AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLII, NUMBER 2 August 2012 ISSN 0402-012X “Way down Yonder whose gumbo consists of Na- tive Americans, eighteenth- in New Orleans…” century French and Spanish colonists, immigrants from the AMS New Orleans 2012 northern U.S. and the Canary 1–4 November Islands, slaves and free people www.ams-net.org/neworleans of color, and many more. It boasted an opera house before The AMS returns to the Crescent City after New York did, and touring a twenty-five-year absence, and in true New musicians performed there in Orleans fashion, this time we’re inviting our the nineteenth century. More sister societies to the party. We’ll gather on All recently it has become known Saints Day with the Society for Music Theory mostly for jazz, but it is also and the Society for Ethnomusicology at the the birthplace of bounce, and Sheraton and Astor Crowne Plaza hotels on the city abounds with many Canal Street, right across from the French other types of music, from Quarter (Vieux Carré, or simply the Quarter) brass bands to metal. New Or- and a few blocks from the Mississippi. Note leans is also a food-lover’s para- that this means early arrivers will be here for dise, with good restaurants for New Orleans Convention & Visitors Bureau photo Halloween, a major holiday in New Orleans, every taste and budget. Those so book early! Hotel information, along with who wish to go further afield many other useful things, can be found at the conference web site. than the Quarter and nearby New Orleans is, of course, a city of great his- Central Business District may torical importance, founded nearly three cen- want to explore the Uptown turies ago and still an active port at the mouth area, from the Magazine Street of the Mississippi. It is a cultural melting pot shops and restaurants to Riv- erbend (accessible on the St. Charles Avenue streetcar line), In This Issue… where some natives’ favorite President’s Message ...... 2 restaurants are. St. Louis Cathedral, New Orleans Changing the Object Statement . . 4 Southern Louisiana has shtml). Awards, Prizes, Honors ...... 6 largely recovered from the traumas of the Others may come early simply to play tour- News from the AMS Board . . . . 8 levee breaches following Hurricane Katrina ist: visit the Ogden Museum of Southern AMS Public Lectures ...... 9 and the BP oil spill, though there are areas Art (www.ogdenmuseum.org), the National RILM U.S. Interview ...... 10 still in need of work. Pre-conference volun- World War II Museum (www.nationalww- New Orleans Program Selection . . 11 teerism has become a part of life in New Or- 2museum.org), the River Road plantations, New Orleans Performances . . . . 11 leans since the storm, and anyone interested or simply sit on the levee and watch the river ACLS Annual Meeting 2012 . . . 12 in a day (or more!) of service can contact me go by. A wide range of activities can be found New Orleans Preliminary Program . 13 ([email protected]) for assistance. Some at the meeting web site. A Friday evening AMS Pittsburgh 2013 ...... 26 may want to come early for the AMS Eco- Riverboat Cruise with dining and live music Committee News ...... 28 criticism Study Group pre-conference “Eco- is also slated. We’re also hoping to set up a Study Group News ...... 29 musicologies 2012,” to be held 30–31 October special visit to the New Orleans Museum of News Briefs ...... 30 (see p. 29), the New Beethoven Research pre- Art (www.noma.org), which owns Maerten Internet Resources News . . . . .31 conference 31 October–1 November (music. van Heemskerck’s Apollo and the Muses, the Conferences, CFPs ...... 31 ua.edu/departments/­musicology/beethoven- subject of a memorable presidential address Grants, Fellowships ...... 32 research-conference/), or the SEM pre-con- by H. Colin Slim at the Oakland meeting in Legacy Gifts ...... 33 ference “Crisis and Creativity,” 31 October 1990. Obituaries ...... 34 (www.indiana.edu/~semhome/2012/special. continued on page  President’s Message: Retreat to Move Forward

I’m happy to report that the AMS Board 1. Enhanced JAMS. In an age in which area for music scholars could incorporate retreat in New Orleans last March was very digitized print, image, and sound are taken much of the content of our current web site, productive, and that we reached strong con- for granted, our Journal should contain music although we hope to add several important sensus about the way forward for the Society. to listen to as well as words to read and scores features. A particularly exciting idea that we In certain ways, the retreat unfolded in text- and pictures to view. As we develop efficient want to pursue is to develop a wiki-like data- book fashion. We considered where the Soci- ways to incorporate audio and other media base, “Sources in Music,” containing primary ety currently stands, we “looked inward” to files into JAMS, we hope that contributors and secondary sources, with links for access examine our core activities, and we “looked will routinely include these features. We also online wherever possible, to be augmented outward” to gauge the place of the AMS in envisage that the publication format of the and maintained by AMS members, each con- the world today. This latter activity inspired Journal will eventually shift, as we move from tributing according to his/her expertise. The the working title of the event, “AMS: ‘Going a whole-issue-oriented, three-times-a-year new area for non-specialists might include Public’ in the Twenty-First Century.” publication schedule toward a single-item such resources as: 1) user-friendly digests of Still, this was definitely not your grand- culture. Once an article, review, or collo- key articles in JAMS and other musicologi- parents’ retreat. In a first for the Society, the quy has been edited, we believe that read- cal journals touching on matters of general Board invited guests to join us, some of whom ers should be able to access it immediately, interest (e.g., Patrick War­field’s 2011 JAMS participated in person, others electronically. without having to wait for the publication of article on Sousa’s marches); 2) commentaries The former included past presidents Jane A. the entire issue of JAMS. Although the print by AMS members on current topics relating Bernstein and J. Peter Burkholder and past issue will still be sent to every member of the to music (e.g., the score of the Oscar-winning JAMS editors Joseph Auner and Don M. Society three times a year for the foreseeable filmThe Artist); 3) strategically planned short Randel. Our ten “virtual” colleagues, hailing future, it seems inevitable that alternative de- videos of members discussing their research from locales spanning eight time zones, took livery modes will come into play as well. (several of which are already published); 4) A part in our discussions via Skype. 2. The AMS Council. Currently, the Coun- “speakers bureau” system that permits orga- While “looking inward,” we asked our- cil effectively elects itself, that is, a commit- nizations to identify and hire lecturers (AMS selves several questions. How can the AMS tee of three members of this body proposes members) based on location and/or topic; strengthen its mission and activities? How a slate of candidates, who are then vetted by 5) prominent links to members’ writings on can we collaborate better with other orga- the Board and voted on by the Council. We music intended for general audiences; 6) lec- nizations? Here, colleagues from our sis- sense that the time has come to re-imagine tures by members on great composers/themes ter societies served as interlocutors: Joseph in music history. Straus (representing the Society for Music 2. Committee on Internet Technology. In Theory), Judy Tsou (Society for American Not your grandparents’ retreat order to help the AMS realize these proposals Music), Steve Waksman (International As- and stay abreast of technology that can assist sociation for the Study of Popular Music-US both how the Council might be constituted the Society, we are developing a charge for a Program Committee), and Deborah Wong (possibly with the final slate voted on by the standing committee on internet technology (Society for Ethnomusicology). In “looking entire membership), and by whom its meet- as a means for outreach. outward,” we consulted first with publishers ings should be chaired. We have asked the 3. Tagline and Logo. A scholarly society Vicki Cooper (Cambridge University Press) Council to ponder these questions and make hoping to resonate in the public sphere needs and Maribeth Payne (W. W. Norton), who recommendations to the Board. ways to express its unique identity, brand, pointed to trends in scholarly publishing Our plans for outreach and for raising and quality clearly and succinctly. A tagline and strategies for cultivating new audiences. the public profile of the AMScenter on and logo can assist in this effort, and the Steven C. Wheatley, Vice President of the how the Society can position itself to serve Board is working to create these tools for the American Council of Learned Societies, then as a prominent voice in American cultural Society. underscored the many challenges confront- life. In our discussions, we noted that music These and other ideas emanating from the ing scholarly societies. Finally, our own Mi- is something that almost every human being retreat will, we believe, enrich our activities chael Cuthbert and Craig Wright, along with enjoys. How does our work as musicologists and position the AMS strategically to com- Michael Keller (Stanford University Librar- relate to the public at large? Who might like municate effectively with all our constituen- ian and Director of Academic Information to hear from us, and what might they wish cies, present and future. As we work out the Resources; Publisher, HighWire Press), sug- to learn? How can we reach them? To begin details, the Board continues to value your gested how the AMS might employ technol- to address these questions, we formed three good will and support. Whether charting the ogy to further our goals. All present, physi- general plans of approach. future course of the Society or carrying out cally or virtually, contributed generously and 1. AMS web site: not just for musicologists. its quotidian tasks, you constantly inspire us­ thoughtfully to our work. We are now organizing an ad hoc commit- with your dedication and professionalism. Some of the proposals that came out of our tee to consider how our web site might serve And as I pass the baton to President-Elect retreat can be implemented quickly, while both scholars and non-specialists with a love Christopher Reynolds in November, I re- others, of course, will take time. I’ll first for music. It is premature to predict exactly main, as always, profoundly grateful for your highlight two proposals relating to AMS how the site will change, but we anticipate collaboration. core activities. a bifurcated approach along these lines. An —Anne Walters Robertson

 AMS Newsletter AMS New Orleans 2012 Strauss’s Death and Transfiguration and Dmi- siastically during the Annual Meeting. This try Shostakovich’s Symphony No. 14 at First year, the American Bach Society, American continued from page 1 Baptist Church, not far from some of the Beethoven Society, American Brahms Society, The Program. With all that New Orleans has city’s most famous cemeteries (www.lpomu- American Handel Society, Haydn Society of to offer, don’t forget musicology entirely! This sic.com). In addition, the Louisiana Reperto- North America, American Institute for Verdi year’s meeting contains six times more presen- ry Jazz Ensemble will give a concert of music Studies, Early Music America, Forum on Mu- tations than usual, including an unprecedent- associated with the Sam Morgan Jazz Band, sic and Christian Scholarship, Lyrica Society, ed twenty-six joint sessions that span two or the subject of a recent volume of MUSA (see Mozart Society of America, North American three societies. In a first for our Annual Meet- p. 28). British Music Studies Association, Society for ing, these proposals were reviewed by all three Weather. Bring walking shoes, because Eighteenth-Century Music, and Society for societies’ program committees and were thus you’ll want to get outside. November is at Seventeenth-Century Music will hold pub- designed specifically for interdisciplinarity; the tail end of hurricane season, so tropical lic meetings or receptions. Additionally, the among the offerings are such sessions as “On activity is unlikely, and the summer heat has standard array of receptions and parties will Bells, Bugs, and Disintegrating Tape: Listen- usually broken—though last year we did have take place over the course of the weekend. ing for Metaphysics in Ambient Sound,” “Sgt. some highs in the mid-80s. Average highs are Details can be found in the Preliminary Pro- Pepper’s Lonely Hearts Club Band: Historical around 70, lows around 50, and November is gram (pp. 13–26), and announcements from Context, Cultural Interpretations, and Musi- one of the driest months of the year, averaging the membership about meetings events can be cal Legacy,” “Historiographies of Jewish Music just over 4 inches of rain. found at the meeting web site. Research,” and “What Does the Study of Re- Ancillary Meetings. Organizations with ligion Bring to the Study of Music?” Among ties to the AMS continue to participate enthu- continued on page  our Society’s non-joint sessions, the program offers the usual wide spectrum of topics from Joint Annual Meetings Hotel and Travel Information chant up to musical theater, jazz, pop-rock, The Sheraton New Orleans, 500 Canal Street, is a large hotel (over 1,000 guest rooms) and even video games. A number of sessions and will house about twenty simultaneous sessions, the exhibits, and many small meetings are devoted to individual composers (includ- and receptions. Rates are $196 for single, double, triple, or quad occupancy, plus $3 occu- ing Johannes Ciconia, Chopin, Liszt, Wagner, pant fee, 13% tax, and includes complimentary internet access. Debussy, and Arvo Pärt), but the program The Astor Crowne Plaza, 739 Canal Street, is quite small, and will house four simulta- also features the varied sessions that we have neous sessions, as well as various small meetings and receptions. Rates are $189 for single, come to enjoy. The session “Musical Migra- double, triple, or quad occupancy, plus $2 occupant fee, 13% tax, and includes complimen- tions,” for instance, includes papers on hymns tary internet access. in the Mexico City Cathedral, mass settings The two hotels are a few-minutes walk from each other. in the Spanish colonial Philippines, classical Reservations may be made either through the meeting web site or by telephone: Sheraton, music in colonial Mauritius, and music from (888) 627-7033 or (504) 525-2500; Astor, (888) 696-4806 (group code “AMS/SEM/SMT”). Louis XIV’s court in eighteenth-century New Conference rates are valid through 3 October, subject to availability. Orleans, while the session “Popular Cross- Air travel to New Orleans. Louis Armstrong New Orleans International Airport (MSY) overs” places a paper on the theremin along- is located 13 miles west of the conference site (23–33 minutes by car). Taxi service is about side one on arrangements of Beatles songs by $33 for one or two, additional passengers at $14 each. Shuttle service is available from the avant-garde composers. airport to the conference hotels for $20 per-person, one-way, or $38 round trip (3 bags per Daytime lecture-recitals commemorate the person). Call (866) 596-2699 or (504) 522-3500 for reservations. Advance reservations are three hundredth anniversary of the birth of required 48 hours prior to travel for all ADA accessible transfers. Jefferson Transit provides Frederick the Great, explore temporal shap- bus services to the airport. The Airport-Downtown Express (E-2) Bus picks up outside ing in the performance of Chopin’s and airport Entrance #7 on the upper level. This connects with the Regional Transit Authority Brahms’s piano music, and uncover music in entering the central business district. an eighteenth-century manuscript from New Train and bus service. Amtrak and Greyhound arrive at Union Station, located at 1001 Orleans. Evening panels include sessions on Loyola Avenue (1.1 miles from conference hotels). Three Amtrak lines pass through New fantasy cinema, Charles Ives, John Cage, Orleans, coming from Chicago through Memphis, New York through Atlanta, and Los An- soul music, and “the Many Worlds within geles through San Antonio. Public transportation (15–18 minutes) is available with a short New Orleans,” in addition to panels by AMS walk from Union Station and a short walk from the bus stop on Canal Street. Committees and Study Groups. Browse the Driving directions. A downtown area map is available at the Hotel and Travel Informa- Preliminary Program (pp. 13–26) to see the tion web page, as well as links to both hotel sites which have driving directions. Parking full spectrum of offerings that we have in rates at the Sheraton: $33 per night; and at the Astor: $31.60 per night. A number of com- store for you! mercial lots and garages in the area (including Premium Parking garages behind the Astor Special Performances. Of course, in New at 716 Iberville Street and at 231 Dauphine Street) have lower daily rates, especially for those Orleans there is literally music in the streets! arriving before 9:00 a.m. (see neworleans.bestparking.com). Visitors with a sense of adven- Stroll down Bourbon Street, step into a club ture may wish to park in unrestricted areas further afield and ride the streetcar to and from on Frenchman Street, or attend a concert the meeting area ($1.25 each way). Important guidelines for parking in the city can be found by the Louisiana Philharmonic Orchestra at www.neworleansonline.com/tools/transportation/gettingaround/parking.html. See the (LPO), the only musician-owned orchestra Hotel and Travel Information page for further details. in the U.S. The LPO, led by music director Additional information. The Hotel and Travel Information page found at the AMS web Carlos Miguel Prieto, will offer an All Saints site at: www.ams-net.org/neworleans/travel-info.php contains additional information and Day program on Thursday featuring Richard links to hotels, and transportation and parking services.

August 2012  Changing the Object Statement of the AMS: A Forum

At the 2010 Annual Meeting in Indianapolis, the part of “the advancement of research.” Good AMS Council formed an ad hoc subcommittee teaching raises questions, both for the teacher to consider adding a reference to teaching to the and the student, and prompts new inquiry. Object (Mission) Statement of the Society (By- Good teaching relies on the most current laws, Article II). One year later at the San Fran- scholarship to present an accurate historical cisco Annual Meeting, the committee made a account that responds to and is informed by recommendation to the AMS Council, which af- the concerns of the present. Good teaching is ter discussion approved the proposed amendment perhaps the most effective medium we have (39 in favor, 6 opposed, 1 abstention). Whereas for disseminating the products of research; the current Object statement reads “The object of through teaching we have the opportunity to the Society shall be the advancement of research deeply affect how people think about music. in the various fields of music as a branch of If we recognize that teaching is already cen- Matthew Baumer learning and scholarship,” the proposed change tral to “the advancement of research,” then is “The object of the Society shall be the advance- why change the Object? The replacement of cal studies through the encouragement of re- ment of scholarship in the various fields of music “the advancement of research” with “the ad- search, teaching, and publication; the collec- through research, learning, and teaching.” vancement of scholarship” in the proposed tion and preservation of historical documents Per Article XII of the By-laws, a discussion re- amendment is a change of emphasis but not of and artifacts; the dissemination of historical garding the proposed amendment will take place direction. Scholarship rightly retains a promi- records and information; the broadening of at the AMS Annual Meeting in New Orleans (6 nent position, but the addition of teaching historical knowledge among the general pub- p.m. Friday 2 November). The entire member- evokes the venerable teacher–scholar model; lic; and the pursuit of kindred activities in ship will then vote on the amendment through good teachers should also be good scholars, the interest of history” (www.historians.org/ a paper or email ballot following the Annual and vice versa. We are not talking here about info/Constitution.cfm). As Arthur S. Link ex- Meeting. In advance of the discussion, we have teaching as an “applied” discipline with differ- pressed in his 1984 Presidential Address to the invited two AMS members to offer their views ent scholarly standards; the best pedagogical AHA, this concern for education stems from for and against the amendment. We encourage research maintains the same scholarly stan- “the deep conviction that no person can live a all members to continue this conversation by dards as more familiar kinds of research. This full and rich life without intimate knowledge visiting the AMS web site, where a discussion change in the Object is not a reorientation of his or her past” (www.historians.org/info/ board has been set up on this issue (ams-net.org/ of the Society but rather a continuation and AHA_History/alink.htm). If the AMS be- council/Bylaws-amendment.php). extension of its basic principles. The Journal lieves that knowledge of music is equally im- of Music History Pedagogy, founded in 2010, portant to a full and rich life, then education The Role of Teaching in Scholarship along with numerous other publications, and teaching should be our concern as well. and the Scholarship of Teaching conferences, and AMS sessions, demonstrate The Modern Language Association’s Con- stitution also recognizes the importance of Why should we change the Object of the So- the integrity and growth of the scholarship of teaching: “Purpose. The object of the asso- ciety, which has served the AMS since its in- pedagogy. This research can be philosophical, ciation shall be to promote study, criticism, ception in 1934? In my discussions with AMS practical, or empirical in nature, and it has the and research in the more and less commonly members, I have heard three reasons: teach- potential to affect many dimensions of our professional lives, particularly the large por- taught modern languages and their literatures ing, broadly defined, is central to what musi- and to further the common interests of teachers cologists do; the scholarship of pedagogy has tion of our lives many of us devote to teaching of these subjects [my emphasis]” (www.mla. become an important field of inquiry in mu- in its various guises. org/mla_constitution). It seems clear from all sicology; and many other scholarly societies By adding teaching to its mission state- of these mission statements that the inclusion have already acknowledged the importance of ment, the AMS would be in good company of teaching is today a mainstream practice for teaching in their mission statements. among scholarly societies in music and other scholarly societies. When musicologists work with undergrad- disciplines. The Society for American Music, A mission statement helps to define the uates or graduate students in the classroom, The College Music Society, and the Society identity of a group for its members and for speak to an audience of music lovers at a pre- for Music Theory all explicitly mention ed- the public. I encourage AMS members to concert lecture, write a book or newspaper ar- ucation or teaching in their mission state- vote in favor of this revision because it is a ticle for a general readership, curate a blog for ments. While the more concise statement of better reflection of who we are, what we do, new or ancient music, or produce a video for the Society for Ethnomusicology does not and what we value as a Society, without shift- a web site, we are teaching. Even publications mention teaching, SEM has an active Educa- ing away from the scholarly integrity that is and lectures intended only for specialists have tion Section. Perhaps the most striking example for the our heritage. a teaching function, because scholars outside —Matthew Baumer of that immediate specialty rely on such pub- AMS is the 14,000-member American His- 1884 lications for their research, teaching, or gen- torical Association, founded in . Since Musicology’s Mission: Open to the 1892, the AHA has engaged with education eral knowledge. Teaching is a primary activity World not just for musicologists with academic posi- through various committees. Nearly 40 years tions, but for all musicologists. ago in 1974, the AHA revised its Constitu- Musicology is a complex word that we take Some might argue that the importance of tion to establish a Teaching Division. “Article for granted in its application. In graduate teaching is already implied within the current II: Purpose” of this Constitution now reads, school, you aim for an academic job because AMS Object Statement. Certainly teaching is “Its object shall be the promotion of histori- that’s the world that surrounds you. No one  AMS Newsletter is really in a position to talk noring all the traditional this involved the restricted prescription of “re- about musicology in other and modern applications of search, learning, or teaching,” but it was cen- fields because your teachers our field. We do more than tral to each of these jobs that I was a musicol- aren’t in those fields. Once teach. We study and apply ogist and knew how to make my way through you graduate, however, re- that scholarship to all the the world of music and musicological research ality strikes, and you real- fields where we encounter and knew the practical application of that ize, perhaps, that 1) a bored music. I don’t think that we research. For a broader example, look at the undergraduate is not your pursue the advancement of AMS OPUS campaign that took as its motto ideal audience; 2) you have scholarship through learn- “opening paths to unlimited scholarship.” broader interests in which ing; we pursue musicology When you read the list of “birthday wishes” musicology plays a part, through our scholarship (www.ams-net.org/opus/archive_wishes­.html) but perhaps not the central and our love of the field. you see the variety of ways in which musi- part; 3) there are no jobs in I would suggest a less cology has had an influence. AMS members the field this year, this de- freighted Object State- mention how it has played a role in their work cade, this millennium; and ment: remove the word as museum curators, critics, journalists, music 4) you went into the field “research” in favor of “the editors, librarians, and in other diverse fields. not for vocational training advancement of the various The more prescriptive we are about what we but for the opportunity to Maureen Buja fields of music” through do in our field, the more limited view out- explore something that you our scholarship and the siders will take of the field. For most of us, loved. That’s where the Object Statement of application of that scholarship. I believe this musicology is a field intrinsically tied to its the AMS needs to look: to the future of a life would be more in keeping with the current source, music. There are few musicologists in musicology, rather than just your back- aims of the Society. We aren’t musicologists who do not have music in their background ground in it. only of the dead past; we’re also musicologists or are not, at the same time, musicians. The Musicology shouldn’t be limited to the of the very live present. There are so many ap- veritable freedom of music, which can appear implied academy and the fields of “research, plications for musicology outside the realms everywhere in our life, should be carried for- learning, and teaching”; in fact, in its fullest of research, learning, and teaching; one of the ward to a freedom of musicology. Our study application, it has to be as open as music it- most visible of them is in writing and creat- of music, the “-ology” of musicology, should self. And, in particular, it is open to so many ing words about music, which, in the end, is be as far-ranging as music itself. Limiting it things beyond academia; it’s just that we don’t more cogent to what we do than just learning only to the implied academy and “research, discuss them. Using the phrase “research, and teaching. learning, and teaching” cripples one of the learning, and teaching” seems to limit musi- What can musicology cover? Even in aca- best fields in the world. It’s our training and cology to those idealized university jobs that demia, it covers more than just teaching and professionalism that carry us forward and al- were the norm in the last century and are oh- research. It comes into play anytime you’re low us to contribute to the arts, to music, to so-rare now. As a side note, I’m not sure how asked your opinion about something that re- the industry, and allow us to engage and in- I can advance musicology through learning; quires your critical knowledge. I’ve held musi- form the public as a whole, not just students to me, the former phrase “branch of learning” cology jobs at magazines and for professional in a classroom. Just as musicians want to reach had more meaning than does the new phras- journals, at academic book publishers and a larger audience than they would in a small ing. music publishers, at record companies, for recital, so we should try for the same goal: The Object of our Society should be as online media companies, have used it when make it our mission to advance the study and broad as possible; not to be, in the current I was organizing university concert series and application of musicology everywhere. phrase, “inclusive,” but so that we aren’t ig- when judging musical competitions. None of —Maureen Buja

AMS New Orleans 2012 PDF version, as well as online registration, is continued from page  available at the web site. Interviews. A limited number of rooms at Child Care. If a sufficient number wish to the conference hotel will be available for job arrange child care, the AMS office will assist interviews during the meeting. To reserve a in coordinating it. Please contact the AMS of- room, please consult the web site or contact fice if this is of interest. the AMS office. Job candidates can sign up Scheduling. Please contact the AMS office via the web or (if spots are still available) at to reserve rooms for private parties, recep- New Orleans Convention & Visitors Bureau photo the interview desk in the hotel. AMS policy tions, or reunions. Space is limited, so please prohibits interviews in private rooms without communicate your needs as soon as possible. appropriate sitting areas. The New Orleans meeting web site provides Registration. Conference registration fees: further information. Early (until 5 p.m. ET 28 September): $130 Student Assistants. The AMS seeks stu- ($65, student/retired); Regular (until 5 p.m. dents to help during the conference in re- ET 26 October): $160 ($95, student/retired); turn for free registration and $11 per hour (six Late/Onsite/Nonmember: $200 ($125 stu- hours minimum). If this is of interest, please dent/retired). AMS members receive a con- see the web site or contact the AMS office. ference registration form via U.S. mail; a —Alice V. Clark, Local Arrangements Chair August 2012  Awards, Prizes, and Honors

AMS Awards and Prizes 2012 The inaugural grant from the William Holmes/Frank D’Accone Endowment for Three doctoral candidates in musicology re- travel and research in the history of opera ceived Alvin H. Johnson AMS 50 Disser- was awarded to Thomas Lin (Harvard Uni- 2012 13 tation Fellowship Awards for – : Al- versity), for his research project “Giasone’s exandra Apolloni (University of California, Travels: Opera and its Performance in the Los Angeles), “Singing the Swinging Sixties: Second Half of the Seventeenth Century.” Race, Voice and Girlhood in 1960s British Pop”; Mary Caldwell (University of Chi- A grant from the Jan LaRue Travel Grant was awarded to Claudio Vellutini (University cago), “Singing, Dancing, and Rejoicing in Alexandra Apolloni the Round: Latin Sacred Songs with Refrains of Chicago) to conduct research for his disser- AHJ AMS 50 Fellow in Musical, Ritual, and Liturgical Perspec- tation “Cultural Engineering: Italian Opera research on “Music as Expression of Piety and tive, circa 1000–1582”; and Elissa Harbert in Restoration Vienna.” Power: Instrumental Music in Seventeenth- (Northwestern University), “Remembering The Janet Levy Fund for independent Century Salzburg.” the Revolution: Music in Stage and Screen scholars supports travel and research expens- Representations of Early America during the es for independent scholars. In late 2011, Beth AMS Chapter Student Awards Bicentennial Years.” Glixon received a Levy Grant for work on the The Howard Mayer Brown Fellowship is project “Vittoria Tarquini and Italian Opera The Capital Chapter presented the Irving presented by the Society to promising mi- at the Turn of the Eighteenth Century,” and Lowens Award for Student Research to Josh nority graduate students pursuing a doctoral David Patterson received a Levy Grant for Barnett (University of Maryland, College degree in music. The 2012–13 fellowship re- work on the project “‘A Sympathetic Friend’: Park) for “The Tunebook of Maria Brandstet- cipients are Michael Figueroa (University Frank Lloyd Wright and Musical Practice in ter: Shape-Note Dissemination and the Ger- of Chicago) and Jessie Vallejo (University of American Architecture.” In early 2012, Al- mans of Western Maryland.” California, Los Angeles). One of the recipi- brecht Gaub received a Levy Grant for travel The Greater New York Chapter presented the ents accepted the award on an honorary basis. to Rome to present research at the meeting of student paper prize to Brandon Peter Mas- the International Musicological Society. Grants from the M. Elizabeth C. Bartlet terman (University of Pittsburgh) for “‘This Fund for research in France were awarded A grant from the Harold Powers World Is How They Do Not Like It’: Queer Abjec- to Catherine Hughes (University of North Travel Fund was awarded to Alison Furlong tion in Gertrude Stein and Virgil Thomson’s Carolina, Chapel Hill) to conduct research (Ohio State University) for research on music Four Saints in Three Acts.” on her project “Crossroads of Musical Mod- and the social space of the church in 1980s The Midwest Chapter presented the A-R Edi- ernism: Brussels, 1918–1938,” and Elizabeth East Germany. tions Award to Michele Fuchs (Ohio State Dister (Washington University in St. Louis), University) for “Gradual Chants and the for research on a musically focused cultural Grants from the Ora Frishberg Saloman Notion of Embodied Lament in a Passage history of Joan of Arc in the 1930s and ’40s. Fund for musicological research were awarded to Myron Gray (University of Penn- from Innocent III’s De sacro alteris mysterio sylvania), to conduct research for his disserta- (1198 C.E.)” and the Indiana University Press tion “French Music in Federal Philadelphia,” Award to Claudio Vellutini (University of and John Wriggle (Los Angeles), to conduct Chicago) for “Opera and Monuments: Verdi’s research on his book project “Chappie Willett Ernani in Vienna and the Construction of and Popular Music Arranging in Swing Era Dynastic Memory.” New York.” The New England Chapter presented the A grant from the AMS Teaching Fund was Hollace Anne Schafer Memorial Award to awarded to Kimberly A. Francis (University Joel Schwindt (Brandeis University) for of Guelph) to further develop Critical Voices: “Monteverdi’s Orfeo (1607): Pulchritude The University of Guelph Book Review Project, through Proportion, and why it Mattered to an online journal and teaching tool at Guelph the Accademia degli Invaghiti.” and other universities. The New York State–St. Lawrence Chap- Eva Grants from the Eugene K. Wolf Travel ter presented the student paper prize to Branda Fund were awarded to Andrew Cashner (University of Toronto) for “An ‘Ex- (University of Chicago), for research on ver- ecution’ at the Hofoper: Czech Perspectives nacular sacred choral music (villancicos) in on Dvořák’s The Cunning Peasantin Vienna.” seventeenth-century Spain and Latin Ameri- The Northern California Chapter and the Pa- ca, Maria Virginia Acuña (University of To- cific Southwest Chapter presented the Ingolf ronto), for research on “The Spanish Lamen- Dahl Memorial Award to Eric Tuan (Stanford to: Discourses of Love on the Musical The- University) for “‘Beyond the Cadence’: Post- 1690 1720 Mary Caldwell atre Stage ( – ),” and Kimberly Beck Cadential Extensions and Josquin’s Composi- AHJ AMS 50 Fellow Seder (University of British Columbia), for tional Style.”  AMS Newsletter best paper read by a student to Matt Henson (Florida State University) for “Foreign Songs for Foreign Kings: Angelo Notari’s Scorebook and the ‘Italian’ Notes in Caroline England.” Other Awards, Prizes, and Honors

Candace Bailey (North Carolina Central University) received an NEH Summer Sti- pend for her project “Vinculum societatis, or The tie of good company: Keyboard Instru- ments in Restoration Cultural Practice.” Marie-Hélène Benoit-Otis (University of North Carolina, Chapel Hill) won the 2011 Thurnauer Preis für Musiktheaterwissenschaft from the University of Bayreuth for her article “Richard Wagner, Louis de Fourcaud, and a Path for French Opera in the 1880s,” ACT: Zeitschrift für Musik und Performance (2012). Michael Figueroa Howard Mayer Brown Fellow Mark Burford (Reed College) received the 2012 Dena Epstein Award from the Music Jessie Vallejo The Pacific Northwest Chapter presented Howard Mayer Brown Fellow the Best Student Paper prize to Ethan Allred Library Association for his research on gospel from the Society for Cinema and Media Stud- (Lewis and Clark College) for “Poulenc’s singer Mahalia Jackson. ies for Music Makes Me: Fred Astaire and Jazz French Historicism as Resistance in Occupied Stewart Carter (Wake Forest University) was (University of California Press, 2011). France.” elected president of the Society for Seven- Alison DeSimone (University of Michigan) The South-Central Chapter presented the Rey teenth-Century Music. Other AMS members has been awarded an American Association of M. Longyear Student Paper Award to Jordan elected to office in the Society are Amanda University Women Dissertation Completion Baker (University of Tennessee) for “Melos Eubanks Winkler (Syracuse University), vice- Fellowship for the 2012–13 academic year to Dulcis: ‘Sweet Melody’ and the Concept of president; Andrew H. Weaver (Catholic Uni- support her project “The Myth of the Diva: Music as Food in the Middle Ages.” versity of America), secretary; Christine Getz (University of Iowa), treasurer; and Gregory Female Opera Singers and Collaborative Per- The Southeast Chapter presented the Student Johnston (University of Toronto), Heinrich formance in Early Eighteenth-Century Lon- Presentation Award to Catherine Hughes Schütz Society Representative. don.” (University of North Carolina, Chapel Hill) Catherine Dower-Gold (Westfield State Uni- for “Music as a Commodity: Prestige, Nation- William Cheng (Harvard University) was ap- versity) was named the 2011 Distinguished alism, and Cosmopolitanism in Brussels Be- pointed a 2012–15 Junior Fellow of the Har- Alumna of the Benjamin T. Rome School of fore World War I.” vard Society of Fellows to undertake histori- cal and ethnographic research on the impact Music of The Catholic University of America. The Southern Chapter presented the award for of new media technologies on the means and Margot Fassler (University of Notre Dame) cultural politics of modern musicological in- received an ACLS Digital Innovation Fellow- quiry. ship for her project “Hildegard’s Scivias: Art, Georgia Cowart (Case Western Reserve Uni- Music, and Drama in a Liturgical Commen- versity) spent the 2011–12 academic year as tary.” Marta Sutton Weeks fellow at the Stanford Martha Feldman (University of Chicago) was Humanities Center for her project “Portraits elected to the American Academy of Arts and of Love and Folly: Watteau and the Vision of Sciences. a New France.” Glenda Goodman (Harvard University) won Julie E. Cumming (McGill University) and the 2012 Mark Tucker Award for outstanding Michael Scott Cuthbert (Michigan Institute student paper presented at the Annual Meet- of Technology) are among the principal in- ing of the Society for American Music for “A vestigators of a research project that was one ‘Phrenzy of Accomplishments’: or, the Power of fourteen winners of the international Dig- of Sentimental Songs.” ging Into Data Challenge grant competition. Their project, “Electronic Locator of Vertical Nita Karpf (Case Western Reserve Univer- Interval Successions (ELVIS): The First Large sity) won the 2012 R. Serge Denisoff Award Data-Driven Research Project on Musical for an outstanding article published in Popular Style,” will search for the most common me- Music and Society for “Get the Pageant Habit: lodic–harmonic patterns in a very large corpus E. Azalia Hackley’s Festivals and Pageants dur- of music from the years 1300 to 1900. ing the First World War Years, 1914–18.”

Elissa Harbert Todd Decker (Washington University in St. AHJ AMS 50 Fellow Louis) won the 2012 Best First Book Award continued on page  August 2012  Awards, Prizes, and Honors O. Selznick, 1932–1957” (University of Michi- Barbara Swanson (Case Western Reserve gan, 2010). University) received a Mellon/ACLS Disserta-  continued from page tion Completion Fellowship for “The Rheto- Ivan Raykoff (The New School) received a Margaret Kartomi (Monash University) was ric of Musical Reform: Plainchant, Solo Song, fellowship renewal from the Alexander von awarded the title “Ratu Berlian Sangun Ang- Affect, and Ethics in Early Modern Rome.” Humboldt Foundation as well as a Fulbright gun” (Beautiful Queen Jewel) for her work in Scholar grant for his project “Visual Music in Gary Tomlinson (Yale University) has been reconstructing the origins of the traditional 1920s Germany and Austria: Towards a Theory appointed Director of the Whitney Humani- musical instruments of the Indonesian prov- of Perceptual Practices.” ties Center. ince of Lampung. The title is normally re- served for Lampung clan members. Emiliano Ricciardi (Stanford University) re- David Trippett (Cambridge University) re- ceived a Mellon/ACLS Dissertation Comple- ceived the 2012 Donald Tovey Prize from Ox- Robert Lagueux (Columbia College Chi- tion Fellowship for “Torquato Tasso and Mu- ford University for Wagner’s Melodies: Aesthet- cago) received a Fulbright grant to help de- sic: Polyphonic Settings of the ‘Rime.’” ics and Materialism in German Musical Identity sign and implement a new General Education (Cambridge University Press, 2012). curriculum for the City University of Hong Jesse Rodin (Stanford University) received an Kong. ACLS Digital Innovation Fellowship for “The Amy Wlodarski (Dickinson College) won the 2012 Irving Lowens Article Award from the Elizabeth Eva Leach (Oxford University) Josquin Research Project.” Society for American Music for “The Testimo- won the 2012 Phyllis Goodhart Gordon Award Craig H. Russell (California Polytechnic State nial Aesthetics of Different Trains,” Journal of from the Renaissance Society of America for University, San Luis Obispo) was elected to the American Musicological Society (2010). Guillaume de Machaut: Secretary, Poet, Musi- honorary membership in the Reial Acadèmia cian (Cornell University Press, 2011). Catalana de Belles Arts de Sant Jordi in Bar- Su Zheng (Wesleyan University) received a Fulbright grant to conduct research in China Gayle Sherwood Magee (University of Illi- celona. in 2012–13 for the project “China’s Emergent nois, Champaign-Urbana) received an NEH Harvey Sachs (Curtis Institute of Music) Soundscape: New Music Creativities, Body Summer Stipend for her project “Music in the has been confirmed for a second year as the Politics, and the Internet in Defining a Global Films of Robert Altman: From M*A*S*H to A New York Philharmonic’s Leonard Bernstein Chineseness.” Prairie Home Companion.” Scholar-in-Residence, in which position he Megan McCarty (Boston University) received conducts research in the Philharmonic’s ar- a DAAD scholarship for language and aca- chives, participates in the orchestra’s Insights News from the demic study in Germany. Series, presents pre-concert talks, and other related activities. AMS Board Jairo Moreno (University of Pennsylvania) received a Rockefeller Foundation Fellowship Ronit Seter received an NEH Summer Sti- from the National Humanities Center for his pend for her project “Israeli Composers be- The AMS Board met in New Orleans in 2012 project “Syncopated Modernities: Musical tween Jewishness and the World.” March . In addition to its normal re- Latin-Americanisms in the U.S., 1978–2008.” view of financial and committee reports Martha Sprigge (University of Chicago) re- and reviewing nominations and appoint- Lauren Ninoshvili (New York University) re- ceived a Mellon/ACLS Dissertation Comple- ments to committees and Society posi- ceived an ACLS New Faculty Fellowship for tion Fellowship for “Abilities to Mourn: Musi- tions, the Board: her project “Singing between the Words: The cal Commemoration in the German Demo- • Held a planning retreat, from which Poetics of Georgian Polyphony.” cratic Republic (1945–1989).” many initiatives stemmed (see the Presi- 2 Carol J. Oja (Harvard University) received a Articles by Jason Stanyek (University of Ox- dent’s Message, p. ). John Simon Guggenheim Memorial Founda- ford) and Benjamin Piekut (Cornell Univer- • Approved travel funding for two Latin tion Fellowship. sity) and by George E. Lewis (Columbia Uni- American scholars to attend the New Orleans Annual Meeting and present Sara Pecknold (Catholic University of Amer- versity) were selected by MIT Press as among reports on their research (see p. 28). ica) won the 2012 Irene Alm Memorial Prize the fifty most influential articles published in • Approved changes to the Howard May- for outstanding student paper presented at all of their journals in the past fifty years. The er Brown Fellowship application proce- the Annual Meeting of the Society for Seven- articles are “Deadness: Technologies of the In- dure that encourage more clearly appli- teenth-Century Music for “‘On lightest leaves termundane,” Drama Review (2010), and “Too cations from people in the early stages do I fly’: Natality and the Renewal of Iden- Many Notes: Computers, Complexity and of their graduate study. tity in Barbara Strozzi’s Sacri musicali affetti Culture in Voyager,” Leonardo Music Journal • Approved an increase in the amount of (1655).” (2000), respectively. the Pisk Prize (outstanding paper pre- Elizabeth Perten (Brandeis University) re- Louise K. Stein (University of Michigan) sented at the Annual Meeting by a grad- ceived a DAAD Research Grant as well as a received an ACLS Fellowship for her project uate student) from $1,000 to $2,000. Graduate Award from the Klassik Stiftung “Opera and the Transformation of Public • Approved a funding request to support Weimar for her dissertation “Liszt as Critic: Life in Naples under the Marquis del Carpio, the American Academy of Arts and Sci- Form, Historicism, and Aesthetics in Liszt’s 1683–1687.” ences data collection initiative. Weimar Writings.” Larry Stempel (Fordham University) won • Changed the timetable for the Levy Nathan Platte (University of Iowa) won the the 2012 Irving Lowens Book Award from the Award (grant support for independent 2012 Wiley Housewright Dissertation Award Society for American Music for Showtime: A scholars) to one application round per from the Society for American Music for History of the Broadway Musical Theater ( W. year, with a 1 March deadline, to begin “Musical Collaboration in the Films of David W. Norton, 2010). in 2013.  AMS Newsletter AMS / Rock and Roll Hall of AMS / Library of Congress Fame and Museum Lecture Series Lecture Series

The next AMS / Rock and Roll Hall of Fame and Museum (RRHOFM) The next AMS / Library of Congress Lecture will take place in the Lecture will take place on Wednesday 5 December at 7:00 p.m. in the Coolidge Auditorium at noon on Tuesday 2 October. Barbara Hey- Foster Theater of the RRHOFM, Cleveland, Ohio. man (Brooklyn College, CUNY) will present a lecture entitled “Sam- Andrew Flory (Carleton Col- uel Barber: Serendipitous Discoveries.” lege) will present a lecture en- Barbara Heyman writes, “In 1982, when I titled “Reissuing Marvin: Musi- began work on Samuel Barber (1910–1981), cology and the Modern Expand- the Library of Congress Music Division ed Edition.” He describes his had the largest collection of the compos- talk as follows: “I will consider er’s holograph manuscripts in the world. the role of the musicologist as re- Since then the Library’s collection of mu- issue producer. Several years ago sic manuscripts, correspondence, journals, I was approached by Universal sketchbooks, and diaries has grown nearly Andrew Flory Music to provide musicological threefold, with Barber’s 1984 bequest and AMS / RRHOFM Lecturer assistance with a reissue of Mar- the collections of Valentine Herranz, Wil- vin Gaye’s Trouble Man, an album closely related to a 1972 Blaxploita- liam Strickland, Samuel Baron, and Martha tion film soundtrack composed by Gaye. The process of completing Graham, among others. The collection pro- Barbara Heyman this work gave me a fascinating glimpse into the world of the modern vided the main sources for my Samuel Bar- AMS / Library of Congress reissue producer, a rarely-discussed agent responsible for creating his- ber: A Thematic Catalogue of the Complete Lecturer torical documents of past releases for the modern marketplace. On the Works (Oxford University Press, 2012). But even as the catalogue was one hand, access to multi-track master tapes and corporate documen- nearing publication, new discoveries emerged. tation during the production process for the Gaye album gave me an “My lecture will begin with an overview of Barber’s life and musi- unparalleled sense of the process used to construct this historic album. cal style, including the influence of Sidney Homer, Barber’s maternal Yet, continuing issues of access, proprietary interests, and concerns uncle and mentor for more than twenty-five years, the education he related to the modern marketplace all mediated the process. received at the Curtis Institute of Music, and his relationship with “Using my experience with this project as a launching point, I will Gian Carlo Menotti. Included in the lecture will be: consider the role of the musicologist within the business of popular • how an inscription in Barber’s sketchbook (1930s) led to an epipha- music within larger discussion of the public humanities. In the spirit ny about his aesthetic principles; of this historic series of collaborative lectures sponsored by the Rock • how literary quotations on the manuscript of the choral work “Let and Roll Hall of Fame and the AMS, I will argue that archival materi- Down the Bars, O Death” reveal a curiously mixed mindset when als pertaining to popular music can provide an especially compelling Barber composed the adagio movement of his string quartet during link between academics and the music business. In the end, I will offer the summer of 1936, a time professed to be one of the happiest of reflections on what academics might offer an industry that is increas- his life, yet that produced a masterpiece that is strongly associated ingly focused on the past, while also considering how the musicologi- with sadness and death; cal community may benefit from deeper connections with corporate • how a chance encounter with the wife of a founding member of entities that control often-proprietary resources.” the New York Woodwind Quintet led to an unexpected revelation Andrew Flory’s book I Hear a Symphony: Listening to the Music of about the origin of and compositional process of Barber’s wood- Motown is forthcoming from The University of Michigan Press. wind quintet, Summer Music. The AMS/RRHOFM Lecture Series will continue in the Spring “I will also discuss recent discoveries: of 2013. Webcasts of the lectures are available at the AMS web site. • the lost and now-found third movement of the violin sonata Barber The AMS is grateful to the RRHOFM’s Jason Hanley, Director of wrote in 1927, which won the Bearns award; Education, for helping to organize this series. The Communications • a newly discovered diary that Barber kept from 1926 to early 1928, Committee is happy to receive proposals from those interested in giv- which documents more than twice as many songs on texts by James ing a lecture as part of this series; see www.ams-net.org/RRHOFM- Stephens than were originally published by G. Schirmer; lectures/ for full details. • letters between Samuel Fels and Barber that challenge our conven- tional understanding of the commission of the Violin Concerto; • a poignant inscription buried in the pages of early sketches (1954) Guidelines for Announcements of Awards and Prizes of Barber’s first opera, Vanessa, which suggests that Barber’s rela- tionship with Gian Carlo Menotti was troubled much earlier than Awards and honors given by the Society are announced in the previously believed.” Newsletter. In addition, the editor makes every effort to announce The Communications Committee welcomes proposals from AMS widely publicized awards. Other announcements come from in- members interested in giving a lecture as part of this distinguished dividual submissions. The editor does not include awards made series, which is intended to showcase research conducted using the by the recipient’s home institution or to scholars who are not cur- extraordinary resources of the Library of Congress Music Division. All rently members of the Society. Awards made to graduate student lectures are available as webcasts. Links to the webcasts and applica- members as a result of national or international competitions are tion information can be found at www.ams-net.org/LC-lectures. The also announced. The editor is always grateful to individuals who application deadline for the Fall 2013–Spring 2014 series is 1 December report honors and awards they have received. 2012. August 2012  RILM U.S. National Committee: An Interview with Bonna Boettcher and Julie Schnepel

RILM (Répertoire International de Littéra- scholars. For the past 15 years or so, RILM Humanities provided support for covering ture Musicale) is one of the most important has been expanding its coverage of ethno- Festschriften back to 1840. online resources for music scholars, yet many musicology, popular music, and pedagogy, AHW: You mentioned that authors can sub- of us probably know very little about it. AMS reflecting the growth in these areas of study. mit their publications to RILM. What is the Newsletter editor Andrew H. Weaver recently The move from a print to an online for- procedure for doing that? sat down with Bonna J. Boettcher, Music Li- mat has been the most significant change JS: Authors can go to the RILM web site brarian at Cornell University and director of in RILM. For its first 30 years, RILM was (www.rilm.org) and click on Submissions. the RILM U.S. National Committee, and Julie known for its quarterly and then annual They need to log in, because they are gaining Schnepel, assistant director, to learn more about printed volumes and cumulative indices. access to the internal RILM database in this this valuable resource. Scholars over the age of 40 probably share process. The first thing the author should do AHW: How did RILM get started? my own experience of combing through all is to search his or her name to see which pub- BB: RILM was the brainchild of Barry S. these volumes when doing dissertation re- lications are already in RILM (the internal Brook, who envisioned an abstracted and search, or paying a librarian to search the database is completely current). If the cita- indexed bibliography of writings on mu- fee-based online database. And we had to ac- tion is there, the author can add an abstract sic and related disciplines from all over the cept the fact that these volumes were years to it. If it’s not there, the author can enter the world. It was founded in 1966 as one of four behind the most current research. Online ac- bibliographic information and an abstract. major R projects: RILM, RISM (Répertoire cess to RILM has changed everything! Today, In approximately 4–6 weeks, the record will International des Sources Musicales), RIdIM RILM is available on two platforms—EB- be visible in the public version of RILM. (Répertoire International d’Iconographie SCOhost and ProQuest—and the product AHW: Do you have any suggestions for writ- Musicale), and RIPM (Répertoire Inter- now includes non-Roman characters, bilin- ing abstracts? national de la Presse Musicale). Originally, gual abstracts, links to full-text resources, JS: The best thing a scholar can do in writ- RILM was sponsored by the International and sophisticated search capabilities. One ing an abstract is to think like the researcher Association of Music Libraries, Archives, obvious benefit of RILM’s online format is looking for particular terms, names, or sub- and Documentation Centres and the Inter- its currency. Records can be created as soon jects, asking, “What do I want to be able to national Musicological Society; in 2007 the as an item is published, keeping scholars up find?” Then, include these terms, names, and International Council for Traditional Music to date in a way that Barry Brook might not keywords in the body of the abstract, along became the third sponsoring body. even have imagined possible. with a summary of the main points and con- AHW: What distinguishes RILM from other AHW: How do publications get into RILM? clusions. Although RILM indexing and sub- music literature databases? JS: Our first choice is that authors submit ject headings provide great resources for the BB: Primarily two things: the abstracts their publications and abstracts as soon as search process, the abstract is the single most (many of which are signed) and the vast their work is published. We’ve made a con- valuable resource. Some helpful guidelines range of publications included, from jour- certed effort in the past few years to encour- can be found at www.rilm.org/submissions/ nal articles and monographs, to individual age authors to be proactive about this pro- pdf/Guidelines_AbstractStyle.pdf. articles in conference proceedings and Fest- cess. My best advice to scholars is to make sure schriften, critical commentaries for editions In general, the national committees do the all of their publications are in RILM. Not of musical works, electronic resources, as lion’s share of the work, identifying literature only is it the most comprehensive and wide- well as some films and recordings. Also, the about music, entering bibliographic infor- ly distributed bibliography for music in the broad international coverage is unparalleled, mation, and securing and editing abstracts. world, but it is also the most efficient way with items from 151 countries published in On behalf of the U.S. Committee, I make for scholars to disseminate their work to the 214 languages. This is possible because of the sure that American scholarly publications global community. And as a bonus, RILM respectful cooperation and collaboration of about music are added to RILM. I identify can also be instrumental in the tenure and the RILM International Center in New York works by scanning the recent acquisitions and 50 national committees. Committees shelves at the Cornell Music Library and promotion process. An administrator who are responsible for submitting citations and bibliographies published by various scholarly pulls up a list of the candidate’s publications abstracts for works published in their coun- organizations, and by tracking an extensive can see, for instance, which journals have tries. RILM International coordinates these list of both music and non-music journals. I gone through a peer-review process. Seeing efforts, adds publications not covered by the then try to contact the author to request an these publications within RILM’s interna- committees, and subjects every record to rig- abstract, or I draw upon a group of about 30 tional context is also impressive! orous and insightful indexing. volunteer abstractors. AHW: Finally, please settle a long-standing AHW: How has RILM changed over the Staff members at RILM International argument: What is the proper pronunciation of years, and what has been the biggest change? also contribute to this process, particularly RILM? One syllable or two? BB: One of the strengths of RILM is the through retrospective projects. A generous BB: Although you may hear the two-syl- way it has adapted to changes in music re- grant from the Andrew W. Mellon Foun- lable pronunciation in discussions about the search by, for instance, incorporating pub- dation allowed them to extend coverage of other R projects (which have two syllables), lications and other media that reflect the conference proceedings back to 1835, and a the most widely accepted pronunciation of broad interdisciplinary interests of music grant from the National Endowment for the RILM rhymes with film.  AMS Newsletter New Orleans Program Selection

In the early stages of planning for this fall’s dertaking the duties of reading and evalu- In early April, the AMS Program Com- annual meeting, the three participating so- ating the proposals and for their dedicated mittee convened in Louisville and, follow- cieties (AMS, SEM, and SMT) agreed that and judicious contributions in the delibera- ing the procedures established by previous the joint nature of the meeting offered a re- tions and programming process. years’ committees, spent a total of two markable opportunity for collaborative pre- The evaluation, moderation, and final ac- and a half days together to deliberate on sentations. The three program chairs (Bon- ceptances for the Joint Sessions concluded the submissions for the AMS portion of nie Wade (SEM), Jocelyn Neal (SMT), and in March. There were three stages to the the conference. We received 647 abstracts, I), with the support of our respective society process. First, AMS program committee which included individual proposals, ab- executive committees, devised a special op- members read, evaluated, and scored all stracts that formed part of Formal Sessions, tion in the Call for Papers, inviting mem- proposals and abstracts for sessions in which proposals for Alternative Format Sessions, bers of all three societies to submit propos- there was an AMS component (a procedure and proposals for Evening Panels. We ac- als for Joint Sessions. This year’s AMS Pro- repeated across the program committees cepted 171 individual proposals and papers gram Committee, which comprised Dana of the other two societies). Second, the associated with Formal Sessions (fourteen Gooley (Chair, 2013), Nadine Hubbs, Mary three program chairs convened via Skype papers formed part of Formal Sessions). Hunter, Gayle Sherwood Magee, Giulio to moderate the results and represent the In addition, we accepted two Alternative Ongaro, Jeffrey Sposato, and me, thus had comments and evaluations of their individ- Format proposals and eight Evening Pan- the dual task of evaluating and program- ual program committees. Third, borderline els. Discussions were lively, at times heated, ming the AMS-only proposals and, along cases were sent back for further comment but always collegial, thoughtful, good hu- with members of the program committees from our individual committees before a mored, and conducted with due respect of the two sister societies, of evaluating the final adjudication. The Call for Joint Ses- for the work of our Society members. We submissions for Joint Sessions. They did sions yielded a total of forty-five proposals, sterling work and are to be thanked for un- of which twenty-six were accepted. continued on page 

Noontime Performances in New Orleans The AMS New Orleans 2012 Performance in Transcription. On Friday afternoon at 12:15 also at 12:15, marks the three hundredth an- Committee reviewed fifteen proposals and at New Orleans’ Jazz Museum, he will lead niversary of the birth of Frederick the Great selected four for presentation at our Annual the New Orleans-based Louisiana Repertory (1712–1786), the Prussian king known for Meeting. Two of the four have roots in New Jazz Ensemble in a performance of jazz band the retinue of musicians he gathered at his Orleans and Louisiana history and culture, music by Sam Morgan (1895–1936), New court. Less known are Frederick’s composi- and another celebrates a significant anniver- Orleans-based jazz cornetist and bandleader. tions, whose number exceeds one hundred. sary in European history. Morgan’s 1927 recordings are considered clas- The king was particularly famous for his Ada- On Friday afternoon at 12:15, attendees sics of the early jazz era, and Joyce and his gios, which according to one contemporary have their choice of two very different presen- friends will no doubt get the joint jumping account “brought his audience to tears.” Flut- tations about music in New Orleans. In the with their renditions of Morgan’s perfor- ist Mary Oleskiewicz and keyboardist David first, the Denton Bach Players from the Uni- mances as well as music from other New Or- Schulenberg will recreate these experiences versity of North Texas (Andrew Justice, direc- leans bands from the era, including Jelly Roll through their lecture-recital “‘Bringing His tor) will perform French Baroque works from Morton and King Oliver. Audience to Tears’: Frederick ‘the Great’ as 12 15 a manuscript long housed in the archives of Saturday afternoon at : also presents at- Composer and Performer.” Oleskiewicz has the Ursulines Convent in New Orleans and tendees with two distinct choices. In the first, established herself as an international per- now owned by the Historic New Orleans pianist Sezi Seskir will investigate how tempo former on historical flutes and an author- Collection. The manuscript is by far the most rubato—often translated as “stolen time”— ity on the compositions of Johann Joachim important surviving musical document from shapes sound through temporal changes. Us- Quantz and music of the eighteenth-century eighteenth-century Louisiana, and it reveals ing fantasies by Chopin and Brahms, Seskir Prussian court; she is an associate professor the connections those in the New World en- will argue that markings seen as quizzical at of music at the University of Massachusetts. deavored to maintain with European music first—such as hairpin markings over held Schulenberg is professor and chair of the mu- and culture throughout Louisiana’s years as notes—were used by composers to indicate sic department at Wagner College in New a French and then Spanish colonial outpost. the application of tempo rubato. Seskir re- Mark McKnight, associate head of the music ceived her first degree in piano in her native York City; he also teaches in the Historical library at the University of North Texas, will Ankara, Turkey. She continued her studies at Performance program at The Juilliard School. join the Players in providing a glimpse into Lübeck Musikhochschule in Germany with On behalf of my colleagues—Jeffery Kite- the intersections between secular and sacred Prof. Konstanze Eickhorst. Seskir recently Powell, Catherine Gordon-Seifert, and Alice life in eighteenth-century New Orleans. completed her D.M.A. degree with Malcolm V. Clark—I invite you to choose among these John J. Joyce, Jr., associate professor of mu- Bilson at Cornell University and is currently four varied presentations during our time to- sic at Tulane University, is also chief editor a visiting assisting professor of piano at Buck- gether. and transcriber of the MUSA volume Sam nell University. —Steve Swayne Morgan’s Jazz Band: Complete Recorded Works The second presentation of the afternoon, Performance Committee Chair August 2012  New Orleans Program Selection program, we opted to program a number with last year’s program, we received far and continued from page  of short sessions to give more members away the largest number of submissions for the chance to participate as session chairs. topics on twentieth- and twenty-first-cen- Wherever possible and appropriate, we tury music; at the other end of the spec- interspersed the marathon weekend with invited chairs from the list of self nomina- trum, submissions for medieval and renais- samplings of local restaurants. tions. An additional opportunity presented sance topics remained strong. The propos- We set aside extra time in Louisville to itself at the programming stage. This year’s als for Joint Sessions offered insights into work on panel planning. Mindful of the acceptances included a significant number emerging fields and trends less visible in the joint nature of the New Orleans confer- of junior scholars. Given the importance regular format of the single society meeting. ence, we coordinated our meeting with the the Society places on mentoring and pro- Proposals for sessions on music and digital SMT Program Committee (who worked fessional development, we determined, media, religion and music, improvisation, next door); Bonnie Wade graciously agreed where possible, to adopt an approach to and ecomusicology, for example, demon- to join the group to represent SEM. Around session planning that would result in ses- strate the fruits of on-going conversations lunchtime on Saturday, we conferred on sions that balanced scholars at different across the societies. Joint Sessions examin- our acceptances and consequently succeed- stages of their careers. Though the primary ing historiography and current attitudes to ed in programming a number of joint pan- guiding principle of session planning was disciplinarity also promise to be fascinat- els. The AMS Program Committee worked thematic, where possible we were attentive late into Saturday night and up to lunch- to networking and mentoring opportuni- ing opportunities to reflect on the current time on Sunday morning and established a ties. We encourage members of individual state of relations between the three fields. solid preliminary thematic rationale for the sessions to be in contact with one another As ever, successful submissions were those AMS component of the program. and to make the most of their panels as an that demonstrated intelligent and creative A record number of members volunteered opportunity for intellectual interaction and approaches to the topic, that indicated the to chair sessions this year, with a five-fold professional development. research and evidence on which they drew, increase above last year’s self-nominations. The result of this year’s selection process is and that gave clear indication of their sig- As funding to attend AMS meetings often a program that reflects the diversity of the nificance and relevance to the broader field. depends on members’ appearance in the field and trends in current scholarship. As —Emma Dillon, Program Chair

ACLS Annual Meeting 2012

The annual meeting of the American historian of the expanding world markets carefully back,” yet “history is now more Council of Learned Societies (ACLS) took and social revolutions of the seventeenth controversial than current events.” He in- place in Philadelphia, 10–11 May 2012; of and eighteenth centuries; she spoke com- voked Yeats’s “Second Coming,” warning the two hundred attendees, just over half pellingly on the challenges to presenting a of a time when “The best lack all convic- were delegates or executive officers of the fuller picture of the American past. tion, while the worst / Are full of passion- constituent societies. AMS members in at- In the 2011–12 fellowship competition, ate intensity.” As Americans, he noted, we tendance included John Graziano (SAM the ACLS awarded $15.5 million to 323 “radically underestimate the power of the delegate), Richard Leppert (ACLS Board), domestic scholars after 650 peer reviewers humanities.” Jeffrey Kallberg (as Associate Dean of Arts evaluated over 4,200 applications. These Pauline Yu’s presidential address reflected and Letters), and Susan McClary (ACLS numbers are all higher than last year; the on the history of ACLS support for the hu- Board chair emerita). ACLS showed a remarkable 24% increase manities and the very long-term investment The newly announced chair of the ACLS in net assets from investment income. its fellowships make in the enhancement of Board, Earl Lewis, will almost immediately There are now fifteen different fellowship knowledge, even as the “grinding wheel of step down to become President of the Mel- categories, as the ACLS tries to realize its austerity shears off departments and insti- lon Foundation on 1 January, succeeding goal of helping scholars at every stage of tutions.” She also mused on the connec- Don Randel. I have been named chair of their careers. Evaluating the “post-doctoral tions between the humanities and social the Executive Committee of the Delegates, space” continues. Your delegate has been sciences in preparation for the afternoon so I will have the opportunity to partici- asked to remind you of the importance of panel, “How the Humanities Help Us Un- pate in the thrice-yearly Board meetings. peer review; there is “no better way to learn derstand Economic Behavior.” Moderated The Executive Committee helps to plan the proposal writing than to evaluate others.” by Sewell Chan of the New York Times, the Annual Meeting by suggesting panel topics The importance of history was one of the discussion featured Professors Alexander and selecting the honorific Charles Homer main themes of the meeting. In his talk Field, Jonathan Levy, and Deirdre McClo- Haskins lecturer, a senior scholar invited to “The Power of the Humanities,” Jim Leach, skey offering fascinating new perspectives speak on his or her experiences in “A Life chairman of the NEH, spoke fervently on the historical and ethical issues that arise of Learning.” (Nominations may be made about the embattled connection between from humanistic approaches to econom- by individuals as well as constituent soci- knowledge of the humanities, especially ics which, they were quick to note, do not eties; see www.acls.org.) This year’s lecturer history, and geopolitical decision making: characterize the work of most economists. was Joyce Appleby, a pioneering feminist “to look presciently forward we must look —Elaine Sisman  AMS Newsletter AMS/SEM/SMT ANNUAL MEETING New Orleans, 1–4 November 2012 AMS Preliminary Program

This Preliminary Program includes all Joint Sessions and AMS-only sessions, but not SEM- or SMT-only sessions. The Final Program (prepared in September) will contain all material; meanwhile, SEM- and SMT-only preliminary programs will be available directly from those societies. See www.societymusictheory.org and www.ethnomusicology.org for details. Updates and emendations to this document are posted at www.ams-net.org/preliminary-program-changes.php.

11:00–1:30 Society for Seventeenth-Century Music, TUESDAY 30 October Governing Board Ecomusicologies 2012: AMS Ecocriticism SG* and SEM 12:30–1:30 SEM Study of Music and Violence SIG* Ecomusicology SIG,* Tulane University 12:30–1:30 SEM Sound Studies SIG 12:30–1:30 SEM Audio Visual Committee WEDNESDAY 31 October 12:30–1:30 SEM Sound Future Campaign Committee Crisis and Creativity: SEM Pre-Conference Symposium, 12:30–1:30 SEM Dance, Movement, and Gesture Tulane University Section Music Encoding Initiative Workshop 12:30–1:30 SEM Archiving SIG 9:00–12:00 Second New Beethoven Research Conference 12:30–1:30 SEM Indigenous Music SIG 2012 (session 1) 12:30–1:30 SEM Crossroads Project 9:00–12:00 Grove Music Editorial Board 12:30–1:30 SEM Sacred and Religious Music SIG 9:00–5:00 Music Encoding Initiative Workshop 12:30–1:30 SEM Student Concerns Committee 12:00–5:00 Swamp Tour Outing to Honey Island Swamp 12:00–2:00 AMS Membership and Professional sponsored by the organizers of Development Committee Ecomusicologies 2012 11:00–6:00 Speaker Ready Room 12:30–5:00 Grove Music Editorial Board 9:00–7:00 Registration and Advisory Panel 1:00–6:00 Exhibits 2:00–5:00 Second New Beethoven Research Conference 2012 (session 2) THURSDAY AFTERNOON SESSIONS 2:00–8:00 AMS Board of Directors 2:00–6:00 SMT Executive Board 1:45–3:45 5:00–10:00 SEM Board of Directors Joint Session (AMS/SEM/SMT): Music and 7:30–11:00 SMT Awards Committee Ultraconservatism, Past and Present 7:30–11:00 SMT Networking Committee Pamela Potter (University of Wisconsin), Chair 7:30–11:00 SMT Publications Committee Jonathan Pieslak (City College of New York), “The Sound of (non)-Music: Anashid, Jihad, and al-Qa’ida Culture” Joseph Lubben (Oberlin College), “Heinrich Schenker’s Future” 1 Jane Fair Fulcher (University of Michigan), “From Hard to Soft Borders: THURSDAY November Honegger’s Fractured Self-Identity and Use as Icon by the Vichy and French Fascist Right” 7:00–8:30 Meeting Worker Orientation Benjamin Teitelbaum (University of Colorado), “White Pride/Black Mu- 8:00–12:00 AMS Board of Directors sic: Rap, Reggae, and the Local in Swedish Radical Nationalism” 8:00–12:00 SEM Board of Directors 2:00–5:00 8:00–12:00 SMT Executive Board Chopin Revisited 9:00–12:00 Second New Beethoven Research Conference Jeffrey Kallberg (University of Pennsylvania), Chair 2012 (session 3) Halina Goldberg (Indiana University), “Nationalizing the Kujawiak and 11:00–12:30 Howard Mayer Brown Award Committee Constructions of Nostalgia in Chopin’s Mazurkas” August 2012 *IG: Interest Group SIG: Special Interest Group SG: Study Group  Erinn Knyt (University of Massachusetts), “Ferruccio Busoni and the Joint Session (AMS/SEM/SMT): The North Atlantic ‘Halfness’ of Fryderyk Chopin: A Study about Gender Perception and Fiddle: Historical, Analytical, and Ethnographic Performance Interpretation” Perspectives on Instruments and Styles in Motion Tony Lin (University of California, Berkeley), “The Institution of the International Chopin Piano Competition and Its Social and Cultural George Ruckert (Massachusetts Institute of Technology), Chair Implications” Nikos Pappas (University of Kentucky), “‘Eck’ Robertson’s ‘Sallie Goodin’ and the Cultivation of the American Old-Time Division Style” Johannes Ciconia, ca. 1370–1412 Joti Rockwell (Pomona College), “Analyzing Gestural Rhythm in Appala- Margaret Bent (All Souls College, Oxford), Chair chian Fiddle Music: A Study of Bowing and Syncopation in the Music of Clark Kessinger” 1400 David Fallows (University of Manchester), “Ciconia before ” Aileen Dillane (Irish World Academy of Music and Dance, University of Anne Hallmark (New England Conservatory of Music), “Johannes Cico- Limerick), “Playing with Identity, Fiddling with Post-Ethnicity? Liz Car- nia of Padua—Johannes Ciconia of Liège” roll and the Turtle Island String Quartet” Carolann Buff (Princeton University), “Johannes Ciconia and the Tenor- Colin Quigley (Irish World Academy of Music and Dance, University of less Motet” Limerick), “Instrument Morphology and Innovation: Hardanger Fiddle Michael Scott Cuthbert (Massachusetts Institute of Technology), “Cico- Inspiration in North Atlantic Fiddling” nia, Zachara, and the Italianization of European Music around 1400” Byron Dueck (Open University), Chris Goertzen (University of Southern Mississippi), Respondents Milieu and Identity in the Eighteenth Century: Violins, Anthems, Opera, and “Scots Songs” Politics and Subjectivities of Soundtracks: New Approaches to Classic Film Scores Richard Will (University of Virginia), Chair Carolyn Abbate (University of Pennsylvania), Chair Andrew Greenwood (Southern Methodist University), “Haydn, Scots Nathan Platte (University of Iowa), “Fighting for the Enemy? Musical Du- Songs, and Improvement in the Scottish Enlightenment” plicity as Propaganda in The Iron Curtain (1948)” Glenda Goodman (The Colburn School), “The Limits of Cultural Sover- Stephan Prock (New Zealand School of Music), “Music and the Modern eignty: ‘God Save the King’ in Post-Colonial United States, 1788–1800” Subject in Hitchcock’s Psycho” Diane Oliva (University of South Carolina), “Madame Louise Gautherot: Anna Nisnevich (University of Pittsburgh), “A Stalinist Retro-Musical: Violin Soloist in Haydn’s First London Concert” Mises-en-abyme of Muzykal’naia istoriia (1940)” Anthony R. DelDonna (Georgetown University), “Opera and Lenten Tragedy in Late Eighteenth-Century Naples” Reforming Ideas of Sixteenth- and Seventeenth-Century Music Modern Difficulties, Difficult Modernism Kate van Orden (University of California, Berkeley), Chair Philip Gentry (University of Delaware), Chair Paul Harris (University of Puget Sound), “Arcadelt’s Bemban Legacy: S. Andrew Granade (University of Missouri, Kansas City), “Reconsidering ‘Quand’ io pens’ al martire’” the ‘Maverick’: Harry Partch and the Politics of Labeling” Erika Supria Honisch (University of Missouri-Kansas City), “Saving Songs Davinia Caddy (University of Auckland), “Representational Conun- in Imperial Prague, 1576–1612” drums: Music and Early Modern Dance” Christopher Phillpott (Florida State University), “Gilles Hayne and the Kathryn Etheridge (Florida State University), “‘Tonight I am Playing Jesuit Imagination” Madrigals from a Distant Country’: Interwar Japanese Musical Modern- Rose Pruiksma (University of New Hampshire), “Of sarabandes, courantes, ism and Settings of Fukao Sumako’s Poetry” and Gravity in Seventeenth-Century French Keyboard Music” Christopher Chowrimootoo (Harvard University), “‘I hear those voices Singers: Practices, Roles that will not be drowned’: Sentimentality under Erasure in Peter Grimes” Gabriela Cruz (University of Michigan), Chair Joint Session (AMS/SMT): New Digital Projects for the Robert Gjerdingen (Northwestern University), “Solfeggi Were Not What Study and Dissemination of Medieval and You Might Think” Renaissance Music Kimberly White (McGill University), “Retrospection and Nostalgia: Cre- ating the Perfect Ending” John Nádas (University of North Carolina, Chapel Hill), Chair Juliet Forshaw (Columbia University), “Russian Opera Rebels: Fyodor Josquin Research Project: Jesse Rodin (PI) (Stanford University), Victoria Komissarzhevsky, Nikolai Figner, and the Rise of the Tenor Antihero” Chang (Stanford University), Clare Robinson (Stanford University) Hilary Poriss (Northeastern University), “Pauline Viardot and The Viar- The Marenzio Project: Mauro Calcagno (PI) (Stony Brook Univer- dot-Turgenev Collection, Houghton Library” sity), Laurent Pugin (Répertoire International des Sources Musicales), Giuseppe Gerbino (Columbia University) THURSDAY AFTERNOON SHORT SESSIONS SIMSSA: Ichiro Fujinaga (PI) (McGill University), Julie Cumming (Mc- 2:00–3:30 Gill University) Memory, Space, and Religious Imaginary: Arvo Pärt in Lost Voices/Du Chemin Project: Richard Freedman (PI) (Haverford Col- the Twenty-First Century lege), Philippe Vendrix (CESR/Université de Francois Rabelais, Tours) Andrew Shenton (Boston University), Chair Susan Boynton (Columbia University), David Crook (University of Wis- consin-Madison), Anne Stone (Graduate Center, CUNY), Respondents Laura Dolp (Montclair State University), “‘stillspotting ( ) nyc’: Arvo Pärt and Cultures of Commemoration”

 AMS Newsletter Jeffers Engelhardt (Amherst College), “Arvo Pärt and the Idea of a Chris- 8:00–9:00 SEM Education Section Forum tian Europe” 8:00–9:00 SEM Investment Advisory Committee Opera on the Move: Revolution and Reception from Contemporary China to South Africa 8:00–9:00 SEM Latin American/Caribbean Studies Music Section Judy Tsou (University of Washington), Chair 9:00–10:00 SEM Latin American/Caribbean Studies Naomi André (University of Michigan), “Adaptations of Bizet’s Carmen in Music Section Dance Workshop Millennial Africa: Karmen Gei and U-Carmen eKhayelitsha” Yawen Ludden (University of Kentucky), “Propagandist or Prodigy? Yu 9:00–10:30 SEM (2012/2013) Local Arrangements Huiyong and the Cultural Revolution of Beijing Opera” Committees and Program Committees 3:30–5:00 9:30–11:00 Student Reception Joint Session (AMS/SEM): On Bells, Bugs, and Disintegrating Tape: Listening for Metaphysics in THURSDAY EVENING SESSIONS Ambient Sound Mitchell Morris (University of California, Los Angeles), Chair 8:00–11:00 Paul Chaikin (University of Southern California), “Clattering Bells as a The Art of War: American Popular Music and Field of Experience and Cognition” Sociopolitical Conflict, 1860–1945 James Edwards (University of California, Los Angeles), “Nature and the Metaphysics of Voice in Edo Period Aesthetics” Albin Zak (University at Albany, SUNY), Chair Joanna Demers (University of Southern California), “The Ethics of Sponsored by the AMS Popular Music SG Apocalypse” Devin Burke (Case Western Reserve University), “Goodbye, Old Arm: Civil Race and Class in Early Twentieth-Century War Veterans’ Disabilities in Popular Songs” American Opera Jim Davis (SUNY Fredonia), “Maryland, My Maryland: Regionalism, Pa- Larry Hamberlin (Middlebury College), Chair triotism, and the Song of a Divided Nation” Carolyn Guzski (SUNY, College at Buffalo), “New Evidence on Artists of Dan Blim (University of Michigan), “Musical Comedy Meets Musical Na- Color at the Metropolitan Opera” tionalism: Rodgers and Hart’s On Your Toes and WPA America” Daniela Smolov Levy (Stanford University), “‘Cheap Opera’ in America, Joint Session (AMS/SEM/SMT): Fifty Years of Bossa 1895 1910 to ” Nova in the United States 4:00–5:30 Frederick Moehn (Universidade Nova de Lisboa) and Jason Stan- Joint Session (AMS/SEM/SMT): AMS, SEM, SMT yek (University of Oxford), Co-Chairs Mentoring Panel Carla Brunet (University of California, Berkeley), Larry Crook (Univer- Patricia Hall (University of Michigan), Chair sity of Florida), Christopher Dunn (Tulane University), Kariann Gold- Carol Oja (Harvard University), Ellen Koskoff (Eastman School of Music, schmitt (New College of Florida), Sumanth Gopinath (University of University of Rochester), Michael Cherlin (University of Minnesota) Minnesota), Charles K ronengold (Stanford University), Darien Lamen (University of Pennsylvania), Charles Perrone (University of Flor- 4:30–5:30 AMS Development Committee ida), Irna Priore (University of North Carolina, Greensboro), Marc Gidal 5:00–7:00 Mozart Society of America Board (Ramapo College of New Jersey) 5:00–5:30 SMT Conference Guides Fantasy, Cinema, Sound, and Music 5:15–6:15 AMS Committee on Career-Related Issues Mark Brill (University of Texas at San Antonio) Conference Buddy Introduction James Deaville (Carleton University), J. Drew Stephen (University of Tex- 5:30–6:30 AMS/SEM/SMT Joint First-Time Attendees as at San Antonio), Jamie Lynn Webster (Portland, Ore.) and New Members Reception 5:30–6:30 AMS Ecocriticism SG* and SEM Charles Ives’s Fourth Symphony and the Past, Present, Ecomusicology SIG Joint Business Meeting and Future of Ives Scholarship 5:30–8:00 Opening Reception J. Peter Burkholder (Indiana University), Geoffrey Block (University of 6:00–7:30 AMS Popular Music SG Business Meeting Puget Sound), Christopher Bruhn (Denison University), Dorothea Gail (University of Michigan), David C. Paul (University of California, Santa 6:00–7:30 Journal of Musicology Editorial Board Barbara), Wayne Shirley (Library of Congress), James B. Sinclair (Charles 6:00–8:00 Journal of Seventeenth-Century Music Ives Society) Editorial Board Method in Collaboration 7:30–8:30 SEM Anatolian Ecumene SIG Combined Meeting of the AMS Jewish Studies and Music SG 7:30–9:30 Society for Arab Music Research and SEM SIG for Jewish Music 8:00–9:00 Association for Chinese Music Research Judah Cohen (Indiana University), Moderator August 2012 *IG: Interest Group SIG: Special Interest Group SG: Study Group  Moving Roots of Music: The Many Worlds within FRIDAY MORNING SESSIONS New Orleans 8:30–11:30 Bruce Raeburn (Tulane University), Chair Joint Session (SEM/SMT): Subjectivity and Method in William Buckingham (University of Chicago), Shane Lief (Tulane Univer- the Analysis of World Music sity), Robin Moore (University of Texas at Austin), Ned Sublette (New York, N.Y.) Marion A. Guck (University of Michigan), Chair Lawrence Shuster (Skidmore College), “Spectral Spaces, Transformations, Music and Nature: Relations, Awareness, Knowledge and Morphologies in Tuvan Multiphonic Throat Singing” Sponsored by the AMS Ecocriticism SG Rob Schultz (University of Massachusetts at Amherst), “Melodic Contour and Collective Individuality in Aka Vocal Polyphony” Aaron Allen (University of North Carolina, Greensboro), Chair Ellen Koskoff (Eastman School of Music, University of Rochester), “Ana- Kevin Dawe (University of Leeds), “Social and Environmental Relations lyzing the Four-Tone Universe of Balinese Gamelan Angklung Music” of Small Guitar Workshops in England” Kalin Kirilov (Towson University), “Tradition and Innovation in Bulgar- Sabine Feisst (Arizona State University), “‘Hello, the Earth is Speak- ian Concert Wedding Music: Analysis of Petar Ralchev’s Bulgarian Suite” ing’: Four Case Studies of Ecological Composition, Performance and Michael Tenzer (University of British Columbia), John Roeder (University Listening” of British Columbia), Respondents David Cohen (Columbia University), “Nature, Culture, and the First 9:00–12:00 Principle(s) of Music: Two Myths of Theoretical Revelation” Censorship and Cultural Policies in Soviet Music Music and Philosophy SG after World War II Kevin Bartig (Michigan State University), Chair FRIDAY 2 November Patrick Zuk (University of Durham), “Dmitriy Shepilov and the Cam- paign against Musical Formalism of the Late Stalinist Period” 7:00–8:00 SEM Chapters Meri Herrala (University of Helsinki), “Soviet Musicians as Cultural 7:00–8:00 SEM Japanese Performing Arts SIG Diplomats” Vladimir Orlov (University of Cambridge), “Prokofiev’s Surprise Stalin 7:00–8:00 SEM SIG for Analysis of World Music Prize: How On Guard for Peace Trumped its Critics” 7:00–8:00 SEM SIG for Voice Studies Leah Goldman (University of Chicago), “The Heart of the Matter: Cen- sorship and Cultural Politics in Zhukovskii’s With All My Heart” 7:00–8:30 SMT Committee on the Status of Women Joint Session (AMS/SEM): The Ecomusicology 7:00–8:30 SMT MTO Editorial Board Listening Room 7:00–8:30 SMT Ad Hoc Sustainability Issues Mark Pedelty (University of Minnesota), Chair Committee Robert Fallon (Carnegie Mellon University), Ellen Waterman (Memorial 7:00–8:45 AMS Chapter Officers University of Newfoundland), Tyler Kinnear (University of British Co- lumbia), Aaron Allen (University of North Carolina, Greensboro), De- 7:00–8:45 AMS Committee on Career-Related Issues nise Von Glahn (Florida State University), Kate Galloway (University of 7:00–8:45 AMS Committee on Communications Toronto), Naomi Perley (CUNY), William Bares (Harvard University), Rachel Mundy (Columbia University) 7:00–8:45 AMS History of the Society Committee Gershwin and Bernstein as Composers and Performers 7:15–8:30 SMT Breakfast Reception for Students Howard Pollack (University of Houston), Chair hosted by the Professional Development Committee Jonathan Bellman (University of Northern Colorado), “Performance Prac- 7 30 8 45 : – : Alvin H. Johnson AMS 50 Dissertation tice Methodology and its Limits: The Case of George Gershwin” Fellowship Committee Ryan Raul Bañagale (Colorado College), “Who Really Composed Rhap- 7:30–8:30 Journal of Music TheoryEditorial Board sody in Blue ?” Leonard Bernstein 7:30–8:45 AMS Graduate Education Committee Emily Abrams Ansari (University of Western Ontario), “ and the New York Philharmonic in Moscow: Educational Television, Di- 7:30–8:45 AMS Program Committees for the 2012 and plomacy, and the Politics of Tonal Music” 2013 Annual Meeting Daniel Callahan (University of Chicago), “Serenade to ‘Somewhere’: Pre- Stonewall Structures of Feeling in West Side Story’s ‘Love Ballet’” 7:30–8:45 AMS Student Representatives to Council Joint Session (AMS/SEM): Historiographies of 7:30–9:00 American Brahms Society Board Jewish Music Research 7:00–6:00 Speaker Ready Room Philip V. Bohlman (University of Chicago), keynote introduction, Pa- 8:30–6:00 Registration mela Potter (University of Wisconsin-Madison), Tina Frühauf (Colum- 8:30–6:00 Exhibits bia University), Florian Scheding (University of Southampton), Kevin Karnes (Emory University), Assaf Shelleg (University of Virginia), Edwin Seroussi (Hebrew University), Mark Kligman (Hebrew Union College)  AMS Newsletter Identity, Effect, and Affect in Seventeenth- and 9:00–10:30 Eighteenth-Century Music Joint Session (AMS/SEM): Pan-Americanism vs. Latin Martha Feldman (University of Chicago), Chair America —Historical Perspectives on Musical Practices Christine Getz (University of Iowa), “Canonizing San Carlo: Preaching, Donald Henriques (California State University, Fresno), Chair Meditation, and Memory in the Small Sacred Concerto” Lauren Salazar (University of California, Los Angeles), “A Musical Journey Arne Spohr (Bowling Green State University), “‘This Charming Invention through Alta California” Created by the King’: Christian IV and His Invisible Music” Hermann Hudde (Brandeis University), “Pan Americanism in Action: Zoey M. Cochran (McGill University), “Serious Tuscans or Ridiculous Serge Koussevitzky, Aaron Copland, and Latin American Music and Foreigners? Revisiting Multilingualism and Musical Characterization in Composers at Tanglewood from 1941 to 1965” the commedeja pe ‘mmuseca’” Andres Amado (University of Texas at Austin), “The Fox Trot in Guatema- Pierpaolo Polzonetti (University of Notre Dame), “Tartini’s Violin and the la: Importing the Sounds of Modernity in the Early Twentieth Century” Tongue of Saint Anthony” Looking Back/Looking Forward: 12:00–1:30 AMS Committee on Cultural Diversity: New Perspectives on Medieval Topics Current and Former Recipients of the Eileen Southern Travel Fund Mark Everist (University of Southampton), Chair 12:00–2:00 SMT Diversity Committee Travel Grant Makiko Hirai (Tokyo University of the Arts), “The Concept of Copula Reconsidered” Recipients Lunch Lawrence Earp (University of Wisconsin-Madison), “The Beginnings of 12:00–2:00 SMT Mathematics of Music Analysis IG* the Motet: A New Hypothesis” 12:00–2:00 AMS/SMT Music and Philosophy SG/IG Margaret Bent (All Souls College, Oxford), “Jacobus de Ispania?” 12:00–2:00 SMT Music Theory Pedagogy IG Lisa Colton (University of Huddersfield), “Negotiating Identity in Medi- eval English Music: Anxiety and Ethnicity” 12:15–1:45 Current Trends in Latin American Riffs, Revisions, and Revisitings in Jazz Musical Scholarship Susan Thomas (University of Georgia), Chair Scott DeVeaux (University of Virginia), Chair Katherine Maskell (Ohio State University), “Who Wrote Those ‘Livery Liliana González Moreno (University of Havana/Instituto Superior de Stable Blues’? Authorship Rights in Jazz and Copyright Law as Evident Arte), Omar Corrado (University of Buenos Aires/National University in Hart et al v. Graham” of Rosario), panelists Jeremy Yudkin (Boston University), “‘Flamenco Sketches’ or ‘All Blues’? 12:15–1:15 AMS Committee on Career-Related Issues, The Last Two Tracks on Miles Davis’s Classic Album Kind of Blue” Master Teacher Session: “Teaching the Charles Carson (University of Texas at Austin), “Dear Old Stockholm, Discipline, Disciplining the Teacher” Revisited: Jazz, Scandinavian Design, and the Imagined Soundscapes of Jim Cassaro (University of Pittsburgh), Chair, Sweden” Maureen Carr (Pennsylvania State University), Melissa Ursula Dawn Goldsmith (Nicholls State University), “Kindred Charles Youmans (Pennsylvania State Riffs, Rival Banter: Kenneth Rexroth’s and Lawrence Lipton’s Jazz and University) Poetry Experiments” 12:15–1:45 JAMS Editorial Board Wagner and his Afterlives 12:15–1:45 SMT Jazz Theory and Analysis IG Annegret Fauser (University of North Carolina, Chapel Hill), 12:15–1:45 Mozart Society of America Meeting Chair Gundula Kreuzer (Yale University), “Wagner as Venus” 12:15–1:45 Lecture-Recital: An Eighteenth-Century Manuscript from New Orleans Flora Willson (King’s College London), “Listening to the Future: Wagner and ‘la musique de l’avenir’ in Paris 1860” Mark McKnight (University of North Texas) Denton Bach Players, Andrew Justice (University Micaela Baranello (Princeton University), “Never Ask the Merry Nibe- lungs: Wagner in Operetta from Critique to Aspiration” of North Texas), Director Julie Hubbert (University of South Carolina), “Loathsome Deutschtum? 12:15–1:45 Concert: Jazz Band Music by Sam Morgan Wagner, Propaganda, and the American Documentary Film of the 1930s (1895–1936) and ’40s” Louisiana Repertory Jazz Ensemble John J. Joyce, Jr. (Tulane University), Director FRIDAY MORNING SHORT SESSIONS 12:15–1:45 SIMSSA: Single Interface for Music Score 9:00–10:30 Searching and Analysis Joint Session (AMS/SEM): Beyond Hearing: Soundscapes and Ideoscape in Early 12:15–1:45 Society for Seventeenth-Century Music Nineteenth-Century America Business Meeting Deane Root (University of Pittsburgh), Chair 12:30–1:30 EVIA Digital Archives Project Bonnie Gordon (University of Virginia), “Mr. Jefferson’s Ears” 12:30–2:00 Friends of Stony Brook Reception Sarah Gerk (University of Michigan), “Love, Loyalty, and Fear: American Reception of Thomas Moore’s Irish Melodies” 12:30–1:30 SEM Applied Ethnomusicology Section August 2012 *IG: Interest Group SIG: Special Interest Group SG: Study Group  12:30–1:30 SEM Medical Ethnomusicology SIG Chopin’s Mazurka in C-sharp Minor, Op. 50, no. 3” Drew Massey (Binghamton University), “Thomas Adès’s Glossary” 12:30–1:30 SEM Publications Advisory Committee Meghan Goodchild (McGill University), “Towards a Perceptually-Based 12:30–1:30 SEM Section on the Status of Women Theory of Orchestral Gestures” 12:30–1:30 SEM SIG for European Music Zachary Wallmark and Marco Iacoboni (University of California, Los Angeles), “Embodied Listening and Musical Empathy: Perspectives from 12:30–1:30 SEM SIG for Jewish Music Mirror Neuron Research” 12:30–1:30 SEM SIG for the Music of Iran and Joint Session (AMS/SMT): Five New Early Songs of Central Asia Debussy: History, Style, Analysis, and Performance 1:00–3:00 SMT CV Review Ralph P. Locke (Eastman School of Music, University of Roches- ter), Chair 1:45–3:45 SEM General Membership Meeting Elizabeth Calleo, Soprano 2:00–5:00 SMT Graduate Student Workshop Marie Rolf (Eastman School of Music, University of Rochester), Denis Harmony and Voice Leading in Rock and Pop Herlin (Centre National de Recherche Scientifique / Institut de Recher- Music, with instructor Walt Everett () che sur le Patrimoine Musical en France), Jonathan Dunsby (Eastman School of Music, University of Rochester) FRIDAY AFTERNOON SESSIONS Carolyn Abbate (University of Pennsylvania), David Grayson (Univer- 2:00–5:00 sity of Minnesota), Marianne Wheeldon (University of Texas at Austin), Respondents American Musical Theater: New Sources, New Readings Jazz and Blues Geoffrey Block (University of Puget Sound), Chair Lisa Barg (McGill University), Chair Jonas Westover (University of St. Thomas), “Reviewing the Revue: Un- Roberta Schwartz (University of Kansas), “How Blue Can You Get? ‘It’s packing the Textual and Musical References in The Passing Show of 1914 ” Tight Like That’ and the Hokum Blues Tradition” Marian Wilson Kimber (University of Iowa), “Grecian Urns in Iowa Christopher Wells (University of North Carolina, Chapel Hill), “‘A Towns: Delsarte, Gender, and Cultural Aspirations in The Music Man” Dreadful Bit of Silliness’: Feminine Frivolity and the Early Reception of Elizabeth Titrington Craft (Harvard University), “‘You Can’t Deny You’re Ella Fitzgerald” Irish’: From Nationalism to Irish American Pride in the Musicals of James O’Leary (Oberlin College), “From Left to Gauche and ‘In Between’: George M. Cohan” The Politics of Duke Ellington’s Beggar’s Holiday (1946)” Kim Kowalke (Eastman School of Music, University of Rochester), “‘Give Mark Burford (Reed College), “Mahalia Jackson Meets the Wise Men: Me Time’: Sondheim, a Clever Maid, and ‘The Miller’s Son’” Defining Jazz at the Music Inn” Musical Deployments and Initiatives: Joint Session (AMS/SMT): Ars Nova World War II and After Jennifer Bain, Chair Karen Painter (University of Minnesota), Chair Justin Lavacek (University of North Texas), “Contrapuntal Confrontation Patricia Josette Moss (University of Oregon), “The Road to Friedenstag: in the Motets of Machaut” Politics, Strauss, and Stefan Zweig” Sarah Fuller (Stony Brook University), “Contrapunctus Theory and Dis- Christopher Brent Murray (Université Libre de Bruxelles), “General sonance Regulation in Fourteenth-Century French Polyphony” Huntziger’s Centre théâtral et musical: Music-Making on the Frontline of Karen Desmond (University College, Cork), “Texts in Play: Ars nova The- the ‘drôle de guerre’ ” ory and Its Hypertexts” Martha Sprigge (University of Chicago), “Rudolf Mauersberger’s Dresdner Requiem (1947/48), East German Reconstruction, and Communities of Katherine Hutchings (Eastman School of Music, University of Rochester), Bereavement” “What’s So New about Nova Musica ? Johannes Ciconia and Early Quat- trocento Theories of Imitation” Ulrike Petersen (University of California, Berkeley), “Aftershocks of Oper- etta in Early Post-War Vienna” Joint Session (AMS/SMT): Eighteenth-Century Musical New Perspectives and Sources for Italian Music ca. 1600 Topics as an Interface Between Structure and Expression Alexandra Amati-Camperi (University of San Francisco), Chair Danuta Mirka (University of Southampton), Chair Barbara Swanson (Case Western Reserve University), “Old Chant, New Joel Galand (Florida International University), Vasili Byros (Northwest- Songs: Plainchant and Monody in Early Modern Rome” ern University), William Caplin (McGill University), Stephen Rumph Marica Tacconi (Pennsylvania State University), “‘On the Knowledge of (University of Washington), Robert Hatten (University of Texas at Aus- Oneself’: The Soul, the Senses, and Subjectivity in the Musical Aesthetic tin), Melanie Lowe (Vanderbilt University), Dean Sutcliffe (University of Late Renaissance Florence” of Auckland) Chadwick Jenkins (City College, CUNY), “Che sconsolata sei: The Phe- Joint Session (AMS/SMT): Embodiment and Gesture nomenology of Echo in Seventeenth-Century Opera” Arnie Cox (Oberlin College), Chair Valerio Morucci (University of California, Davis), “Rethinking Cori Spez- zati: A New Source from Central Italy” Margaret Fons (University of Texas at Austin), “Four Gestural Types in

 AMS Newsletter Nineteenth-Century Opera: Habits and Habitats The Soviet Genius and the Russian Self Rachel Cowgill (University of Cardiff), Chair Olga Haldey (University of Maryland), Chair

Marian Smith (University of Oregon), “The Cortège at the Opéra from La Natalie Zelensky (Colby College), “Performing a la Russe: Russian Folk 1920 Muette to Le Prophète” Songs, Gypsy Romances, and the Russian Émigrés in s New York” Judith Kuhn (University of Wisconsin-Milwaukee), “Shostakovich and Roger Parker (King’s College London), “Opera, Repertory, Place: London the Idea of ‘Late Style’” in the 1830s” William Weber (California State University, Long Beach), “Theatrical 3:30–5:00 AMS/MLA Joint RISM Committee Canon at the Opéra-Comique: le vieux répertoire in the Nineteenth Century” 4:00–5:30 SEM Seeger Lecture Matthew Franke (University of North Carolina, Chapel Hill), “‘How is it 5:00–6:00 Claire Brook Memorial possible to speak ill of a Frenchman’s work?’ The Reception of Massenet’s Thaïs in Milan, 1903” 5:00-6:00 The ymphonicS Repertoire, Volume I: Pop-Rock Production and Aesthetics Indiana University Press Book Release Reception Albin Zak (University of Albany, SUNY), Chair Jason Hanley (Rock and Roll Hall of Fame and Museum), “‘The Pur- 5:00–6:30 AMS Graduate Education Committee est Feeling’: Re-constructing the Creative Process and Revealing Stylistic Reception for Prospective Graduate Students Boundaries within Nine Inch Nails’ Pretty Hate Machine” 5:00–6:30 Rice University Alumni Reception Christopher Reali (University of North Carolina, Chapel Hill), “A Shot of Rhythm and Blues: Defining the Muscle Shoals Sound” 5:00–7:00 SMT Ad-hoc Committee Demographics Alexandra Grabarchuk (University of California, Los Angeles), “Semiotic 5:00–7:00 SMT Music Theory Spectrum Editorial Pandemonium: An Exploration of the Soviet Art Rock Aesthetic” Board Joint Session (AMS/SMT): Poster Session 5:00–7:00 SMT Queer Resource IG Evan Jones (Florida State University), Chair Nancy Rogers (Florida State University), “The Best of Both Worlds: Com- 5:00–7:00 SMT Work and Family IG bining Improvisation and Composition Beyond the Minuet” 5:00–7:00 University of Illinois Reception for Alumni Benjamin R. Levy (Arizona State University), “‘A Theory about Shapes’: and Friends Clouds and Arborescence in the Music of Xenakis” 5:15–6:15 AMS Committee on Career-Related Issues, Leigh VanHandel and Michael Callahan (Michigan State University), Session II: “How Publishing Works: Music “What Happens at the Beginning Should Stay at the Beginning: The Journal Editors Explain It All For You” Role of Beginnings, Middles, and Ends in Key-Finding Models” James Zychowicz (A-R Editions), Chair; Yuri Broze (Ohio State University) and David Huron (Ohio State Univer- Michael Cherlin (University of Minnesota) sity), “Does Higher Music Tend to Move Faster? Pitch-Speed Relation- [Music Theory Spectrum]; Annegret Fauser ships in Western Music” (University of North Carolina, Chapel Hill) Katelyn Horn (University of Texas at Austin), “A Diachronic Study of [JAMS]; Jane Gottlieb (Juilliard School) Changing Mode Use in the Classical/Romantic Transition” [MLA Notes]; Larry Witzleben (University of Maryland, College Park) [Ethnomusicology] Peter Schubert (McGill University), “The Combinatorics of Stretto Fuga” 5:30–6:30 Singing from Renaissance Notation, directed Aaron Einbond (University of Huddersfield), “Timbre Spaces: New by Valerie Horst and hosted by Graphical Models for Analysis and Composition” Early Music America Angeleisha L. Rodgers (North Carolina Central University), “‘Trumpet- iste’ Clora Bryant: The Missing Link” 5:30–7:30 University of North Carolina, Chapel Hill Alumni Reception FRIDAY AFTERNOON SHORT SESSIONS 5:45–7:15 SEM Banquet 2:00–3:30 6:00–7:00 AMS By-laws Changes Meeting Joint Session (AMS/SMT): New Perspectives on 6:00–7:30 W. W. Norton Reception Beethoven’s “Eroica” Sketchbook 6 00 8 00 William Kinderman (University of Illinois), Chair : – : Boston University Alumni Reception Lewis Lockwood (Harvard University), “From Heiligenstadt to Leonore: 6:00–8:00 Florida State Universtity College of Music Beethoven’s ‘Eroica’ Sketchbook” Alumni Reception Alan Gosman (University of Michigan), “The Persistence of Several Early 6:30–8:00 Oxford University Press Reception Sketches in the ‘Eroica’ Symphony”

August 2012 *IG: Interest Group SIG: Special Interest Group SG: Study Group  6:45–7:45 AMS Committee on Career-Related Issues, A Graduate Student Forum for New Research Session III: “Heigh Ho The Adjunct’s Life” Sponsored by the AMS LGBTQ SG Mona Kreitner (Rhodes College), Chair; Beth Glixon (University of Kentucky); Giulio Sarah Hankins (Harvard University) “Size and Shape are Approximate, Ongaro (University of the Pacific); Christopher and Subject to Change: Queer Arousal and the State of Musicology’s Williams (University of Toledo) Search for Meaning” Jarek Paul Ervin (University of Virginia) “From ‘You Better Work’ to 7:30–9:30 SEM African Music Section ‘Born this Way’: Popular Music and Gay Visibility” 7:30–9:30 SEM Popular Music Section AMS Pedagogy SG Session 7:30–9:30 Society for Asian Music Membership The Lied in Performance: Text and Context Meeting Jennifer Ronyak (University of Texas at Arlington), Chair 7:30–10:00 Perspectives of New Music Meeting Laura Tunbridge (University of Manchester), Benjamin Binder (Duquesne University), Wayne Heisler (College of New Jersey), Kira Thurman (Uni- 8:00–11:00 Bowling Green State University Reception versity of Rochester) 9:00–11:00 Eastman School of Music Alumni Reception Jonathan Dunsby (Eastman School of Music, University of Rochester), Mary Ann Smart (University of California, Berkeley) Respondents 9:00–11:00 University of Michigan Alumni Reception Music & Video Games: History, Theory, Ethnography 9:00–12:00 University of Chicago Alumni Reception William Cheng (Harvard University), Moderator 9:00–12:00 University of Pittsburgh Alumni and Friends William Gibbons (Texas Christian University), Neil Lerner (Davidson Reception College), Elizabeth Medina-Gray (Yale University), Kiri Miller (Brown University), Roger Moseley (Cornell University) 10:00–12:00 AMS LGBTQ SG Party Mark Katz (University of North Carolina, Chapel Hill), Respondent 10:00–12:00 Columbia University Department of Music Music and War Reception Gwyneth Bravo, Moderator 10:00–12:00 Harvard Music Reception Johnathan Pieslek (City College of New York), James Deaville (Carleton University), Benjamin J. Harbert (Georgetown University), Golan Gur 10:30–11:00 AMS Pedagogy SG Business Meeting (Humboldt University of Berlin), Guilnard Moufarrej (University of Cali- fornia, Merced), Alexander Stewart (University of Vermont), Cornelia 10:00–12:00 Forum on Music and Christian Scholarship Nuxoll (University of Göttingen), Margaret Kartomi (Monash Univer- Reception sity), Jim Sykes (University of Chicago/King’s College London)

FRIDAY EVENING SESSIONS SATURDAY 3 November 7:00–8:00 SEM Education Section Business Meeting 7:00–9:00 7:00–8:30 SMT Diversity Committee Ariadne at 100: La folle soirée, Revisited 7:00–8:30 SMT Regional and Affiliate Societies Sponsored by the Lyrica Society 7:00–8:45 AMS Committee on Women and Gender Paul-André Bempéchat (Center for European Studies, Harvard 7:00–8:45 AMS Publications Committee University), Chair 7:00–9:00 A-R Recent Researches Series Editors Bryan Gilliam (Duke University), Timothy Jackson (University of North Texas), Scott Warfield (University of Central Florida), Charles Youmans 7:00–9:00 Journal of Music History Pedagogy (Pennsylvania State University) Editorial Board Sharon Mirchandani (Westminster Choir College), Respondent 7:00–9:00 Web Library of Seventeenth-Century Music 8:00–10:00, 10:30, or 11:00 Editorial Board A Discussion on Mentoring and Being Mentored 7:30–8:30 American Institute for Verdi Studies Board Sponsored by the AMS Committee on Career-Related Issues and 7:30–8:45 AMS Committee on Cultural Diversity the SMT Professional Development Committee 7:30–9:00 Alexander Street Press Reception James P. Cassaro (University of Pittsburgh), Alfred Cramer (Po- 7:30–9:00 SMT Music and Disability IG mona College), Moderators 7:30–9:00 Society for Eighteenth-Century Music Board Christi-Anne Castro (University of Michigan), Andrew Dell’Antonio of Directors (University of Texas at Austin), Robert S. Hatten (University of Texas at Austin), Timothy A. Johnson (Ithaca College), Denise Von Glahn (Flor- 7:30–9:30 Journal of Musicological Research ida State University), Andrew N. Weintraub (University of Pittsburgh) Editorial Board  AMS Newsletter 7:45–8:45 American Bach Society Editorial Board Joint Session (AMS/SEM/SMT): Guido Adler’s The 8:30–12:30 SEM Education Section Teacher Workshop Scope, Method, and Aim of Musicology 9:00–12:00 AMS Committee on Career-Related Issues, Sponsored by The SEM Section on Women, the SMT Committee CV and Cover Letter Workshop on the Status of Women, and the AMS Committee on Women 9:00–12:00 SMT Graduate Student Workshop and Gender A Corpus-Based Approach to Tonal Theory, with Bonnie Gordon (University of Virginia), Chair instructor Ian Quinn Suzanne Cusick (New York University), Deborah Wong (University of 10:30–12:15 SEM President’s Round Table California, Riverside), Elizabeth Keenan (Fordham University), Maya Gibson (University of Missouri), Harald Kisiedu (Columbia University), 7:00–6:00 Speaker Ready Room Suzannah Clark (Harvard University) 8:30–5:00 Registration Romantics at Work: Mendelssohn and Schumann 8:30–6:00 Exhibits Laura Tunbridge (University of Manchester), Chair

SATURDAY MORNING SESSIONS Siegwart Reichwald (Converse College), “An Emerging Credo of Absolute Music—The Evolution of Mendelssohn’s Piano Trio Op. 49” Angela R. Mace (Duke University), “The Mendelssohns and the Mystery 8:30–10:30 of the ‘Easter Sonata’” Joint Session (AMS/SEM): Online Musical Communities Don Randel (Andrew W. Mellon Foundation), “Listening to Schumann Marc Gidal (Ramapo College of New Jersey), Chair Listening to Heine” Alexander Stefaniak (Washington University in St. Louis), “Schumann, Tara Browner (University of California, Los Angeles), “Bach Culture: Per- Virtuosity, and the Rhetoric of the Sublime” formers, Scholars, and Bachfreunde in the Twenty-First Century” Olga Panteleeva (University of California, Berkeley), “Für Kenner und Orchestral Revolutions of the Twentieth- and Twenty- Liebhaber 2.1: Modes of Expertise in Online File-sharing Communities” First Centuries Tom Artiss (Cambridge University), “Solitary Socialities: Music Surf- Jeongwon Joe (University of Cincinnati), Chair Sharing in Nain, Labrador” Charles Hiroshi Garrett (University of Michigan), “Joking Matters: Michael Broyles (Florida State University), “The American Symphony Or- Music, Humor, and the Digital Revolution” chestra as Political Metaphor” Danielle Fosler-Lussier (Ohio State University), “Classical Music as Joint Session (AMS/SEM/SMT): Popular Music and Cold War Development Aid: William Strickland’s Asian and European Protest Pilgrimages” Sponsored by the AMS Popular Music SG, the Popular Music Hon-Lun Yang (Hong Kong Baptist University), “From Colonial Moder- Section of SEM, and the SMT Popular Music IG nity to Global Identity” S. Alexander Reed (University of Florida), Chair Geoffrey Baker (Royal Holloway, University of London), “El Sistema: Venezuela’s Youth Orchestra Program” Griffin Woodworth (MakeMusic, Inc.), “Synthesizers as Social Protest in Early 1970s Funk” Joint Session (AMS/SEM/SMT): Performing Music, Noriko Manabe (Princeton University), “Remixing the Revolution: A Ty- Performing Disability pology of Intertextuality in Protest Songs, as Evidenced by Antinuclear Joseph Straus (Graduate Center, CUNY), Chair Songs of Post-Fukushima Japan” Holly Holmes (University of Illinois), “‘With a Voice Like a Gun’: Brazil- Michael Bakan (Florida State University), Michael Beckerman (New York ian Popular Music, Censorship, and Strategies of Resistance during the University), Stefan Honisch (University of British Columbia), Blake Military Dictatorship, 1964–85” Howe (Louisiana State University), Stephanie Jensen-Moulton (Brook- lyn College, CUNY), Bruce Quaglia (University of Utah) Barbara Milewski (Swarthmore College), “Peace, Love and...Concentra- tion Camp Music? Aleksander Kulisiewicz and his Concerts of Prisoners’ Politics, Propaganda, and Mourning: Songs at the West German Protest Song Festivals of the 1960s” Twentieth-Century French Topics 9:00–12:00 Carlo Caballero (University of Colorado), Chair Joint Session (AMS/SMT): Discourses of Theory Jillian Rogers (University of California, Los Angeles), “Mourning at the Piano: Marguerite Long, Maurice Ravel, and the Performance of Grief Joseph Dubiel (Columbia University), Chair in Interwar France” Anna Gawboy (Ohio State University), “What Do Music Theorists Talk Rachel Moore (Royal Holloway, University of London/New College, Ox- about When They Talk about Gender?” ford), “Patriotic Rhetoric on the Parisian Home-Front, 1914–1918: Saint- Gregory Barnett (Rice University), “Musical Polemics and the Modal Saëns’s Germanophilie as a Propaganda Prototype” Ideal, 1600–1788” Keith Clifton (Central Michigan University), “‘Une utopique évocation’? Judith Lochhead (Stony Brook University), “What is Musical Structure Competing Narratives in Honegger’s Symphonie liturgique” Anyway?” Marie-Hélène Benoit-Otis (University of North Carolina, Chapel Hill) Thomas Christensen (University of Chicago), “Fragile Texts, Hidden and Cécile Quesney (Université de Montréal/Université Paris-Sorbonne), Theory” “‘Un pèlerinage encore plus nazi que mozartien’: French Musicians at the August 2012 *IG: Interest Group SIG: Special Interest Group SG: Study Group  Viennese Mozart-Woche des Deutschen Reiches (1941)” Transmission and Historiography: the Mass Joint Session (AMS/SEM/SMT): Envisioning a “Rela­ David Rothenberg (Case Western Reserve University), Chair tional Musicology”: A Dialogue with Georgina Born Kenneth Kreitner (University of Memphis), “Spain Discovers the Mass” Tamara Levitz (University of California, Los Angeles), Chair and Michael Alan Anderson (Eastman School of Music, University of Roches- participant ter), “Mass Propers for the Mother of the Renaissance” Georgina Born (University of Oxford) 10:30–12:00 Brigid Cohen (New York University), Ryan Dohoney (University of Kan- sas), Marion A. Guck (University of Michigan), Ruth Rosenberg (Uni- Making a Musical Living in Baroque Germany versity of Illinois at Chicago), Benjamin Steege (Columbia University), Matthew D. Morrison (Columbia University) Alexander Fisher (University of British Columbia), Chair Sound, Language, and Mysticism from Vienna to L.A. Gregory Johnston (University of Toronto), “‘He subsists like a sow in a pig-sty’: Court Musicians and Strategic Debt in Seventeenth-Century Brian Kane (Yale University), Chair Germany” Clara Latham (New York University), “The Impact of Sound and Voice on Andrew Talle (Peabody Conservatory, Johns Hopkins University), “The the Invention of Psychoanalysis” Daily Life of an Organist in Bach’s Germany” Sherry Lee (University of Toronto), “‘Still, o schweige’: Music, Language, Making Sense of Thirteenth-Century Music Opern-Krise (Schoenberg’s Die glückliche Hand )” Nicholas Attfield (Edinburgh University), “A Medieval Model for the Jennifer Saltzstein (University of Oklahoma), Chair 1920s: Anton Bruckner as Mystic” Sarah Johnson (University of Cambridge), “‘Porque trobar é cousa en que J. Daniel Jenkins (University of South Carolina), “I Care If You Listen: jaz entendimento’: Pattern and Melody in the Cantigas de Santa Maria” Schoenberg’s ‘School of Criticism’ and the Role of the Amateur” Anna Grau (DePaul University), “Hearing Voices: Heteroglossia and Es- Vox Americana tates Satire in an Old French Motet” Josephine Wright (College of Wooster), Chair Joint Session (AMS/SEM/SMT): Sgt. Pepper’s Lonely Scott Carter (University of Wisconsin-Madison), “Vox Americana: Song, Hearts Club Band: Historical Context, Cultural Race, and Nation at the Turn of the Twentieth Century” Interpretations, and Musical Legacy Aaron Ziegel (University of Illinois), “‘Gloria in Excelsis’ America: Com- Walter Everett (University of Michigan), Chair mingling of the Spiritual and the Patriotic in American Operas of the 1910s” Albin Zak (University at Albany, SUNY), “Sgt. Pepper’s Lonely Hearts Club Michael Baumgartner (Cleveland State University), “Der Kuhhandel/A Band: A Phonographic Landmark” Kingdom for a Cow: Kurt Weill’s Gateway to America” Gordon Thompson (Skidmore College), “‘A Day in the Life’: The Beatles, Grant Olwage (University of the Witwatersrand), “Accompanying Paul the BBC, and Competing Constructions of Meaning” Robeson” Mark Spicer (Hunter College/Graduate Center, CUNY), “‘A Day in the Life’ and the Anxiety of the Beatles’ Influence” SATURDAY MORNING SHORT SESSIONS Twentieth-Century Music and Advertising 9:00–10:30 Joint Session (AMS/SMT): Contemporary Jazz Jason Hanley (Rock and Roll Hall of Fame and Museum), Chair Fred Maus (University of Virginia), Chair Paul Christiansen (University of Southern Maine), “‘It’s Morning Again in America’: How the Tuesday Team Revolutionized the Use of Music in Justin Williams (University of Bristol), “Maria Schneider, Digital Patron- Political Ads” age, and Composer/Fan Interactivity” Jonathan Waxman (New York University), “I Went to the New York Phil- Daniel Arthurs (University of North Texas), “Revisiting Thematic Im- harmonic and Came Home with a Cadillac: The Alliance Between Busi- provisation and Form in Jazz: Goal-Orientation in Brad Mehldau’s ness and the Arts in the Early Twentieth Century” Unrequited ”

Joint Session (AMS/SMT): Language and the Senses 12:00–2:00 American Bach Society Advisory Board Naomi Waltham-Smith (University of Pennsylvania), Chair 12:00–2:00 SMT Professional Development Committee Charles Dill (University of Wisconsin-Madison), “LeCerf’s Epistemology 12:00–2:00 SMT Committee on the Status of Women of Music” Brown Bag Open Lunch Amy M. Cimini (University of Pennsylvania), “René Descartes’ Unfin- ished Compendium of Music: Rethinking Music and the Politics of Sen- 12:00–2:00 SMT Music Cognition IG sation after the Thirty Years’ War” 12:00–5:00 AMS Committee on the Publication of Music and Gaming American Music Kiri Miller (Brown University), Chair 12:15–1:45 Lecture-Recital: Stolen Time: Temporal Shaping through Musical Markings in the Christopher Tonelli (Memorial University of Newfoundland), “The Nineteenth Century Chiptuning of the World” Sezi Seskir (Bucknell University), piano Neil Lerner (Davidson College), “Investigating the Origins of Video Game Music Style, 1977–1983: The Early Cinema Hypothesis”  AMS Newsletter 12:15–1:45 Concert: “Bringing His Audience to Tears”: 2:00–5:00 Frederick “the Great” as Composer and Back to the Source: Early Music and Manuscript Studies Performer Mary Oleskiewicz (University of Massachusetts), Anna Zayaruznaya (Princeton University), Chair flute, David Schulenberg (Wagner College/ Travis Yeager (Indiana University), “The Quaestiones in musica, Rudolph of Juilliard School), harpsichord St. Truiden, and the Medieval Classroom” 12:15–1:45 AMS Committee on Career-Related Issues, Monica Roundy (Cornell University), “Music Writing and Musical Writ- 139 Session: “Putting Your Ph.D. To Work” ing: The Appearances of Voices in Douce ” Kathryn Welter (Wellesley, Mass.), Chair; Paul Christopher Macklin (Mercer University), “The Making of a ‘plague mass’: Clement VI and the Ecclesiastical Response to the Black Death” Corneilson (Packard Humanities Institute); Mark Risinger (St. Bernard School); Suhnne Honey Meconi (University of Rochester), “The Unknown Alamire: Lost Manuscripts Reclaimed” Ahn (Peabody Conservatory, Johns Hopkins University) Borderlines of French Music, 1870–1910 12:15–1:45 AMS Council Karen Henson (Columbia University), Chair 12:15–1:45 Haydn Society of North America Fanny Gribenski (Ecole des Hautes Etudes en Sciences Sociales/Conser- General Meeting vatoire National Supérieur de Musique et de Danse), “The Church as Concert Hall: A Study of the Sainte-Cécile Feast’s Celebration by the 12:15–1:45 North American British Music Studies Association des artistes musiciens at Saint-Eustache, Paris (1847–1870)” Association Meeting Sarah Gutsche-Miller (Barnard College/Columbia), “Mme Mariquita’s 12:15–1:45 SMT Performance and Analysis IG Forgotten Ballet Revolution at the Opéra-Comique” Rachana Vajjhala (University of California, Berkeley), “Staging Beauty in 12:30–2:30 SEM Council Belle Époque Paris: Trouhanova’s 1912 Ballet Evening” 12:30–1:30 SEM Ethics Committee Steven Huebner (McGill University), “Saint-Saëns: Classic, Romantic, 12:30–1:30 American Council of Learned Societies Eclectic” (ACLS) Fellowship Opportunities Joint Session (AMS/SEM): Indigeneity, Ethnicity, and Nicole Stahlmann (ACLS) Sacred Music-Making in the Americas 12:30–1:30 Association for Korean Music Research Victoria Levine (Colorado College), Chair 12:30–1:30 SEM Gender and Sexualities Taskforce Peter J. Garcia (California State University, Northridge), “Transnational 12:30–1:30 SEM Historical Ethnomusicology SIG Ritualized Performance in La Fiesta de San Francisco in Magdalena, Sonora” 12:30–1:30 SEM SIG on Irish Music Jesus Ramos-Kittrell (Southern Methodist University), “Social Construc- 12:30–1:30 SEM South Asian Performing Arts Section tions of Ethnicity in New Spanish Sacred Music” Margaret Cayward (University of California, Davis), “Music and Mastery 12:30–1:30 SEM/SMT Music Improvisation SIG/IG in the Los Pastores Nativity Play of Mission-Era Spanish California” 2:00–3:00 SMT Business Meeting Sarah Quick (Winthrop University), “Sacred Music-Making at the Lac 3:00–3:15 SMT Awards Presentation Ste. Anne Pilgrimage in Alberta, Canada” Richard Haefer (Arizona State University), Respondent 3:30–5:00 SMT Plenary Session: Contemplating Cage At 100 Joint Session (AMS/SEM): Oral History and Cold War Judy Lochhead (Stony Brook University), Chair Studies: Methodological Perspectives and Notes from the Field David Nicholls (University of Southampton), David Bernstein (Mills Col- lege), Dora Hanninen (University of Maryland), Gordon Mumma (Uni- Sponsored by the AMS Cold War and Music SG versity of California, Santa Cruz) Joshua Pilzer (University of Toronto), Chair

SATURDAY AFTERNOON SESSIONS Laura Silverberg (University of Wisconsin-Madison), Jennifer Abraham Cramer (Louisiana State University), Jonathan Yaeger (Indiana Univer- 1:45–3:45 sity), Nicholas Tochka (Stony Brook University) Joint Session (AMS/SEM): Jazz and Nationalism: Global Amy Wlodarski (Dickinson College), Jeffers Engelhardt (Amherst Col- Narratives of Identity lege), Respondents Zbigniew Granat (Nazareth College), Chair Post-War Modernisms: Performance and/as Composition, and the Avant-garde Carol Muller (University of Pennsylvania), “Spontaneity and South Afri- can Jazz in Exile (1960–70): The Makings of a New Nation” Amy Bauer (University of California, Irvine), Chair Andrew Dewar (University of Alabama), “Hot and Cool from Buenos Ai- Jamuna Samuel (Stony Brook University), “The Politics of Musical Lan- res to Chicago: Guillermo Gregorio’s Transnational Jazz Aesthetics” guage: A Gramscian Reading of Dallapiccola’s Greek Lyrics and Settings Zbigniew Granat (Nazareth College), “Crossing the Curtain: Polish Jazz by Postwar Composers” Meets Poetry in the ‘europaische Heimat’” Delia Casadei (University of Pennsylvania), “Maderna’s Laughter” William Bares (University of North Carolina, Asheville), “Way Out East: Kate Meehan (Chillicothe, Oh.), “The Collaborative Composition of Se- Cowboys and Pioneer Women on Berlin’s Jazz Frontier” quenza III (1966)” August 2012 *IG: Interest Group SIG: Special Interest Group SG: Study Group  Vincent P. Benitez (Pennsylvania State University), “Illuminations of the Joint Session (AMS/SEM): What Does the Study of Beyond: Improvisation, Composition, and Olivier Messiaen’s Last Organ Religion Bring to the Study of Music? Concert at La Trinité ” Peter Jeffery (University of Notre Dame), Chair Sight, Sound, and Suffering: Film and TV Music Kay Kaufman Shelemay (Harvard University), Carolyn Landau (King’s Daniel Goldmark (Case Western Reserve University), Chair College London), Melvin L. Butler (University of Chicago), Stephen A. Marini (Wellesley College), Cara Polk (University of Notre Dame) Julie Brown (Royal Holloway, University of London), “Finding the Mod- ern in a Silent Film Score: the Morozko Case (1925)” Danielle Ward-Griffin (Christopher Newport University), “Thinking 5:00–7:00 University of Iowa Reception Outside the Box: Britten’s Owen Wingrave as the Television Event Expe- 5:30–6:30 BFE High Tea rienced Around the World” Paul Attinello (Newcastle University), “Who Dies? Musical/Dramatic 5:30–7:00 AMS Business Meeting and Transformations in Derek Jarman’s Last Films” Awards Presentation Maria Cizmic (University of South Florida), “The Vicissitudes of Listen- ing: Music, Empathy, and Escape in Breaking the Waves” 5:30–7:30 SMT SMT Analysis of World Music IG Staging Eighteenth-Century Music and Musicians 5:30–7:30 SMT Music Informatics IG Emily Dolan (University of Pennsylvania), Chair 5:30–7:30 SMT Popular Music IG Alison Clark DeSimone (University of Michigan), “England’s Safety in 7:30–9:30 North American British Music Studies Italian Airs: Mrs. Tofts, Signora de l’Epine, and the Politics of Rivalry on Association Reception and Musicale the London Stage, 1703–1709” Vanessa Rogers (Rhodes College), “Carnival, Culture, and the Commer- 8:00–10:00 University of Texas at Austin Reception cialization of Leisure: Music in the Early Eighteenth-Century London 8:00–11:00 University of British Columbia Alumni Fair Theatres” Reception Caryl Clark (University of Toronto) and Thomas Tolley (University of Edinburgh), “The Soul of the Philosopher: Haydn, Orpheus, and the 9:00–11:00 Indiana University Reception French Revolution” Annette Richards (Cornell University), “Portraying the Past: Anecdotes, 9:00–11:00 LSU Party Faces, and the Founding of Music History” 9:00–12:00 NYU Reception

SATURDAY AFTERNOON SHORT SESSIONS 9:30–12:00 McGill University Reception

2:00–3:30 10:00–12:00 University of Western Ontario Reception 10:00–1:00 College-Conservatory of Music, University Music and Fascism: Interwar Germany and Italy of Cincinnati Reception Brigid Cohen (University of North Carolina, Chapel Hill), Chair 10:00–1:00 Cornell Reception Davide Ceriani (Columbia University), “The Anti-La Scala: Mussolini, the Teatro Reale dell’Opera di Roma, and the Politics of Opera in Italy 10:00–1:00 Duke University Alumni Reception during the Fascist Period” Kirsten Yri (Wilfrid Laurier University), “Lebensreform and Wandervogel 10:00–1:00 Stanford University Reception Ideologies in the Medievalism of Carl Orff’s Carmina Burana” 10:00–1:00 University of California, Berkeley Alumni Popular Crossovers Reception Peter Mercer-Taylor (University of Minnesota), Chair 10:00–1:00 UCLA Musicology and Ethnomusicology Alumni Reception Kelly Hiser (University of Wisconsin-Madison), “From ‘Cloying’ to ‘Cor- nerstone’: Changes in Meanings and Contexts for the Theremin” 10:00–1:00 University of North Texas Alumni Reception Jennifer Trowbridge (Chicago, Ill.), “From Berio to Bernstein: Beatles Songs to Legitimize and Promote ‘Serious’ Music” 10:00–1:00 University of Pennsylvania Party 3:30–5:00 10:00–1:00 Yale Party

Rethinking Folk SATURDAY EVENING SESSIONS Jann Pasler (University of California, San Diego), Chair 8:00–1:00 Julius Reder Carlson (University of California, Los Angeles), “Beyond ‘Invented Tradition’: Andrés Chazarreta and the Imagining of Argentine Cage Studies Folk Music” Laura Kuhn (John Cage Trust, Bard College), Rebecca Kim (Northeastern Sindhumathi Revuluri (Harvard University), “French Folksongs and Con- University), Gordon Mumma (University of California, Santa Cruz), Da- tested Histories” vid Bernstein (Mills College), Paul Cox (Oberlin College/Case Western Reserve University), Richard Brown (University of Southern California)  AMS Newsletter Jazz Dialogues between Ibero-America and the Alison Altstatt (Indiana University), “Recovering a Lost Office for St. United States Blaise: An Investigation of Tenth-Century Compositional Process” James V. Maiello (Vanderbilt University), “Politics, Power, and… Plain- Sponsored by the AMS Ibero-American SG chant? The Formation of a Musico-Liturgical Identity at San Zeno, Alejandro L. Madrid (University of Illinois at Chicago), Chair Pistoia” Alejandro L. Madrid (University of Illinois at Chicago), “Transnational Joint Session (AMS/SEM/SMT): The City is a Medium Reinventions of the Danzón in Latin Jazz and Latin Rap” Jason Stanyek (University of Oxford), “Brazil in the Lofts: Brazilian Alexander Rehding (Harvard University), Chair Jazz(mania) in New York City, ca. 1980” Benjamin Tausig (New York University), “The City is Burning: Informal Antoni Pizà (Graduate Center, CUNY), “Modernism, Nationalism, and Musical Commerce at Urban Protest Movements” Race in the Early Jazz of Barcelona, 1900–36” Tiffany Ng (University of California, Berkeley), “An Instrument of Urban Music and Disability: Works in Progress Seminar Planning: Bells and the Sonic Remediation of Community Space in the Southeastern United States” Sponsored by the AMS Disability SG and SMT Disability SIG John Melillo (University of Arizona), “Phatic Emphatic: Listening to New Michael Bakan (Florida State University), James Deaville (Carleton Uni- York City in Downtown Poetry and Punk” versity), Stefan Honisch (University of British Columbia), Jeanette Jones Peter McMurray (Harvard University), “Rites of Passage: The Sensory To- (Boston University), Anabel Maler (University of Chicago), Julie Saiki pographies of Turkish Berlin” (Stanford University), Joseph Straus (Graduate Center, CUNY) Adam Krims (University of Nottingham), Veit Erlmann (University of Soul Music Studies Texas at Austin), Respondents Andrew Flory (Carleton College) and Mark Burford (Reed Col- Joint Session (AMS/SEM/SMT): Improvisation: lege), Moderators Object of Study and Critical Paradigm Annie Randall (Bucknell University), Robert Fink (University of Califor- Scott Currie (University of Minnesota), Chair nia, Los Angeles), Maureen Mahon (New York University), David Brack- ett (McGill University) Julie Cumming (McGill University), Roger Moseley (Cornell University), Bruno Nettl (University of Illinois), Laudan Nooshin (City University London), August Sheehy (University of Chicago), Paul Steinbeck (Wash- SUNDAY 4 November ington University in St. Louis) George E. Lewis (Columbia University), Respondent 7:00–8:45 AMS Board of Directors Music Criticism in France During the Interwar Period 7 00 8 45 : – : AMS Performance Committee (1918–1939): Advocacy, Authority, and the Shaping of 7:00–9:00 SEM Board French Music 7:00–9:00 SEM Council Leslie Sprout (Drew University), Chair 7:00–9:00 SMT 2012/2013 Program Committees Barbara Kelly (Keele University), “The Battle over New Music: Publicity 8:00–9:00 SMT Interest Groups and Standing and Patronage in Post-World War I France” Committees Danick Trottier (Université de Montréal), “Creating a Canon: Émile Vuill- ermoz and French Musical Modernism” 7:00–11:00 Speaker Ready Room Christopher Moore (University of Ottawa), “Nostalgia and Violence in 8:30–12:00 Registration the Music Criticism of L’Action française (1929–1939)” 8:30–12:00 Exhibits Nigel Simeone (Sheffield), “André Coeuroy and La Jeune France” Music and National Identities, 1850–1930 SUNDAY MORNING SESSIONS Lynn Hooker (Indiana University), Chair 9:00–12:00 Eva Branda (University of Toronto), “Speaking German, Hearing Czech, Joint Session (AMS/SMT): Apocalyptic Visions and Claiming Dvořák” Regressive Modernism: Pan-German Opera beyond the Joanne Cormac (University of Birmingham), “Liszt, Language, and Iden- Fin-de-siècle tity: A Multi-National Chameleon “ Walter Frisch (Columbia University), Chair Kelly St. Pierre (Case Western Reserve University), “Revolutionizing Czech­ness: Smetana and Propaganda in the Umělecká beseda” Christopher Hailey (Philadelphia, Pa.), Peter Franklin (Oxford Univer- sity), Sherry D. Lee (University of Toronto), Andrew Mead (Univer- Noel Verzosa (Hood College), “The French Reception of Hanslick” sity of Michigan), Alexandra Monchick (California State University, Musical Migrations Northridge) Craig Russell (California Polytechnic University, San Luis Cantus Obispo), Chair Thomas Kelly (Harvard University), Chair Dawn De Rycke (University of Chicago), “Colonial Hymnscape: Tune Barbara Haggh-Huglo (University of Maryland, College Park), “Psalmody Usage and Liturgical Identity in Mexico City Cathedral, 1530–1800” as Mode” David Kendall (La Sierra University/University of California Riverside), Elaine Hild (University of Colorado, Boulder), “From Psalter to Antiphon- “International Repertories, Locally Interpreted: Variants and Local Per- er: Re-examining St. Gallen’s Office Manuscripts and Scribal Practices” formance Practices in Mass Settings in the Spanish Colonial Philippines”

August 2012 *IG: Interest Group SIG: Special Interest Group SG: Study Group  Basil Considine (Boston University), “The Rise and Fall of Classical Music Music and Apartheid in Colonial Mauritius, ‘The Little Paris’ and Pirates’ Nest of the Indian Ocean” Gavin Steingo (University of Pittsburgh), Chair Kim Pineda (University of Oregon), “A New World Order: The Ursulines Janie Cole (Music Beyond Borders), “Soiled by Black Lips: Music against and Music from the Court of Louis XIV in Eighteenth-Century New Apartheid” Orleans” Thomas Pooley (University of Pennsylvania), “‘Never the twain shall Joint Session (AMS/SEM): Transcription and Proto- meet’: Africanist Art Music and the End of Apartheid” Ethnography in the Eighteenth Century Katherine Butler Schofield (King’s College London), Chair 10:30–12:00 David R. M. Irving (University of Nottingham), Jed Wentz (Conservato- Liszt and his Predecessors rium van Amsterdam), Adeline Mueller (University of Oxford), Glenda Goodman (The Colburn School) James Deaville (Carleton University), Chair Matthew Gelbart (Fordham University), Respondent Kenneth Hamilton (University of Cardiff), “‘Après une Lecture du Czerny’? Liszt’s Musical Models” SUNDAY MORNING SHORT SESSIONS Elizabeth Perten (Brandeis University), “Liszt as Critic: ‘On John Field’s 9:00–10:30 Nocturnes’ and the War of the Romantics” Centennial Perspectives on Samuel Coleridge-Taylor New Contexts for Two Early English Musicians (1875–1912): Twenty-four Negro Melodies and the African Diaspora Robert Shay (University of Missouri), Chair Horace Maxile (Baylor University), Chair Michael Gale (University of Southampton), “Music, Verse, and Commu- Everett N. Jones III (Wilberforce University), Piano nity in a Provincial Elizabethan Town: Re-Reading Richard Mynshall’s Lutebook” Gayle Murchison (College of William and Mary), “Perspectives on JoAnn Taricani (University of Washington), “Apprehending John Play- Coleridge-Taylor’s Twenty-four Negro Melodies” ford: Warrants, Ledgers, and Ciphers” John L. Snyder (University of Houston), “Tonal Materials and Formal Processes in the Twenty-four Melodies” Sustain: Twentieth-Century Organ in the U.S. The Critical Edition in the Digital Age Todd Decker (Washington University in St. Louis), Chair Ronald Broude (Broude Brothers Publ.), Moderator Esther Morgan-Ellis (Yale University), “Picture Palace Community Sing- Philip Gossett (University of Chicago), Johannes Kepper (Deutsche ing and the ‘Class House’” Forsch­ungsgemeinschaft), Eleanor Selfridge-Field (Stanford University/ Matthew Mihalka (University of Arkansas, Fayetteville), “From Town Hall Center for Computer Assisted Research in the Humanities), Douglas to ‘Play Ball!’: The Origins of the Baseball Organ” Woodfull-Harris (Bärenreiter Verlag)

Annual Meeting, Pittsburgh, Pennsylvania, 7–10 November 2013 Call for Papers paper’s significance for the AMS community. session proposal are components of the session Authors will be invited to revise their propos- proposal as a whole, and will not be consid- Deadline: 5 p.m. EST, als for the Program and Abstracts, distributed ered for individual presentation. Maximum 15 January 2013 at the meeting; the version read by the Pro- length: 350 words for the rationale, and 350 gram Committee may remain confidential. words for each constituent proposal. The 2013 Annual Meeting of the AMS will Maximum length: 350 words. Evening panel discussions. Evening panel be held in Pittsburgh, Pennsylvania, from Formal sessions. An organizer representing discussions are intended to accommodate Thursday 7 November to Sunday 10 Novem- several individuals may propose a Formal Ses- proposals that are amenable to a more in- ber. The Program Committee welcomes pro- sion, either a full session of four papers, or a formal exchange of ideas in a public forum posals for individual papers, formal sessions, half session of two papers. For this proposal, than in paper sessions. These can cover a wide evening panel discussions, and sessions using organizers should prepare a rationale, explain- range of topics: they may examine a central alternative formats in all areas of scholarship ing the importance of the topic and the pro- body of scholarly work, a methodology or on music. Please read the guidelines care- posed constituent papers, together with the critical approach, or lay the groundwork for fully: proposals that do not conform will not names of the organizer, participants, respon- a new research direction. Such panels should be considered. dent (if applicable), and a suggested chair- comprise participants’ brief position state- Proposals will be accepted according to the person. The organizer should also include a ments, followed by general discussion among following four categories: proposal for each paper, which conforms to panelists and audience. Panel discussions will Individual proposals. Proposals should the guidelines for individual proposals above. be scheduled for the same duration of time represent the talk as fully as possible. A suc- Formal Session proposals will be considered as full or half sessions of papers. For this pro- cessful proposal typically articulates the main as a unit and accepted or rejected as a whole. posal, organizers should outline the rationale aspects of the argument or research findings The proposed session’s consistency and coher- and issues behind the proposal, describe the clearly, positions the author’s contribution ence is an important part of the evaluation activities envisioned, and explain why each with respect to earlier work, and suggests the process. Paper abstracts included in a formal panelist has been chosen. Evening panel dis-  AMS Newsletter cussions will be considered only as a whole. pers, including those in formal sessions, the submission ceases precisely at the deadline. Maximum length: 500 words. authors of all proposals will be revealed, and In order to avoid technical problems with Daytime sessions using alternative for- additional papers will be selected from the submission of a proposal, it is strongly sug- mats. Members are encouraged to submit remaining proposals, for a total of about 190 gested that proposals be submitted at least 24 proposals for sessions utilizing alternative papers. No paper accepted during the first hours before the deadline. Due to the volume formats. Both three-hour and ninety-minute round of discussion will be eliminated in the of proposals received, proposals received after alternative format sessions may be proposed. second round. Alternative format sessions and the deadline cannot be considered. A FAQ Examples of alternative formats include, but evening panel discussions are reviewed sepa- on the proposal submission process will be are not limited to, sessions combining per- rately from individual proposals and formal available at the web site, and those planning formance and scholarship, sessions discussing sessions. to submit proposals are encouraged to review an important publication, sessions featuring Application restrictions. No one may ap- the information posted there. debate on a controversial issue, and sessions pear on the Pittsburgh program more than Proposals may also be mailed to the AMS devoted to discussion of papers posted online twice. An individual may deliver a paper Pittsburgh Program Committee, attn: Rob- before the meeting. Sessions may be proposed and appear one other time on the program, ert Judd, American Musicological Society, by an individual or group of individuals, by whether participating in an evening panel Bowdoin College, 6010 College Station, a Study Group, by a smaller society that has discussion or alternative format session, func- Brunswick ME 04011-8451, to be received by traditionally met during the Annual Meeting, tioning as a chair-organizer of a formal ses- 15 January 2013. If mailed, proposals must be or by an AMS committee wishing to explore sion, or serving as a respondent, but may not printed in 10- or 12-point single-spaced type- scholarly issues. Proposals for alternative for- deliver a lecture-recital or concert. Participa- face on one 8.5 x 11-inch or A4 page. Proposals mat sessions should outline the intellectual tion in extra-programmatic offerings such sent by regular mail must include (on a sepa- content of the session, the individuals who as interest-group meetings or standing com- rate page): the author’s name, institutional will take part, and the structure of the session. mittee presentations (e.g., the Committee on affiliation or city of residence, audio-visual re- Maximum length: 500 words. Career-Related Issues) does not count as an quirements, and full return address, including Length of presentations: Forty-five min- appearance for this purpose. e-mail address whenever possible. utes are allotted for each individual proposal Only one submission per author will be ac- Receipts will be sent to all who submit pro- and constituent formal session proposal. The cepted. Authors who presented papers at the length of presentations is limited to thirty 2012 AMS meeting may not submit propos- posals. Those who submit proposals via mail minutes in order to allow ample time for als for the 2013 meeting. Organizers of eve- should provide either an e-mail address or discussion. Formal sessions must observe the ning panel discussions or alternative format self-addressed stamped postcard for this pur- forty-five-minute slots for paper presentation sessions may not also present a formal paper pose. Receipts will be sent by the beginning and discussion. Position papers delivered as in the same year or in the preceding one, but of February 2013. part of evening panel discussions should be participants may do so. Organized, ongoing affiliated societies. no more than ten minutes long. Submission procedure. Proposals must Such groups should contact Robert Judd at Program Committee procedures: The be received by 5 p.m. EST, Tuesday 15 Janu- the AMS office about scheduling a room for Program Committee will evaluate and dis- ary 2013. Electronic proposal submission is their meetings rather than applying through cuss individual paper proposals anonymously encouraged. (A link to online submission will program committee procedures. (i.e., with no knowledge of authorship). After be provided at the AMS web site by mid-De- —Dana Gooley an initial selection of approximately 150 pa- cember.) Please note that electronic proposal Program Committee Chair

Call for Performances tions include lunch hours, afternoons, and not present both a paper and a performance Thursday evening, 7 November 2013. (or lecture-recital) at the meeting. If an indi- Deadline: 15 January 2013 Required application materials include: vidual submits proposals to both the Program 1) an application cover sheet (available from Committee and the Performance Committee The AMS Performance Committee invites the AMS office or at www.ams-net.org/pitts- and both are selected, s/he will be given an proposals for concerts, lecture-recitals, and burgh); 2) a proposed program, listing reper- early opportunity to decide which invitation other performances and performance-related tory, performer(s), and the duration of each to accept and which to decline. The AMS can events during the 2013 Pittsburgh Annual work; 3) a list of audio-visual and performance sometimes offer modest financial support for Meeting. The committee encourages propos- needs; 4) a short (100-word) biography of performance-related expenses. Please see the als that demonstrate the Society’s diversity of each participant named in the proposal; 5) for application cover sheet for proposal submis- interests, range of approaches, and geographic concerts, a one-page explanation of the sig- sion details. Materials must arrive at the AMS and chronological breadth. We welcome per- nificance of the program or manner of perfor- 5 15 formances that are inspired by or comple- mance; for lecture-recitals, a description (two office no later than p.m. EST, January 2013 ment new musicological finds,that develop a pages maximum) explaining the significance . Due to the high volume of applications, point of view, or that offer a programmatic of the program or manner of performance, exceptions cannot be made to this deadline, focus. Performances related to the meeting’s and a summary of the lecture component, so plan accordingly. Receipts will be sent to venue are especially encouraged. including information about the underlying those who have submitted proposals by the Freelance artists as well as performers and research, its methodology, and conclusions; deadline, and the committee will communi- ensembles affiliated with colleges, universi- 6) audio or visual materials (twenty min- cate its decisions by 15 April. ties, or conservatories are encouraged to sub- utes maximum) that are representative of the —Catherine Gordon-Seifert mit proposals. Available times for presenta- program and performers. An individual may Performance Committee Chair August 2012  Committee News

AMS-Music Library Association library—and considerable inconvenience and Committee on the Publication of Joint RISM Committee frustration for researchers. In the remaining American Music months of 2012, the committee hopes to de- In the February 2012 Newsletter, this column velop a Web-based form whereby users can The Committee on the Publication of Ameri- reported on Bärenreiter’s announcement in easily report to the U.S. RISM Office added can Music (COPAM) is pleased to announce late-December 2011 regarding the imminent holdings, amendments, or corrections to the the publication of a new volume of Music of release of the updated RISM A/I catalog on records for inclusion in future updates of the United States of America (MUSA) in May CD-ROM. Indeed, this past winter/spring the A/I database (ideally available itself on 2012. the database was sent out to all libraries main- the internet in the not-too-distant future). MUSA 24, Sam Morgan’s Jazz Band: Com- taining standing orders to the RISM series Meanwhile, the U.S. RISM Office welcomes plete Recorded Works in Transcription, edited (although some libraries opted to return the AMS members to send any A/I data updates by John J. Joyce, Jr., Bruce Boyd Raeburn, CD-ROM due to high cost and/or access is- via simple e-mail to Sarah Adams, Director, and Anthony M. Cummings, contains tran- sues). How to interpret the vaguely phrased at [email protected]. Please include scriptions of eight numbers from 1927 by a restrictions on library use printed on the “RISM A/I data update” in the subject line. New Orleans Jazz ensemble that, instead of portfolio housing the CD-ROM (“do not —Darwin F. Scott leaving the city, remained there and was re- lend,” for instance), plus the packaging of this corded on the musicians’ home turf. The vol- important data in an electronic format now Committee on Cultural Diversity ume includes three hymn arrangements (Sing considered outmoded or even obsolescent in Calling all members of the AMS! The Com- On, Down by the Riverside, Over in the Glory- American institutions, will likely produce ac- mittee on Cultural Diversity needs your help land), which the ensemble at first was reluc- cess policies varying widely from library to in identifying promising students considering tant to mix with dance music. On the dance doctoral work in musicology for the Eileen side, Steppin’ on the Gas uses an automobile Latin American Musicologists Southern Travel Fund Award, which supports metaphor to evoke musical energy, and the Invited to New Orleans Special travel expenses to the Annual Meeting. The provocative Short Dress Gal, based on the tune Session competition is open to members of visible “West Indies Blues,” comments on fashion in minority groups underrepresented in the dis- the roaring twenties. For musicologists ready Building on the successful 2011 AMS ini- cipline, and preference will be given to first- to dive into the New Orleans of the 1920s, the tiative that brought Chinese musicolo- time applicants. Please encourage eligible stu- AMS conference in November will present gists to the AMS San Francisco Annual dents to apply and/or to contact co-chairs Le- Morgan’s music to the ear in a concert orga- Meeting, The AMS has arranged for two onora Saavedra ([email protected]) nized by Joyce. Latin American musicologists to attend and Roe-Min Kok ([email protected]) COPAM is also glad to announce the accep- the New Orleans Annual Meeting. They if they have further questions. The deadline tance of a proposal for a new MUSA volume. will participate in a special session at for applications is 15 September 2012. For Michael Ochs is at work editing the Yiddish noontime Friday 2 November. Liliana more information, visit www.ams-net.org/ language operetta Di goldene kale, composed González Moreno (Cuba) teaches at committees/ccd/ccdtf-background.php. by Joseph M. Rumshinsky in 1923. Born in the University of Havana and the Insti- —Roe-Min Kok and Leonora Saavedra 1881 near Vilna in Lithuania, Rumshinsky tuto Superior de Arte and is a researcher emigrated to the U.S. in 1904, came to be re- at CIDMUC (Centro de Investigación Committee on Membership and ferred to as “the Jewish Victor Herbert” for y Desarrollo de la Música Cubana). She Professional Development his many musical comedies, and at the time works on Cuban urban popular music of his death in 1956 was known as the dean of The Committee on Membership and Profes- and transnationalism. In a forthcom- the world’s Yiddish operetta composers. sional Development (CMPD) is happy to re- ing book, she examines Federico Smith, —Dorothea Gail port that the Board has generously voted to a US-born composer who migrated to increase the Committee’s travel budget from Cuba after the 1959 revolution and influ- Graduate Education Committee the previous $7,200 to $8,000. We are grateful enced both avant-garde music and Nueva for this increase as we continue to receive ever Trova, one element of the Pan-Latin Following last year’s success, the Graduate larger numbers of applications every year. The American movement known as nueva Education Committee will again host a re- CMPD has already offered this year’s Profes- canción and often linked to political pro- ception for prospective graduate students at sional Development Travel Grants to eligible test. Omar Corrado (Argentina) teaches the Annual Meeting in New Orleans. The re- applicants (from among graduate students, at the University of Buenos Aires and the ception will provide an opportunity for pro- part- and full-time faculty, and independent National University of Rosario. He spe- spective students to meet faculty and students scholars) to attend the Annual Meeting in cializes in music of the twentieth century, from the schools they are considering and be- New Orleans. addressing such issues as modernism and Please consult the Committee’s web page come familiar with graduate programs across nationalism. In 2008, he received the (www.ams-net.org/committees/mpd/) for up- the country. Directors of graduate programs Casa de las Américas prize in musicology dated deadline information. The Committee in musicology will also have an opportunity for an extended essay on Juan Carlos Paz, is happy to receive questions and concerns to introduce themselves and get to know each Latin America’s first serialist composer. about how it can best serve its membership. other. The reception will take place on Friday His book Música y Modernidad en Buenos Your suggestions and comments are always 2 November at 5 p.m. in the Sheraton Grand Aires (1920–1940) was published in 2010 welcome: [email protected]. Ballroom B. The two co-chairs of the com- in Argentina. —Eftychia Papanikolaou mittee will contact schools with graduate pro-  AMS Newsletter grams at the end of August to make arrange- Russell Stinson, J. S. Bach at his Royal In- Abraham Cramer, Jonathan Yaeger, Nicholas ments for the event. strument: Essays on his Organ Works (Oxford Tochka, and Silverberg will make presenta- —Giuseppe Gerbino and David Grayson University Press); supported by the Dragan tions, Amy Wlodarski and Jeffers Engelhardt Plamenac Endowment will provide responses, and Joshua Pilzer will Publications Committee Catherine Tackley, Benny Goodman’s Fa- chair. Please join us! mous 1938 Carnegie Hall Jazz Concert (Oxford —Joy H. Calico 2012 University Press); supported by the Otto Kin- In Winter/Spring , the Publications Ecocriticism Study Group Committee awarded subventions totaling keldey Endowment $39,969 for twenty books: Denise Von Glahn, Music and the Skillful At the 2012 Joint Annual Meeting in New Todd Decker, Show Boat: Performing Race Listener: American Women Compose the Natu- Orleans, the Ecocriticism Study Group in an American Musical (Oxford University ral World (Indiana University Press); support- (ESG) will co-sponsor a pre-conference and Press); supported by the Lloyd Hibberd En- ed by the Manfred E. Bukofzer Endowment a daytime session, sponsor an evening panel, dowment Patrick Warfield, Making the March King: and hold a joint business meeting with the Emily Dolan, The Orchestral Revolution: John Philip Sousa’s Washington Years, 1854–1893 SEM Ecomusicology Special Interest Group Haydn and the Technologies of Timbre (Cam- (University of Illinois Press); supported by the (ESIG). We are also pleased to announce the bridge University Press); supported by the Manfred E. Bukofzer Endowment first volume of the Ecomusicology Newsletter, AMS 75 PAYS Endowment Heather Wiebe, Britten’s Unquiet Pasts: available at www.ams-esg.org/resources/eco- Dora Hanninen, A General Theory of Seg- Sound and Memory in Postwar Reconstruction musicology-newsletter. mentation and Associative Organization for (Cambridge University Press); supported by On Tuesday 30 October, the AMS ESG and Music Analysis (University of Rochester Press); the AMS 75 PAYS Endowment SEM ESIG, in collaboration with the New- supported by the AMS 75 PAYS Endowment Walter A. Clark and William Krause, Fed- comb Music Department at Tulane Univer- Carol A. Hess, Representing the Good Neigh- erico Moreno Torroba and the Eternal Tradition sity and the Interdisciplinary Program in the bor: Music, Difference and the Pan American in Spanish Music (Oxford University Press); Environment at Loyola University, will hold supported by the John Daverio Endowment Dream (Oxford University Press); supported “Ecomusicologies 2012,” a joint pre-confer- Ann Dhu McLucas and Norm Cohen, by the Gustave Reese Endowment ence to the 2012 Joint Annual Meeting. The MUSA Edition of British-Irish-American Song Sheryl Kaskowitz, God Bless America: The pre-conference plans to allow for virtual in- (A-R Editions); supported by the Otto Kin- Surprising History of an Iconic Song (Oxford volvement; if you are interested but will not keldey Endowment University Press); supported by the AMS 75 be in New Orleans, you may participate via In accordance with the Society’s proce- PAYS Endowment the internet. On Wednesday 31 October, at- dures, these awards were recommended by Samuel Llano, Whose Spain? Negotiating tendees will have the option to participate in the Publications Committee and approved “Spanish Music” in Paris, 1908–1929 (Oxford either the SEM pre-conference symposium by the Board of Directors. My thanks go to University Press); supported by the AMS 75 “Crisis and Creativity” or an outing that ex- the members of the Publications Commit- PAYS Endowment plores the riches of nature around New Or- tee (Susan McClary, Kay Shelemay, Thomas Drew Massey, Strange Stopping Places: John leans. Any AMS, SEM, or SMT member is Riis, Ellie Hisama, Judith Peraino, Julie Cum- Kirkpatrick Edits American Music (Boydell & welcome to register for the pre-conference ming, Robin Wallace, Elliot Antokoletz, Vic- Brewer); supported by the AMS 75 PAYS En- itself or to participate in the pre-conference tor Coelho, Jann Pasler and Christopher Rey­ outings. Conference program and further up- dowment nolds [AMS Studies]) and to Robert Judd, David Paul, Charles Ives and American Mu- dates will be posted at www.ecomusicologies. who assisted administratively. org. sic History (University of Illinois Press); sup- Those interested in applying for AMS pub- At the Joint Annual Meeting, the ESG will ported by the AMS 75 PAYS Endowment lication subventions are encouraged to do so. also co-sponsor with the ESIG the Ecomusi- Matthew Raheim, Musicking Bodies: Ges- See the program descriptions for full details cology Listening Room (ELR); the ELR is an ture and Voice in Hindustani Music (Wesleyan (www.ams-net.org/pubs/subvention.php). alternative format daytime session exploring University Press); supported by the AMS 75 Next deadlines: 15 August 2012, 15 February the relationship between sound, image, and PAYS Endowment 2013. place. The ESG evening session on “Music Jesse Rodin, Josquin’s Rome: Hearing and —Susan Youens and Nature” will be a panel of three papers Composing in the Sistine Chapel (Oxford Uni- representing the three societies at the meet- versity Press); supported by the Martin Pick- ing; three scholars will explore how beliefs er Endowment and the Claire and Barry S. Study Group News about music’s nature have shaped our rela- Brook Endowment tionship with the non-human world. The Holly Rogers, Sounding the Gallery: Video Cold War and Music Study Group ESG business meeting, held jointly with the and the Rise of Art-Music (Oxford University The Cold War and Music Study Group SEM ESIG, will be on Thursday 1 November Press); supported by the Donna Cardamone (CWMSG) invites you to our alternative-for- (5:30–6:30 p.m.). The ESG will elect a new Jackson Endowment mat daytime session in New Orleans entitled secretary-treasurer (nominations, including Joel Sachs, Henry Cowell: A Man Made of “Oral History and Cold War Studies: Meth- self-nominations, are welcome until 18 Oc- Music (Oxford University Press); supported odological Perspectives and Notes from the tober); additional agenda items include the by the Joseph Kerman Endowment Field.” Organized by Laura Silverberg, the start of planning for an international confer- Tim Shephard, Echoing Helicon: Music, panel capitalizes on the joint nature of this ence on ecomusicology and a brief demon- Art and Identity in the Este Studioli (Oxford year’s meeting as well as the interdisciplinary stration of the Ecomusicology Bibliography University Press); supported by the Margarita work of many CWMSG members, bringing via Zotero. Hanson Endowment and the Martin Picker together ethnomusicologists and musicolo- Endowment gists with an expert in oral history. Jennifer continued on page  August 2012  Study Group News like to extend a special invitation to members opera lovers, and the successful creation of an of SMT and of the Jewish Studies Interest “Early Music Day” for the local community. continued from page  Group of the Society for American Music, Keynote speaker Jason Hanley furthered the both of whom we hope to include more for- discussion with his talk on public musicol- The ESG maintains an open-door policy, mally in future conversations. For more infor- ogy at the Rock and Roll Hall of Fame. Other and all are welcome to attend our events. mation on this event as well as past activities, sessions proposed successful models of col- Visit our web site, www.ams-esg.org, to join member contact information, or news in the laboration between musicologists and music our email list, consult resources such as the field, please see our new web site: www.jew- librarians and explored a number of teaching dynamic Ecomusicology Bibliography, and ishstudiesandmusic.org. methodologies and course design questions, explore news of interest and archives of our —Lily E. Hirsch such as the use of performance-based projects activities. in music history and world music classes, a —Aaron S. Allen Music and Philosophy Study Group non-diachronic approach to first-year music history that focuses on material history, the As a follow-up to our joint session with the Ibero-American Music Study Group nature of courses on “rock music” as opposed Music and Philosophy Study Group of the to “popular music,” and the use of blogs as Royal Musical Association (RMA MPSG), The Ibero-American Music Study Group listening journals. held at the 2011 AMS meeting in San Fran- (IAMSG) looks forward to the upcoming We look forward to two events at the An- cisco, the AMS Music and Philosophy Study Annual Meeting in New Orleans. Musicolo- nual Meeting in New Orleans. The first is our Group (MPSG) collaborated in planning the gist Alejandro Madrid has organized and will Friday evening business meeting and session, RMA MPSG’s Second Annual Conference on chair IAMSG’s annual session, devoted to sponsored in conjunction with the Education Music and Philosophy, held at King’s College “Jazz Dialogues between Ibero-America and Section of the Society for Ethnomusicology London, 21–22 July 2012. We’re happy to say the United States.” Panelists Madrid, Antoni and entitled “The Music Course in General that, largely as a result of this collaboration, a Pizà, and Jason Stanyek will provide insights Education: Eliciting Student Enthusiasm and substantial number of scholars active in the on a wide variety of topics, followed by dis- Investment.” Panelists from both the SEM AMS and SMT presented at this year’s RMA cussion. This promises to be a very stimulat- (Patricia Shehan Campbell and Sarah Watts) conference, including Stephen Hinton, Mari- ing and illuminating session, and all are cor- and the AMS (Julia Chybowski, Patrick K. anne Kielian-Gilbert, Daniel Chua, George dially invited to attend and participate. Fairfield, Marjorie Roth, and session chair Lewis, and Lydia Goehr. We look forward —Walter A. Clark James R. Briscoe) will discuss the issue from to planning a similar event in America in the several different disciplinary perspectives and near future. Jewish Studies and Music Study invite the audience into a general discussion The Journal of the American Musicological Group of how to engage students in music classes Society (65/1) has published a colloquy on the for non-majors. All who are interested are musical thought of Vladimir Jankélévitch, The Jewish Studies and Music Study Group invited. The second is the open discussion convened by MPSG organizers Brian Kane (JSMSG) is pleased to announce its upcom- Friday at 6 p.m. of the proposed revision to and Michael Gallope and featuring contribu- ing session at the New Orleans Annual Meet- the Object of the Society (for more informa- tions from James Hepokoski, Judy Lochhead, ing: a collaborative joint assembly of the AMS tion, see the story on pp. 4–5). While a seem- Michael J. Puri, and James R. Currie. This JSMSG and SEM Special Interest Group for ingly minor change, the addition of “teach- publication grew out of the MPSG’s special Jewish Music (SIGJM). With the leadership ing” to the Object would formally recognize evening session on Jankélévitch, held at the of the SEM group, the JSMSG has planned that for many AMS Members, teaching is a 2010 AMS meeting in Indianapolis. a two-part meeting, moderated by Judah Co- fundamental part of their activities. With this As always, we welcome ideas about what in- hen. The first half will feature a presentation change it is not our intention to downplay or terested scholars would like the group to do by Philip Bohlman focusing on problematic weaken the Society’s traditional emphasis on next. If you have any suggestions or questions, methodology within studies on Jewish music, research, but rather to recognize a vital com- or if you would like to join our listserv, please which will serve as the basis for discussion and ponent of the Society that has been omitted contact me ([email protected]) or consideration of remedy in interdisciplinary from its formal mission statement. We hope any of the members of our Board of Organiz- collaboration. The second half will concern that AMS members will express their support ers: Seth Brodsky, Amy Cimini, Joanna De- business: dialogue regarding the goals of for this important change. mers, Michael Gallope, Brian Kane, Tamara the JSMSG as they relate to those of SEM’s Levitz, Jairo Moreno, and Holly Watkins. —Matthew Baumer SIGJM as well as communication about fu- —Stephen Decatur Smith ture cooperation between the two groups. News Briefs We hope to see at this session any interested Pedagogy Study Group parties within SEM and AMS, and we would The Greater New York Chapter of the AMS The Stanford University Archive of Re- hosted the Eighth Teaching Music History corded Sound has completed the process- Interested in AMS Committees? Day on 31 March 2012 at Rider University in ing of four significant collections under the The president would be pleased to hear Lawrenceville, N.J. One timely focus of the sponsorship of the Council on Library and from members who wish to volunteer conference was Public Musicology, specifi- Information Resources with funding from for assignments to committees. Send cally how to engage audiences beyond the tra- the Andrew W. Mellon Foundation: the Ye- your assignment request and C.V. to ditional university setting. Speakers discussed hudi Menuhin, the Jascha Heifetz, the Law- creating a web site to present musicological rence Tibbett, and the Ambassador Audito- Anne Walters Robertson, University of content to the general public, the copyright rium Collections. Details: lib.stanford.edu/ Chicago: [email protected]. implications of internet resources in classes for archive-recorded-sound/archive-recorded-  AMS Newsletter sound-hidden-collections-project-completed. previously unpublished works of all genres. It New Perspectives on the Keyboard is an open-access publication of the Society Works of Antonio Soler The Journal of Musicological Research seeks ar- for Seventeenth-Century Music under the 11–12 October 2012 ticle submissions for a special issue on “Music direction of Editor-in-Chief Janette Tilley Parador de Mojácar, Almer and World War I: 100 Years Later” to appear (Lehman College, CUNY). Details: www. www.fimte.org in late 2013 or early 2014. Submissions may sscm-wlscm.org. represent a variety of areas of inquiry that deal Musical Networks: Echo Conference: with different types of music and the groups Fondazione Arcadia, in collaboration with the 19–20 October 2012 and populations affected by, or involved Società Italiana di Musicologia, has launched Univ. of California, Los Angeles in, the Great War. Submissions and ques- a web site devoted to composer Giovanni www.echo.ucla.edu Bononcini 1670 1747 tions should be sent to Deborah Kauffman, ( – ), which includes the Società Italiana di Musicología Editor-in-Chief (deborah.kauffman@unco. first complete catalogue of his works, free 19–21 October 2012 edu). Details: www.tandf.co.uk/journals/cfp/ downloadable editions, and other resources. Cons. di musica Giuseppe Verdi, Milan gmurcfp.pdf. Details: www.bononcini.org. www.sidm.it Institute for Advanced Study The , a com- In celebration of the John Cage centennial, The Aesthetics and Pedagogy of munity of scholars focused on intellectual in- the New York Public Library (NYPL) has Charles Tournemire: Chant and John Cage Unbound: A Living Ar- quiry free from teaching and other university launched Improvisation in the Liturgy obligations, invites applications from scholars chive, an online multimedia resource devoted 21–23 October 2012 of all nationalities for membership for up to to the composer’s life and work. It features Duquesne Univ., Pittsburgh a year, either with or without a stipend. Resi- select digital images of Cage’s music manu- www.musicasacra.com/tournemire dence in Princeton is required, and members’ scripts, correspondence, programs, photo- only other obligation is to pursue their own graphs, and ephemera drawn from the NYPL. Boricua Rhythms: Puerto research. Eligibility requirements are a Ph.D. It also includes a video archive of John Cage Rico and Its Music and substantial publications. Application interpretation with emphasis on the prepara- 26–27 October 2012 deadline is 1 November 2012. Details: www. tion and performance of Cage’s works. De- University at Albany, SUNY hs.ias.edu. tails: exhibitions.nypl.org/johncage/. www.albany.edu/music/boricua_rhythms. shtml The Barry S. Brook Center for Music Re- search and Documentation of the CUNY Conferences The Rake’s Progress: Stravinsky, Hogarth, Graduate Center inaugurated 21st-Century Hockney, Auden, and Kallman Music in Society: The Lloyd Old and Con- Conference on Interdisciplinary 26–27 October 2012 12 stance Old Lectures, a series of talks and Musicology : History / Gesellschaft für University of Colorado, Boulder 2012 debates by major cultural figures addressing Musikforschung : www.colorado.edu/artssciences/british/rake/ the changing role of music in modern society. Music | Musics. Structures and Processes 4 8 2012 Challenging Musical Ontologies: The inaugural event, entitled “The Challenges – September Göttingen RMA Study Day of Modernist Music,” was given by Charles 23 2012 gfm2012.uni-goettingen.de/GfM2012/ November Rosen on 18 April 2012. Details: brookcenter. Univ. of Nottingham 21 gc.cuny.edu/projects/ st-century-music-in- Music and Politics in Britain www.nottingham.ac.uk/music/research/ society/. and Italy, 1933–1968 conferences/ Internet Resources 13–14 September 2012 Beyond Notation: An Earle King’s College London Brown Symposium News www.musicandpolitics.org.uk 18–19 January 2013 The CANTUS Database for Latin Ecclesi- Society for Music Analysis: A Northeastern University astical Chant received a grant from The An- Cerebration of Analysis www.music.neu.edu/earlebrown/ drew W. Mellon Foundation to fund the rede- 21–22 September 2012 Music and Power: Historical sign of CANTUS at the University of Water- London Problems and Perspectives in Russia, loo (Canada). This digital archive of medieval www.sma.ac.uk/event/a-cerebration-of- Eastern Europe and Eurasia manuscript indices has been redeveloped analysis/ 28 February–2 March 2013 with up-to-date software. The new web site Miami University, Oxford, Ohio includes new analytical and data-entry tools Voyages of Discovery: New www.muohio.edu/havighurstcenter intended to serve both researchers and data- Zealand Musicological Society Music in Detention: Research Perspectives base contributors. CANTUS is affiliated with 30 November–2 December 15–16 March 2013 the MARGOT research cluster of medieval University of Auckland Georg-August-Univ. Göttingen digital humanities projects and is being run musicologynz.org.nz www.uni-goettingen.de/en/364762.html collaboratively by Debra Lacoste (University Music and Theology in the of Waterloo) and Jan Koláček (Charles Uni- Richard Wagner’s Impact on European Reformations versity, Prague). Details: cantusdatabase.org. His World and Ours 19–21 September 2012 30 May–2 June, 2013 The Web Library of Seventeenth-Century KU Leuven Univ. of Leeds Music (WLSCM) has published its twenty- www.alamirefoundation.org/en/activities/ www.pvac.leeds.ac.uk/wagner2013/ fifth edition. Launched in 2005, WLSCM call-papers-music-and-theology-european- offers peer-reviewed scholarly editions of reformations continued on page  August 2012  Conferences programs includes the following: New Videos continued from page  • American Academy in Berlin • American Academy in Rome The Committee on Communication’s Music in Nineteenth-Century Britain • American Academy of Arts & Sciences initiative to collect short videos of mem- 24–27 June 2013 • American Antiquarian Society bers describing in layman’s terms what Cardiff University • American Brahms Society they do in musicology has received two www.cardiff.ac.uk/music/newsandevents/ • American Council of Learned Societies new additions in the last month: thanks events/conferences/13MNCB/ • American Handel Society are due to D. Kern Holoman (Universi- • Berlin Program for Advanced German and ty of California, Davis) and Mark Katz Calls for Papers European Studies (University of North Carolina, Chapel • Camargo Foundation Hill) for helping build the collection. • Columbia Society of Fellows in the Hu- American Handel Festival Visit the web site (www.ams-net.org/ manities 1 2012 videos/) to see these and others: CFP Deadline: September • Delmas Foundation 21 24 2013 – February • Deutscher Akademischer Austauschdienst • Remi Chiu (McGill University) Princeton Univ. • Emory University, Fox Center for Human- • Lloyd White­sell (McGill University) list.bowdoin.edu/pipermail/ams- istic Inquiry • Michael Puri (University of Virginia) announce/2012-February/003348.html • French Ministry of Foreign Affairs: Cha- • Diane Touliatos-Miles (University of Sounds from Behind the Iron Curtain: teaubriand Scholarship Missouri-St. Louis) Polish Music after World War II • Fulbright U.S. Scholar Program • Annegret Fauser (University of CFP deadline: 1 December 2012 • Guggenheim Memorial Foundation Fel- North Carolia, Chapel Hill) 6 April 2013 lowships • Victor Coelho (Boston University) University of Southern California • Harvard University Center for Italian Re- Those interested in creating a video www.usc.edu/dept/polish_ naissance Studies to add to the collection are encouraged music/2013conference.html • Humboldt Foundation Fellowships • Institute for Advanced Study, School of to contact organizer Phil Ford directly: Silent Film Sound: History, Historical Studies [email protected]. Theory and Practice • International Research & Exchanges Board CFP deadline: 15 October 2012 • Kurt Weill Foundation for Music 22–23 February 2013 • Liguria Study Center for the Arts and Hu- Policy on Obituaries Christian Albrechts Univ., Kiel manities The following, revised policy on dis- • Monash University, Kartomi Fellowship list.bowdoin.edu/pipermail/ams- cursive obituaries in the Newsletter was • National Endowment for the Humanities announce/2012-June/003537.html approved by the Board of Directors in • National Humanities Center Fellowships 2002. • Newberry Library Fellowships Grants and Fellowships 1 • Rice University, Humanities Research . The Society wishes to recognize the Many grants and fellowships that recur on Center accomplishments of members who have annual cycles are listed at the AMS web site: • Social Science Research Council died by printing obituaries in the News- www.ams-net.org/grants.php • University of London, Institute of Musical letter. Grants range from small amounts to full-year Research 2. Obituaries will normally not exceed sabbatical replacement stipends. The list of • Yale Institute of Sacred Music 400 words and will focus on music- related activities such as teaching, re- search, publications, grants, and service to the Society. 3. The Society requests that colleagues, friends, or family of a deceased member who wish to see him or her recognized by an obituary communicate that de- sire to the editor of the Newsletter. The New Orleans Convention & Visitors Bureau photo editor, in consultation with the advisory committee named below, will select the author of the obituary and edit the text for publication. 4. A committee has been appointed to oversee and evaluate this policy, to com- mission or write additional obituaries as necessary, and to report to the Board of Directors. The committee comprises the executive director (chair), the secretary of the Council, and one other member. Canal Street, New Orleans, in the French Quarter near the conference hotels  AMS Newsletter AMS Fellowships, Awards, and Prizes

Descriptions and detailed guidelines for all Claude V. Palisca Award Thomas Hampson Fund AMS awards appear in the AMS Directory for an outstanding edition or translation for research and publication in classic song and on the AMS web site. Deadline: 1 May Deadline: 15 August Publication subventions are drawn from the AMS 75 PAYS, Anthony, Brook, Bu- H. Colin Slim Award Noah Greenberg Award kofzer, Hanson, Hibberd, Jackson, Kerman, for an outstanding article by a scholar be- for outstanding performance projects Picker, Plamenac, and Reese Funds. Applica- yond the early stages of her or his career Deadline: 15 August tion deadlines are 15 February and 15 August Deadline: 1 May Eileen Southern Travel Fund each year. Ruth A. Solie Award to attend the Annual Meeting for an outstanding collection of essays Deadline: 26 September Janet Levy Travel and Research Fund Deadline: 1 May for independent scholars Robert M. Stevenson Award Paul A. Pisk Prize Deadline: 1 March for outstanding scholarship in Iberian music for an outstanding paper presented by a Deadline: 1 May graduate student at the Annual Meeting M. Elizabeth C. Bartlet Fund Deadline: 3 October for research in France Philip Brett Award Deadline: 1 March of the LGBTQ Study Group for outstanding Howard Mayer Brown Fellowship work in gay, lesbian, bisexual, and trans- for minority graduate study in musicology William Holmes/Frank D’Accone Fund sexual/transgender studies Deadline: 15 December for research anywhere Deadline: 1 July Deadline: 1 March Alvin H. Johnson AMS 50 MPD Travel Fund Dissertation-year Fellowships Jan LaRue Travel Fund to attend the Annual Meeting Deadline: 15 December for European research Deadline: 25 July Deadline: 1 March

Harold Powers World Travel Fund for research anywhere Deadline: 1 March AMS Legacy Gifts

Ora Frishberg Saloman Fund M. Elizabeth C. Bartlet for research anywhere Deadline: 1 March (1948–2005)

Teaching Fund M. Elizabeth C. Bartlet served the Society for innovative teaching projects in a number of ways, including as Council Deadline: 1 March Secretary (1994–99) and member-at-large of Eugene K. Wolf Travel Fund the Board of Directors (2004–05). But she is for European research remembered far more for her prodigious re- Deadline: 1 March search and publication in the area of French opera. Beth’s research on Méhul, including Alfred Einstein Award a monograph, a series of meticulously re- for an outstanding article by a scholar in the searched articles, and facsimile editions of the early stages of her or his career operas Mélidore et Phrosine and Stratonice, all Deadline: 1 May based upon little-known archival material, M. Elizabeth C. Bartlet opened up significant new perspectives on Otto Kinkeldey Award French music during the Revolution, Consul- likely prove fatal, she arranged to bequeath for an outstanding book by a scholar beyond ate, and Napoleonic period. Her pioneering the royalties for her music editions to the the early stages of her or his career edition of Rossini’s Guillaume Tell, performed Society. As a result, the AMS has received a 1 Deadline: May at La Scala in Milan (1988) and Covent Gar- regular series of royalty checks since 2006, den in London (1990), set a high standard amounting to about $56,000 to date. Her leg- Lewis Lockwood Award for researching and editing that composer’s acy will continue and grow through the care- for an outstanding book by a scholar in the scores. Her critical edition of Rameau’s Platée ful management of this principal. It amounts early stages of her or his career was published only weeks before her passing; to about half the value of the Bartlet Endow- Deadline: 1 May it was posthumously recognized as Finalist for ment Fund, the income from which provides Music in American Culture Award the Society’s Claude V. Palisca Award in 2006. funds for travel grants for scholars to work in for outstanding scholarship in music of the Her untimely death was mourned by many France. The Bartlet Travel Grant will continue United States friends, scholars, and AMS members. in perpetuity, thanks in large part to Beth’s Deadline: 1 May When Beth learned that her illness would thoughtfulness and foresight. August 2012  Obituaries d’histoire des textes in Paris. At the time of his death he was Adjunct Research Professor The Society regrets to inform its members of the deaths of the following members: in Musicology at the University of Maryland, College Park. Earlier he had held teaching ap- Robert Bailey, 6 July 2012 Pierluigi Petrobelli, 1 March 2012 pointments at the Free University of Brussels, Claire Brook, 8 June 2012 Steven Strunk, 20 February 2012 the University of Vienna, Princeton­ Univer- Verne Munro Eke, 9 July 2012 Julia Sutton, 1 July 2012 sity, and New York University. Michel Huglo, 13 May 2012 Richard J. Tappa, 22 December 2011 Huglo published three books and over two Michael McClellan, 28 July 2012 Rosamond McGuinness, 16 March 2012 hundred articles on the history and manu- scripts of Eastern and Western plainchant, Claire Brook (1925–2012) various countries and co-edited Festschriften late antique and medieval music theory, and for Martin Bernstein and Andrew Porter. She early organum. Eighty of these have been Writer, editor, composer, publisher—the also composed music and published a num- reprinted as a four-volume set in Ashgate’s words barely hint at the monumental per- ber of songs. In 1999, the New England Con- Variorum Collected Studies series, a dazzling sonage they describe. In her not-always-quiet servatory recognized her accomplishments display of scholarship on almost all aspects way, Claire Brook lived in and contributed with an honorary doctor of music degree. of early medieval music. Among his most im- greatly to the worlds of music she loved: his- On a personal level, I was privileged to fol- portant contributions must also rank the four tory, theory, reference, biography, and pub- low Claire at Norton, though “replacing” her inventories he prepared for RISM, two devot- lishing. was entirely out of the question. And finally, ed to manuscripts of music theory and two Many newer AMS members first encoun- according to her brother Bob, “Claire got ex- to manuscripts of the Processional. In provid- tered Claire through her work at Pendragon actly what she wanted, an exit without pain, ing guides to these sources, in his multifac- Press, a family enterprise she ran together humiliation, and stress.” She will be sorely eted research, and in his profound humanity, with her brother, ex-songwriter Bob Kessler, missed. Michel Huglo has left a priceless legacy to all and her late husband, musicologist Barry —Michael Ochs of us who work on Western music and music Brook. In its thirty-five-year existence, this theory. small family enterprise has released an as- Michel Huglo (1921–2012) —Charles M. Atkinson tounding total of 451 books, most of them Acoutrez vous d’abitz de deuil: valuable musicological studies that no other Pierluigi Petrobelli (1932–2012) publisher could or would undertake. Another musicologues et confrères, dozen or so books are in press, including The et plorez grosses larmes d’oeil: Pierluigi Petrobelli died in Venice on 1 March Complete Copland, a new one-volume edition perdu avez vostre bon père. 2012. He was the best-known Italian musicol- by Aaron Copland and Vivian Perlis, which (After Jean Molinet, Nymphes des bois) ogist of his generation and a major influence Claire was editing at the time of her death on With the death of Michel Huglo on 13 May internationally on the study of many aspects 8 June 2012 at the age of 87. 2012 the worlds of musicology and medieval of Italian music, Verdi in particular. But an earlier generation knew her as the studies lost a true giant: a brilliant scholar, a Born in Padua in 1932, Petrobelli gradu- music editor at W. W. Norton & Company, friend and mentor to generations of students ated from the University of Rome in 1957 and where she nobly served our profession for and colleagues, and a wonderfully generous, then, in what was a formative experience in twenty-three years, the last thirteen of them humane person—indeed, a bon père. his development as an international figure, as a vice president. She saw her task as dis- Elected a Corresponding Member of the studied at Princeton (1959–61) and the Uni- cerning lacunae in the music literature and AMS in 1997, Huglo was also an Honorary versity of California, Berkeley (1962–63). He spotting potential authors to fill them. She Member of the International Musicological then returned to Italy, serving as archivist in was prime mover for a remarkable list of mu- Society, a Fellow of the Medieval Academy the then-nascent Istituto di studi verdiani sic textbooks and trade books, reeling in such of America, the recipient of the Silver Medal (1964–69). After a brief period teaching in authors as Charles Hamm, Daniel Heartz, for Research from the Centre national de re- Parma and Pesaro, he moved to King’s Col- Joseph Kerman, Claude Palisca, Leon Plan­ cherche scientifique (CNRS), and an honor- lege London, where he was Lecturer (then tinga, and Charles Rosen. ary Doctor of Humane Letters, a degree con- Reader) from 1973 to 1980. In 1981 he became Claire got off to a fast start in music. She ferred upon him by the University of Chicago Professor of Music at the University of Pe- earned bachelor’s and master’s degrees by the in 1991. rugia; in 1983 he assumed the Professorship age of 21 and then studied with Nadia Bou- Huglo began his career at the Abbey of at the University of Roma “La Sapienza,” a langer in Paris, a city she lived in again several Saint-Pierre de Solesmes, studying philosophy post he held until his retirement in 2005. In years later and loved forever afterward. Back and theology (1941–47). Following work for 1980 he was elected Director of the Istituto in the U.S., she started a company that pro- Paléographie musicale on Le Graduel romain, di studi verdiani. He held visiting professor- vided accompanists for touring performers, for which he prepared volume 2, Les sources, ships at a number of universities, including mastered the now-lost arts of music copy- he became Chargé (1962) and subsequently U.C. Berkeley (1988), Harvard (1996), and ing and music autography, and managed the Directeur de recherche (1972) at CNRS. He the École normale supérieure (1989, 1997). RILM office at Queens College before being completed his Ph.D. at the Sorbonne in 1969 The bare bones of this account can give called to join Norton. with his seminal dissertation, “Les Tonaires,” little indication of the remarkable energy and Claire could always be counted on to pro- and received his doctorat d’État from Paris X achievement of Petrobelli’s career: as a musi- vide wise counsel, often with a quip and al- Nanterre in 1981. From 1973 to 1986 he taught cologist of international standing; as an ad- ways with a twinkle in her eye. In addition at the École Pratique des Hautes Études (Sor- ministrator, animateur, and public figure; as to bestowing her editorial wisdom on her bonne), and in 1976 he founded the musi- a teacher in the broadest sense. His publica- authors, she herself co-wrote music guides to cology section of the Institut de recherche et tions ranged over almost a thousand years of  AMS Newsletter Italian music, including two books on Tartini on 6 July 1917, died peacefully at his home pervised dissertations ranging from Howard (1967, 1992), a book of essays on Verdi and in Cambridge, Mass., on 12 December 2011 Mayer Brown’s on the chanson in French other composers (1994), several critical edi- at the age of 94. He taught at Harvard from theater (1959) to Rulan Chao Pian’s on musi- tions, and around two hundred articles. He 1955 to 1985 and was named the William Pow- cal sources of the Sung Dynasty (1960) and also presided over, and in most cases personal- ell Mason Professor of Music in 1961. He had Roland John Wiley’s on Tchaikovsky’s Swan ly edited, a thirty-year stream of publications studied composition privately with Darius Lake (1975). from the Verdi Istituto, including the ongoing Milhaud, obtained an M.M. from the Uni- His meticulous writings and editions mani- edition of Verdi’s correspondence, more than versity of Washington in 1942, and a Ph.D. fest his rigorous archival work, documented twenty volumes of the journal Studi verdiani, from New York University in 1953. He had in copious footnotes. One of his famous and a host of Bollettini, Atti del convegno, and taught at Michigan State from 1947 to 1953 articles began in 1967 as a review of Claude other items. In later life he received numer- and the University of Illinois from 1953 to Simpson’s The Broadside Ballad and Its Mu- ous honors and awards, including Honorary 1955. He was elected an honorary member of sic but became an indispensable supplement Membership of both the Royal Musical As- the AMS in 1988. to Simpson’s book. When he died, Ward had sociation and the International Musicological His own specialty of Renaissance music of compiled an as yet unpublished study con- Society, and Corresponding Membership of the vihuela da mano and lute was refined by taining more than twice the number of en- the AMS. He was the dedicatee of two Fest- his studies with Otto Gombosi at UW and tries found in Simpson. He produced three schriften (2000, 2002). Gustave Reese at NYU, while his fascination excellent editions of lute music, The Dublin Both through his publications and his un- with many other types of musics and their Virginal Manuscripts (1954/1983), Music for tiring advocacy, Petrobelli was a source of contexts was fostered in classes with George Elizabethan Lutes (2 vols., 1992), and The Lute inspiration to generations of musicologists Herzog at NYU and Curt Sachs at Columbia. Works of John Johnson (3 vols., 1994). studying Italian culture. More basic still, He carried these interests into his teaching His most cherished legacies are his many however, was the passionate belief he com- at Harvard, where his famous “Music 200, advisees and their students as well as the municated about the values of humanistic Introduction to Musicology” for graduate monumental collection of music that he and inquiry. His enormous circle of friends, col- students was laced with music from many his wife, Ruth Neils Ward, bequeathed to the leagues, and students will certainly mourn his cultures. He also set up the first seminars in Harvard Library. Encompassing works from loss, but more importantly, they will continue ethnomusicology at Harvard, starting in the Italian and French operas and ballets, Ger- to celebrate and gain inspiration from his life 1960s, and taught two general education man operettas, American social dances, and and achievements. courses in “Music and Narrative” and “Mu- numerous other genres, they are an extraordi- —Roger Parker sic and Ritual” (known by undergraduates nary legacy for future students. as “Saturday Night at the Rain Dance”), in —Anne Dhu McLucas 1917 2011 John Ward ( – ) which musics of many cultures were explored, John Milton Ward, born in Oakland, Calif., presaging today’s world music surveys. He su-

75 Years Ago: 1937 gress in New York was reported. the United States of America. • In its Report to the Board on Music in • AMS President Lewis Lockwood convened • Planning for the 1939 New York Interna- Secondary Education, an ad hoc commit- a session at the New Orleans annual meet- tional Musicological Congress began, and tee chaired by Claude V. Palisca “pointed ing, “Career Opportunities in Musicol- its date (1–8 September) was set. out the desirability of presenting adequate ogy,” and reactivated the dormant Com- • Planning began for a special issue of The information about education in Fine Arts mittee on Academic and Non-Academic Musical Quarterly to mark Otto Kin- to high school advisers.” Employment. He wrote, “That all of this keldey’s sixtieth birthday (November 1938). • Joseph Kerman’s The Elizabethan Madri- may be met with a certain skepticism I am • Twenty-seven members and nine guests gal, the first dissertation to appear in the well aware. Equally clearly, that skepticism attended the Annual Meeting (held in AMS series Musicological Studies and is founded on a pervasive awareness of the Philadelphia in December, together with Documents, was published. gulf that normally separates the world of the Music Teachers National Association). • George Herzog was elected the first honor- musicological thought from the greater • Howard Hanson, Eastman School of Mu- ary member of the Society. world of the media. The time is more than sic, was elected Vice President (Carl E. • At the Annual Business Meeting, Edward ripe for the professional cadre of American Seashore, State University of Iowa, was the Lowinsky proposed from the floor that other candidate). the AMS institute an annual citation for musical scholarship to do what it can to • The New England Chapter of the AMS a book by a mature scholar, and that the strengthen its influence on the communi- was founded. Society offer an annual prize for an article cation of knowledge about music in the by a younger scholar. (The first awards fol- public media.” 50 Years Ago: 1962 lowed five years later.) • Peter Jeffery received a MacArthur Fellow- ship, the first musicologist to receive the • The AMS agreed to a $250 annual contri- 25 Years Ago: 1987 bution to the International Musicological prestigious award. Society (IMS), “comparable to that of sev- • The Committee on the Publication of • A delegation of six Soviet musicologists eral European societies.” American Music received a planning grant convened a special session, “Current Soviet • The AMS board nominated Igor Stravin- from the National Endowment for the Musicology,” in New Orleans. sky for the newly instituted Balzan Prize. Humanities to prepare for a major grant • Donald Jay Grout, twice President of the • A net profit of $77 for the 1961 IMS Con- application to publish the series Music of AMS, died at age 85. August 2012  American Musicological Society Bowdoin College Nonprofit org. 6010 College Station U.S. Postage PAID Brunswick ME 04011-8451 Mattoon, IL Permit No. 217 Address service requested

Society Election Results Call for Nominations: Session Chairs, AMS Pittsburgh 2013 Next Newsletter Deadline The results of the 12 election of AMS officers and the Board of Directors: Nominations are requested for Session Chairs Items for publication in the next issue at the AMS Annual Meeting in Pittsburgh, of the AMS Newsletter must be sub- Vice President: Joseph Auner 7–10 November 2013. Please visit the web site mitted by 1 December to: Treasurer: James Ladewig (www.ams-net.org/pittsburgh) for full details. 15 Directors-at-Large: Self-nominations are welcome. Deadline: Andrew H. Weaver March 2013. Katherine Bergeron AMS Newsletter Editor Graeme Boone Catholic University of America Meetings of AMS and Related [email protected] Kate van Orden Societies Next Board Meetings 2012: The AMS Newsletter (ISSN 0402- AMS/SEM/SMT: 1–4 Nov., 012X) is published twice yearly by the The next meetings of the Board of Direc- New Orleans, La. American Musicological Society, Inc. tors will take place 31 October in New Or- CMS: 15–18 Nov., San Diego, Calif. and mailed to all members and sub- leans, and 2 March 2013 in Pittsburgh. scribers. Requests for additional cop- 2013 : ies of current and back issues of the Correction 6 10 SAM: – Mar., Little Rock, Ark. AMS Newsletter should be directed to CMS: 31 Oct.–3 Nov., Cambridge, Mass. In the list “Books and Editions Published the AMS office. SMT: 31 Oct.–3 Nov., Charlotte, N.C. by the Society” printed in the AMS pub- AMS: 7–10 Nov., Pittsburgh, Pa. All back issues of the AMS Newsletter lication Celebrating the American Musico- SEM: 14–17 Nov., Indianapolis, In. logical Society at Seventy-Five (2011), p. 123, are available at the AMS web site: one title was omitted: Newell Jenkins and 2014: www.ams-net.org/newsletter 5 9 Bathia Churgin, Thematic Catalogue of the SAM: – Mar., Lancaster, Pa. 29 2 Claims for missing issues must be Works of Giovanni Battista Sammartini: Or- CMS: Oct– Nov., St. Louis, Mo. AMS/SMT: 6–9 Nov., Milwaukee, Wis. made within 90 days of publication chestral and Vocal Music (1976). The Society SEM: 13–16 Nov., Pittsburgh, Pa. (overseas: 180 days). regrets this unfortunate omission.