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AMS Pittsburgh 2013: Abstracts Visit us in the exhibit hall… browse new titles, purchase display New Ashgate Music titles copies at 50% off, www.ashgate.com/AMS2013 or set up a standing order. And We’re All Brothers: Singing in Opera as Soundtrack Yiddish in Contemporary North America Jeongwon Joe Abigail Wood Ashgate Interdisciplinary Studies in Opera SOAS Musicology Series Includes 34 b&w illustrations Includes 8 music examples Sep 2013 / 224 pages / Hbk / 978-0-7546-6718-6 Jun 2013 / 218 pages / Hbk / 978-1-4094-4533-3 Music Asylums: Wellbeing The Ashgate Research Companion to Through Music in Everyday Life Minimalist and Postminimalist Music Tia DeNora Edited by Keith Potter, Kyle Gann Music and Change: Ecological Perspectives and Pwyll ap Siôn Includes 4 b&w illustrations Includes 9 b&w illustrations, 53 music examples Sep 2013 / 178 pages / Hbk / 978-1-4094-3759-8 and 22 commissioned essays Nov 2013 / 458 pages / Hbk / 978-1-4094-3549-5 The Politics of Plainchant in fin-de-siècle France Brahms Beyond Mastery Katharine Ellis His Sarabande and Gavotte, Royal Musical Association Monographs and its Recompositions Includes 9 b&w illustrations Robert Pascall Apr 2013 / 164 pages / Hbk / 978-1-4094-6373-3 Royal Musical Association Monographs Includes 3 illustrations and 9 music examples Readying Cavalli’s Operas May 2013 / 116 pages / Hbk / 978-1-4094-6557-7 for the Stage Manuscript, Edition, Production Contemplating Shostakovich: Edited by Ellen Rosand Life, Music and Film Ashgate Interdisciplinary Studies in Opera Edited by Alexander Ivashkin Includes 57 illustrations and 9 music examples and Andrew Kirkman Aug 2013 / 440 pages / Hbk / 978-1-4094-1218-2 Includes 4 b&w illustrations and 84 music examples Dec 2012 / 314 pages / Hbk / 978-1-4094-3937-0 Thomas Salmon: Writings on Music Two volume set The Hallelujah Effect Benjamin Wardhaugh Philosophical Reflections on Music, Music Theory in Britain, 1500–1700: Critical Editions Performance Practice, and Technology Includes 28 b&w illustrations and 38 music examples Babette Babich Aug 2013 / 492 pages / Set / 978-1-4094-6503-4 Ashgate Popular and Folk Music Series Includes 15 b&w illustrations Ubiquitous Musics Jun 2013 / 324 pages / Hbk / 978-1-4094-4960-7 The Everyday Sounds That We Don’t Always Notice Messiaen Perspectives 1: Edited by Marta García Quiñones, Sources and Influences Anahid Kassabian and Elena Boschi Edited by Christopher Dingle and Robert Fallon Ashgate Popular and Folk Music Series Includes 35 b&w illustrations and 73 music examples Includes 8 b&w illustrations and 2 music examples Nov 2013 / 382 pages / Hbk / 978-1-4094-2695-0 May 2013 / 228 pages / Hbk / 978-1-4094-5133-4 Ashgate Publishing • Suite 3-1, 110 Cherry Street • Burlington, VT 05401 • (800) 535-9544 AMS 2013 Annual Meeting Edited by Dana Gooley Chair, 013 AMS Program Committee Local Arrangements Committee Matthew Baumer, Chair, Benjamin Binder, James Cassaro, Robert Fallon, Rachel Mundy, Anna Nisnevich, Deane Root, Mariana Whitmer, Emily Zazulia Performance Committee Catherine Gordon-Seifert, Chair, Matthew Baumer, ex officio, Steve Swayne Program Committees Dana Gooley, Chair, Mark Everist, Robert Fink, Marina Frolova-Walker, Christine Getz, Diana Hallman, Richard Will The AMS would like to thank the following people and organizations for their generous support: Calvary Episcopal Church Alan Lewis Gail Luley Peter Luley Pittsburgh Symphony Orchestra Pittsburgh Opera Renaissance and Baroque Society of Pittsburgh Sequentia Ensemble Trinity Episcopal Cathedral University of Pittsburgh Program and Abstracts of Papers Read (ISSN 03-130) is published annually for the An- nual Meeting of the American Musicological Society, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the American Musi- cological Society for $1.00 per copy plus $.00 U.S. shipping and handling (add $3.00 shipping for each additional copy). For international orders, please contact the American Musicological Society for shipping prices: AMS, 6010 College Station, Brunswick ME 04011-41 (e-mail [email protected]). Copyright © 013 by the American Musicological Society, Inc. All rights reserved. Cover design: Gabriel Sim-Laramee Abstracts PDF Guidebook (mobile app) Contents Thursday afternoon 27 AMS President’s Endowed Plenary Lecture 28 Roundtable: Critical Organology 29 Left and Right in the 1970s 31 Opera Displacements 34 Performance and Aesthetics in Popular Music 37 Philosophical Interventions 40 Politics, Performance, and Spectacle 44 Seventeenth-Century Instrumentalists 46 Social Tensions in Sixteenth-Century Music 49 Women and Institutions in the Nineteenth Century 52 World War II: Propaganda and Resistance Thursday evening 56 Commemoration and Revival 60 From Landscapes to Cityscapes: Shaping the Sonic Geography of Place 61 Mary Lou Williams: Selected Works for Big Band 63 Music and Disability on Screen 64 Music, Sound, Affect 67 Popular Music of the Rust Belt 70 A Tribute to Robert Murrell Stevenson (1916–2012) Friday morning 72 Ballet and the Modern 75 Beyond “Isorhythm” 77 Cross-Border Encounters in the Global South: A New Look at Cold War Cultural Diplomacy 78 Eighteenth-Century Music and Aesthetics 81 European Film 85 French Opera, Entrepreneurs, and Culture, 1870–1930 88 Jewish Representations 91 Mahler 93 Music, Discipline, and Institutions in the Nineteenth Century 95 New World Transformations 98 Sources and Scribes iv AMS Pittsburgh 2013 Friday noontime 100 Music and Philosophy Study Group Business Meeting 100 Musicology in Russia and Hungary during the Cold War 102 Carissimi to Croft: The Influence of the Italian Solo Motet in English Sacred Solo Music of the Restoration Friday Afternoon 105 Audio-Vision 108 Critical Perspectives on Postwar Modernism 110 Domesticating Music in the U.S. 113 Institutional Cultures in the Middle Ages 116 Materializing Puccini 118 Minimalism: Alternative Histories 120 Music, Diplomacy, and Social Networks in the Long Eighteenth Century 121 Nineteenth-Century Instrumental Music 124 Restaging Opera 126 Soviet and Post-Soviet Identities 129 What’s The Difference? Friday early evening 131 Search Committee, What Do You Want from Me? 131 New Teaching Philosophies: A Master Teacher Roundtable Friday evening 132 Beyond the Academy: Musicology in the Real World 133 The Ecomusicology Listening Room 134 From Objectives to Methodology: Models for Teaching Music History to Undergraduates 135 Gesualdo Between Art and Artifice 137 Getting Musicology to Dance 138 How to Sound Gay: David M. Halperin in Conversation with Ryan Dohoney 139 Recent Research in Music and Disability Studies Saturday morning 141 Poster Session: The Complete Theoretical Works of Johannes Tinctoris: A New Digital Edition 142 The Concert Spirituel Contents v 143 The Gendered Soundscape 144 How Frankish, How Roman? Discerning the Origins and Development of Gregorian Chant 148 Margins and Peripheries 152 Marketing and Branding Contemporary Music 155 Modernism and Modernizations 158 Music in the Age of Animanities 160 Opera and Voice in Nineteenth-Century France 163 Race and Politics in the U.S. 167 Remediations 168 Travel and Migration in the Early Modern Era Saturday noontime 171 Publishing a Book-Length Project: People in the Know Tell All 171 Lecture-Recital: Fortunate Love: Timbre, Texture and Tessitura in the Gallot/Weiss Renderings of “L’Amant Malheureux” 172 An Open Reading Session of Large- Scale “Number Pieces” of John Cage Saturday afternoon 174 The Ars Antiqua 177 Edward Said and Music Studies Today 178 Faith and Fantasy, 1800–1840 181 The Nightingale 183 Producing Minimalist Opera 186 Psalm Settings and Politics 189 Race, Nation, and Theater in Latin America 192 Song Tracks 194 Sonic Illusions 195 Virtuosity and Performance Saturday evening 199 Graduate Education in the Digital Age: Challenges and Opportunities 200 Towards a New View of Thomas Morley as Theorist and Teacher Sunday morning 201 French Opera, 1680–1790 204 Historiography 208 International Politics in the Twentieth Century 211 Modernism and Aesthetics vi AMS Pittsburgh 2013 214 Music and the Moving Image 217 Music as Resistance 221 Music, Jews, and Others 224 Order and Disorder in Early Music 227 Revisiting the Risorgimento 290 Index of Participants 295 Maps Thursday afternoon, 5:30 p.m. AMS President’s Endowed Plenary Lecture Mr. Gershwin’s Catfish Row Spirituals Richard Crawford (University of Michigan) Introduced by AMS President Christopher Reynolds (University of California, Davis) Set in an African American neighborhood of Charleston, South Carolina, the op- era Porgy and Bess has a libretto by DuBose Heyward, song lyrics by Heyward and Ira Gershwin, and music by George Gershwin. On 20 October 1935, shortly after the Theatre Guild mounted the opera’s first New York production at the Alvin Theatre on Broadway, the composer declared in a New York Times article that he had called his work a folk opera because he considered it a folk tale, meaning that the people in it “naturally would sing folk music.” Noting a crucial choice he had faced, Gershwin explained that “when I first began work on the music I decided against the use of original folk material because I wanted the music to be all of one piece. Therefore I wrote my own spirituals and folksongs.” The lecture, centered upon selected numbers and moments in Porgy and Bess, will explore the artistic impact of Gershwin’s deci- sion to write his own spirituals rather than selecting them from preexistent oral and written sources. The AMS President’s Endowed Plenary Lecture ismade possible
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