies, was given to Emily Wilbourne of her or his career was presented to Gun- States and places dula Kreuzer (Yale University) for Verdi and (Queens College, CUNY) for “Amor nello that music in a rich specchio (1622): Mirroring, Masturbation, the Germans: From Unification to the Third cultural context was Reich (Cambridge University Press). and Same-Sex Love,” Women and Music, and presented to Albin William Cheng (Harvard University) for The H. Colin Slim Award for an outstand- J. Zak III (SUNY, “Acoustemologies of the Closet,” The Oxford ing article by a scholar beyond the early stag- Albany) for I Don’t Handbook of Virtuality (Oxford University es of her or his career was presented to Mark Sound Like Nobody: Alban Zak Press). Everist (University of Southampton) for Remaking Music in MAC Award Winner Rebekah Ahrendt (Tufts University) re- “Grand Opéra–P­­ etit Opéra: Parisian Opera 1950s America (Uni- ceived a Cultural Grant from the Nether- and Ballet from the Restoration to the Sec- versity of Michigan Press). land-America Foundation for her project ond Empire,” 19th-Century Music. The Paul A. Pisk Prize for an outstanding “The Musical World of Pieter Teding van The Alfred Einstein Award for an article of paper presented by a graduate student at the Berkhout, 1669–1712.” exceptional merit by a scholar in the early Annual Meeting was awarded to Mark Fer- Karol Berger (Stanford University) received stages of her or his career was given to Jama raguto (Cornell University) for “Beethoven the 2011 Glarean Award for musical research Stilwell (Cornell College) for “A New View à la moujik: Russianness and Learned Style from the Swiss Musicological Society. of the Eighteenth-Century ‘Abduction’ Op- in the ‘Rasumovsky’ String Quartets.” Katherine Bergeron era: Edification and Escape at the Parisian The Noah Greenberg Award for outstand- (Brown University) re- ‘Théâtres de la Foire’,” Music & Letters. ing contributions to historically aware per- ceived an ASCAP Deems Taylor Award for Voice Lessons: French Mélodie in the Belle Ep- The Robert M. Stevenson Award for out- formance and the study of historical per- oque (Oxford University Press, 2009). standing scholarship in Iberian music, in- forming practices was presented to Philip cluding music created or descended from V. Bohlman and the New Budapest Or- pheum Society for “Representing the Ho- locaust, Resounding Terezín.” The Ruth A. Solie Award for a collection of essays of exceptional merit was presented to Amanda Bayley (University of Wolver- hampton), ed., for Recorded Music: Perfor- mance, Culture and Technology (Cambridge University Press). The Thomas Hampson Award support- ing research and publication in classic song was presented to Rufus Hallmark (Rut- gers University) for the forthcoming book Frauenliebe und Leben: Chamisso’s Poems and Schumann’s Music (Cambridge Univer- sity Press).

Other Awards, Prizes and Honors The Philip Brett Award, presented by the Katherine Bergeron LGBTQ Study Group of the AMS for excep- Gundula Kreuzer Kinkeldey Award Winner tional musicological work in the field of gay, Lockwood Award Winner  AMS Newsletter Richard Freedman (Haverford College) was awarded a Scholarly Editions Grant of $150,000 from the NEH for “Recovering Lost Voices: A Digital Workshop for the Res- toration of Renaissance Polyphony,” which will offer digital facsimiles, editions, and re- constructions of sixteenth-century chansons. Albrecht Gaub (Madison, Wisc.) received a Music & Letters award to present a paper at the conference “Music in Russia and the Former Soviet Union: Reappraisal and Re- discovery” in Durham, England, in July 2011. Charlotte Greenspan (Cornell University) received an ASCAP Deems Taylor Award for Pick Yourself Up: Dorothy Fields and the American Musical (Oxford University Press, Susan Thomas Mark Ferraguto Stevenson Award Winner 2010). Pisk Prize Winner Teri A. Herron (Delta State University) re- Mauro Calcagno (Stony Brook University) Music & Letters for “The Other in the Mir- ceived a 2011 Blackboard Catalyst Award for was awarded a Scholarly Editions Grant of ror, or, Recognizing the Self: Wilde’s and Exemplary Course Program for her online $125,000 from the NEH for an online edi- Zemlinsky’s Dwarf.” course Music in American Culture. tion of the secular music of Luca Marenzio. Wm. A. Little (University of Virginia) was Elizabeth L. Keathley (University of North Sarah Day-O’Connell (Knox College) has awarded the 2010 John Ogasapian Book Carolina, Greensboro) received an NEH received the Pauline Alderman Award for out- Prize from the Organ Historical Society for Fellowship for her project “The Feminine standing scholarship on women and music Mendelssohn and the Organ (Oxford Univer- Face of Musical Modernism: Women as Col- from the International Alliance for Women sity Press, 2010). laborators in Arnold Schoenberg’s Musical in Music for her article “The Composer, the Networks.” Sarah A. Long (Katholieke Universiteit Leu- Surgeon, His Wife, and Her Poems: Haydn ven) received a 2011–12 Marie Curie Intra- and the Anatomy of the English Canzonetta,” John Koegel (California State University, European Fellowship from the European Eighteenth-Century Music (2009). Fullerton) was awarded the 2011 Irving Low- Commission for her book project Salva nos, ens Book Award of the Society for American Margot E. Fassler was awarded the 2011 Domine: A Study of Chanted Confraternity Music for Music in German Immigrant The- ACE Mercers’ International Book Award Liturgies and Their Social Contexts in the ater: New York City, 1840–1940 (University of for The Virgin of Chartres: Making History Southern Low Countries, 1300–1550. Rochester Press, 2009), which was also a Fi- through Liturgy and the Arts (Yale University nalist for the 2010 George Freedley Memori- Simon Morrison (Princeton University) re- Press, 2010). al Award of the Theatre Library Association. ceived a 2011–12 Guggenheim Foundation Fellowship for his project “The Secret Ar- Annegret Fauser (University of North Caro- Sherry D. Lee (University of Toronto) was chive of Prokofiev.” lina, Chapel Hill) was awarded the 2011 Dent awarded the 2010 Westrup Prize for an ar- Medal of the Royal Musical Association. ticle of particular distinction published in continued on page 

Magnus Williamson Amanda Bayley Jama Stilwell Palisca Award Winner Solie Award Winner Einstein Award Winner February 2012  Awards, Honors, Prizes and learning at Cana- dian universities. She  continued from page is the first musicolo- Edgardo Salinas (Columbia University) was gist to win this award appointed a Mellon Postdoctoral Research in its twenty-five-year Fellow at Columbia University for the period history. 2010–13 for his project “Beethoven’s Piano Sonatas and the Music of the Literary.” In Amy Lynn Wlodar- 2010 he was also awarded (but declined) an ski (Dickinson Col- ACLS Recent Doctoral Recipients Fellow- lege) has been named 2012 13 ship for the same project. a – Harry Starr Fellow in Judaica at Peter J. Schmelz (Washington University the Center for Jew- in St. Louis) received an NEH Fellowship ish Studies at Harvard for his project “Russian Composers Alfred University. Her re- Schnittke and Valentin Silvestrov and the search project is enti- Philip Bohlman and the New Budapest Orpheum Society End of Soviet Music.” tled “Musical Witness: Greenberg Award Winner Louise K. Stein (University of Michigan) re- Postwar Holocaust ceived a 2011 Franklin Research Grant from Representation.” the American Philosophical Society, as well Peter Wright (University of Nottingham) as an NEH Fellowship for her project “Op- was awarded a Visiting Fellowship at All era and the Transformation of Naples under Souls College, Oxford, for Michaelmas Term the Marquis del Carpio, 1683–1687.” in the academic year 2012–13. R. Larry Todd (Duke University) received an ASCAP Deems Taylor Award for Fanny Giovanni Zanovello (Indiana University) Hensel: The Other Mendelssohn (Oxford Uni- received the Jacques-Handschin Award from versity Press, 2009). the Swiss Musicological Society. Leo Treitler (CUNY Graduate Center) was awarded an honorary Doctor of Music de- gree by the New England Conservatory of Music in May 2011. Elizabeth A. Wells (Mount Allison Univer- sity) was awarded the 3M Teaching Fellow- ship for exceptional contribution to teaching

Emily Wilbourne Rufus Hallmark Brett Award Winner Hampson Award Winner

Nomination Requirements and Guidelines for Announcements of Application Deadlines Awards and Prizes Please note that all AMS awards require Awards and honors given by the Soci- nominations; award committees will ety are announced in the Newsletter. In not consider work that has not been addition, the editor makes every effort nominated. See the individual award to announce widely publicized awards. guidelines, available in the AMS Direc- Other announcements come from indi- tory and at the AMS web site, for full vidual submissions. The editor does not details. include awards made by the recipient’s home institution or to scholars who are Application deadlines for AMS publi- not currently members of the Society. cation subventions are: Awards made to graduate student mem- 15 February bers as a result of national or interna- 15 August tional competitions are also announced. The editor is always grateful to individ- See the AMS web site for details: uals who report honors and awards they William Cheng www.ams-net.org have received. Brett Award Winner  AMS Newsletter Message from the New Editor of AMS Studies in Music

The AMS Studies in Music, published by Ox- wish to underline, powerfully and convinc- content of each chapter, the current status of ford University Press, would like to issue the ingly, the many ways music study—both of the study, and a projected date for comple- finest work in current musicology, building the past and the present—can contribute to tion of the manuscript. Along with the pro- on its roster of distinguished publications, the important critical, cultural, historical, so- posal they should send one or more sample some of which have won major awards. Every cial, and political questions of our time. chapters. I welcome recommendations from book in the series involves a careful editorial As editor, I would also like to encourage colleagues and mentors of prospective au- review and receives a subsidy from the AMS critical methods and revisionist histories that thors and would be grateful for your help in Publications Committee to help make it more question the national contexts with which identifying worthy books. An electronic copy affordable. As outgoing editor Christopher studies in our discipline began. How might of the proposal and sample chapters should Reynolds has pointed out, what has charac- a trans-national or cosmopolitan perspective be sent to Jann Pasler, Editor, AMS Studies in terized these books is “quality and variety.” on the emergence of musical genres and mu- Music, [email protected]. The series welcomes submissions in a broad sical taste unsettle assumptions about nation- The membership of the AMS Publica- range of scholarly areas, particularly origi- al identity? How have trans-cultural or multi- tions Committee for 2012 is Elliott Antoko- nal approaches to traditional subjects, path- ethnic forces underlying various traditions— letz, Victor Coelho, Richard Crawford, Julie breaking perspectives leading to new micro- such as Ancient Greek tuning systems, opera Cummings, Annegret Fauser, Ellie Hisama, or macro-histories, and innovative methodol- reception, or listening to music today on ogies drawing on related disciplines—ethno- Robert Judd, Susan McClary, Jann Pasler, Ju- musicology, music theory, music education, mobile media—helped shape Western music, dith Peraino, Tom Riis, Anne Walters Robert- music performance, performance studies, and its composition, theory, performance, and son, Kay Shelemay, Robin Wallace, and Susan sound studies—as well as other disciplines reception? How does our understanding of Youens. Financial support for AMS Studies is in the arts, humanities, and social sciences. music change when we confront center and provided by the National Endowment for the We are looking for books that represent periphery, “North” and “South,” “East” and Humanities, the Andrew W. Mellon Founda- the breadth of research conducted by AMS “West,” when we interrogate both cultural tion, The Gladys Kriebel Delmas Founda- members from all periods, places, and musi- imperialism and cultural diplomacy? tion, and the generous contributions of many cal traditions, and books whose structure and Authors should submit a detailed proposal individual donors. New contributions are al- writing are as carefully considered and well- explaining the substance and importance ways welcome. crafted as their arguments. As a series, we of their work and providing an outline, the —Jann Pasler

AMS Fellowships, Awards, and Prizes

Descriptions and detailed guidelines for all Teaching Fund Claude V. Palisca Award for an outstanding AMS awards appear in the AMS Directory for innovative teaching projects edition or translation and on the AMS web site. Deadline: 1 March Deadline: 1 May Publication subventions are drawn from Eugene K. Wolf Travel Fund H. Colin Slim Award for an outstanding ar- the AMS 75 PAYS, Anthony, Brook, Bu- for European research ticle by a scholar beyond the early stages of kofzer, Daverio, Hanson, Hibberd, Jackson, Deadline: 1 March her or his career Kerman, Picker, Plamenac, and Reese Funds. Deadline: 1 May Application deadlines are mid-February and AMS Publication Subventions mid-August each year. Deadlines: 15 February, 15 August Ruth A. Solie Award for an outstanding col- lection of essays Alfred Einstein Award for an outstanding Janet Levy Travel and Research Fund Deadline: 1 May for independent scholars article by a scholar in the early stages of her Deadlines: 25 January, 25 July or his career Robert M. Stevenson Award for outstanding Deadline: 1 May scholarship in Iberian music M. Elizabeth C. Bartlet Fund Deadline: 1 May for research in France Otto Kinkeldey Award for an outstanding Philip Brett Award of the LGBTQ Deadline: 1 March book by a scholar beyond the early stages of her or his career Study Group for outstanding work in gay, Jan LaRue Travel Fund Deadline: 1 May lesbian, bisexual, and transsexual/transgender for European research studies Deadline: 1 March Lewis Lockwood Award for an outstanding Deadline: 1 July book by a scholar in the early stages of her or Harold Powers World Travel Fund his career MPD Travel Fund for research anywhere Deadline: 1 May to attend the Annual Meeting Deadline: 1 March Deadline: 25 July Music in American Culture Award for out- Thomas Hampson Fund Ora Frishberg Saloman Fund standing scholarship in music of the United for research and for European research States publication in classic song 15 Deadline: 1 March Deadline: 1 May Deadline: August continued on page  February 2012  AMS Elections 2012

AMS elections take place in the spring each (2009–10); Chair, Board Nominating Com- 1530–1714,” in A Compendium of American year. This year, two candidates have agreed mittee (2006–07); Editor-in-Chief, JAMS Musicology (Northwestern, 2001); Editor, 19 to stand for vice president, one for treasurer, (2001–04); Council (2001–03); Chair, Great- vols., Italian Instrumental Music of the Six- and six for member-at-large of the Board of er New York Chapter (1998–2000); AMS 50 teenth and Early Seventeenth Centuries (Gar- Directors (three are elected). Committee (1995–99) land, 1987–95); “Bach and the Prima prattica: The Influence of Frescobaldi on a Fugue from You may vote electronically at the web site, C raig A. Monson or by using the paper ballot sent to members the WTC,” JM (1991); “The Origins of Fresco- under separate cover; if you lose it, a replace- Professor of Music and Women, Gender, and baldi’s Variation Canzonas Reappraised,” in ment may be obtained at the web site. Please Sexuality Studies, Washington University, St. Frescobaldi Studies (Duke, 1987); “Luzzaschi follow the instructions found on the ballot Louis as Frescobaldi’s Teacher: A Little-Known Ri- carefully. Ballots not conforming to the in- Degrees: PhD, UC Berkeley, 1974; MA, cercare,” Studi Musicali (1981) structions are rendered invalid. BA, Oxford, 1974, 1969; BA, Yale, 1966 Awards: ACLS grant (1986); ACLS fellow- Detailed descriptions of the three offices are Research Areas: English and Italian Renais- ship (1982) found in the AMS By-laws, available in the sance and Baroque; convent music; Native Administrative Experience: Chair, vari- AMS Directory and at the web site. American music ous search committees, University of Rhode Publications: Divas in the Convent: Nuns, Island Dept. of Music (1990–2010); General Music, & Defiance in 17th-Century Italy (Chi- Editor, Italian Instrumental Music of the Six- Candidates for the Office cago, 2012); Nuns Behaving Badly: Tales of teenth and Early Seventeenth Centuries (30 of Vice President Music, Magic, Art, & Arson in the Convents vols., Garland, 1987–95). Has maintained an of Italy (Chicago, 2010); Disembodied Voices: interest in the financial world for over twenty- J oseph H. Auner Music & Culture in an Early Modern Italian five years; as an active investor monitors the Convent (California, 1995); editor, The Cran- markets on a daily basis. Professor of Music, Tufts University nied Wall: Women, Religion, & the Arts in Early AMS Activities: Treasurer (2000–12); Degrees: PhD, Chicago, 1991; MMus, Chi- Modern Europe (Michigan, 1992); editor, The Chair, Finance Committee (2000–12); Editor, cago, 1987; BA, Colorado College, 1981 Byrd Edition, 11, 10a, 10b, 1 (Stainer & Bell, AMS Newsletter (1987–90); President, New Research Areas: 20th- and 21st-century 1983–77) England Chapter (1986–88); Council (1982) music; Second Viennese School; Weimar Re- Awards: NEH subvention (1995); NEH public; music and technology; popular music Fellowship (1992–93); NEH grant (1991); Publications: “Wanted Dead and Alive: ACLS recent PhD Fellowship (1977); ACLS Candidates for the Office Historical Performance Practice and Electro- grant (1974) of Members-at-Large, Acoustic Music from Abbey Road to IR- Administrative Experience: Washington CAM,” in Communicating About Music: A University: Chair, Music Dept. (1993–96, Board of Directors Festschrift for Jane Bernstein, ed. Roberta Mar- 1989); DGS, Music Dept. (2011, 2002–08, 2012 vin and Craig Monson (Rochester, ); The 1984–92); Graduate Council (2011, 2002–08, Katherine Bergeron Cambridge Companion to Schoenberg, co-ed. 1984–92); Committee on Fac. Personnel Pro- Jennifer Shaw (Cambridge, 2010); “Compos- cedures (1991–1994). DUS, Yale Music Dept. Dean of the College, Professor of Music, ing on Stage: Schoenberg and the Creative (1982–84) Brown University 1989 Process as Public Performance,” 19CM (2005); AMS Activities: Committee on Commit- Degrees: PhD, Cornell, ; MA, Cornell, 1985 1980 “‘Sing it for me’: Posthuman Ventriloquism tees (2010–11); Einstein Committee (2008– ; BA, Wesleyan, in Recent Popular Music,” JRMA (2003); Mu- 10); Kinkeldey Committee (1998–2000); Research Areas: fin-de-siècle France; the sic of the 20th and 21st Centuries, Vol. VI of Editorial Board, JAMS (1995–97); Director- discipline of musicology; song; opera; film Western Music in Context: A Norton History, at-Large (1994–95); Council (1980–82) Publications: Voice Lessons: French Mé- ed. Walter Frisch (Norton, forthcoming) lodie in the Belle Epoque (Oxford, 2010); “The Awards: Endowed Professorship, Univer- Monotone of Sarah Bernhardt: Perform- sity of Alabama (2007); Academy of Teach- Candidate for the ing Sincerity in Republican France,” in The er-Scholars, Stony Brook University (1998– Office of Treasurer Rhetoric of Sincerity (Stanford, 2009); Music, 2001); Humboldt Fellowship (1996–97); Rhythm, Language (special edition Representa- NEH grant (1994); Pre-Doctoral Fellowship, tions, 2004); Decadent Enchantments: The Re- James Ladewig Getty Center (1988–89) vival of Gregorian Chant at Solesmes (Berkeley, Administrative Experience: Chair, Tufts Professor of Music, University of Rhode 1998); Disciplining Music: Musicology and Its Music Dept. (2006–12); Conference Co- Island Canons, with Philip Bohlman (Chicago, 1992) Chair, Music, Language, and the Mind, Tufts Degrees: PhD, UC Berkeley, 1978; MA, Awards: Otto Kinkeldey Award (2011); (2008); Associate Provost, Stony Brook Uni- UC Berkeley, 1973; BM, Northwestern, 1971 ASCAP Deems Taylor Award (2011); ACLS versity (2004–06); Review committees, Yale, Research Areas: Frescobaldi; Italian instru- Burkhardt Fellowship (2002); ASCAP Deems UNC, Bowdoin, UCLA; Acting Director, mental and keyboard music of the 16th and Taylor Award (1998); NEH Fellowship (1995) Stony Brook Humanities Institute (1999) 17th centuries; early keyboard notations Administrative Experience: Brown Uni- AMS Activities: Director-at-Large (2009– Publications: “The Use of Open Score versity: Dean of the College (2006–pres- 10); Chair, Communications Committee as a Solo Keyboard Notation in Italy, ca. ent); Chair, Music Dept. (2005–06); Tenure  AMS Newsletter & Promotions Committee (2005). Editorial Research Areas: Performance history of (Chicago, 2006); “Habsburgs, Heretics, and Board, Representations (1997–2005); DGS, UC early music; aesthetics and reception history Horses: Equestrian Ballets and Other Staged Berkeley Music Dept. (1994–95, 1998–2001) of black music in U.S. and Africa Battles in Florence During the First Decade AMS Activities: Thomas Hampson Award Publications: “The Student is the Father,” of the Thirty Years War,” in L’arme e gli amori: Committee (2009–11); Committee on Com- The Cresset: A Review of Literature, The Arts, Ariosto, Tasso and Guarini in Late Renaissance mittees (2008–10); Lockwood Award Com- and Public Affairs( 2004); “Black Music Re- Florence, ed. Masimilliano Rossi and Fiorella mittee (2006); Board Nominating Commit- search and Musicology: Some Problems and Gioffredi Superbi (Olschki, 2004); “Le tre tee (2002); Council (1997–99); Program com- Solutions Considered,” Musikkonzepte— Euridici: Characterization and Allegory in the mittee (1998) Konzepte der Musikwissenschaft, ed. Wolfgang Euridici of Peri and Caccini,” JSCM (2003); Ruf and Katrin Eberle (Bärenreiter, 2001); “La Flora and the End of Female Rule in Tus- Graeme M. Boone Shout Because You’re Free! The Ring Shout Tra- cany,” JAMS (1998) Professor of Music, Ohio State University dition in Coastal Georgia, with Art Rosenbaum Awards: Brine Family Charitable Trust re- Degrees: PhD and MA, Harvard, 1987; and Margo Newmark Rosenbaum (Georgia, search grant (2008); AMS Publication Sub- Premier Prix, Conservatoire de Paris 1979; 1998); “Early Music and Paul Hindemith vention (2006); Roger Weiss/Howard Mayer BA, UC Berkeley, 1976 (1895–1963) in the United States: A Centenary Brown Publication Subvention, Newberry Li- Research Areas: Medieval music; early Re- Evaluation,” College Music Symposium (1996); brary (2005); Paul A. Pisk Prize (1994); Wood- naissance music; twentieth-century American “Black American Music and the Civilized- row Wilson Dissertation Grant in Women’s traditional and popular music Uncivilized Matrix in South Africa,” Issue: A Studies (1993–94); Fulbright Dissertation Publications: “Prolegomena to Emotion in Journal of Opinion (1996) Grant, Italy (1991–92) the Songs of Dufay,” in Smiles and Laughter Awards: Recipient and team member, Cal- Administrative Experience: Local Ar- in the Late Middle Ages (Notre Dame, 2012); vin College Center for Christian Scholarship rangements Chair, Society for Seventeenth- “Mandalas and the Dead,” in The Grateful Major Grant study on “Christian Voices in Century Music (2011); Editor-in-Chief, Jour- Dead in Concert, ed. Tuedio and Spector (Mc- Musicology: Crisis, Justice, Peace” (2009– nal of Seventeenth-Century Music (2010–pres- Farland, 2009); “Marking Mensural Time,” 2010); Rockefeller Research Fellowship (1995– ent). University of Minnesota: Area Coordi- MTS (2000); Patterns in Play: A Model for 6); Northwestern University, Visiting Scholar nator, Musicology/ethnomusicology, Theory, Text Setting in the Early French Songs of Guil- (1995–96); University of Chicago, Visiting Composition, Music Education (2000–02, laume Dufay (Nebraska, 1999); Understanding Scholar (1995–96); Yale University, Associ- 2008–09); Musicology/ethnomusicology di- Rock: Essays in Musical Analysis, co-ed. John ate Fellow (1988, 1991); Pi Kappa Lambda vision head (2005–07, 2011–present); DGS Covach (Oxford, 1997) National Honors Society, Music (1989); Ful- (2002–03) Awards: Arts and Humanities Collabora- bright Fellowship (1982–3) AMS Activities: Committee on Women tive Research Grant (2009); four Medieval Administrative Experience: President, and Gender (2009–11); Solie Award Commit- and Renaissance Studies Research grants Forum on Music in Christian Scholarship tee (2007); Council Committee on Honor- (1998–2006); Ohio State University Distin- (2011–13); Wheaton College: Music History ary and Corresponding Members (2004–05); guished Scholar Award (1999); Harvard Uni- Area Chair (2005–present); Faculty Person- Council (2002–04); Co-chair, Gay and Les- versity, Phi Beta Kappa Award for Teaching nel Committee (2011–14); Educational Poli- bian Study Group (2000–02) 1995 cies and Procedures Committee (2005–08); ( ); Leopold Schepp Foundation and Villa KOate van rden I Tatti Fellowships (1989) College Life and Enrollment Committee Administrative Experience: Ohio State (2009–12). University of Georgia: Director of Professor of Music, University of California, University: conference organizer, “Music in African Studies (1996–97). Program Commit- Berkeley the Carolingian World” (2011); Committee tee Chair, Society for American Music (2001) Degrees: PhD, Chicago, 1996; MA, North- on Academic Freedom and Responsibility AMS Activities: Council Nominating western, 1988; Performance Certificate, (chair, 2004–07); University Senate, Faculty Committee (2008); Howard Mayer Brown Sweelinck Cons. Amsterdam, 1986; BA, Iowa, Council, and Executive Committee (2003– Committee (2006–09); Committee on the 1983 06); School of Music Faculty Committee Publication of American Music (2003–06); Research Areas: Cultural history; Renais- (chair, 1999–2004); Advisory Committee, Committee on Cultural Diversity (1996– sance France and Italy Center for Medieval and Renaissance Studies 2003, Chair, 2002–03) Publications: “Josquin, Renaissance Histo- 1998 ( –present). K elley Harness riography, and the Cultures of Print,” in The AMS Activities: Chair, Board Nominating Oxford Handbook to the New Cultural His- Committee (2010); Publications Committee Associate Professor of Music, University of tory of Music (Oxford, 2011); “Padre Martini, (2005–9, acting chair 2009); writer of AMS Minnesota Gaetano Gaspari, and the ‘Pagliarini Collec- OPUS Campaign NEH Challenge Grant Degrees: PhD, Illinois, 1996; MMus, Illi- tion’: A Renaissance Music Library Redis- (2006); Chair, Council Committee on Hon- nois, 1989; BM, Lewis & Clark, 1982 covered,” with Alfredo Vitolo, EMH (2010); orary and Corresponding Members (2001); Research Areas: 17th-century opera; 16th- Music, Discipline, and Arms in Early Modern Council (2000–02) and 17th-century theatrical genres; patronage; France (Chicago, 2005); editor, Music and the gender studies Cultures of Print (Garland, 2000); Materiali- J ohann S. Buis Publications: “Judith, Music, and Female ties: Books, Readers, and the Chanson in 16th- Associate Professor of Musicology, Wheaton Patrons in Early Modern Italy,” in The Sword Century Europe (forthcoming) College of Judith: Judith Studies across the Disciplines, Awards: ACLS fellowship (2010–11); Lewis Degrees: Doctor of Arts, Musicology, Ball ed. Kevin Brine et al. (Open Book, 2010); Lockwood Award (2006); CNRS Studium State, 1991; MMus, Ball State, 1983; BEd, Echoes of Women’s Voices: Music, Art, and Fe- Fellowship (2003–05); Nancy Lyman Roelker Western Cape, 1979; BM, Cape Town, 1976 male Patronage in Early Modern Florence continued on page  February 2012  AMS Elections 2012 Chair, Program Committee, Northern Cali- in Genetic Criticism and the Creative Process: fornia Chapter (1998–2001) Essays from Music, Literature, and Theater  continued from page (Rochester, 2009); Gustav Mahler: Die drei J ames L. Zychowicz Pintos: Based on Sketches and Original Music 2002 1999 Prize ( ); AAUW Fellowships ( – Independent Scholar, Madison, Wisc. by Carl Maria von Weber (A-R, 2000); Gustav 2000 1994 95 ; – ) Degrees: PhD, Cincinnati, 1988; MMus, Mahler’s Fourth Symphony (Oxford, 2000) Administrative Experience: UC Berkeley Bowling Green, 1981; BM, Toledo, 1977 Awards: Newberry Library Scholar-in-Res- Academic Senate committees: Chair, Univer- Research Areas: Music of Gustav Mahler; idence (2011–present, 2010–11); Outstanding 2005 06 sity Library Committee ( – ); member, music in the late 19th and early 20th centu- Alumnus, Bowling Green State University Committee on Academic Planning and Re- ries; sketch and manuscript study; late 19th- (2005); Fulbright Award (1986–87) 2005 06 source allocation (ex officio – ); Stu- century opera and opera performance Administrative Experience: Editorial 2002 04 dent Affairs Committee ( – ); Special Publications: “Gustav Mahler’s Sec- Board, Oxford Bibliographies Online: Music Campus-wide Committee on Arts Faculty ond Century: Achievements in Scholarship (2011–present); President, Mahler Society of 2005 06 Advancement ( – ). Renaissance So- and Challenges in Research,” Notes (2011); Chicago (1998–99, 2008–present); President, ciety of America Discipline Representative “Mieczysław Karłowicz, the New Symphony, Tristan Society (2007–present) 2012 14 ( – ) and His Innovative Symphonic Style,” in Eu- AMS Activities: Committee on Career- AMS Activities: Editor-in-chief, JAMS ropean Fin-de-siècle and Polish Modernism: The Related Issues (chair, 1996–99, 2011–pres- 2008 10 ( – ); Noah Greenberg Award Com- Music of Mieczysław Karłowicz (Ut Orpheus, ent); AMS-L moderator (2007–10); Council 2002 05 2005 mittee ( – , chair ); Co-chair, AMS 2010); “‘They Only Give Rise to Misunder- (2006–08); Treasurer, AMS Midwest Chapter 1999 2001 Council Outreach Committee ( – ); standings’: Mahler’s Sketches in Context,” (1995–99)

The American Handel Society invites applica- The project includes more than 320 antholo- News Briefs tions for the J. Merrill Knapp Research Fel- gies of printed music, including over 9,000 lowship ($2,000). Deadline: 1 March 2012. individual compositions. Details: www.early- In 2010, the AMS Council formed an ad hoc Details: www.americanhandelsociety.org. musiconline.org. subcommittee to consider adding a reference to teaching to the Object Statement of the The Vancouver International Song In- TheNational Early Music Association’s pro- Society (By-laws, Article II). The committee stitute (VISI) will convene its third an- ceedings of the conference “Singing Music made a recommendation to the AMS Coun- nual Song Scholarship and Performance from 1500 to 1900” at the University of York, cil in 2011. The proposed amendment was Program, 4–18 June 2012, for gradu- 7–10 July 2009, are now available online. approved by Council. Per the By-laws, Ar- ate and advanced undergraduate stu- Details: www.york.ac.uk/music/conferences/ ticle XII, a discussion regarding the proposed dents. Faculty include musicologists Susan nema. amendment will take place at the AMS An- Youens, Michael Musgrave, and Benjamin nual Meeting in New Orleans. The entire Binder; music theorists Deborah Stein, Oxford University Press launched Oxford membership will vote on the amendment Harald Krebs, and Richard Kurth; and pia- through a paper or email ballot following the Bibliographies Online: Music at the AMS nist/vocal coach Cameron Stowe. Details: San Francisco Annual Meeting. Details: Annual Meeting. The proposed amendment www.songinstitute.ca/songmusicology.html. is as follows: www.oxfordbibliographies.com. CURRENT AMS BY-LAWS (Article The 2006 Noah Greenberg Award recording “Recovering Lost Voices: A Digital Work- II): The object of the Society shall be the is now available. “Extreme Singing: La Rue shop for the Restoration of Renaissance advancement of research in the various Requiem and Other Low Masterpieces of Polyphony” will offer digital facsimiles, edi- fields of music as a branch of learning and the Renaissance” is performed by Vox Early tions, and reconstructions of sixteenth-centu- scholarship. Music Ensemble, Christopher Wolverton, di- ry chansons. Richard Freedman (Haverford PROPOSED AMENDMENT: The object rector, with commentary by Honey Meconi College) and Philippe Vendrix (CESR) are of the Society shall be the advancement of (University of Rochester). The CD includes directors. Details: duchemin.haverford.edu. scholarship in the various fields of music the first performance of La Rue’s mass at writ- ten pitch as well as other first recordings. De- through research, learning, and teaching. tails: www.voxannarbor.org. Conferences Details: www.ams-net.org/council/Bylaws- amendment.php. This is a highly selective listing; comprehen- Internet Resources sive and up-to-date listings of conferences in The University of Rhode Island’s German musicology are posted online. See the AMS Summer School Program continues its one- News web site (www.ams-net.org/announce.php) credit course “German for Musicians” (15 for full details. July–3 August 2012). This specialist course, The Early Music Online project has digi- Brahms in the New Century taught by Monika Hennemann for a number tized and made available on the internet 21 23 2012 of years, trains musicians, musicologists, and many of the British Library’s rare and unique – March theorists in the language skills for the study sixteenth-century music editions, thanks to a New York 2012 2012 of German music and its associated literature. partnership between Royal Holloway, Univer- brahms.unh.edu/ny /ny .htm Details: www.uri.edu/iep/dssa. sity of London, the British Library, and JISC. continued on page   AMS Newsletter Committee News conference attendees with experienced society announce that it was able to offer thirty-six members, once again drew record numbers as Professional Development Travel Grants in over seventy-five new members participated. 2011. Ranging from $100 to $250, those grants AMS-Music Library Association At the Master Teacher Session, Marian Wil- were awarded to graduate students, part-time Joint RISM Committee son Kimber (University of Iowa) gave an in- faculty, and independent scholars to attend Late this fall, the Joint RISM Committee and spiring presentation entitled “Teaching Music the Annual Meeting in San Francisco. Last the U.S. RISM Office launched its survey History and Local Culture” to an enthusiastic year the CMPD received a record number of of U.S. libraries to update their holdings in audience. The presentation began with ob- forty-eight applications (almost double those RISM series A/II: Manuscripts after 1600, an servations on interactive and dramatic tech- received in previous years). Please consult the online inventory of music manuscripts pri- niques to draw students into learning music Committee’s web page (www.ams-net.org/ marily of the seventeenth and eighteenth cen- history, but the specific focus of Kimber’s committees/mpd) for this year’s updated pro- turies. The goal is both to update the holdings presentation was how to introduce students cedures and new application form; the appli- 2012 of libraries currently represented in the freely to using primary research materials from ar- cation deadline for Travel Grants to the accessible, web-based RISM A/II database chives and other repositories to change their Annual Meeting in New Orleans is Monday 4 2012 (opac.rism.info) and to add new libraries with ideas of what “then” was like. In her experi- May . appropriate collections and manuscripts not ence, this never fails to be an eye-opening At the AMS Annual Meeting in San Fran- presently included in the resource. Because experience for her students. The committee’s cisco, the Committee continued to explore the RISM database welcomes music manu- session on grant writing for music faculty initiatives that involve the Society’s mem- scripts dating beyond the parameters of previ- and the session on how to secure a tenure- bership in collaboration with its constituent ous U.S. projects, we are expanding the scope track position in musicology—cosponsored committees. Further information will soon of this survey to include manuscripts of com- with the Committee on Women and Gender be available on our web site. The Commit- posers active in the first half of the nineteenth and the Committee on Cultural Diversity— tee is happy to receive questions and concerns century. Information gathered in 2012 will be offered solid advice and practical applications about how it can best serve its membership. used to seek grant funding for the cataloging for audience members to use in their careers. Your suggestions and comments are always and digitization of these manuscripts. Survey The CV/Cover Letter Workshop that took welcome: [email protected]. guidelines and more information about the place again this year in the registration area of —Eftychia Papanikolaou project are available at the U.S. RISM Office the conference was also very successful. Many web site (hcl.harvard.edu/libraries/loebmu- of our students and colleagues took advantage sic/isham/rism.cfm). of signing up for a one-on-one consultation, Committee for the Publication of For the first time the complete RISM A/I although walk-in consultations were also American Music Einzeldrucke vor 1800 supported. series, (Individual Prints Partway through the summer of 2011, the so- 1800 Planning for the committee’s offerings next before ), published by Bärenreiter between ciety was informed by the National Endow- 1971 and 2003 in fourteen print volumes, is year in New Orleans is already underway. Among the ideas under discussion are ses- ment for the Humanities that our request for digitally available as a CD-ROM database renewed funding for the Music of the United (see Bärenreiter News 12 December 2011, www. sions devoted to careers as an adjunct faculty member, putting your Ph.D. to work in jobs States of America (MUSA) project had been baerenreiter.com/en/aktuelles). Libraries with approved at a level of $110,000 in outright standing orders to the RISM series will auto- outside of academia, how to strike the right work–life balance, and a student session that funds and $25,000 in matching. The renewal matically receive copies of this CD-ROM from is the project’s eleventh. their respective subscription vendors. looks at the issue of post-docs as a stepping stone to a tenure-track position. The Master Thanks to the efforts of volume editor Kath- The U.S. RISM Office plans to have an on- erine K. Preston, her edition of Symphony No. line form available by mid-2012 for libraries to Teacher session will be a panel discussion on teaching the discipline and disciplining the 2 (“Jullien”) by George Frederick Bristow submit their music imprint holdings dating (1825–98), MUSA 23, published in the spring 1501 1800 teacher. In addition to these offerings, the – that are currently absent from the of 2011, received a public reading at the soci- CD-ROM release of RISM A/I, as well as cor- committee will again sponsor its very success- ful Buddy Program. There was one mentor ety’s annual meeting on Friday 11 November rections and updates for publications already 2011 by the San Francisco Conservatory Just- inventoried in the database. We encourage for every three mentees in San Francisco, so if you are willing to act as a mentor to a young in-Time Orchestra. By all indications, it was scholars using this new resource also to report the work’s first performance since the 1850s. errors and additional details on U.S. hold- colleague or graduate student, we encourage you to respond when the call goes out for The next MUSA project to appear will be ings. The Joint RISM Committee continues a set of transcriptions: the complete recorded to advocate for release of this CD-ROM data participants in the program. This is an op- portunity to assist younger professionals in work—just eight numbers from 1927—of and subsequently reported additions and revi- an obscure but significant New Orleans jazz sions into a dynamic, web-based resource as maneuvering through the Society’s structure, as well as to offer advice about jobs, publica- ensemble led by trumpeter Sam Morgan. soon as such an integration becomes feasible. Flourishing as a hotbed of musical originality —Darwin F. Scott tions, and other career-related issues. —James P. Cassaro during the 1910s, the city of New Orleans by the early 1920s was experiencing an exodus of Committee on Career-Related Issues many of its star performers and composers, Committee on Membership and including Joe “King” Oliver, Ferd “Jelly Roll” The Committee on Career-Related Issues Professional Development Morton, Edward “Kid” Ory, and Louis Arm- (CCRI) hosted a number of exciting and strong, who became national figures. Among productive events in San Francisco. The com- The Committee on Membership and Profes- mittee’s Buddy Program, which links new sional Development (CMPD) is happy to continued on page  February 2012  Committee News Song (Stanford University Press); supported Study Group News by the AMS 75 PAYS endowment  continued from page Travis Jackson, Blowin’ the Blues Away: Per- formance and Meaning in the New York Jazz Cold War and Music Study Group those who remained in the city, Sam Mor- Scene (University of California Press); sup- gan and his musicians are said to have pre- The Cold War and Music Study Group ported by the AMS 75 PAYS endowment served an earlier local tradition. This MUSA (CWMSG) sponsored an alternative-format Mark Katz, Groove Music: The Art and Cul- volume, edited by Anthony M. Cummings, daytime session in San Francisco entitled ture of the Hip-Hop DJ (Oxford University Bruce Boyd Raeburn, and John J. Joyce, Jr., “Local Musics and Global Perspectives: Re­ Press); supported by the Reese endowment offers transcriptions of the Morgan ensemble’s imagining Eastern Europe in Post-Cold-War Beth Lee-De Amici, “‘Et le moyen plain de work. Raeburn’s essay makes use of the city’s Musicology.” Kevin Bartig and Lisa Jakelski paine et tristesse’: Solution, Symbology, and rich archival material, including interviews, introduced new research on the roles of inter- Context in Ockeghem’s ‘Prenez sur moi’” systematically gathered since the 1950s. The national music festivals in cultural diplomacy ( Journal of Musicology); supported by the critical notes supplied by Joyce, the transcrib- and regional integration in Eastern Europe, Brook endowment er, do much to illuminate a style of impro- focusing on the Zagreb Biennale and Warsaw Lewis Lockwood and Alan Gosman, vised performance that, ruled only intermit- Autumn Festival respectively; Kevin Karnes Beethoven’s “Eroica” Sketchbook (University tently by standard notions of voice-leading, presented his work on Latvian musicians’ ef- of Illinois Press); supported by the Bukofzer makes wide use of heterophony. The volume forts to collect and memorialize Jewish folk endowment illuminates a local community of musicians, musics throughout the Baltic republics; and Shay Loya, Liszt’s Transcultural Modernism black, white, and mixed race, in action. A-R Andrea Bohlman made the case that Soviet and the Hungarian-Gypsy Tradition (Boydell Editions plans to publish this volume as popular song provided models for anti-Soviet & Brewer); supported by the AMS 75 PAYS MUSA 24 in May 2012: an apt way to mark political singing in Solidarity-era Poland. Re- endowment the society’s annual meeting in November. spondent Michael Beckerman delivered two Dominic McHugh, Loverly: The Life and —Richard Crawford insightful and provocative commentaries, and Times of My Fair Lady (Oxford Univer- Lynn Hooker presided over a discussion that sity Press); supported by the AMS 75 PAYS revealed keen interest in the methodologies Publications Committee endowment used in the study of music and/in the Cold Luisa Nardini, Neo-Gregorian Chant in War. The CWMSG hopes to build on this In Fall 2011, the Publications Committee Beneventan Manuscripts (Pontifical Institute); momentum with a session on methodology at was able to award subventions for twenty supported by the AMS 75 PAYS endowment the 2012 meeting in New Orleans that will in- books and one scholarly article for a total Vivian Perlis, The Complete Copland(Pen- clude colleagues from SEM and SMT as well. of $52,000. In accordance with the Society’s dragon Press); supported by the Kinkeldey After many years as webmaster and listserv procedures, these awards were recommended endowment administrator, Erin Sullivan resigned from by the Publications Committee and approved Howard Pollack, Marc Blitzstein: His Life, those duties in December. We are grateful to by the Board of Directors. They include the His Work, His World (Oxford University Erin for her dedication to the study group and following: Press); supported by the Hibberd endowment wish her well. Our new CWMSG webmaster Wye Jamison Allanbrook, The Secular Com- Ellen Rosand, Cavalli’s Operas on the Mod- and listserv administrator is Kevin Bartig. To media: Comic Mimesis in Late Eighteenth- ern Stage: Manuscruipt, Edition, Production join the CWMSG, view a directory of current Century Instrumental Music (University of (Ashgate Publishing); supported by the Han- members, or learn more about our activities California Press); supported by the Kinkeldey son endowment past, present, and future, please visit our web- endowment Anna Schultz, Singing the Hindu Nation: site: www.ams-net.org/cwmsg. Andrew Berish, Lonesome Roads and Streets Religion, Nationalism, and Music in Western —Joy H. Calico of Dreams: Place, Mobility, and Race in Jazz of India (Oxford University Press); supported by the 1930s and 40s (University of Chicago Press); the AMS 75 PAYS endowment Ecocriticism Study Group supported by the AMS 75 PAYS endowment Benjamine Steege, Helmholtz and the Mod- Jeanice Brooks, The Musical Work of Nadia ern Listener (Cambridge University Press); News from the Ecocriticism Study Group Boulanger: Performing Past and Future Be- supported by the AMS 75 PAYS endowment (ESG) includes both reports of and plans for tween the Wars (Cambridge University Press); Pieter van den Toorn and John McGinness, outings, scholarly panels, and elections. supported by the Hibberd endowment Stravinsky and the Russian Period: Sound and At the Annual Meeting in San Francisco, Rachel Cowgill and Hillary Poriss, eds., The Legacy of a Musical Idiom (Cambridge Uni- eighteen AMS members spent Thursday Arts of the Prima Donna in the Long Nineteenth versity Press); supported by the Plamenac morning at Lands End, enjoying an unusu- Century: 1800–1920 (Oxford University Press); endowment ally clear day of fresh air, beautiful vistas, col- supported by the Plamenac endowment Andrew G. Wood, Agustín Lara: A Cultural legial camaraderie, and sonic stimulation. We Emma Dillon, The Sense of Sound: Musi- Biography (Oxford University Press); support- took a sound walk, led by ESG member Tyler cal Meaning in France, 1260–1330 (Oxford ed by the Reese endowment Kinnear, which began on our tour bus, con- University Press); supported by the Hanson Those interested in applying for AMS pub- tinued to a resonant cave at the water’s edge, endowment lication subventions are encouraged to do so. and finished along a path overlooking the Lynn Hooker, Redefining Hungarian Music See the program descriptions for full details Golden Gate Bridge and overhearing the lo- from Liszt to Bartók (Oxford University Press); (www.ams-net.org/pubs/subvention.php). cal foghorns. In our post-sound walk debrief- supported by the AMS 75 PAYS endowment Next deadlines: 15 August 2012, 15 February ing, the discussion was wide ranging, but for Maureen Jackson, Mixing Musics: Turkish 2013. most in attendance the experience was a series Jewry and the Urban Landscape of a Sacred —Susan Youens of firsts: doing a sound walk, spending time

 AMS Newsletter listening to one’s surroundings (sans human major event devoted to the study of music session on “Teaching Western Music in music) while amongst musicologists yet not and philosophy. Last year’s MPSG special China Today” featuring scholars from major talking, and starting a weekend of busy con- evening session on Vladimir Jankélévitch has Chinese institutions. The Pedagogy Study ference going with a calm and relaxing over- led to a colloquy on Jankélévitch appearing Group (PSG) sponsored a session on “Re- ture. It may be only a slight exaggeration to in issue 65/1 of JAMS. A forthcoming issue considering Narrative in the Music History say that it was a simultaneously relaxing and of Contemporary Music Review will be de- Survey” on Friday evening, and on Saturday stimulating experience that we all wanted to voted entirely to music and philosophy and afternoon there was a session on “Twenty- bottle and maintain throughout the weekend! will present work by several scholars active First-Century Methodologies for Teaching The ESG will be sure to sponsor similar ad- within the MPSG. The RMA MPSG is plan- Music History.” ventures at future meetings. ning a special issue of a major journal; we’ll The PSG is pleased to announce the next In addition to our outing, and as an ex- circulate details of this publication as they Teaching Music History Day, which will be cellent complement, the ESG sponsored a are finalized. And this summer, the RMA hosted by the AMS Greater New York Chap- panel discussion Thursday evening entitled MPSG will hold its second annual confer- ter on 31 March at Rider University in Law- “Composing Ecology: The Art of Sound- ence on music and philosophy. This event renceville, NJ. Look for the full program on scape and the Science of Field Recording.” is being planned in collaboration with the the PSG website, www.ams-net.org/study- In addition to contributions from members AMS MPSG and will take place on Friday groups/psg. Featured themes for this confer- Tyler Kinnear, Naomi Perley, and panel orga- and Saturday 20–21 July at King’s College ence will be the music history curriculum, nizer Rachel Mundy, we were joined by San- London. Some funding will be available to “public musicology,” and new technologies/ Francisco-based field recordist and composer help American scholars with travel, and the new pedagogies. All who have an interest in Aaron Ximm, who discussed his own com- RMA MPSG has reserved very reasonable teaching music history are invited, includ- plex, artistic, and intellectual approaches to accommodations in London for conference ing colleagues whose specialty lies outside of soundscape art. Planning is already underway participants. For further information on this musicology. for a collaborative session at the joint Annual conference, please visit the website of the The Journal of Music History Pedagogy Meeting in New Orleans. RMA MPSG at www.musicandphilosophy. (JMHP) continues to grow, with three issues Finally, at our business meeting in San ac.uk, or contact Tomas McAuley, Chair of now available via the PSG website. JMHP Francisco I was re-elected for another two- the RMA MPSG, [email protected]. has added two new sections, “Reports and year term as chair (2011–13). Due to term lim- As our organization grows, we’re thrilled to Practices” and “Roundtables.” In 2012 the itations in our by-laws, this will be my final term as chair. The 2012 election will be for the hear from new voices, and especially to hear JMHP Editorial Board plans to invite ap- office of secretary-treasurer. new suggestions for topics at our upcom- plications for the next Editor-in-Chief, who The ESG maintains an open door policy, ing events. If you’re interested in joining the would initially serve for a year or two as As- and all are welcome to attend our sessions, group or learning more about its activities, sistant Editor. We encourage AMS members join our email list, and visit our web site please email me at [email protected]. to consider adding their voices to the grow- (www.ams-esg.org), which provides archives —Stephen Decatur Smith ing dialogue on music history pedagogy in of our activities (including our outing and the journal and at conferences. On a final panel from San Francisco), news of interest, Pedagogy Study Group note, I thank my PSG colleagues for re-elect- and resources such as a dynamic ecomusicol- ing me to a second (and final) two-year term ogy bibliography. There are numerous op- There were exciting developments for the as Chair of the PSG. portunities for involvement, from organizing scholarship of pedagogy at the San Francisco —Matthew Baumer outings to planning panels. meeting. After several months of study, a —Aaron S. Allen subcommittee of the AMS Council pro- posed a revision to the Object of the Society Music and Philosophy Study Group to better reflect the central importance of RILM News teaching (see also the story in News Briefs, The AMS web site has a direct link, un- The Music and Philosophy Study Group p. 14). Council members voted overwhelm- der Publications, to RILM (Répertoire (MPSG) held two events at this year’s An- ingly to accept the new language, which International de Littérature Musicale) to nual Meeting of the AMS. In our business would read, “The object of the Society shall assist members in submitting abstracts meeting, we held a discussion of Alain Ba- be the advancement of scholarship in the and bibliographic records of their publi- Five Lessons on Wagner diou’s recent , and in various fields of music through research, cations. Authors are strongly encouraged our evening session, we presented a panel learning, and teaching.” From the Coun- to do so: www.ams-net.org/RILM.php. entitled “The Ethics of Musical Labor.” This cil the proposed change goes to the AMS RILM is one of the very best ways to latter event was a collaboration with the Board for discussion and a positive or nega- direct readers to our work, and abstracts newly founded Music and Philosophy Study tive recommendation, followed by a broader are best prepared by authors themselves. Group of the Royal Musical Association discussion at the next Business Meeting. The Take time now to make sure that all your (RMA), which held its first annual confer- final step is to put the change to a vote of the publications are listed in this invaluable ence on music and philosophy in July 2011 at full membership, which we hope will occur resource. Please let me know if you have King’s College London. This year’s AMS also sometime in early 2013. RILM-related questions or comments: included a session on music and philosophy Pedagogical themes were very well repre- [email protected]. assembled by the AMS Program Committee. sented in San Francisco, beginning with the —Honey Meconi We’re excited to call your attention to sev- annual Master Teacher session featuring Mar- RILM-U.S. Governing Board Delegate eral forthcoming publications, as well as a ion Wilson Kimber and a ground-breaking

February 2012  AMS San Francisco 2011 Post-Conference Survey We received 759 responses to the survey sent thirty-minute papers), and 16% gave no balancing the efforts required to make ac- to attendees following the San Francisco An- response. commodations for the disabled conflicted nual Meeting. Details that flesh out this sum- Respondents were negative regarding with “green” efforts. Few presenters spoke mary are at the AMS web site (www.ams-net. poster sessions; only 7% said they would favorably regarding large-print handouts. A org/sanfrancisco/survey/). be interested in submitting a poster session number of respondents observed that it was Demographics. Age: over 50% of respon- proposal. 29% did not answer the question. difficult to access the registration and exhibit dents are 40 or younger. Gender: 48.5% Forty-two comments from those attending area. committees were received. Five requested female, 49.3% male. Residence: 85.8% of 259 general comments were received. better communication regarding the com- respondents are from the U.S., 5.4% from Eighty offered favorable reactions. Over thir- mittee meeting; four requested a meeting Canada, and 4.2% from the U.K. or Ireland. ty respondents expressed concern over the time change from 7 a.m. 16 1 high costs involved with the meeting. Several Prior meetings: . % said it was their first Sixty-three comments on study groups pointed out the sound bleed problem at the meeting; for those who had been to earlier were received. Many were specific to sessions, AMS meetings, 34.3% had been to ten or and complimented organizers for good work hotel. Misconceptions were revealed, suggest- more; 27.9% had been to four to nine; and (LGBTQ and Music and Philosophy received ing that better communication with attend- 21.5% had been to one, two, or three meet- high praise). Eleven commented negatively ees would be helpful: some were unaware of ings. Employment: 51.8% of attendees are regarding the quality of research presented. the wi-fi; some were unaware that free bever- employed full-time at educational institu- Eight commented negatively on the 8–11 ages were served in the exhibit hall. tions; 29.3% are students; 6.6% are retired; p.m. time slot. The Committee on the Annual Meeting 2.5% are fully employed but not by an educa- 234 respondents had suggestions regard- and the Board of Directors will take respons- tional institution. Registration: 92.4% regis- ing holding “green” meetings. Many re- es into consideration for future meetings. tered for the meeting online. sponded favorably to removing paper flyers (Change may be slow, since meeting venues and brochures from the conference tote bag, Responses to the question about having are now booked through 2015.) The Commit- and making the bag and the program book nine simultaneous sessions were mixed, but tee on Communications will also consider optional. Several respondents pointed to the more favorable than last year. Over 14% did how to continue the conversation regarding environmental impact of air travel. Some also not respond; 55% said “it was about right”; the best ways to move forward with the So- cautioned against relying too much on elec- ciety’s Annual Meeting. It is clearly one of 13% said even more would be acceptable; and tronic activities. Many respondents were not our most important activities, and we wish to 18% preferred fewer. sufficiently aware of electronically-available make it as effective and valuable as possible About 31.5% of respondents were in favor handouts. for members. Thanks are due to those who of holding two-hour paper sessions with 162 respondents commented on making helped by completing the survey. twenty-minute papers; 53% favored keeping the meeting more accessible for those with the present schedule (three-hour sessions, disabilities. Eighteen were concerned that —Robert Judd

Conferences continued from page  Congress on Medieval Studies Nineteenth-Century Music 10–13 May 2012 27–30 June 2012 Sounds of the City: IASPM-US Annual Western Michigan University Edinburgh University Conference, Jointly with the EMP Pop www.wmich.edu/medieval/congress/ sites.ace.ed.ac.uk/c19music/ Conference Medieval and Renaissance Music 22–25 March 2012 Music Finished and Unfinished: A 8–11 July 2012 New York Symposium in honor of Richard Kramer University of Nottingham www.iaspm-us.net/conferences/ 18 May 2012 www.medrenconference.org CUNY Graduate Center Teaching Music History Day musicfinishedandunfinished.blogspot.com Baroque Music 31 March 2012 11–15 July 2012 Rider University Nineteenth Century Studies Association, University of Southampton ams-gny-announcements.blogspot.com Love to Death: Transforming Opera (in- www.southampton.ac.uk/ corporating the Royal Musical Association baroque_music_conference Society for Eighteenth-Century Music and Annual Conference) Music and Philosophy Haydn Society of North America 31 May–3 June 2012 20–21 July 2012 13–15 April 2012 Cardiff King’s College London College of Charleston www.musicandphilosophy.ac.uk www.secm.org and www.hsna.org bit.ly/qc0A5R North American British Music Studies Society for Seventeenth-Century Music Canadian University Music Society Association 19–22 April 2012 31 May–3 June 2012 25–28 July 2012 New York Wilfrid Laurier University University of Illinois at Urbana-Champaign www.sscm-sscm.org www.cums-smuc.ca www.nabmsa.org  AMS Newsletter Papers Read at Chapter Meetings, 2010–11

Allegheny Chapter Capital Chapter Ilias Chrissochoidis (Kluge Center, Library of Congress), “Dramatic Pairing in Fidelio: A 16 October 2010 16 October 2010 Structuralist Approach” Marshall University University of Maryland, College Park Paul-André Bempéchat (Center for European William B. Hannam (University of Akron), Studies, Harvard University), “The Location Sterling Murray (Williamsburg, Va.), “Tran- “Leonard Bernstein’s Jewish Trilogy: A Sym- of Mendelssohn’s Culture: Religious Counter- scending the Ordinary: Creative Alternatives phonic Path to Self Examination” point, Confusion and Synthesis in the ‘Refor- to Conventional Form in the Symphonies of mation’ Symphony” Bethany Goldberg (Youngstown State Univer- Antonio Rosetti (c. 1750–1792)” sity), “Innovation and Adaptation in an Amer- Valerio Morucci (University of California, Da- ican Opera House: Lessons Learned from an vis), “Behind the Emblem of the Golden Oak: 1856 Receipt Book” Greater New York Chapter Politics and Patronage of Sacred Music under William E. Grim (Strayer University), “The In- the Della Rovere (1540–1578)” 16 October 2010 fluence of Actuarial and Business Practices on Wagner College John Tibbetts (University of Kansas), “Hidden the Music of Charles Ives” Voices and Lost Romances” Tamara Balter (Indiana University), “From Al- Christopher Wilkinson (West Virginia Univer- Russell E. Murray, Jr. (University of Delaware), ternativo to Alter Ego” sity), “A Master Narrative of Music History for “Con viva voce: Hearing the Renaissance Musi- the Twenty-First Century” Edward Green (Manhattan School of Music), cal Dialogue” “Elliptical Tonality” Carol Padgham Albrecht (University of Idaho), Lars Helgert (Shenandoah University), “The “‘The disfigurement there was a little too awful’: Jennifer Oates (Queens College), “Scotland, the Songs of Leonard Bernstein and Charles Stern Friedrich Karl Lippert and the Propagation of Hebrides, and the Sea: Bantock’s Hebridean (1942)” 1915 German Court Opera in Vienna, 1797–1803” Symphony ( )” Paul Sommerfeld (Pennsylvania State Univer- Terry L. Dean (Indiana State University), “Re- Paul-André Bempéchat (Rider College), “Jean sity), “Straussian Allusions in Béla Bartók’s evaluating Prokofiev’s Soviet Opera Aesthetic” Cras’s Paysages” (lecture/recital) Kossuth” Jack Crotty (West Virginia University), “Artis- Johanna France Yunker (Stanford University), Sean M. Parr (Dickinson College), “Of Night- tic Exuberance or Beethoven’s Ninth on Ste- “Music and Feminism in the GDR: The Case ingales, Laughter, and Lapdogs: The Origins of roids: the Poetic-Music Form of Mahler’s Third of Ruth Zechlin’s ‘La Vita’” the Nineteenth-Century Coloratura Soprano” Symphony” Jack Blaszkiewicz (Stony Brook University), Randall Goldberg (Youngstown State Universi- “Bartók, Cowell, and Tone Clusters in ‘Music 2 April 2011 of the Night’” ty), “Purging Heretics through Music Theory: Library of Congress, Whittall Pavillion Gioseffo Zarlino and the Sopplimenti musicali” Benjamin Bierman (John Jay College), “George Handy Crosses Over: Caine Flute Sonata” 9 April 2011 Laura Youens (George Washington University), “Franz Liszt and an African Explorer” Kent State University 29 January 2011 Therese Ellsworth (Washington, DC), “Victori- Stony Brook University, Manhattan Center Robert M. Copeland (Geneva College), “The an Pianists and the Emergence of International Johannes Fischer Tablature: Sixteenth-Century Virtuosos: The Worldwide Tour of Arabella Sarah Davies (New York University), “Vater Music in Rural East Prussia” Goddard” unser: English and Italian Influences in Ger- Kelly St. Pierre (Case Western Reserve Uni- Robert Lintott (University of Maryland, College man Intabulations, Fantasies and Variations, c. versity), “‘Czechness’ and the New German Park), “The Manipulation of Time in Act II of 1560–1650” School: Smetana, Liszt, and the Politics of the John Adams’s Doctor Atomic” Jane Schatkin Hettrick (Rider College), “Sacred Symphonic Poem” Christopher Bowen (Catholic University of or Secular? Criticisms of Church Music in Late Zoë Lang (University of South Florida), “Re- America), “Fusing the Romantic and the Mod- Eighteenth-Century Vienna” constructing the Repertoire of the Strauss ernist: Richard Strauss’s Songs” Paul-André Bempéchat (Rider College), “The Orchestra” Angeline Smith (Catholic University of Ameri- Location of Mendelssohn’s Culture: Religious Theodore Albrecht (Kent State University), “A ca), “Wohin? Toward Rediscovering Forgotten Counterpoint, Confusion and Synthesis in the Thrill a Minute: Beethoven’s Piccolo Parts for Attributes of Schubert’s Die schöne Müllerin ‘Reformation’ Symphony” Aloys Khayll, 1791–1866” Through Well-Temperament Analysis” Barry Wiener (CUNY Graduate Center), Jeanne A. Hansen (Kent State University), Vanessa L. Rogers (Rhodes College), “The Sa- “Faith, Covenant and Revelation in the Music “Chautauqua Circuits: Summertime Music lon of Violet Gordon Woodhouse and the Cult of Felix Mendelssohn” Under the Big Brown Tent” for Baroque Music in Early Twentieth-Century Mark Berry (Carnegie Hall), “Building Con- Anna Nekola (Denison University), “Teaching England” texts for American Dodecaphony: Space-Form Music on Television: Omnibus and the Defense Kirstin Ek (University of Virginia), “The Com- and George Rochberg’s Second String Quartet” of Culture” mon Man Meets the Matinee Idol: Harry Bela- Edward Green (Manhattan School of Music), William E. Grim (Strayer University), “Miles fonte, Folk Identity, and the 1950s Mass Media” “Did Ellington Truly Believe in an ‘Afro-Eur- Menander Dawson: An Unacknowledged Matt McAllister (Florida State University and asian Eclipse?’” Source of Inspiration for Charles Ives” Valencia Community College), “‘A Spectacle Michael Boyd (Chatham University), “The Worth Attending To’: The Ironic Use of Preex- Evolution of Form in the Music of Roger isting Art Music in Three Films Adapted from Reynolds” Stephen King” continued on page 

February 2012  Papers read at Chapter Meetings Colin Roust (Roosevelt University), “Rethink- Catherine Ludlow (Western Illinois University), ing Twentieth-Century Survey Courses” “Emblems of Emotion: Manifestation of Senti- continued from page  Mary Natvig (Bowling Green State Univer- ment in Zdeněk Fibich’s Piano Miniatures and sity), “On-line Teaching: When does this class Operas” “Teaching Music History” (panel discussion), meet?” Sabra Statham (Pennsylvania State University), Ruth DeFord (Hunter College), William “Composing the Great American Symphony: Hettrick (Hofstra University), Howard Meltzer Mark Clague (University of Michigan). “Mu- George Antheil’s Symphony Nos. 2–3 Under- (Borough of Manhattan Community College), sic History Meets ‘The Matrix’: Does Material stood through Sources and Documents” John Muller (Juilliard School), Anna Zayarun- Dictate Course Design?” znaya (New York University) Scott Messing (Alma College), “Humor and Jessica M. Moore-Lucas (University of Western Protest in Poulenc’s Improvisation No. 12” Ontario), “Reconsidering Borrowing: Charles 30 April 2011 Catherine Hennessy (University of Illinois, Ives and Reverential Parody” Columbia University Urbana-Champaign), “Playing With Pianos: Jeffrey Wright (Indiana University South Bend), Sylvia Kahan (College of Staten Island), “Sew- Print Media, Mechanization, Gender, and “Composing Your Way Home: Samuel Barber’s ing Machines, Strads, and The Devil: The Cu- Changes in Victorian America” Capricorn Concerto and a Reconsideration of rious Case of Victor Reubsaet, ‘Duc de Cam- James L. Zychowicz (Madison, Wisc.), “Music Musical Nostalgia” poselice,’ Nineteenth-Century Music Patron” Anthologies, Canon, and Repertoire: What Are Jeff Dailey (Five Towns College), “Ivanhoe’s We Communicating?” Flute” Michael Mauskapf (University of Michigan), New England Chapter Marcelo Campos Hazan (Columbia University), “‘Fighting the Good Fight’: Robert Whitney, 2 October 2010 “Nabucco’s Band” Charles Farnsley, and the Louisville Orchestra Amherst College Mark Ferraguto (Cornell University), New Music Project” “Beethoven, Napoleon, and the Viennese Ama- Travis D. Stimeling (Millikin University), Yu Jueng Dahn (University of Cincinnati), teur Concerts of 1807–1808” “‘What Would Moses Climb?’: Sacred Places “‘Virgin Soil’ for Bach’s Music: The American Ryan Weber (University of Connecticut), “‘All and the Musical Protest against Mountaintop Reception of Robert Franz” Removal Mining in Central Appalachia” and All Kinds:’ Locating Identities in Edvard Yoel Greenberg (Princeton University), “Back Grieg’s Late Songs” to the Elements: Towards a Genetic Code of Marie-Hélène Benoit-Otis (University of North Sonata Form” 2 April 2011 Carolina, Chapel Hill), “Louis de Fourcaud and Oakland University Karen Desmond, “Jacobus’s Witness to the Text Richard Wagner: An Imaginary Interview?” of the Ars Nova” Amanda Saunders Lalonde (Cornell University), Kathryn Lowerre (Lansing, Mich.), “An English Karen Leistra-Jones (Yale University), “Virtuoso “Liszt as Prophet” Opera Singer in Handel’s London: Framing Asceticism and the Problem of Theatricality in Edward Green (Manhattan School of Music), Narratives and Professional Networks” Late Nineteenth-Century Performance” “Fugue and the French Revolution” Isidora K. Miranda (Western Illinois Universi- Tiffany M. Kuo (Yale University), “Race, Music, ty), “Child’s Play: Performance and Reception and Breach of Loyalty: the Censoring of Lu- ciano Berio’s Traces” Midwest Chapter History of Hans Krása’s Brundibár” Feng-Shu Lee (University of Chicago), “Tran- Johanna Frances Yunker (Stanford University), 2 3 2010 – October scending the Philosophical Boundary: Scho- “Music and Feminism in the GDR: The Case National-Louis University penhauer’s Impact on the Ending of the Ring of Ruth Zechlin’s La Vita” Lawrence Bennett (Wabash College), “Embel- Reconsidered” William Cheng (Harvard University), “Flights lishments for the Queen? A Recently Discov- Joseph E. Jones (University of Illinois), “Al- from Fancy: Mise-en-Abyme as Spectacular Al- ered Hasse Manuscript” lusion and Self-Allusion in Strauss’s Der legory in Korngold’s Die tote Stadt” Alison Furlong (Ohio State University), “The Rosenkavalier” Countess Vanishes: Portraying the Aristocracy Nathan Platte (University of Michigan), “Max in Georg Wildhagen’s Figaros Hochzeit” Steiner’s King Kong in Context: Investigating 19 February 2011 Lucia Marchi (Northeastern Illinois University), the Emergence of the Hollywood Symphonic Wellesley College “Rossini’s Stabat Mater and the Aesthetics of Score” Nineteenth-Century Sacred Music” Alisa White (Indiana University), “Modern Erinn E. Knyt (University of Massachusetts, Jeffrey DeThorne (University of Wisconsin- Roots: The Hard Bop Core of Blue Note’s Amherst), “Ferrucio Busoni and the Absolute Madison), “Fifth + Sixth = Seventh: A.B. Marx Image” in Music: Nature, Form, and Idée” and the Triumphant-Pastoral Narrative of Emily C. Hoyler (Northwestern University), Claire Fontijn (Wellesley College), “Hildegard’s Beethoven’s Seventh Symphony” “Bridging the Gap between Music and Ma- Ordo Virtutum: from Vision to ‘Opera’?” Morgan M. Rich (University of Florida), “Fore- chine: Cyril N. Hoyler’s Lecture Demonstra- Karrin Ford (University of Connecticut), telling Death: The Interlocking of Desire and tion of the RCA Mark II Synthesizer c. 1958” “Wellesley and Female Interpretive Communi- Fate through Canon and Hauptrhythmus in Al- Sara Gross Ceballos (Lawrence University), “Re- ties: Patterns of Reception” ban Berg’s Lulu” considering ‘C. P. E. Bachs Empfindungen’” Sarah Caissie Provost (Brandeis University), Jeremy Zima (University of Wisconsin-Madi- Richard P. Nangle (Boston University), “Hanns “‘Easy Money Blues:’ Commercialism in the son), “‘Le Roi Invisible’: Oscar Alemán in Paris, Eisler’s Genre-Crossing Vier Wiegenlieder für Swing Era” 1933–1940” Arbeitermütter” Andrea F. Bohlman (Harvard University), “Re- Brian Locke (Western Illinois University), “A Peter Gillette (University of Iowa), “Adornian considering the ‘Popular’: Nineteenth-Century Mythology of One: Observations on Czech Critique and Dialectical History in Luciano Polish Religious Song at the End of the Cold Jazz Historiography” Berio’s O King” War”  AMS Newsletter 30 April 2011 Amy Kintner (Eastman School of Music, Uni- William F. Prizer (University of California, San- Providence College versity of Rochester), “On Political Correct- ta Barbara), “Court Piety, Popular Piety: The ness: Joni Mitchell’s ‘Woodstock’ and Political Lauda in Renaissance Mantua” Molly McGlone (University of Pennsylvania), Utopianism” Alexandra Monchick (University of Massachu- “Experimental Urban Musical Spaces: A Case Mary-Lou Vetere (Niagara Falls), “Boito’s Code: setts, Lowell), “‘Positions, shocks, simultanei- Study of the Electric Circus in the Late 1960s” Solving the Secrets of the Scapigliati and Re- ties, dissociations’: Zeus und Elida as Stefan Patrick Wood Uribe (Princeton University), vealing the Language of Chaos” Wolpe’s Filmic Montage” “Written Music Examples in the Nine- Dillon Parmer (University of Ottawa), “Mu- Jessica Balik (Stanford University), “The Sub- teenth Century: Imagined Sound and Virtual sicology, Performance, Slavery: Intellec- lime, the Beautiful, and the Status Quo: Wolf- Performance” tual Despotism and the Politics of Musical gang Rihm’s Sub-Kontur” Mark DeVoto (Tufts University), “Schubert Understanding” Matthew Blackmar (California State University, through his Symphonies and Overtures” Long Beach), “From ‘Sermons in Tones’ to Tabitha Heavner (Central Connecticut State Tin Pan Alley: Wagner and Gilded Age Music University), “It’s 2011. Do You Know Who Northern California Publishing” Your Students Are?” 26 February 2011 Beverly Wilcox (University of California, Da- Steve Saunders (Colby College), “Music Ap- Stanford University vis), “Italian Arias at the Concert Spirituel: a preciation as Musicology in the Age of Student Daniel Leeson (Palo Alto, Calif.,), “Leopold Skirmish before the Querelle des Bouffons” Engagement” Mozart’s Collection of Family Memorabilia” Kenneth Nott (Hartt School), “Teaching the Christopher Reynolds (University of California, Loss of Innocence or Seminar in Critical Davis), “Brahms’s Forlorn Bridal Song: The Pacific Northwest Chapter Editing” Alto Rhapsody as Wedding Cento” 15–17 April 2011 Michael Cuthbert (Massachusetts Institute of Emiliano Ricciardi (Stanford University), “Late Western Washington University Technology), “Teaching Music History with Sixteenth-Century Madrigals on Torquato Tas- Technology (But Not For Technology’s Sake)” so’s Rime: The Case of Non è questa la mano” Janet Youngdahl (University of Lethbridge), Frank Ferko (Stanford University), “Uncover- “The Relationship between Neume Shape, Vo- ing Primary Source Material: An Overview cal Articulation, and Ornamentation: Original of Recently Processed Archival Collections at New York State–St. Lawrence Notation versus Modern Transcriptions in the the Stanford University Archive of Recorded Chapter Music of Hildegard von Bingen” Sound” 30 April–1 May 2011 Helena Kopchick Spencer (University of Or- Amanda Cannata (Stanford University), “‘Look egon), “The Coronation of Two Marys in Wil- Wilfrid Laurier University at me...’: Sarah Vaughan’s Performances of liam Mundy’s Maria Virgo Sanctissima” Gender in the 1950s” Kimberly A. Francis (University of Guelph), Natalie Anderson (University of British Colum- Kwami Coleman (Stanford University), “Miles “Faithful Memories: Nadia Boulanger’s Inter- bia), “Grappling with the “Eternal-Feminine”: Davis and ‘Black Music’: Filles de Kilimanjaro pretation of Igor Stravinsky’s Mass” The Two Endings of Schumann’s Szenen aus as a Work of Experimentalism” Matthew Toth (University of Western Ontario), Goethes Faust” Julia Simon (University of California, Davis), “Entering ‘the Pavilion of Imposture’: Neoclas- Harald Krebs (University of Victoria), “Decla- “Narrative Time in the Blues” sicism, Collecting and Decor chez Ravel ” mation in Clara Schumann’s Songs as an Influ- Erin Helyard (McGill University), “Clementi 30 April–1 May 2011 ence on Robert Schumann’s Late Song Style” the Heresiarch and a ‘Black Joke’ of English University of California, Santa Barbara Sharon Krebs (University of Victoria), “Frauen- Domestic Keyboard Culture” Joint with Pacific Southwest liebe und Nicht-leben: Chamisso’s Thränen” Lydia Hamessley (Hamilton College), “‘Music Derek Katz (University of California, Santa Bar- Ken DeLong (University of Calgary), “Liszt on Which the Story Might Ride’: Paul Green’s bara), “Apache Dances in the Futuristic Cellar: and Smetana in the Mirror of Czech National Symphonic Drama, The Lost Colony” Erwin Schulhoff as Dresden Überdada” Music” Graham Freeman (University of Toronto), David Brodbeck (University of California, Ir- Paul Moulton (College of Idaho), “Mendels- “‘Writing, not about the body, but the body vine), “‘Come Out of the Ghetto!’: The Gold- sohn’s Windows: Listening to a View of itself’: Lute Manuscripts and the Resistance to mark-Bild of Ludwig Speidel” Scotland” Print in Early Modern England” Mindy O’Brien (University of California, Los Julie Anne Heikel (University of Victoria), Tyler Cassidy-Heacock (Eastman School of Mu- Angeles), “Disciplining Song in Sixteenth- “Contradicting Convictions: King Mark’s La- sic, University of Rochester), “Poetry Traced in Century Geneva” ment as Class Allegory” the Air: Gesture in Leroux’s Voi (Rex)” John Koegel (California State University, Ful- Holland Phillips (University of Oregon), Caroline Waight (Cornell University), “Busoni lerton), “From Anaheim to Wanganui: Pianist “Modernity’s Consciousness of Time in Carl Writes Bach: Machines, Mysticism and the Albert Friedenthal’s Tours Around the Globe, Nielsen’s Sonata for Violin and Piano, Op. 35” Music of the Future” to California, New Zealand, and Beyond” Kirsten Sullivan (University of Washington), “La Philippe Latour (McGill University), “Modern Byron Sartain (Stanford University), “‘Unpar- fanciulla del West and the ‘Eastern’ Western” Jazz: A Study of the Genre” donable Negligence’: Aesthetic Contingency Zoltan Roman (Victoria, B.C.), “Mahler’s Anthony Cushing (University of Western On- and the Manuscript Dissemination of François Eighth Symphony: A Space Odyssey (or, From tario), “‘It’s Op. 2 that counts!’: Glenn Gould Couperin’s Pièces de clavecin” the Middle Ages to the Twentieth Century in as electronic composer and contrapuntist” Walter Clark (University of California, River- Eighty Minutes)” Mia Tootil (Cornell University), “Transfor- side), “‘Eternal Spain’: Federico Moreno Torro- mation and Domesticity in Strauss and Hof- ba, Miguel de Unamuno, and the Musical Aes- mannsthal’s Die ägyptische Helena” thetics of the Franco Dictatorship, 1936–1975 continued on page  February 2012  Papers read at Chapter Meetings 26 February 2011 Ron Anderson (University of Arizona), “Rheto- University of California, Riverside ric, Form, and Expression: The Classical Dis- continued from page  positio in Buxtehude’s Praeludium in G Minor, BuxWV 163” Matthew Blackmar (California State University, Dylan Marney (University of Arizona), “The Anne Dhu McLucas (University of Oregon), Long Beach), “The Ring Domesticated, Wag- Application of Musico-Rhetorical Theory to “On the Ways of Singers with Melodies: Varia- ner Democratized: The Piano Transcription as Stretto Fugue: An Analysis of Contrapunctus tion in Sung Oral Traditions” Mass Media” VII from J. S. Bach’s Art of the Fugue” Mary Ingraham (University of Alberta), “Inter- Steven Ottományi (St. Pius X Catholic Church), Jittapim Yamprai (University of Northern Colo- cultural Encounters at the Threshold of Spiri- “Where have all the Flores Gone: Evidence for Iron Road rado), “Michel-Richard de Lalande and the tuality in Chan’s ” the Survival of Music for Mixed Voice Choir in Airs of Siam” Susanne Scheiblhofer (University of Oregon), the Repertoire of the California Missions” Deborah Kauffman (University of Northern “Balanchine and the Origins of the Dream Alyson Payne (University of California, River- Colorado), “Guillaume-Gabriel Nivers’s plain- Ballet” side), “Ethel Smyth, The Great War, and En- chant musical Motets in the Repertory of the tente Cordiale” Edward Jurkowski (University of Lethbridge), Maison royale de Saint-Louis at Saint-Cyr” “The Role of Notation upon the Composition- Erica Ann Watson (California State University, Jaime Bofill (University of Arizona), “A Medi- al Design of Morton Feldman’s Late Music” Long Beach), “Jewish Composers and Secular eval Music Program for the Spanish Tuna” Peter Kupfer (Reed College), “Russian or Amer- Christmas Music: The Creation of the Ameri- can Holiday Songbook” Joice Waterhouse Gibson (University of Colo- ican: Aaron Copland’s The North Star” rado, Boulder), “Inkle and Yarico: Music for a Glenda Goodman (Harvard University), “Pro- Brian Black (University of Lethbridge), “The Serious Subject in a Comic Opera” gressives and Music: an Intellectual History” Sensual as a Constructive Element in Schubert’s Rachael Hutchings (University of Denver), Late Works” 30 April–1 May 2011 “Classical Rhetoric: Figures of Speech in Mo- zart’s K. 451” Kimberly Beck Seder (University of British Co- University of California, Santa Barbara lumbia), “Africa and the Keyboard: The Case of Joint with Northern California Christopher M. Scheer (Utah State University), African Pianism” “Searching for Unity in Diversity: Music, Syn- See Northern California listing for papers read. Mark Samples (University of Oregon), “Portrait cretism, and Agency at London Theosophical 1910 1917 of an ‘Indie-Pop’ Artist: Romantic Genius, His- Headquarters, – ” torical Awareness, and Anti-Commercialism in Rocky Mountain Chapter Hidemi Matsushita (Arapahoe Community Sufjan Stevens’s Come on Feel the Illinoise!” College), “Nobu and Kô Kôda: Japan’s Bou- 15–16 April 2011 langer Sisters” Colorado College Heike Hoffer (University of Arizona), “Artistic Pacific Southwest Chapter Joint with Rocky Mountain Society for Validation and the Arioso Chamber Ensemble Music Theory and Southwest Chapter 2 2010 in 1980s Alaska” October of the Society for Ethnomusicology Ponoma College South-Central Chapter Janice Dickensheets (University of Northern Roland Jackson (Claremont Graduate Univer- 11–12 March 2011 Colorado), “‘And the Oscar goes to...’: Mod- sity), “Concerning the Analysis of Chopin’s Centre College ern Film Music, Historical Topics, and a New ‘Enigmatical’ Finale in the Sonata in B-flat Audience” Terry Klefstad (Belmont University), “Shosta- Minor” Deborah B. Crall (Catholic University of Amer- kovich, Propagandist?” YouYoung Kang (Scripps College), “Legacies of ica), “Through the Monster’s Eyes: Libby Lar- Emily Wuchner (University of Tennessee), “Girl the WPA on the American Musical Landscape” son’s Frankenstein” Misunderstood: Judith’s Anti-feminist Charac- Eric J. Wang (University of California, Los An- Daniel Obluda (University of Northern Colo- terization in Duke Bluebeard’s Castle” geles), “The Quiet Hand: Aesthetics of Bodily rado), “Anton Reicha: The Harmony of the Virginia Lamothe (Belmont University), “The Decorum in the Keyboard Music of François Spheres” Cardinal-Patron as Saint: Opera and the Ora- Couperin” Julie Hedges Brown (Northern Arizona Univer- tory in Seventeenth-Century Rome” Matthew D. Blackmar (California State Uni- sity), “Schumann, Beethoven Allusion, and the Jordan Baker (University of Tennessee), “Gen- versity, Long Beach), “Elisabeth Jacquet de la Recasting of Classical Sonata Form” der and Subject: A Critical Evaluation of But- Guerre: A Case Study in the Politics of Gender Jonathan D. Bellman (University of Northern ler’s Concept of ‘Subjectless’ Gender” and Canonization” Colorado), “Franz Liszt, Frédéric Chopin, and Christina Hastie (University of Tennessee), Alejandro Planchart (University of California, the Anxiety of National Identity” “Farinelli, il Castrato: The Cyborgian Man” Santa Barbara, Emeritus), “Compositional Timothy David Freeze (Bloomington, In.), Jacob Morris (University of Tennessee), “Per- Planning, Motivic Structure, and Mensu- “Klezmer and the Posthumous Reception of the forming the Future: Laurie Anderson and the ral Organization in Hendrik Isaac’s Virgo Third Movement of Mahler’s First Symphony” Cyborg Sound as Postgender Prophecy” prudentissima ” Harrison Cole (University of Arizona), “Rhetor- Jeremy Grall (University of Alabama), “Linguis- Matthew Thomas (University of Southern Cali- ical Principles in De mensurabili musica (thir- tic Structures in Sixteenth-Century Ornamen- fornia), “Dynamic Canons: Ornette Coleman’s teenth century) and the Analysis of Perotin’s tation: What Do Ornaments Mean?” Sound Grammar” Sederunt Principes” Kelly Fallon (Indiana State University), “Re- Alan Shockley (California State University, Long Scott Glysson (University of Arizona), “Vertical evaluating Dvořák’s Symphony No. 6 in D Beach), “Anthony Burgess’s Symphonic Novel Sonority in the F Mode Motets of Guillaume Major: Assessing the Influence of Pyotr Il’yich Napoleon Symphony: A Novel in Four Voices” de Machaut” Tchaikovsky”

 AMS Newsletter Theresa Cole (University of Louisville), “Poetic 18–19 March 2011 Gary Beckman (University of South Carolina), Alteration in Wolf’s Trunken müssen wir alle University of North Carolina, Charlotte “Developing a New Frame: Reconsidering Tra- sein! ” Joint with Music History Pedagogy Study ditional Music History Pedagogy” David Carson Berry (University of Cincinnati), Group’s Teaching Music History Day Kevin Burke (Franklin College, Indiana), “Al- “Metaphorical Interpretations of Modality in truistic Pursuits: Service Learning in the Music Kunio Hara (University of South Carolina), American Popular Songs, ca. 1920–50” History Classroom” “Butterfly after the War: Tamaki Miura’s Final John Hausmann (University of Louisville), “Re- Recording of Madama Butterfly” Julia Chybowski (University of Wisconsin- ligious Thought as Manifested in the Musical Oshkosh), “Research‐Orientated Music His- Gavin Lee (Duke University), “Theorizing Be- Content of George Harrison’s Brainwashed ” tory Survey Course” yond ‘East meets West’: An American Case of Jessica Moore-Lucas (Middle Tennessee State Intercultural Music in the Postcolony” Kevin Moll (East Carolina University), “Teach- Uni­versity), “Reconsidering Borrowing: ing Writing about Music History: Facilitating Erin Maher (University of North Carolina, Charles Ives and Reverential Parody” the Evaluation Process through ‘Preemptive’ Chapel Hill), “Voilà le véritable Manuel: The Techniques” Vicki Stroeher (Marshall University), “A Prelim- ‘French Self’ in Manuel de Falla’s Trois melodies” inary Investigation of Benjamin Britten’s Uses Joan Titus (University of North Carolina, of Monotone in Song” Greensboro), “Shostakovich, Narrative, and Southern Chapter Pam Dennis (University of Memphis), “Near- Film” Forgotten Nineteenth-Century Female Musi- 4–5 February 2011 Jay Grymes (University of North Carolina, cians Remembered through The Etude” Nicholls State University Charlotte), “Notation Projects for Undergrad- Francisco Albo (Georgia State University), “His- uate Music History Courses” Christopher Phillpott (Florida State Univer- torical Pianoforte Concerts in New York City, Sandra Yang (Cedarville University), “Singing sity), “Schubert, Schumann, and the Literary 1860–76” Gesualdo: Rules of Engagement in Music His- Symphony” Douglas Shadle (University of Louisville), tory Classes” Valerie Goertzen (Loyola University, New Or- “From Digital to Analog: A College Student’s Alice V. Clark (Loyola University, New Or- leans), “Clara Schumann’s Improvisations and Playlist in the Antebellum South” leans), “Why we still need Plato, Gregory, and Her ‘Mosaics’ of Small Forms” Josquin” Oren Vinogradov (University of South Florida), Southeast Chapter Scott Dirkse (University of California, Santa “Musical-Dramatic Symbols and German Ro- Barbara), “Teaching Music Appreciation: Find- manticism: A New Graphical Model for Opera 25 September 2010 ings from Experimental Research” Analysis” University of North Carolina, Chapel Hill Stacey Garrepy (University of Oklahoma), James MacKay (Loyola University, New Or- “Stereotypical Pop Culture Representations of leans), “C. P. E. Bach’s Minority: Expositional Amy Carr‐Richardson (East Carolina Univer- Classical Music: A Focus Group Study of Un- Strategies in his Minor-Mode Keyboard Sona- sity), “Contrapuntal Craft in Beethoven’s Late dergraduate Non-Music Majors” tas, and Their Influence on Beethoven” Quartets” Jen Hund (Purdue University), “Teaching Criti- Charles Brewer (Florida State University), Catherine Hughes (University of North Caro- cal Reading, Listening, and Writing Skills in a “Alma Mahler, Oskar Kokoschka and Alban lina, Chapel Hill), “Germont’s ‘Di Provenza il Large Classroom” Berg’s Search for ‘The “Right” Bach Chorale’” mare, il suol’ and Verdi’s Story‐Telling Tools in Stephen Thursby (University of South Carolina, Tina Huettenrauch (Louisiana State University), La Traviata” Sumter), “Louis Sullivan, J. S. Dwight, and “Berio Sequenza III: Berberian vs. Castellani” Tim Carter (University of North Carolina, Cha- Wagnerian Aesthetics in the Chicago Audito- Ashley Geer (Florida State University), “The pel Hill), “E in rileggendo poi le proprie note: rium Building” 1893 Chicago World’s Columbian Exposition Monteverdi Responds to Artusi?” Christopher Reali (University of North Caro- and the Emergence of the United States Wom- David Pier (University of North Carolina, Cha- lina, Chapel Hill), “Selling Music for Profit: en’s Music Club Movement” pel Hill), “Ugandan Musicologists and the In- English Language How‐to Write Popular Song Toni Casamassina (Florida State University), vention of Traditional Music” Texts” “Through the Eyes of Witter Bynner: Ned Ro- Christopher Wells (University of North Caro- Kristen Turner (North Carolina State Univer- rem’s Santa Fe Songs (1980)” lina, Chapel Hill), “‘You Can’t Dance to It’: sity), “I, too, Hear America Singing: Secular Brett Boutwell (Louisiana State University), Mura Dehn’s The Spirit Movesand Bebop as Songs in the Civil Rights Movement” “Morton Feldman’s Projections (1950–1951): Popular Dance Music” Katherine Turner (Claflin University), “‘Here is Origins, Development, and Spin” Ryan Ebright (University of North Caro- a Strange and Bitter Crop’: Billie Holiday as a Elisa Weber (Florida State University), “‘An lina, Chapel Hill), “If it ain’t Dutch, it ain’t Strange Fruit” Eternal Object’: Exploration of the Infinite in much: Giaches de Wert and the Franco‐Flem- Candace Bailey (North Carolina Central Uni- Charlemagne Palestine’s Schlingen-Blängen” ish Singers at the Imperial Court Chapel of versity), “Teaching Music History in Tradition- Jennifer Roth-Burnette (University of Alabama), Maximilian II” ally Non‐White Universities” “Quintilian and the Formation of Melodic Ar- Kailan Rubinoff (University of North Carolina, Elizabeth Keathley (University of North Caroli- guments in Parisian Organa Dupla” Greensboro), “Orchestrating the Early Mu- na, Greensboro), “Mainstreaming Women and Linda Cummins (University of Alabama), sic Revival: The Dutch Baroque Orchestras Gender in Music History Sequence: Projects “Rome, Biblioteca Vallicelliana, B.83: Doctrine and the Mediation of Commodification and for Student Engagement” of Coniunctae” Counterculture” Mary Natvig (Bowling Green State University), Timothy Love (Louisiana State University), Stewart Carter (Wake Forest University), “‘On “How to Be a Better Teacher: Reflections, Best “Thomas Davis, The Nation, and the Politiciza- a Sliding Scale’: Some Iconographic Puzzles and Worst Practices, and the Importance of tion of Irish Music” Concerning the Early Trombone” Getting out of Bed Every Morning” continued on page  February 2012  Papers read at Chapter Meetings 16–17 April 2011 Jonathan Sauceda (University of North Texas), University of Texas at Austin “Smuggling, Betrayal, and the Handle of a Gun: continued from page  Joint with Southern Plains Chapter Death and Autonomy in Two Narcocorridos” of the Society for Ethnomusicology Chelsea Williams (University of Arkansas, Fay- Melissa de Graaf (University of Miami), “Anxi- etteville), “‘Come Forward While We Sing’: ety and Appropriation in Daniel Gregory Ma- Erica Martin (University of Oklahoma), Exploring the Significance of the Invitation son’s String Quartet on Negro Themes( 1918–19)” “Bodhrán Drummers and Irish Traditional Song in Southern Revivals” Music in Central Oklahoma” Eben Graves (University of Texas at Austin), Kathryn Etheridge (Florida State University), Nicholas Ragheb (University of Texas at Austin), “Historicizing Bengali Kirtan: Sacred and Sec- “Japanese ‘Modernism’: Westernization, Mod- “The Making of a ‘Smart Aleck’ Dümbelek” ular Causation in Narratives of padavali-kirtan” ernization, and Artistic Innovation in Japan during the Taishō and Early Shōwa Periods” Andy Tang (University of Texas at Austin), “The Peter Loewen (Rice University), “Robert Grosse­ Phorbeia and Capped Reed Instruments: To- teste and the Franciscan Ministry of Music in Kevin Mason (University of Miami), “‘When gether at Last!” Late-Medieval England and Spain” We Couldn’t See the Sun’: Jean Michel Daudi- J. Drew Stephen (University of Texas at San An- Timothy D. Watkins (Texas Christian Univer- er’s Soundtrack to Democracy” tonio), “Glam Rock, Queen, and Fantasy Film” sity), “A New Source for Colonial Guatemalan Rolf Groesbeck (University of Arkansas at Music: Princeton Garrett-Gates MS no. 258” Southwest Chapter Little Rock), “Robert Palmer, ‘World Music,’ Kim Kattari (University of Texas at Austin), Subaltern Hybridity, and the Study of the “Being ‘Psycho-Bettie’: Reclaiming a Female 22–24 October 2010 Individual” Identity in a Male Subculture” Texas Tech University Benjamin Krakauer (University of Texas at Aus- Lana Tyson (University of Texas at Austin), “‘A tin), “Globalization and the Emergence of In- Trans-Fabulous Sunday in the Park’: Gender Roger Landes (Texas Tech University), “Bright dividualized Musical Idiom: A Case Study of Instability and Celebration in the Music of Adventurer: Transethnic Syncretism in Harry Andy Statman” Athens Boys Choir” Partch’s Delusion of the Fury” Andrés Amado (University of Texas at Austin), Christina Hough (University of Texas at Aus- tin), “The Voice of Kurdistan: Şivan Perwer Fr. Ramon Gonzalez, O.P. (San Antonio Col- “The Fox Trot in Guatemala: Cosmopolitan and the Performance of Kurdish Masculinity lege), “Liturgical Music on the Cusp: a Paro- Nationalism among Ladinos” in Turkey” chial Close-up” Cecelia Pullen (University of Oklahoma), “Who Owns Tango? Protecting Argentina’s National Jamila Davey (University of Texas at Austin), Kim Pineda (University of Oregon), “Old Roots Heritage” “The Life of Umm Kulthum: Engaging Tradi- and New Players: The Spanish Catholic Music tion and Shifting the Boundaries of Gender Tradition in New Mexico” Yvonne Kendall (University of Houston, Down- town), “Dance as Cultural Barricade in Early Construction and National Identity in Mod- Megan Varvir Coe (University of North Texas), Modern Europe” ern Egypt” “‘In the Eye of the Beholder’: The Liberation and Subjugation of Salome in Strauss’s Dance Christopher J. Smith (Texas Tech University), of the Seven Veils” “The Old Ways: Access, Advocacy, Inclu- sivity in the (Post)/(Multi)-Literate Music Scott Strovas (Claremont Graduate University), Classroom” AMS Fellowships, Awards, Grants “To Hell with all these Theories: Responses to Nico Schüler (Texas State University), “World Musical Culture in Two Harmonielehren by Ar- continued from page  Music in the College-Level Teaching of Music” nold Schoenberg and John Adams” Justin Patch (Tufts University and Northern Es- Nico Schuler (Texas State University), “On Noah Greenberg Award sex Community College), “Are We Part of the the Integration of Twelve-Tone Music and for outstanding performance projects Music Industry? New Ethical Considerations the Music of New Objectivity in the Music Deadline: 15 August for Music Educators” of the German Composer Hanning Schroder (1896–1987)” Celeste Martinez (University of Oklahoma), Eileen Southern Travel Fund to attend the “Native American Sounds in Pop Music: Annual Meeting Cory Gavito (Oklahoma City University), “The Björk’s World of Musical Creativity and the Deadline: 25 September Tarantella Before the Nineteenth Century” Fusion with Tanya Tagaq Gillis’s Inuit Throat Sidra Lawrence (University of Texas at Austin), Singing Style” “Narratives of Tradition, Regulatory Tactics, Lee Chambers (Texas Tech University), “Indi- Paul A. Pisk Prize for an outstanding paper and Demarcations of Belonging in a Postcolo- genization and Material Africa: A Tale of Two presented by a graduate student at the Annual nial Landscape” Contemporary Operas” Meeting 1 Jann Cosart (Baylor University), “Scientia Vi- Katerina Akarepi (University of Oklahoma), Deadline: October ellatoris: The Medieval Fiddle in Theory and “Mapping Paths of Influence: Josquin, La Rue, Practice” and the Regretz Complex” Howard Mayer Brown Fellowship for mi- Hannah Mowrey (Eastman School of Music), Bibiana Gattozzi (University of Texas at Austin), nority graduate study in musicology “A Rose from the Line of Judah: Ancestry and “The Medieval Lauda: Reconstructing History Deadline: 17 December Imagery in Jena Universitatsbibliothek MS22” through Current Practice” Rebecca Baltzer (University of Texas at Austin), Anne Schnoebelen (Rice University), “Mel- Alvin H. Johnson AMS 50 Dissertation- “An Inside/Outside Perspective on the Delta pomene Coronata da Felsina: A Bolognese Can- year Fellowships Blues Tradition” tata Anthology from 1685” Deadline: 17 December

 AMS Newsletter American Musicological Society, Inc. 50 Years Ago: 1961–62 Statement of Activities for the Fiscal Year Ending • The financial report from the Fall 1961 June 30, 2011 IMS Congress in New York was still Endowment: Fellowships, pending (a small surplus from the meet- Current Awards, ing reached the AMS ledgers in 1963). Revenue operations Publications Undesignated TOTALS • JAMS publication experienced a delay Dues & subscriptions $ 354,911 $ 354,911 due to the resignation of the copyist Annual meeting $ 213,542 $ 213,542 for music examples. Board member Sales/Royalties $ 44,083 $ 6,049 $ 50,132 Gustave Reese “suggested that feasibil- Government grants $ 47,900 $ 47,900 ity of use of a musical typewriter be Contributions $ 150 $ 14,070 $ 41,259 $ 55,480 investigated.” Investment income $ 3,356 $ 88,680 $ 142,667 $ 234,703 • The South-Central Chapter of the AMS Unrealized gain in investment $ 165,145 $ 265,682 $ 430,827 was founded. Total revenue $ 616,041 $ 321,845 $ 449,608 $ 1,387,494 • The Board of Directors were relieved to see only a handful of resignations after Expenses the 1962 dues increase (from $6.50 to $8). Salaries & benefits $ 179,021 $ 59,029 $ 238,050 Subventions, Fellowships $ 86,285 $ 76,000 $ 162,285 • The Board made an emergency alloca- Dues & subscriptions $ 2,766 $ 2,766 tion to RISM regarding a financial crisis Publications $ 98,159 $ 98,159 in early 1962 that threatened the organi- Professional fees $ 73,627 $ 73,627 zation’s existence. Annual meeting $ 163,778 $ 26,400 $ 190,178 • The report of Arthur Mendel, chairman Chapters $ 5,261 $ 5,261 of the Committee on Music Education Office expense $ 70,990 $ 7,741 $ 78,731 in Secondary Schools, “was largely con- fined to expression of the opinion that Total expenses $ 593,603 $ 153,054 $ 102,400 $ 849,057 there is need for such a group. Since this marks a change of attitude, the report Change in Net Assets $ 22,438 $ 168,791 347,208$ 538,437 was viewed as singularly significant.” • The Board approved an outreach at- tempt to Latin American institutions, Statement of Financial Position agreeing to send three successive issues June 30, 2011 of JAMS to selected libraries and educa- Endowment: tional organizations on a trial basis. Fellowships, Current Awards, • Joseph Kerman’s TheElizabethan Mad- Assets Operations Publications Undesignated TOTALS rigal, the first in a projected series of Cash $ 256,530 $ 256,530 dissertations, was published by the Accounts receivable $ 1,251 $ 1,251 AMS. Accrued income $ 6,000 $ 6,000 Investments $ 1,503,362 $ 3,112,783 $ 4,616,145 25 Years Ago: 1986–87 Equipment $ 18,023 $ 18,023 • Preparations for the fall 1987 meeting Funds held in trust $ 21,212 $ 10,790 $ 32,003 in New Orleans, held jointly with the Total assets $ 284,993 $ 1,521,385 $ 3,123,573 $ 4,929,951 College Music Society and the Center for Black Music Research, were well Liabilities underway, and included, in addition to the usual sessions and concerts, an eve- Accounts payable $ 4,300 $ 4,300 Accrued expenses $ 12,356 $ 12,356 ning riverboat cruise and a shrimp boil. Payroll taxes payable $ - The meeting was held at the same hotel Deferred Income $ 13,470 $ 13,470 scheduled for 2012. Funds held in trust $ 21,212 $ 10,790 $ 32,003 • Volume 3 of the AMS edition of the complete works of William Billings was Total Liabilities $ 51,338 $ 10,790 $ 62,129 published. • The “Studies and abstracts” category Net assets $ 233,655 $ 1,521,385 $ 3,112,783 $ 4,867,822 instituted by David G. Hughes twen- ty-five years earlier was removed from Total Liabilities & Net Assets $ 284,993 $ 1,521,385 $ 3,123,573 $ 4,929,951 JAMS. Following the nearly 700-page volume of 1986, the Board passed a mo- Total Liabilities & Net Assets, June 30, 2010: $ 4,369,498 tion to limit JAMS to no more than 550 pages.

February 2012  Obituaries Fellowship, a Fulbright research grant, and several grants from the American Council of The Society regrets to inform its members of the deaths of the following members: Learned Societies. Hamm’s breadth of interests and perspec- Gaston G. Allaire, 15 January 2011 Leonard Ratner, 2 September 2011 tives and his challenges to orthodoxies led Bartlett R. Butler, 15 January 2012 Ora Frishberg Saloman, 25 November 2011 him to write in 1993 that he was “a scholar Frederick Crane, 2 September 2011 Benjamin Suchoff, 6 March 2011 without a home discipline.” It was some final John Crawford, 5 January 2012 Caldwell Titcomb, 13 June 2011 comfort for him to know that the community Charles Edward Hamm, 16 October 2011 John Ward, 11 December 2011 he had long sought had by the end come seek- Samuel Hsu, 2 December 2011 Piero Ernesto Weiss, 2 October 2011 ing him. —Dale Cockrell

Charles Edward Hamm (1925–2011) in America (1979), published after a decade of Leonard Ratner (1916–2011) work on the subject, is a richly detailed, scru- Charles Hamm, President of the AMS in pulously researched, and dazzlingly original Leonard Gilbert Ratner, an honorary member 1973 74 – and an honorary member of the So- study of music then largely unknown to mu- of the Society since 1998, died on 2 Septem- 1993 ciety since , died of pneumonia at Dart- sicology. Three perspectives guided his work: ber 2011 in Palo Alto, Calif., at the age of 95. mouth-Hitchcock Medical Center, Lebanon, that popular music is inevitably the result of Born 30 July 1916 in Minneapolis, Minn., he 16 2011 N.H., on October . a dialogue between difference, that perfor- came to California as a small child, eventu- Hamm’s early musicological work was mance (and not the “score”) is an essential ally earning his Ph.D. in Music in 1947 under A Chronology of the in Renaissance studies. aspect of the genre, and that popular music is Manfred Bukofzer at the University of Cali- Works of Guillaume Dufay 1964 ( ) broke new largely defined by what is demonstrably and fornia, Berkeley (the first granted by that in- methodological ground in ordering Dufay’s quantifiably popular. Music in the New World stitution), while also serving as concertmaster oeuvre music and helped serve to organize the (1983) was Hamm’s monumental treatment of the U.C. Berkeley Symphony. He taught of other composers. He was a co-founder and of the whole span of American musics. Ap- on the Stanford University music faculty from co-director of the Musicological Archives for propriately, the Society for American Music 1947 until almost a decade after his official re- Renaissance Manuscript Studies at the Uni- awarded Music in the New World its first Ir- tirement in 1984, and he was the dedicatee of versity of Illinois. ving Lowens Award. a Festschrift: Convention in Eighteenth- and 1960 “The s” affected Hamm deeply and Hamm’s publications give direct evidence of Nineteenth-Century Music, ed. Wye J. Allan- helped turn his scholarly attention to Ameri- the broad range of his interests. He edited vol- brook, Janet M. Levy, and William P. Mahrt can and popular music. A protest at the Uni- umes of Irving Berlin’s Early Songs for MUSA (1992). 1970 versity of Illinois in led him to teach a (1994), of Stravinsky’s Petrushka (1967), of In addition to his musicological work, Rat- “Liberation Class” on “Rock and Rocks,” Leonel Powers’s Motets (1969), and of song ner was an active composer until about 1960; one of the first courses on rock music. In adaptations by Kurt Weill (2009). His Irving he had studied with Frederick Jacobi and 1971 Hamm collaborated with SEM Presi- Berlin: Songs from the Melting Pot (1997) ex- Arnold Schoenberg and was later described dent Bruno Nettl and mounted a germinal plored how concern for difference shaped Tin by Virgil Thomson as “a composer of highly session on “Urban Popular Music” at a joint Pan Alley. His Afro-American Music, South Af- expert grace and impeccable charm.” Edgar Yesterdays: Popular Song AMS-SEM meeting. rica, and Apartheid (1988) is a study of how so- Sparks, writing in the Musical Quarterly in cial justice intersects with music-making. Put- 1955, noted that “the postulates of [the Classi- ting Popular Music in its Place (1995) ranges cal] style quite naturally became the point of from the Hutchinson Family to Bantu Radio departure for the development of his personal to Elvis to John Cage to Gershwin to a 1991 idiom.” Ratner was indeed best known for his minstrel show in Tunbridge, Vt., and more. work with the Classical repertoire; his Clas- Hamm was born in Charlottesville, Va., sic Music: Expression, Form, and Style (1980) on 21 April 1925. After graduating from the was in many ways the summary and culmina- University of Virginia in 1946, he earned an tion of his earlier research on period structure MFA from Princeton in composition. He and the harmonic aspects of Classical form, then taught at the Cincinnati Conservatory which had been appearing in print since the of Music but returned to Princeton and re- late 1940s. ceived a Ph.D. in musicology in 1960. Hamm Ratner also wrote for a variety of non- held musicology positions at Tulane Univer- specialist readerships, including music the- sity, the University of Illinois, and Dartmouth ory students (Harmony: Structure and Style, College, where he was named the Arthur R. 1962), music appreciation students (Music: Virgin Professor of Music, as well as visiting The Listener’s Art, 1957, 3rd ed. 1977), and professorships at several other institutions. He the informed general reader (The Musical was a founding member of the International Experience, 1983). Besides Classic Music, he Association for the Study of Popular Music also wrote Romantic Music: Sound and Syn- and twice its chairman. ASCAP gave him tax (1992) and The Beethoven String Quartets: a Special Achievement Award in 1998, and Compositional Strategies and Rhetoric (1995), the Society for American Music presented works of profound scholarship intended for him with a Lifetime Achievement Award in all musicians and music scholars from the Charles Hamm 2002. Other honors included a Guggenheim graduate level up.  AMS Newsletter One of Ratner’s most enduring legacies is a vital member of Baruch’s Department of executor of the estate of James Joyce, a per- the idea of the musical topic (from the Greek Music (now the Department of Fine and sonal friend. His mother, the former Orten- topos), the surface musical formulas found in Performing Arts), serving as chair from 1978 sia Schmitz, was a violinist and a niece of the much common-practice music. The study of to 1984 and establishing its music major pro- novelist Italo Svevo. The family fled Fascist topics enables listeners to identify not only gram. A fine violinist, she performed widely Italy in 1938 and, after periods in Switzerland gestural vocabulary (march, hunt, fantasia both before and after joining the faculty. Her and Great Britain, arrived in New York in style, etc.) but also the layers of class associa- dedication to teaching was extraordinary and 1940. tions, cultural referents, and affects that these inspiring, and she cherished the opportunity As a young man, Piero studied piano with gestures implied. Building on Ratner’s work, to open students’ minds to classical music. Isabella Vengerova and Rudolf Serkin, music topical studies and analysis now constitute Students adored her: They felt challenged theory with Karl Weigl, and chamber mu- thriving subdisciplines in both music history to grow and learn, and they appreciated that sic with Adolf Busch. He was a member of and music theory. they were treated with the utmost fairness and a generation of rising pianists that included —Jonathan D. Bellman respect. Gary Graffman, Claude Frank, Leon Fleisher, Dedication to students and teaching ex- Jacob Lateiner, and Seymour Lipkin, all of Ora Frishberg Saloman (1938–2011) tended to Saloman’s seminars at the Graduate whom remained his close friends. For about Center, where she also was a much sought- a decade beginning in 1949, he appeared reg- 14 1938 Born in Brooklyn, NY, on November , after advisor, known for her detailed and ularly as a recitalist either alone or in a duo 25 Ora Frishberg Saloman died on November thoughtful comments and her willingness to with violinist Björn Andreasson. His broad- 2011 after a brief illness. She earned her bach- spend long hours with students. Her concern cast performance of Mendelssohn’s First Pia- elor’s degree from Barnard College and her for students and for the study of music criti- no Concerto from Lewisohn Stadium in July master’s and doctoral degrees from Colum- cism and reception history was formalized 1958 happened to be a part of the first FM bia University. While subjects related to her only a few months before her death through transmission in stereophonic sound. Later he dissertation, “Aspects of ‘Gluckian’ Operatic her generous gift to the Society, an endow- recorded music by Schumann, Debussy, and Thought and Practice in France: The Musico- ment that will facilitate research and travel for Ravel for a Swedish record club. Dramatic Vision of Le Sueur and La Cépède future generations of scholars (see the story At the same time, he enrolled at Columbia 1785 1809 ( – ) in Relation to the Aesthetic and on p. 3). University, earning a B.A. in 1950 and a Ph.D. Critical Tradition,” returned often through- Students and colleagues often remarked on in musicology in 1970 with a dissertation out her scholarship, interwoven among such the balance Ora maintained between a kind titled “Carlo Goldoni, Librettist: The Early explorations of music and music criticism in of old-world formality and abundant enthu- Years.” He taught at Columbia from 1964 to eighteenth-century France are many that shift siasm. One graduate student recalls that after 1985, when he joined the faculty at Peabody, the focus to nineteenth-century America and mentioning that she knew some of Saloman’s a part of Johns Hopkins University. He also investigate the reception of European music former students, “she clapped her hands in a taught at the Curtis Institute in Philadelphia. here. These include Beethoven’s Symphonies giddy way, grinned, and said, ‘Oh! My peo- Italian opera and its theoretical and aesthet- and J.S. Dwight: The Birth of American Mu- ple!’” That is how many will remember her. ic premises remained his scholarly specialty, 1995 sic Criticism ( ) and Listening Well: On —Dennis Slavin although he is best known for having edited Beethoven, Berlioz, and Other Music Criticism three widely used anthologies: Letters of Com- 1764 1890 in Paris, Boston, and New York, – Piero Ernesto Weiss (1928–2011) posers Through Six Centuries (1967), Music in 2009 ( ). the Western World: A History in Documents 1989 Awarded an NEH Fellowship in , Sa- Piero Weiss, who forsook a career as a con- (1984, 2nd ed. 2007; with Richard Taruskin), loman also received a Fulbright Fellowship cert pianist for one in musicology, ultimately and Opera: A History in Documents (2002). and many research awards from CUNY. In founding the department of music history at He was a devoted teacher and remained at the 1999 she was a Visiting Scholar in Residence the Peabody Conservatory, died in Baltimore job, full time, to the end of his life. He was 2 2011 at Queen’s University in Kingston, Ontario, on October from complications of gifted with a rare sense of humor and a rare 1995 1997 83 and from to she served as a member pneumonia at the age of . He leaves a son, capacity for abiding friendships. of the editorial advisory board of American Antonio, a daughter, Maria Leandri, a former —Richard Taruskin Music. wife, Carole Severson Weiss, with whom he Saloman began teaching at Baruch College remained close, and six grandchildren. of the City University of New York (CUNY) He was born in Trieste, Italy, into a promi- in 1971, adding affiliation with the CUNY nent Italian Jewish family. His father, Ot- Membership Dues Graduate Center in 1996. She quickly became tocaro Weiss, an insurance executive, was the Calendar Year 2012 AMS Membership Totals Breakdown by membership category Regular member $110 Sustaining member $200 1 586 Current total membership (as of 31 October Regular, , Income less than $30,000 $55 Sustaining, 9 2011): 3,462 (2010: 3,533). Student member $40 416 Low Income, Emeritus member $50 2010 603 862 members who did not renew: Student, Joint member $45 363 Emeritus, Life member $2,000 Institutional subscriptions: 919 Joint, 78 Life, 65 Overseas, please add $20 for air mail delivery. Honorary and Corresponding, 66 Students, please enclose a copy of your cur- Complimentary, 17 rent student ID.

February 2012  American Musicological Society Bowdoin College Nonprofit org. 6010 College Station U.S. Postage Brunswick ME 04011-8451 PAID Mattoon, IL 217 Address service requested Permit No.

Newsletter Editor’s Message Moving? The AMS is pleased to announce the appoint- To send AMS mailings accurately, the ment of Andrew H. Weaver as Editor of the AMS must receive notice of changes of AMS Newsletter for a three-year term begin- address at least four weeks prior to each ning with this issue. A specialist in sacred mu- mailing. sic in seventeenth-century Vienna and German AMS Romantic song, he is associate professor and 6010 College Station head of musicology at the Catholic University Brunswick ME 04011-8451 of America. (207) 798-4243; toll free (877) 679-7648 It was with excitement and some trepidation [email protected] that I accepted President Anne Walters Rob- www.ams-net.org ertson’s invitation to serve as Editor of the Newsletter Address and Deadline AMS Newsletter. As announced in her first is- sue (February 2010), my predecessor Marica Items for publication in the next issue of Tacconi brought a new vision to this vener- the AMS Newsletter must be submitted 1 able publication, seeking to reconsider how Andrew H. Weaver electronically by May to: the Newsletter can better serve the Society. AMS Newsletter Editor Andrew Weaver, AMS Newsletter Editor In conversations with various members af- Catholic University of America ter accepting the job, I’ve learned that many [email protected] of you agree that the Newsletter has become Interested in AMS Committees? The AMS Newsletter (ISSN 0402-012X) is more valuable and more fun to read over the The president would be pleased to hear published twice yearly by the American past two years. As Editor, I plan to contin- from members of the Society who wish to Musicological Society, Inc. and mailed to ue Marica’s vision, incorporating such new volunteer for assignments to committees. all members and subscribers. Requests for items as her recently implemented interview Those interested should write Anne Wal- additional copies of current and back is- format and feature stories on topics of inter- ters Robertson, and are asked to enclose a sues of the AMS Newsletter should be di- est to the membership, but never at the ex- curriculum vitae and identify their area(s) rected to the AMS office. pense of the items that many of you depend of interest. on the Newsletter to provide. As this is your All back issues of the AMS Newsletter Anne Walters Robertson publication, I am always happy to receive are available at the AMS web site: story ideas; please never hesitate to contact University of Chicago www.ams-net.org me ([email protected]; don’t forget the sec- Dept. of Music 1010 59 Claims for missing issues must be ond “a”!) with suggestions of what you’d like East th Street Chicago, IL 60637-1512 made within 90 days of publication (over- to see here. [email protected] seas: 180 days). —Andrew H. Weaver