AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XXXVII, NUMBER 2 August,  ISSN -X En route pour Québec! The Society’s 2007 Annual Meeting

AMS Quebec City 2007 1–4 November www.ams-net.org/quebec/

As if Rudolf Steiner (or Saturn) were guiding our calendar of meetings, the AMS resumes its seven-year Canadian cycle (Montreal , Toronto ), this time in one of the oldest and most historic places in North America, Quebec City. Our meetings will be held in the modern and superbly appointed Centre des congrès, attached by underground walk- way to the two conference hotels, the Hilton sur Vieux Québec and the Delta Québec. Located on Parliament Hill just outside the fortified walls of Old Quebec, the hotels are within walking distance to the upper and low- er sections of the historic districts. They have spectacular views of the old city, the opulent Château Frontenac, and St. Lawrence River. And of course, there is an underground shop- ping mall beneath the hotels. Quebec is a UNESCO World Heritage Copyright © Luc-Antoine Couturier, courtesy Quebec City Tourism courtesy City Quebec Couturier, Copyright © Luc-Antoine Site, a cultural treasure, and a repas fatale. The Château Frontenac and the fortifications, Quebec City, site of the Fall  AMS meeting old city features two wonderful museums, the Musée national des Beaux Arts, whose per- manent collection (much of it housed inside NEH/OPUS Match Halfway There continued on page  Good news. By the beginning of sum- and an especially generous gift from Ruth mer , gifts and pledges totaling nearly Picker, the Martin Picker and M. Elizabeth , had been certified to the National C. Bartlet endowments have begun to fund In This Issue… Endowment for the Humanities, thus assur- worthy proposals already. ing a handsome first federal payment of the President’s message ......  NEH / OPUS Challenge Grant. A full-court The Box Score Exectutive Director’s report ......  press before the meeting in Quebec City Awards, Prizes, Honors ......  Gifts and Pledges to Date: ,, hopes to find the $, in new gifts or JAMS News ......  NEH grant not yet credited: , pledges that will qualify us for receipt of all Demographic Survey ......  Total number of donors:  the proffered funds. Committee Reports......    Here is a rare case of your tax dollars com- Date Donors k k Quebec City Preliminary Program. . .    ,,    ing back to support the profession of musi- / / News from the AMS Board ......    ,,    cology. On receipt of the first payment from / / Conferences ......  the United States government, the Society   Obituaries ......  Certified eligible for NEH: , will be able to begin funding the Publication AMS Nashville ......  Still needed for full certification: Awards for Young Scholars (AMS 75 PAYS). $384,066 President-Elect Jane A. Bernstein . . .  Thanks to ongoing support from members, –– continued on page  President’s Message

What does it take to make a great orchestra? Noah Greenberg Award. For its fiftieth an- paign. Among them are funds named for A great conductor? Great musicians? A long niversary, in , the Society as a whole un- Barry and Claire Brook (publications on tradition? Those conditions are of course nec- dertook its first major endowment campaign, musical iconography), John Daverio (unre- essary, but not sufficient. A great orchestra is AMS 50, which raised money to endow four stricted), and Margarita Hanson (editions of created by establishing a strong tradition of dissertation-year fellowships. or books on music or musical culture before music-making at the very highest level. The The Society is now engaged in another en- ). These are just three; there are several task requires a conductor who is not only dowment campaign designed to insure its more to come. Among those in the offing is a great musician, but also has the ability to continued health and to promote excellence the AMS 75 Publication Award for Young hire and retain the finest musicians and mold in musical scholarship well into the future. Scholars (AMS 75 PAYS), an award that will them into an exquisite ensemble, with princi- I am speaking, of course, about: OPUS: support the publication of first books by re- pal players who are stars on their instruments. Opening Paths to Unlimited Scholarship. I see cent Ph.D.s. As most of you know, this award Hence, much as we might want to think OPUS as vitally symbolic of what we as a So- is part of the $. million dollar challenge otherwise, the road to orchestral greatness is ciety and as individual scholars do and aspire grant that the Society has recently received paved with money—not just a strong annual to do, both for ourselves and our students. from the National Endowment for the Hu- budget, but an endowment that can fund The diverse initiatives included in the cam- manities. We all can be justly excited about named chairs and buy superb instruments. paign will provide support to musicologists this award, which will expand our publica- For me, the model of a great orchestra has at every stage of their careers: undergraduates tion possibilities substantially. always been the Cleveland, first under George and terminal master’s degree candidates from And finally, once we have written the papers Szell, and then under Pierre Boulez, Loren underrepresented groups in our discipline and published the articles and books that will Maazel, and Christoph von Dohnányi. I first can receive travel grants from the Committee be encouraged by the various facets of the heard the orchestra on tour in Albuquerque on Cultural Diversity to attend the Annual OPUS Campaign, the Society can recognize  in , and was overwhelmed by its sound, Meeting of the Society. Graduate students are the best of those products by an expanded clarity, precision, and sheer musicality. That eligible for support not just from the Alvin H. array of awards: the Paul A. Pisk Prize for a impression is still true today. Hearing the Johnson AMS 50 and Howard Mayer Brown paper presented by a graduate student at the Cleveland Orchestra in Severance Hall under Fellowships, but also from the M. Eliza- Annual Meeting, the Alfred Einstein and H. their present conductor, Franz Welser-Möst, beth C. Bartlet, Harold Powers, and Eugene Colin Slim Awards honoring articles, and the is a special experience in its own right. What K. Wolf travel funds for research. Both the Lewis Lockwood and Otto Kinkeldey Awards I hadn’t realized in , though, and am es- Bartlet and the Powers funds are also open honoring books by scholars in earlier or later pecially struck by now, is the level of financial to post-doctoral students and junior faculty stages of their careers, respectively. Open to support for the orchestra on the part of both members. The Janet Levy Fund provides scholars at any stage are the Claude V. Palisca corporations and individuals. That support research support to our colleagues working Award for an edition or translation, the new manifests itself in a large number of endow- outside academe. Those same colleagues, as Ruth A. Solie Award for an edited collection ments: twenty-four programmatic funds and well as those working in institutions that do of musicological essays, and the Robert M. forty-nine endowed chairs in the orchestra not provide financial assistance for travel to Stevenson Award for an outstanding example itself. Is it any surprise that the Cleveland Orchestra can attract and keep wonderful meetings, are enabled to do that via the Pro- of scholarship in Iberian music. Assuming musicians? And the Cleveland is just one of fessional Development Travel Grants admin- that we do indeed match the NEH challenge several great orchestras in the United States, istered by our Membership and Professional grant, we shall be able to offer the new Music orchestras that are among the finest in the Development Committee. in American Culture Award, honoring books world. Any of you who have published books re- that illuminate some aspect of American mu- Thecorrelate of America’s great performing cently will know that production costs are sic in its cultural context. ensembles, in my mind, is a great scholarly en- rising steeply, and that publishers are asking I have gone on at some length about the semble, the American Musicological Society. authors to assume more and more of the fi- OPUS Campaign partly in order to inform or Like its counterparts in the orchestral world, nancial burden for producing their books. remind you about the tremendous scope of the AMS has a strong tradition of promoting With a view toward addressing some of these this program, literally offering opportunities the highest level of performance in the schol- issues, the Publications Committee and Com- to all of us at all stages of our careers. Perhaps arly realm. Its committees function in ways mittee on Career-Related Issues have invited more important, though, I find this program analogous to a symphony orchestra’s Orches- Lynne Withey, President of the Association simply exciting, especially for what it has to tra Committee and its various audition com- of American University Presses and Director offer to our students and colleagues who are mittees, both insuring the well-being of the of the University of California Press, to de- now at the outset of their careers. Opening whole and supporting the highest standards liver a talk at the upcoming Annual Meeting Paths to Unlimited Scholarship is not just a of research and publication. (at noon on Saturday  November). slogan. With all of us contributing, it will The AMS has benefited from the strong TheAMS has long had a program for book become reality. And analogous to the endow- support of its members from the very be- subventions administered by our Publications ment of a great orchestra, it will continue to ginning, but it took a special step forward Committee. Those regular subvention awards support the highest level of musical scholar- in  with the founding of both the Otto are henceforth going to be supplemented by ship both now and in the years to come. Kinkeldey and the Alfred Einstein Awards. a number of new subvention funds that are —Charles M. Atkinson Later,  marked the foundation of the coming about because of the OPUS Cam- –– AMS Quebec City 2007 toric Plains of Abraham. It will feature dinner, exciting program, found in its entirety on pp. with local specialties and fine wine, followed  to . As usual, the topics covered are as continued from page  by an AMS cabaret benefiting OPUS and fea- wide-ranging as our discipline, from Ukrai- turing the best talent from all styles within nian chant to Polish hip-hop, Cold War to the old jail) ranges from Inuit art to Quebec our ranks, including Joshua Rifkin, Rufus Cleopatra. Of particular note: Friday’s Presi- Impressionists (a Picasso exhibit will also be Hallmark, Wendy Heller, Sylvia Kahan, John dential Forum, taking up the topic of diversi- on display), and the more interactive and fun Covach, Rob Walser, Scott DeVeaux, Brian ty; Friday noon’s special event honoring Rob- Musée de la civilisation, located in the Vieux Mann, and many others. Tickets will be re- ert M. Stevenson; the ancillary meetings that Port, an old quartier that features many fine quired for this special event, with seating lim- form a kind of “AMS fringe” (Lyrica Society, bistros and chic contempo- Mozart Society, Society for rary art galleries. Of course, Seventeenth-Century Mu- just discovering Old Quebec sic, Society for Eighteenth- á pied is enjoyable, with its Century Music, Early Music many examples of seven- America, and so on). teenth-, eighteenth-, and Conference Concerts: nineteenth-century archi- The Performance Commit- tecture (tip from Victor: the tee, chaired by Bill Mahrt oldest surviving building in (Stanford University), has se- Quebec, the Maison Jacquet lected four diverse and fasci- (–), now houses a par- nating concerts, featuring di- ticularly fine restaurant, Aux verse modes of presentation: Anciens Canadiens), antique ) “Battling the Serpent: the dealers, and the charming Caput and L’homme armé quartier Petit Champlain. Traditions in Music,” with Tours can also be arranged Pomerium, directed by Al- of the Parliament Building, exander Blachly; ) “Time an imposing deuxième Em- Suspended: Deliberate Ob- pire structure within walking scurity in Unmeasured Pre- distance of the Hilton. Its lude Representation,” with main occupant these days is Vivian Montgomery, harp- the Liberal Party, led by Jean sichord; ) “From Scherzo copyright © sccq, courtesy Quebec City Convention Centre Charest, which holds just a Quebec City Convention Centre to Son: Piano Music by Cu- few more seats than the surg- ban Women Composers, ca. ing Action democratique and the Parti Qué- ited to around two hundred, so we urge you  to present,” with pianist Margaret E. becois. to reserve early. Lucia, and ) a presentation-recital by Tom With so much to explore in Quebec, cou- Program: This year’s Program Committee, Beghin and Wieslaw Woszczyk entitled “To- pled with the usual slate of alumni parties, chaired by Thomas Riis (University of Colo- wards Virtual Musicology: Recreating Acous- our one mainstage event will be a dinner and rado), has chosen presentations from the larg- tical Contexts for the Performance of Haydn’s cabaret, to be held on Friday,  November, at est group of submissions in recent memory Keyboard Music.” A list of other events taking the Musée des Beaux-Arts, located on the his- (nearly six hundred), and has put together an place in Quebec that weekend (including club fare, jazz, pop, world music etc.), as well as possibilities for excursions is being compiled AMS Annual Meeting Hotel and Airline Information by our tireless person on the ground in Que- A block of rooms is being held for the Quebec City conference attendees at two hotels adja- bec, Marie-Maude Goulet, whose invaluable cent to the Quebec City Convention Centre: Hilton Quebec, , bd René-Lévesque Est, assistance (coinciding with her pregnancy!) is Quebec, QC G1R 4P3, Canada; tel. () -; toll-free reservations () -; enormously appreciated by the entire Local and Delta Quebec, , bd. René-Lévesque Est, Quebec, QC G1R 5A8, Canada; tel. () Arrangements Committee. -; toll-free reservations () -. A link from the AMS Web site dedicated to Travel to Quebec: There are only a few di- room reservations is also available. rect flights between Quebec (code YQB) and Rooms at the Hilton are available at the special rate of $CDN  (single/double) and at major cities in the USA (Boston, Detroit, and the Delta for $CDN  (single/double), per night for reservations received no later than  Newark have flights on Delta, Northwest, and September . Please identify the AMS when making reservations. Budget .% addi- Continental, respectively). But the airport is tional for federal, provincial, and local taxes. More rooms are reserved at the Hilton than the served by many flights from Montreal and To- Delta, and most small meetings and receptions will take place at the Hilton. ronto, as wells as direct flights from Ottawa The AMS has established relationships with Continental Airlines and Air Canada for and Paris. There are four trains daily between travelers to the meeting. Continental Airlines: Use Offer Code ZCBXCNMMBW at the Montreal and Quebec City, though the com- Continental Airlines Web site (www.continental.com). If booking through a travel profes- bination of air travel to Montreal plus train is sional or Continental Airlines MeetingWorks () -, please give them the following not advised. (The Montreal airport is forty- information: Agreement Code: CNMMBW; Z Code: ZCBX. Continental Airlines promises five-minutes from the train station, and given discounts of  to  percent, as long as ten or more utilize the system with the preceding the uncertainties of baggage, flight delays, codes. Air Canada, the official Canadian airline for the conference: Use Promotion Code etc., it would be a risky venture.) But driving F9FGNKY1 when booking at the Air Canada Web site (www.aircanada.com). A ten percent from the Northeast corridor is definitely a discount is available for bookings made at the Air Canada Web site, as long as ten or more good and less expensive option, particularly take up the offer. continued on page  –– AMS Quebec City 2007 continued from page  Executive Director’s Report given the shared costs (and fun) of motor- What are the ten best books in the discipline ing together. Boston and New York are both of musicology? minded of Kinkeldey, one way or another, about seven hours by car from Quebec City. “Depends what day it is,” goes the stan- nearly every day at work. Kinkeldey was a With perhaps a stop in Montreal, this could dard response—who could possibly identify founding member of the Society, and served be a very attractive itinerary. Finally, the US a “top ten” list like this? Nevertheless, at its twice as its president. He was the first profes- Consular Services office reminds US travelers meeting last June, each member of the AMS sor of musicology at the first musicology pro- that when entering Canada from the United Publications Committee agreed to come up gram in the U.S.A. at Cornell University. His States, “U.S. citizens must show either a U.S. with their “list of the day” as one step to- name is memorialized in the most prestigious passport or other proof of U.S. citizenship, ward establishing a core list award the AMS offers. But I do not put him such as an original or certified birth certificate of books in the field to be on a pedestal. He was a reg- together with photo identification.” included in the ACLS Hu- ular fellow, as far as I can Weather: I will stick with my predictions in tell from his book, willing the previous Newsletter that the temperature manities E-Book Project (w ww.humanitiesebook. to think about history in will probably range from -° to ° C (° to new ways based on percep- ° F) in November. You should pack a coat, org), an impressive project that already contains over tive readings of well-known scarf, mittens, sensible shoes that won’t slip on documents. His work has the ice, and of course, your tuque. For Ameri- , books available on- line. The AMS will send its an aspect of courage, as it cans used to a favorable currency exchange, turned standard interpreta- the days of a % benefit are all but over. As I first list of “most important tions on their heads. I am write this, $ (US) converts to around $ books in the discipline” to very glad to have “met” Canadian (rendering such Canadian greetings the administrators of the as “You look like a million dollars, Canadian!” Humanities E-Book Project Professor Kinkeldey prior obsolete). later this year. to coming to work for the Job Interviews: A number of rooms will be Thinking about the task society he served so well. available for job interviews during the meet- is an interesting exercise, I believe that many of us ing. To reserve a room, please consult the Web and I would like to en- have similar stories about site or contact the AMS office. Job candidates books that profoundly af- courage readers to do it for Otto Kinkeldey in , aged  can sign up via the Web or (if spots are still themselves. It’s highly likely fected us and our own available) at the interview desk in the regis- that the books on your lists will not intersect research. If you have a tration area. AMS policy prohibits interviews very much with those of your friends, or with moment, draw up your own list (as short as in private rooms without appropriate sitting award winners. These lists are personal. Did you like) and rationale—the exercise almost areas. you pick the books most influential on your demands a zen-like intuitive burst. I’ll report Benefit Programs: Members of the Soci- own work? Most important to your subdisci- your responses in a future Newsletter. ety are urged to support the Committee on Cultural Diversity Travel Fund, the Howard pline? The ones you simply enjoyed reading * * * Mayer Brown endowment, and the AHJ AMS the most? What are your criteria or motives? Apart from “the usual” at the AMS office 50 endowment by contributing $ or more I would like to share one book from my list (consisting of a fairly well defined cycle of to these worthy causes. All members who in this report, mainly because it was written by work surrounding the extensive array of AMS contribute on their registration forms will re- someone who looms large in my day-to-day programs), we continue to explore ways to ceive complimentary beverage tickets for the life. Otto Kinkeldey’s Orgel und Klavier in develop our outreach to the community be- Thursday evening reception. If you contribute der Musik des Sechzehnten Jahrhunderts: ein yond the narrow borders of our discipline. $ or more, you will receive five tickets to Beitrag zur Geschichte der Instrumentalmusik We are also beginning to explore the world share with your friends. (Leipzig, Breitkopf & Härtel, ). I read it of grants and funding, partly to enable fur- Registration: All members registering on in the Bodleian Library music reading room ther outreach. Of course, the “outside world” or before  p.m. EDT  September receive the spring of , and it changed my life. is not standing still: many will have observed a discounted rate. The AMS Web site also in- That sounds either strange or absurd at first, that music critics are being cut from news- cludes online and PDF registration forms. but think about it: how many of us have been papers around the country, and a number of Scheduling: Please contact the AMS office caught in a tangled net in grad school, try- symphony orchestras are struggling to retain to reserve rooms for private parties, recep- ing to escape from beneath “the corpus” (and programs and audiences. Listening audi- tions, or reunions. Space is limited, so please it’s a lot bigger now than in )? Let’s face ences, and the media used to communicate communicate your needs as soon as possible. it: some don’t find that freedom, that voice The AMS Web site provides further informa- with them, are evolving significantly. The of their own. Their research languishes, and AMS needs to work quickly and well to es- tion. finally falls to the wayside. My research was in Student Assistants: The Local Arrange- tablish and maintain connections with both similar danger when I read Kinkeldey’s book; ments Committee seeks students to help dur- audiences and media. One project that has it was an amazing and rich revelation to me, ing the conference in return for free registra- recently moved forward involves the Maine aperçu tion and $ per hour (six hours minimum). an into an entirely new way of look- Humanities Council, who recently received a If this is of interest, please see the Web site or ing at historical materials I thought I knew startup grant from the National Endowment contact the AMS office. pretty well. Coming to an understanding of for the Humanities to develop their project —Victor Coelho Kinkeldey’s thesis freed me from the net I was “Humanities on Demand: Podcasting and Chair, Local Arrangements Committee tangled in, and I found my own voice. How the Maine Humanities Council.” Their plan could I not identify that book in my top ten? The vagaries of life are such that I am re- continued on page  –– AMS OPUS Gustafson (Franklin & Marshall College), Rebecca Harris-Warrick (Cornell University),  continued from page Lois Rosow (Ohio State University), and Carl Since the real key to success lies in dramati- Schmidt (Towson University). Gifts to both cally increasing the number of donors from funds are invited online; written pledges may our own ranks, imaginative projects to engage be addressed to any committee member, who the chapters, the departments and schools will forward them to the national office. of music, and graduate students across the —D. Kern Holoman nation are underway: the OUP/AMS Give- and Anne Walters Robertson aways , Dining for OPUS, and the like. The Capital Chapter, led by Andrew Weaver, has presented a generous contribution to the James R. Anthony OPUS campaign and challenges sister chap- ters to follow its lead. The membership of editions, of French music from Beaujoyeulx the American Musicological Society is ,, to Rameau (ca. –ca. ). The Donna which means that there remains room for Cardamone Jackson Fund honors an es- , members to step forward now. teemed scholar of early modern Italian music At that point, we can address the question whose pioneering scholarship has shed new of closing the campaign in , now being light on popular and unwritten Neapolitan thought of as “The Last illion.”M musical traditions; women in courtly cul- New Funds. The Board of Directors has ap- tures; and gender, sexuality, and eroticism. proved two new funds, which are now open The Jackson Fund is an initiative led by Paula for contributions. The James R. Anthony Higgins of the University of Nottingham; the Fund honors the memory of a leading twen- Anthony Fund is led by a committee chaired tieth-century figure among American schol- by John Hajdu Heyer (University of Wiscon- ars of French music in the seventeenth and sin, Whitewater) and including Antonia Ban- eighteenth centuries, and expects to support ducci (University of Denver), Georgia Cow- the publication of studies, including critical art (Case Western Reserve University), Bruce Donna Cardamone Jackson

AMS Fellowships, Awards, and Prizes

Descriptions and detailed guidelines for all Alfred Einstein Award for an outstanding Philip Brett Award of the LGBTQ AMS awards appear in the AMS Directory article by a scholar in the early stages of her Study Group for outstanding work in gay, and on the AMS Web site. or his career lesbian, bisexual, and transsexual/transgen- Deadline:  May der studies Howard Mayer Brown Fellowship for mi-  Otto Kinkeldey Award for an outstanding Deadline: July nority graduate study in musicology book by a scholar beyond the early stages of MPD Travel Fund to attend the Annual Deadline:  January her or his career Meeting Alvin H. Johnson AMS 50 Dissertation- Deadline:  May Deadline:  July year Fellowships Lewis Lockwood Award for an outstanding Noah Greenberg Award for outstanding Deadline:  January book by a scholar in the early stages of her performance projects Janet Levy Travel and Research Fund for or his career Deadline:  August independent scholars Deadline:  May CCD Travel Fund to attend the Annual Deadline:  January,  July Claude V. Palisca Award for an outstanding Meeting M. Elizabeth C. Bartlet Fund for research edition or translation Deadline:  September in France Deadline:  May Paul A. Pisk Prize Deadline:  March for an outstanding paper H. Colin Slim Award for an outstanding ar- presented by a graduate student at the An- Harold S. Powers World Travel Fund for ticle by a scholar beyond the early stages of nual Meeting research anywhere her or his career Deadline:  October Deadline:  March Deadline:  May Eugene K. Wolf Travel Fund for European Ruth A. Solie Award for an outstanding col- research lection of essays Deadline:  March Deadline:  May AMS Publication Subventions Robert M. Stevenson Award for outstand- Deadlines:  March,  September ing scholarship in Iberian Music Deadline:  May

–– Awards, Prizes and Honors

AMS Awards and Prizes from the Bartlet Fund is to be awarded an- AHJ AMS 50 Fellowships: Four doctoral nually to one or more doctoral students at or candidates in musicology have been selected graduates of universities in the United States for Alvin H. Johnson AMS 50 Dissertation and Canada to conduct doctoral or post- Fellowship Awards for –: Michael doctoral musicological research in France. Alan Anderson (University of Chicago), The Janet Levy Fund for Independent “Symbolizing the Saints: Theology, Ritual, Scholars supports travel and research ex- and Kinship in Music for John the Baptist penses. The first  winners are Vera Deak and St. Anne (–)”; Brigid Cohen for travel to Budapest to prepare of an edition (Harvard University), “Migrant Cosmopoli- of the complete source catalogue of Bartók’s tan Modern: Cultural Reconstruction in Ste- folksong settings; and Kara Gardner for travel fan Wolpe’s Musical Thought”; Nikos Pappas to New York to conduct research for her proj- (University of Kentucky), “Patterns in the Sa- ect “Agnes De Mille on Broadway.” cred Musical Culture of the American South The inaugural Harold Powers World Travel and West (–)”; and Noel Verzosa Fund award was given to Joshua Walden Michael Anderson (University of California, Berkeley), “The Ab- (Columbia University) for research at the AHJ AMS 50 Fellow solute Limits: Debussy, Satie, and the Cul- Béla Bartók Archives in Budapest. The award ture of French Modernism, ca. –.” Other NEH awards have been made to: is intended to encourage and assist Ph.D. • Janet Johnson (University of Southern Cal- candidates, post-docs, and junior faculty in ifornia), for work at the Newberry Library on all fields of musical scholarship to travel any- where in the world to carry out the necessary “Berlioz Between Two Worlds: Shakespeare’s work for their dissertation or other research. Romeo and Dante’s Giulietta” • Catherine Gordon-Seifert, to complete Wolf Travel Award: Three doctoral candi- her book, Music and the Language of Love in dates in musicology have been selected to re- French Airs, 1650–1700 ceive awards from the Eugene K. Wolf Travel Fund for European Research. Ewelina Bocz- • James Parsons (Missouri State University), kowska (UCLA) will travel to Poland to re- to participate in the Summer Seminar at Stan- search “The Structure of Crystal: Music, Eth- ford University, “German Exile Culture in ics, and Ideology in the Cinema of Krzysztof California,” led by Russell A. Berman. Zanussi.” Loren Ludwig (University of Vir- The Society for American Music presented the ginia) will travel to England to do research Wiley Housewright Dissertation Award for for “‘Equal to All Alike’: A Social History of the best dissertation in the field of American the Viol Consort.” And Kimberley Francis music to Jennifer L. DeLapp for “Copland (University of North Carolina) will travel to France and Switzerland for research on “Mediating Modern Music: Nadia Boulanger Constructs Igor Stravinsky.”

Valerie Dickerson Howard Mayer Brown Fellow Other Awards, Prizes and Honors National Endowment for the Humanities (NEH) Summer Stipends have been awarded to: The Howard Mayer Brown Fellowship is presented by the Society to a promising mi- • Janet Page (University of Memphis) for nority graduate student pursuing a doctoral Convents and their Music in late 17th- and degree in music. The – fellowship is 18th-Century Vienna awarded to Valerie Dickerson, Ph.D. candi- • Edmund Goehring (University of Western date in ethnomusicology (UCLA), whose dis- Ontario) for Don Juan in Purgatory: Theater sertation is titled “Are Those Congas in the and Religion in Mozart’s Vienna Pulpit? Mission, Possession, Explosion, and Other NEH awards have been given to: the Music of Cuban Protestantism.” • Philip Gossett (University of Chicago) for the critical edition of the works of Giuseppe The inaugural M. Elizabeth C. Bartlet Fund Verdi for Research in France was awarded to Willa • H. Robert Cohen (RIPM Consortium Collins (Cornell University) for research on Ltd.) for the compilation of Répertoire Inter- “Adolphe Adam’s Le Corsaire at the Paris national de la Presse Musicale (RIPM) Opéra –: a Source Study.” Support Nikos Pappas AHJ AMS 50 Fellow –– braries or special collections: Gary Galván (University of Florida), to support the re- search of Henry Cowell materials in the Ed- win A. Fleisher Collection of Orchestral Mu- sic (Free Library of Philadelphia) • The Dena Epstein Award for Archival and Library Research in American Music: R. Al- len Lott (Southwestern Baptist Theological Seminary), for research for a critical edition of nineteenth-century American hymnody for the AMS series Music in the United States of America.

Kevin Bartig (University of North Carolina, Chapel Hill) has received a Mellon/ACLS Dissertation Completion Fellowship for his dissertation “Composing for the Red Screen: Brigid Cohen Noel Verzosa Sergei Prokofiev’s Film Music.” AHJ AMS 50 Fellow AHJ AMS 50 Fellow Susan Boynton (Columbia University) Mark Kroll was awarded a grant from the in the Fifties: Music and Ideology in the Mc- has received a – Membership in the Stiftung Weimarer Klassik in Weimar, Ger- Carthy Era” (University of Maryland). School of Historical Studies at the Institute many, to conclude research for his book Jo- for Advanced Study in Princeton, N.J., and The Music Library Association has awarded hann Nepomuk Hummel: A Musician’s Life and an ACLS Fellowship, both for –. the following awards to AMS members: World, to be published by Scarecrow Press in • The Vincent H. Duckles Award for the best Ilias Chrissochoidis (Stanford, Calif.) has re- the fall. book-length bibliography or other research ceived a – Mayers Fellowship from the Roberta M. Marvin (University of Iowa) tool in music: Mary S. Lewis (University of Huntington Library in San Marino, Calif. received an American Philosophical Society Pittsburgh) for Antonio Gardano, Venetian Georgia Cowart (Case Western Reserve Uni- Franklin Research Grant for her work on the Music Printer, 1538–1569 (New York: Rout- versity) has been named – Sylvan C. iconography of the prima donna in Victorian ledge, –) and Pamela Coleman Memorial Fund Fellow London. • The Richard S. Hill Award for the best ar- in Art History at the Metropolitan Museum Ryan Minor (Stony Brook University) has ticle on music librarianship or article of a mu- of Art in New York, for her project, “Watteau, been awarded a fellowship at the Radcliffe sic-bibliographic nature: Jeremy Smith (Uni- Music, and the Musical Theater.” versity of Colorado) for “A Newly Discovered Institute for Advanced Study at Harvard Edition of William Byrd’s Psalmes, Sonets & Valeria De Lucca (Princeton University) has University for – for the project “Cho- Songs: Provenance and Significance” in Notes received a Mellon/ACLS Dissertation Com- ral Fantasies: Festivity, Nationhood, and the  (): – pletion Fellowship for her dissertation “The Chorus in Nineteenth-Century Germany.” Colonnas and Music Patronage in Rome, • The Eva Judd O’Meara Award for the best Jean-Paul C. Montagnier (University of Venice and Naples (–).” review published in Notes: Ruth A. Solie for Nancy, France) was made a Chevalier dans her review of George Grove, Music and Victori- Martha Feldman (University of Chicago) has l’Ordre des Arts et Lettres by the French Minis- an Culture, ed. Michael Musgrave (New York: been selected to present the Bloch Lectures ter of Culture in January . Palgrave, ), Notes  (): – at the University of California, Berkeley. Her W. Anthony Sheppard (Williams College) • The Carol June Bradley Award to support lecture series, “The Castrato in Nature,” will received an American Philosophical Society studies that involve the history of music li- be presented in the fall. Sabbatical Fellowship for – to fin- ish his book Extreme Exoticism: Japan in the American Musical Imagination. ACLS Activities Anne Swartz (CUNY) received a – The American Council of Learned Societies (ACLS) is an important organization of academic Short-Term Grant from the Kennan Insti- societies in humanities disciplines that awards millions of dollars in grants and fellowships each tute for Advanced Russian Studies of the year. The AMS has a strong tradition of involvement with the ACLS. Ruth A. Solie serves as Woodrow Wilson Center for Scholars for her the AMS Delegate to the ACLS. Richard Leppert was recently appointed to the ACLS Board project “Piano Makers in Russia in the Nine- of Directors, shortly after Susan McClary rotated off the Board, where she served as Chair for a teenth Century.” number of years. Thomas Christensen serves on the ACLS Ryskamp Fellowship award commit- tee, and Eleanor Selfridge-Field serves on the ACLS Digital Innovation Fellowship committee. Ralph Larry Todd (Duke University) was In the inaugural year of the Mellon/ACLS Dissertation Completion Fellowship program, two awarded the William J. Bouwsma Fellowship AMS members were awarded fellowships. For full details of the ACLS fellowship program, see of the National Humanities Center for his www.acls.org. project “Becoming Fanny Hensel: The Life and Music of Fanny Mendelssohn Hensel.”

–– JAMS News

Kate van Orden, New Editor-in-Chief Van Orden also specializes in historical per- formance on the bassoon and has more than The AMS is pleased to announce the appoint- forty CDs to her credit with ensembles in- ment of Kate van Orden as Editor-in-Chief cluding Les Arts Florissants, Tafelmusik, Phil- of JAMS for a three-year term beginning with harmonia Baroque Orchestra, and American volume  (). Bach Soloists. Van Orden is professor of music history at the University of California, Berkeley. She re- Carlo Caballero, New Review Editor ceived her Ph.D. in music history and theory at the University of Chicago in , subse- The AMS is pleased to announce the appoint- quently holding fellowships at the Warburg ment of Carlo Caballero as Review Editor of Institute in London and the Columbia Soci- JAMS for a three-year term beginning with   ety of Fellows in the Humanities. A specialist volume ( ). in sixteenth-century French history, she has Caballero is associate professor of musicol- produced major studies of vernacular culture ogy at the University of Colorado, Boulder, and the Renaissance chanson, edited a vol- where he teaches courses on the history of ume of essays on Music and the Cultures of eighteenth-, nineteenth-, and twentieth- Print, and is currently engaged in research- century music. He received his B.A. from ing the interrelationships between mate- Pomona College and his Ph.D. from the rial culture, Renaissance humanism, and the University of Pennsylvania. Caballero’s re- search has focused on music in France be- Carlo Caballero chanson in print. Her recent book, Music, JAMS Review Editor   Discipline, and Arms in Early Modern France, tween and , and he is particularly shows how music became a disciplinary agent interested in historiography, aesthetics, and new musicology.” I worried about being stuck of the absolutist state both on the battlefield analysis. He is the author of Fauré and French on one side of the battle, especially since I had and off. She reconstructed the famous eques- Musical Aesthetics and has published articles not set out in my article to be trendy. trian ballet performed for Louis XIII in , and reviews in Victorian Studies, 19th-Cen- As I begin work at the Journal, I am grate- which received its modern premiere under tury Music, The Cambridge Opera Journal, ful that those days have passed! The branding her direction at the Berkeley Festival of Early and JAMS. Recently a recipient of fellow- of old and new is behind us and the Journal Music in . Van Orden’s previous service ships from the Stanford Humanities Center publishes as broadly as ever. But with this to the Society includes membership on the and the American Philosophical Society, he opening up of new fields, the question of AMS Council, several committees, and the is writing a book about cultural continuities what makes an article a JAMS article remains editorial board of JAMS. Recent honors in- in French music from the ancien regime to crucial. What do we mean when we say “send clude the Society’s Lewis Lockwood Award. the late nineteenth century, with chapters us your best work”? Indeed, who are “we”? devoted to ballet, social dance, comic opera, The editorship of the Journal is not faceless, instrumental music, and the historiographic and it now has a new editor, a new review edi- problem of neoclassicism. tor, and eight new board members.

An Open Letter from Kate van Orden Send us your best work. I came of age in musicology to the tune of this refrain intoned by the editor of JAMS at My own methods are eclectic and balance the Society’s Annual Meetings: “Send us your several traditional strengths of our discipline best work.” with relevant theories from literary studies, This admonition sounds self-evident, but new historicism, and the social sciences. My I would never have dreamed of sending my current project concerns print culture and “Sexual Discourse . . .” article to JAMS had the sixteenth-century chanson, and in it an- thropology, cultural history, and hard-core I not been encouraged by the editor, Rich- bibliography all make their contributions ard Kramer. He accepted it, worked it over alongside straight-ahead musical analysis deftly, and ran it in  as the first article in and source study. I’m keen on everything the volume. I suspected that there was some from typesetting to Foucault’s theories of sport in Kramer’s decision to begin the year the “author-function,” and I hope that my with a little frisson, and my article’s pride of own unstandardized mix of approaches will place gave me a new perspective on the Jour- encourage you to submit your work to the nal, which I realized might be using the piece Journal regardless of its orientations. Send me to walk the line between “old” and “new” at your sketch studies, your biographies, your a time of extreme polarization. The next year, interdisciplinary studies. Subject matter is Philip Gosset’s Presidential Message lamented not an issue. Nor is length. But an article does Kate van Orden the disintegration of collegiality around “the JAMS Editor-in-Chief continued on page  –– AMS Member Demographic Survey

The AMS undertook a demographic survey of No: .% Gender   its members last academic year. We sent about No answer: . % Male: .%   , invitations to members, and received How many hours spent at the Female: .%   about , responses. Thanks are due to all principal employment? No answer:  .% who took the time and effort to fill out the survey. With this information, we can come  or more: .% Citizenship to a better understanding of the demographic -: .% US: .% make-up of the Society. -: .% Canada: .% Here follows a summary of the results. -: .% Other: .% Further information about the results is also less than : .% No answer: .% available at the AMS Web site: www.ams-net. No answer: .% Country of residence org/survey/. How many other jobs held for pay? Employment status US: .% None: .% Canada: .% Full-time .% One: .% Other: .% Work and attend school Two: .% No answer .%     (incl. grad. tch. assts.) . % Three or more: . % Race Retired .% No answer: .% Attend school full-time .% Highest degree earned White: .% Part-time (not grad. stdt.) .% Asian/Pacific Islander: .%   Independent scholar .% Ph.D.: . % Hispanic/Latino: .%   Unemployed .% M.A.: . % Black: .%   Stay-at-home .% M.Mus.: . % American Indian: .%   Other .% B.A.: . % Other: .%   No answer .% B.Mus.: . % No answer: .% D.M.A.: .% Principal place of employment M.F.A.: .% Sexual orientation   Acad. inst. awarding M.L.S.: . % Heterosexual: .%   grad. degs.: .% B.S.: . % Gay: .%   Four-year college: .% M.Phil.: . % Lesbian: .%     Non-profit organization: .% J.D.: . % Bisexual: . %     For-profit organization: .% Other: . % Queer: . %     Community/Junior college: .% No answer: . % Transgender: . % Transsexual: % K- school: .% Year degree granted (Ph.D. only, Other: .% Independent: .% 1287 total): No answer: .% Self-owned: .%  or before: .% Other: .% -: .% Areas of research No answer: .% -: .% The list of research areas identified by the sur- Employment type -: .% vey respondents shows the wonderful variety -: .% and individuality of areas of research in mu- Academic/teaching: .% -: .% sicology. A full report on topics of research is Administrative: .% -present: .% available at the Web site; a brief summary can Librarian: .% be given here. , responses were received.   Age (2197 responses) Performance: . % Thetwenty-five topics with thirty or more oc-      Writing/editorial: . % and over: . % currences are listed below. Some overlap: e.g.,       Private appl. instruction: . % - : . % if the topic was identified as “Nineteenth-     Research: .% - : . % century American music” it would be counted Other: .% -: .% both as nineteenth century and American. No answer: .% -: .%     Is the employment position - : . % Twentieth century: .% ()     primarily musicological? - : . % Nineteenth century: .% () -: .% American: .% () Yes: .%  and under: .% continued on page 

–– Committee Reports Graduate Student Leaders Launch “Dining for OPUS ” Committee on Career-Related Issues ongoing programs, the Travel Fund and the Ana Alonso-Minutti, Rob Pearson, and Alliance for Minority Participation in Musi- Erika Honisch, the student co-chairs The Committee on Career-Related Issues cology, as well as work to extend its mission of the OPUS Campaign, are making (CCRI) is pleased to offer a number of useful through new initiatives. plans to hold fund-raisers at their re- and interesting sessions at this year’s Annual All AMS members are encouraged to invite spective campuses at the beginning of Meeting. As the conference will take place their gifted undergraduates and terminal mas- in Quebec, we are hosting a panel that will ter’s degree students from traditionally under- the upcoming academic year. Before discuss opportunities and difficulties when represented minorities to apply for funding hitting the books this fall, graduate navigating professional boundaries in a global to attend the Quebec meeting. The purpose students at the University of California market. The CCRI will also feature a session of these awards is to encourage such students (Davis), Brandeis University, and the jointly sponsored with the Publications Com- to consider a career in musicology. In  University of Chicago will have the op- mittee that considers the future of scholarly ten students were funded. At the meeting we portunity to participate in the OPUS publishing in music and the humanities, with match them with a mentor and honor them Campaign and to satisfy their curi- special guest Lynne Withey, Director of the with a reception to meet faculty representa- osities about their professors’ culinary University of California Press. The CCRI tives from our Alliance institutions. Many abilities—simply by eating dinner! continues to explore the impact of technol- have subsequently been accepted into excel- At the University of Chicago, we ogy in the classroom with a session examining lent programs. Applications, available online will combine the “Dining for OPUS ” the pros and cons of Wikipedia in the college via the AMS Web site, are due on or before event with our welcome-back festivi- environment. We are pleased to announce  September. that Professor Nora Beck of Lewis and Clark ties: our usual catered dinner will be We would also like to encourage faculty complemented by dishes prepared by College has agreed to speak at our Master from all music graduate programs to encour- Teacher session on Friday afternoon. The members of the musicology faculty. age their institutions to become Alliance Each professor will explain the signifi- thriving Buddy Program will once again al- members. All it takes is a commitment to cance of his/her culinary masterpiece low newcomers to the Society an opportunity diversify their graduate student population. to attending (and suitably skeptical) to spend time with a current member, and In recognition, members will be listed in the students, who will have pledged con- there will also be a workshop where graduates  Annual Meeting Program book. students can have their CVs and cover letters At the Quebec meeting, we sincerely hope tributions to OPUS in exchange for the critiqued. that you will attend the Presidential Forum ability to request the participation of —James Davis on diversity that AMS President Charles At- specific faculty members. In this way, Committee on Cultural Diversity kinson has graciously organized with us. We students and faculty will ring in the welcome your participation in the discussion – year with full stomachs and In –, the Committee on Cultural Di- and would like to hear your suggestions as to good cheer, joining together to support versity (CCD) will continue to support its the goals of OPUS ! continued on page  Watch for pictures of our “Dining for OPUS ” events on the OPUS Web site. We hope to hear about similar events Quebec City Annual Meeting Program Selection on all campuses with musicology pro- grams—don’t hesitate to contact us, Last January, the  AMS Program Committee (Thomas Riis, chair) received about  and please send us your pictures! proposals, from which they were mandated to choose  papers—about twenty-five percent. —Erika Honisch Categorization according to chronological period or rubric was self-selected by those who sub- mitted proposals. The committee did not rely heavily on these categories when deliberating, although they strove for a healthy balance; the proposal’s quality was the primary criterion for selection. Selection details follow. Interested in AMS Committees? The president would be pleased to hear Category Received Accepted from members of the Society who wish to Medieval   volunteer for assignments to committees. Renaissance   Those interested should write Charles Seventeenth century   Atkinson, and are asked to enclose a cur- Eighteenth century   riculum vitae and identify their area(s) of Nineteenh century   interest. Twentieth/Twenty-first century   Charles Atkinson North American Music   Ohio State University Other*   School of Music Formal sessions [sessions (papers)]  ()  ()  N. College Road Columbus, OH - *Popular musics, world musical cultures, film music, and interdisciplinary topics. atkinson.@osu.edu

–– AMS ANNUAL MEETING Quebec City, 1–4 November 2007 Preliminary Program

 Musical Anachronism and Sound in Tocqueville’s New World” WEDNESDAY October Larry Hamberlin (Middlebury College), “Poor Butterfly: From Puccini 1:00–5:00 Grove Music Advisory Panel Meeting Opera to Jazz Standard” Eric Drott (University of Texas, Austin), “Free Jazz and the French Critic” 2:00–8:00 AMS Board of Directors Meeting Martin Scherzinger (Princeton University), “African Music in the Late Works of György Ligeti: Ambiguities, Resonance, Effects” THURSDAY  November Transmission of Chant Repertories 7:30–9:00 Meeting Worker Orientation Marica Tacconi (Pennsylvania State University), Chair 8:00–12:00 Board of Directors Meeting Daniel J. DiCenso (Magdalene College, University of Cambridge), “The 9:00–5:00 Registration Carolingian Liturgical Reforms: How Sacramentaries May Change Our Understanding of Chant ‘Transmission’“ 11:00–1:30 Society for Seventeenth-Century Music, Gregory Myers (Port Moody, British Columbia), “Original Hymnograph- Governing Board Meeting ic Production in Kievan Russia: Text, Music and Performance” 12:00–2:00 Membership and Professional Development Luisa Nardini (University of Texas, Austin), “Transmission and Manipulation Committee Meeting of Chant Repertories: The Masses for the Holy Cross in Medieval Italy” Jennifer Bain (Dalhousie University), “Antiphons from the Offices for Hu- 1:00–6:00 Exhibits bert and Roch”

THURSDAY AFTERNOON SESSIONS THURSDAY AFTERNOON SHORT SESSIONS 2:00–5:00 2:00–3:30 Collecting French Polyphony Retrospection Allan Atlas (Graduate Center, CUNY), Chair Arved Ashby (Ohio State University), Chair Jane Alden (Wesleyan University), “Open Borders: France, Burgundy, and Charles Youmans (Pennsylvania State University), “Subjectivity and Senti- Repertorial Exchange in the Fifteenth Century” mentality in the Late Works of Richard Strauss” John T. Brobeck (University of Arizona), “A Missing Portrait and Mathieu David Metzer (University of British Columbia), “Ligeti and the Lament” Gascongne’s Canonic Motet Ista est speciosa: New Evidence for a Reinter- Seventeenth-Century Italian Opera pretation of the Origins of MS Pepys ” Vassiliki Koutsobina (University of Cincinnati), “Le Brung’s Six-Voice Si Ellen Rosand (Yale University), Chair vous n’avez aultre desir: A Musical ‘Response’ to a Poetic Practice” Valeria De Lucca (Princeton University), “Of Patrons and Venetian The- Honey Meconi (University of Rochester / Eastman School of Music), “The aters: The Colonnas’ Patronage of Singers and the Story of the Wandering Last Chansonnier: Brussels, Bibliothèque Royale MS ” Alcasta” Hip-Hop: Identity, Geography and Voice Colleen Reardon (University of California, Irvine), “Practice and Patron- age Make Perfect: Launching an Operatic Career in Late Seventeenth- Mark Katz (University of North Carolina, Chapel Hill), Chair Century Italy” Renata Pasternak-Mazur (Rutgers University), “The Voice of ‘New Oth- 3:30–5:00 ers’: Polish Hip-Hop and Post-Socialist Transition from a Grass Root Perspective” Bodies Caroline Polk O’Meara (Chapel Hill, North Carolina), “Highways and Maureen Carr (Pennsylvania State University), Chair History: Rethinking the Early Days of Hip-Hop Music” Tamara Levitz (Graduate Center, CUNY), “Stravinsky’s Exquisite Corpses” Loren Y. Kajikawa (UCLA), “Eminem’s ‘My Name Is’: Signifyin(g) White- Scott D. Paulin (Dartmouth College), “Garbo Sings” ness, Rearticulating Race” Joseph Auner (Tufts University), “Losing Your Voice: Speech and Song in Nineteenth-Century Italian Opera Sample-Based Music” David Rosen (Cornell University), Chair International Conversations Francesco Izzo (University of Southampton), “Comic Sights: Stage Direc- Gary Tomlinson (University of Pennsylvania), Chair tions in Luigi Ricci’s Il nuovo Figaro” Andreas Giger (Louisiana State University), “New Letters from Scribe to Ruth Rosenberg (Columbia University), “‘My Compatriot the Savage’: Verdi and the ‘Problem’ of the Fifth Act of Les Vêpres Siciliennes” –– 4:00–6:00 Mozart Society of America Board Meeting 7:00–8:45 Joint Meeting of the 2007 and 2008 Annual 4:30–5:30 Development Committee Meeting Meeting Program Committees 5:15–6:15 Committee on Career-Related Issues 7:00–8:45 Student Representatives to AMS Council Conference Buddy Program Meeting Meeting 5:15–6:15 Committee on Career-Related Issues, 7:00–8:45 Howard Mayer Brown Award Committee “Teaching with Wikipedia: Pros and Cons,” Meeting Jennifer C. H. J. Wilson (Graduate Center, 7:00–8:45 Committee on Communications Meeting CUNY) and Laura Dolp (Montclair State University), Co-chairs 7:30–8:45 Alvin H. Johnson AMS 50 Dissertation Fellowship Committee Meeting 5:30–8:00 Opening Reception 7:30–9:00 American Brahms Society Board of Directors 6 00 7 00 : – : Oxford University Press Journal Reception Meeting 6:00–7:30 Journal of Musicology Editorial Board 7:30–9:00 Society for Eighteenth-Century Music Board Meeting of Directors Meeting 6:30–8:30 Journal of Seventeenth-Century Music, 8 30 5 00 Editorial Board : – : Registration 8:30–6:00 Exhibits 8:30–10:30 Committee on the Status of Women Panel Discussion: “Musicological Choices: Gender, Prestige, and the Power of Subject FRIDAY MORNING SESSIONS Specializiation,” speakers include Susan Cook (University of Wisconsin-Madison) and 9:00–12:00 Nadine Hubbs (University of Michigan) Church and Stage Music in the Eighteenth Century

9:30–11:00 Student Reception, hosted by AMS OPUS Michael Marissen (Swarthmore College), Chair Pierpaolo Polzonetti (University of Notre Dame), “Da Ponte’s and Martin THURSDAY EVENING SESSIONS y Soler’s La scuola de’ Maritati or La capricciosa corretta: An Ideological Sequel to La scola degli amanti or Così fan tutte” 8:00–11:00 Margaret Butler (University of Florida), “Performing Gluck’s Alceste in Bologna, ” Lecture-Demonstration-Performance (sponsored Jeanne Swack (University of Wisconsin), “Anti-Judaism and the Lutheran by the Performance Committee): “Towards Virtual Cantata: The Cantatas for Judica Sunday of Georg Philipp Telemann” Musicology: Recreating Acoustical Contexts for the Ulrich Leisinger (Internationale Stiftung Mozarteum), “Haydn’s Copy of Performance of Haydn’s Keyboard Music,” Tom the B Minor Mass and Mozart’s Mass in C Minor” Beghin and Wieslaw Woszczyk (McGill University) Music and Italian Poetry Panel: Wagner and Cinema Jonathan Glixon (University of Kentucky), Chair Jeongwon Joe (University of Cincinnati), Organizer Blake Wilson (Dickinson College), “Poetry and the Polyphonic Maniera Sander L. Gilman (Emory University), Moderator in Late Quattrocento Florence: A Pre-History of the Madrigal” James Buhler (University of Texas at Austin), John Deathridge (King’s Timothy McKinney (Baylor University), “Text and Shared Large-Scale College London), Thomas Grey (Stanford University), David Neumeyer Design in Two Madrigals by Willaert” (University of Texas at Austin), William H. Rosar (Journal of Film Mu- Susan Lewis Hammond (University of Victoria), “Lutherans Meet the sic), Marc A. Weiner (Indiana University) Madrigal: Martin Rinckart’s Triumphi di Dorothea (Leipzig, )” Hispanic Study Group Panel: Tradition and Janie Cole (Villa I Tatti), “The Interrelationship of Music and Poetry in Liturgy in Mexican Sacred Music Early Baroque Italy: The Case of Michelangelo Buonarroti il Giovane” Music and Theology Ana R. Alonso-Minutti (University of California, Davis), Chair Joseph Sargent (Stanford University), Jesus Ramos-Kittrell (New College Lorenzo Candelaria (University of Texas, Austin), Chair of Florida), Alejandro L. Madrid (University of Illinois at Chicago) Margot Fassler (Yale University), “Hildegard’s Ordo Virtutum: Theological Meanings and the Problem of Audience” Robert Lagueux (Columbia College Chicago), “Glimmers of Joy amidst FRIDAY  November Sorrow: The Theology of the Holy Innocents in Laon, MS ” Michael Anderson (University of Chicago), “‘Qui post me venit, ante me 7:00–8:45 Chapter Officers’ Meeting factus est’: John the Baptist and the Theological Symbolism of Imitative Counterpoint in Fifteenth and Sixteenth-Century Music” 7:00–8:45 Committee on Career-Related Issues Dana T. Marsh (Queen’s College, University of Oxford), “Iubilare uel Meeting iubilum: Conservative Polyphonic Continuities under Henry VIII’s 7:00–8:45 History of the Society Committee Meeting Reformation”

–– OUP/AMS OPUS 2007 Giveaway Contest

Dear AMS Department Chairs and Colleagues:

Through the extraordinary generosity of our good friends at Oxford University Press, we are pleased to announce contests for the following OUP items, valued at nearly $10,000, to be given away between now and the Quebec City Annual Meeting:

Four Grand Prizes: The Encyclopedia of Popular Music,4th edn. (2006), 10 vols., retail value $1,295 each Four Second Prizes: Richard Taruskin’s The Oxford History of Western Music, 6 vols. (2005), retail value $699 each Eight Third Prizes:$250 in OUP publications of your choice, as available.

Each prize can be won in four ways; a total of sixteen prizes are to be awarded. The plans are nicknamed “Allegro,” “Pesante,” “Grandioso,” and “Solo.”

• “Allegro”: 100 percent of AMS members in music departments must respond as quickly as possible; the first department to achieve full participation wins; minimum individual pledge/contribution required; deadline ASAP. • “Pesante”: the department with the highest average pledge or contribution wins; minimum total pledge/contribution required; deadline October 15. • “Grandioso”: the department with the highest total pledge or contribution wins; deadline October 15. • “Solo”: the Independent Scholar with the highest pledge or contribution wins; deadline October 15.

Support the AMS OPUS Campaign by urging your colleagues to pledge or contribute now (www.ams-net.org/opus/), and help your department win one of these prizes for the shelves of an administrative office, conference room, or library. Departments large and small, as well as Independent Scholars, are invited to participate. Contest Rules follow.

Sincerely,

D. Kern Holoman Anne W. Robertson, OPUS co-chairs

See www.ams-net.org/opus/ for additional information. • Questions? write us at [email protected] OUP/AMS OPUS 2007 GIVEAWAY CONTEST: GENERAL GUIDELINES

How will the contests work? Music Department chairs (or designated contact persons) should fill out and submit the OUP/AMS OPUS Contest Form for 2007, following the guidelines for one of the four plans described below.

Who’s eligible? All categories of AMS members, and non-members as well. Please note the following:

1) Pledges or contributions from individuals in AMS membership categories Regular, Income-less-than-30K, Joint, Sustaining, and Life will count under all plans and will meet the criteria of total departmental participation under the Allegro Plan.

2) Under the Pesante and Grandioso Plans, departments may boost their averages/totals by seeking pledges or contributions from non-AMS members.

3) Under the Allegro and Grandioso Plans, pledges or contributions from a department’s Emeritus and Student members will count toward a department’s total, but the absence of pledges/contributions from these two categories will not count against it.

4) Under the Pesante Plan, pledges or contributions from a department’s Emeritus, Student, Joint, and Low Income members will be counted in one of two ways, whichever produces the higher average pledge or contribution figure for the department: a) Emeritus, Student, Joint, and Low Income members’ pledges or contributions may be averaged in with pledges and contributions from Regular, Sustaining, and Life members; b) the average pledge or contribution of a department’s Regular, Sustaining, and Life members may be increased by adding to it the average of pledges or contributions from its Student, Emeritus, Joint, and Low Income members.

Do retrospective pledges count? Yes, pledges or contributions made at any time during the OPUS Campaign will be counted, except for pledges and contributions made by presidents of the AMS through 2009, past and present chairs of the OPUS Campaign, and anonymous donors.

When do the contests end? 15 October 2007. Winning departments will be announced at the Annual Meeting of the AMS in Quebec City in November. Decisions of the judges will be final.

Where should contest entry forms be sent? Mail, Fax, or Email Contest Form to: Robert Judd, Executive Director American Musicological Society Bowdoin College 6010 College Station Brunswick, ME 04011 Tel: (207) 798-4243 or (877) 679-7648; Fax: (877) 679-7648; E-mail: [email protected] (Deadline for receipt: 15 October 2007)

See www.ams-net.org/opus/ for additional information. • Questions? write us at [email protected] OUP/AMS OPUS 2007 GIVEAWAY CONTEST: SIXTEEN PRIZES TO BE AWARDED

CONTEST→ EPM TARUSKIN, $250 IN OHWM OUP PLAN BOOKS ↓

ALLEGRO PLAN Minimum Minimum Minimum Gist of plan: Highest total pledged in shortest individual individual pledge individual time, full departmental participation required, pledge or or contribution, pledge or minimum individual pledge/contribution contribution, $250 contribution, required, favors small departments. $500 $100 Details: The first department in which every AMS Minimum member in the required membership categories Minimum total pledge or Minimum pledges/contributes wins; deadline ASAP. total pledge or contribution, total pledge or contribution, $2.5K contribution, $2.5K $1.5K

PESANTE PLAN Minimum Minimum Minimum Gist of plan: Highest average pledge/contribution, average average pledge average pledge full departmental participation not required, pledge or or contribution, or contribution, minimum total pledge/contribution contribution, $1K. $500. required, favors departments in which $2K. participants will pledge at a high level. Details: The department with the highest average Minimum Minimum Minimum pledge/contribution from AMS members in the total pledge or total pledge or total pledge or required membership categories (and from non-AMS contribution, contribution, contribution, members, if any) wins; deadline October 15. $5K $2.5K $1.5K

GRANDIOSO PLAN Minimum Minimum Minimum Gist of plan: Highest total pledge/contribution total pledge or total pledge or total pledge or by a music department, full departmental contribution, contribution, contribution, participation not required, favors departments $5K $3.5K. $2.5K. with high numbers of pledges/contributions. Details: The department with the highest total of pledges/contributions from AMS members in the required membership categories (and from non-AMS members, if any) wins; deadline October 15. SOLO PLAN Minimum Minimum pledge Minimum The Independent Scholar with the highest pledge pledge or or contribution, pledge or or contribution wins; deadline October 15. contribution, $2.5K contribution, $2.5K $1.5K

See www.ams-net.org/opus/ for additional information. • Questions? write us at [email protected] OUP/AMS OPUS 2007 GIVEAWAY CONTEST FORM

Name of Department (or Name of Independent Scholar) ______Name of person submitting this form ______Address ______E-mail ______Contest (check one): □ EPM □ Taruskin, OHWM □ OUP Books Plan (check one): □ Allegro □ Pesante □ Grandioso □ Solo

CONTRIBUTIONS AND PLEDGES (make additional copies of this form if necessary): Name Amount and designation contact e-mail or tel.

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Contributions are tax-deductible to the full extent allowed by law. Pledges may be made by recurring bank account or credit card debit (monthly or quarterly), or by annual payment (statements sent each December). Those pledging will be contacted directly by the AMS office to confirm payment instructions and details. Pledges may be earmarked for specific designated funds as follows: please see the Web site or contact us for further details.

General Publications MAIL, FAX, OR EMAIL CONTEST FORM TO: AMS 75 PAYS Fund, to be used in con- James R. Anthony • The Fund ROBERT JUDD, EXECUTIVE DIRECTOR junction with the NEH Challenge Grant • The Barry and Claire Brook Fund AMERICAN MUSICOLOGICAL SOCIETY Fellowships • The John Daverio Fund BOWDOIN COLLEGE • The Alvin H. Johnson AMS 50 • The Donna Cardamone Jackson Fund 6010 COLLEGE STATION Fellowship Fund • The Joseph Kerman Fund BRUNSWICK, ME 04011 • The Howard Mayer Brown • The Martin Picker Fund TEL: (207) 798-4243 OR (877) 679-7648; Fellowship Fund • The H. Wiley Hitchcock / MUSA Fund FAX: (877) 679-7648; E-MAIL: [email protected] Research and Travel • The Lenore Coral / RILM Fund • The M. Elizabeth C. Bartlet Fund • The Cultural Diversity Travel Fund • The Jan LaRue Fund • The Janet Levy Fund • The Harold Powers World Travel Fund • The Eugene K. Wolf Fund See www.ams-net.org/opus/ for additional information. • Questions? write us at [email protected] Music and the Textual Condition: Editorial Theory 12:30–1:45 Lecture-recital (sponsored by the and Practice in the Twenty-First Century Performance Committee): “Time Helen Greenwald (New England Conservatory), Chair Suspended: Deliberate Obscurity in Unmeasured Prelude Representation,” Ronald Broude (Broude Brothers Limited), “Emancipating Music” Vivian Montgomery, harpsichord Wayne Shirley (Library of Congress), “The Theatre Guild Porgy and Bess 12:30–2:00 Friends of Stony Brook Reception as Production Text” Stanley Boorman (New York University), “Transmitting Performance Practice” FRIDAY AFTERNOON SESSIONS Philip Gossett (University of Chicago), “Puccini and the Eclectic Edition” Re-imagining the Pastoral: Discourses of Loss and 2:00–5:00 Remembrance in Early Twentieth-Century English Music It’s a Man’s World Byron Adams (University of California, Riverside), Chair Susan C. Cook (University of Wisconsin-Madison), Chair Eric Saylor (Drake University), “‘It’s not Lambkins frisking at all’: English Maxine Fawcett-Yeske (Nebraska Wesleyan University), “Olgivanna Lloyd Pastoral Music and Postwar Arcadia” Wright: The Music of Taliesin” Daniel Grimley (University of Nottingham), “Landscape and Distance: David Josephson (Brown University), “The Double Exile of Kathi Meyer- Modernism, Vaughan Williams and the Symphonic Pastoral” Baer” Aidan Thomson (Queen’s University, Belfast), “Bax and the ‘Celtic North’ Ruth Sara Longobardi (University of Richmond), “Performing Patty Hearst: as a Critique of English Pastoralism” Gender, Genre, and Technologies of Sound in Late-Century America” Stephen Downes (University of Surrey), “Modern Maritime Pastoral: Benjamin Piekut (Columbia University), “Gender and the New Thing: Wave Deformations in the Music of Frank Bridge” The Case of the Jazz Composers Guild” FRIDAY MORNING SHORT SESSIONS Nineteenth-Century German Musical Culture Roe-Min Kok (McGill University), Chair 9:00–10:30 American Avant-Garde Rufus Hallmark (Rutgers University), “The Literary and Musical Rhetoric of Apostrophe in Winterreise” Robert Fink (UCLA), Chair Susan Boynton (Columbia University) and Daniel Harkett (Rhode Island Kelsey Cowger (UCLA), “On Defeating Theater: Art, Objecthood and the School of Design), “Fanny and Wilhelm Hensel’s Das Jahr” Music of Fluxus” John Deathridge (King’s College London), “Wagner’s Tristan Factory” Amy Wlodarski (Dickinson College), “A Map of (Mis)hearing: Steve Sanna Pederson (University of Oklahoma), “The Missing History of Ab- Reich’s Different Trains” solute Music” 10:30–12:00 Respecting Authority Composers and the Painterly Eye David E. Cohen (Columbia University), Chair Richard Leppert (University of Minnesota), Chair Nancy Washer (SUNY, Brockport), “Horace or al-Mubashshir ibn Fatik?: The Surprising Source of Folquet de Marseille’s ‘Ugly Painting’ Image” Thomas Grey (Stanford University), “Wagner and the style Makart” Andrew Hicks (Univeristy of Toronto), “New Texts and Contexts for Ryan W. Dohoney (Columbia University), “‘Allying Necessity with Unpre- Twelfth-Century Music Theory” dictability’: Morton Feldman’s Early Music and Ideologies of Abstraction” Fred Flindell (Berlin, Germany), “New Findings Respecting the Nature and Origins of the Notre Dame Modal Polyphony” 12:00–1:15 Society for Seventeenth-Century Music, Jennifer Saltzstein (University of Oklahoma), “Refrain Citation and Gene- Business Meeting alogies of Authority in Thirteenth-Century Arras” 12:00–1:30 Committee on Cultural Diversity: Reception Twentieth-Century Politics for Travel Fund Recipients, Associates, and Alliance Representatives Danielle Fosler-Lussier (Ohio State University), Chair 12:00–2:00 Mozart Society of America Meeting Margaret Notley (University of North Texas), “Alban Berg’s ‘Propaganda’ Pieces: Questions of Genre and Meaning” 12:15–1:15 Committee on Career-Related Issues: James A. Grymes (University of North Carolina, Charlotte), “Ernst von “Master Teacher Session: Nora Beck,” Jim Dohnányi and the ‘Kodály Question’” Davis (SUNY-Fredonia), Chair Dennis Hutchison (University of Northern Iowa), “Hermann Scherchen, 12:15–1:45 Reception in honor of Robert Stevenson Elias Canetti, and the Straßburg Arbeitstagung, ” 12:15–1:45 LGBTQ Study Group, Program and Rachel Beckles Willson (Royal Holloway, University of London), “Ligeti Business Meeting and the Hungarian Musicians’ Union” 12:15–1:45 Lyrica Society Paper Session 12:30–1:30 International Alliance for Women in Music, Open Reception

–– FRIDAY AFTERNOON SHORT SESSIONS 6:45–10:00 OPUS Cabaret (at the Quebec Musée des 2:00–3:30 Beaux Arts) The Americas: North and South 7:30–9:00 Society for Eighteenth-Century Music John Koegel (California State University, Fullerton), Chair Meeting 9:00–12:00 University of Pittsburgh Alumni and Friends Heidy K. Ximenes (University of Kentucky), “Carnival, Religion, and Afoxés: Musical Mixture in the Carnival of Salvador” Reception Michelle Hakanson (University of Oregon), “La Querelle du Nigog: Rud- 9:00–12:00 University of Chicago Alumni Reception hyar’s Early Influence in Montreal” 10:00–12:00 LGBTQ Study Group Party Female Patrons 10:00–12:00 Columbia University Department of Music Kelley Harness (University of Minnesota), Chair Reception Ted Dumitrescu (Universiteit Utrecht), “The Chapel Musicians of Louis XII and Anne de Bretagne at Blois: New Documents, New Singers, and FRIDAY EVENING SESSIONS a Prioris Problem” 8:00–11:00 Nina Treadwell (University of California, Santa Cruz), “‘Now I come to you, ladies, after so much time’: Cleopatra, Maria d’Aragona, and an Panel: Critical Domains: Music Journalism, intermedio for the Duchess of Alba” Reception Studies and the Public, 1800–1920 3:30–5:00 Dana Gooley (Brown University), Chair Musicology and Its Institutions Celia Applegate (University of Rochester), Katharine Ellis (Royal Hollo- Robert Judd (American Musicological Society), Chair way, University of London), Benjamin Walton (University of Cambridge), Alexandra Wilson (Oxford Brookes University) Rosemary Golding (Royal Holloway, University of London), “Musical Chairs: The Construction of ‘Music’ in Nineteenth-Century British Uni- Cold War and Music Study Group Session: Music and Politics versities” in the Early Cold War: Recent Approaches, Future Directions Steve Swayne (Dartmouth College), “American Musicology at the Cross- Peter J. Schmelz (Washington University in St. Louis), Chair roads, Contemporary Music in the Crosshairs: The Ideological Battle at G. Schirmer, Inc. at the End of World War II” Phil Ford (Indiana University), Tamara Levitz (University of California, Los Angeles), Laura Silverberg (Columbia University), Leslie Sprout (Drew The Art of Dying University), Danielle Fosler-Lussier (Ohio State University), respondent Mark Davenport (Regis University, Denver), Chair Loren Ludwig (University of Virginia), “The Viol Consort and the Perfor- SATURDAY  November mance of Melancholy in Early Modern England” Janette Tilley (Lehman College / CUNY), “Learning from Lazarus: Lu- 7:00–8:45 AMS/MLA Joint RISM Committee Meeting theranism and the Seventeenth-Century ars moriendi” 7:00–8:45 Committee on the Status of Women Meeting 7:00–8:45 Publications Committee Meeting 5:00–6:30 Rice University Alumni Reception 7:00–8:30 Alexander Street Press Breakfast Reception 5:00–7:00 Duke University Alumni Reception 7:30–8:45 Committee on Cultural Diversity Business 5:15–6:15 Committee on Career-Related Issues: Meeting “Landing a Job in a Global Market,” Wayne Heisler (The College of New Jersey) and Mary 7:30–9:00 A-R Recent Researches Series Editors’ Ingraham (University of Alberta), Co-chairs Meeting 5:15–6:15 Presidential Forum: “Diversity: Strengths 7:30–9:30 Journal of Musicological Research Editorial and Challenges” Board Meeting 5:15–6:30 JAMS Editorial Board Meeting 8:00–9:00 Verdi Forum Editorial Board Meeting 5:30–6:30 Singing from Renaissance Notation, directed 8:30–5:00 Registration by Valerie Horst and hosted by Early Music 8:30–6:00 Exhibits America 5:30–6:30 University of Illinois School of Music SATURDAY MORNING SESSIONS Alumni Reception 9:00–12:00 5:30–7:30 University of North Carolina at Chapel Hill Analyzing Jazz Alumni Reception Tammy Kernodle (Miami University), Chair 6:00–8:00 Florida State University School of Music Alumni Reception Lisa Barg (McGill University), “Strayhorn’s Lorcian Encounter” Scott DeVeaux (University of Virginia), “Multiphrenia: Race, Mental 6:30–8:00 Oxford University Press Reception Health, and the Analysis of Jazz”

–– Charles Carson (University of Pennsylvania), “‘Sounds Middle Class’: Matthew McDonald (Northeastern University), “The Stravinsky Code: Smooth Jazz and the Black Middle Class” Jeux de Nombres in The Rite of Spring” Brigid Cohen (Wesleyan University), “A Cosmopolitan Modern Dialogue: 10:30–12:00 Political and Aesthetic Exchanges between Stefan Wolpe and Post-War American Jazz” Chanson Moderne Music and the Everyday Jane Fulcher (University of Indiana, Bloomington), Chair William Weber (California State University, Long Beach), Chair Derek B. Scott (University of Leeds), “The Chat Noir and the Birth of the Chanson Moderne” Andrew Talle (Peabody Conservatory), “The Musical Lives of Two Teenage Jacqueline Waeber (Duke University), “Notre Dame de la Chanson: Yvette   Countesses in Darmstadt, – ” Guilbert’s American Career, –” Christina Bashford (University of Illinois), “‘In the Pantry, or the Library... Upstairs in the Bedrooms’: Britain’s Hidden Chamber Music” 12:00–2:00 American Handel Society, Board Meeting Marian Wilson Kimber (University of Iowa), “The Peerless Reciter: Re- constructing the Lost Art of Elocution with Music” 12:00–4:00 Committee on the Publication of American Blake Howe (Graduate Center, CUNY), “Norman Rockwell’s Shuffleton’s Music, Luncheon Meeting Barbershop: A Musical-Iconographical Riddle” 12:15–1:15 “The Future of Scholarly Publishing in Music in Film Music and the Humanities,” Lynne Withey (Director, University of California Press), Michael Pisani (Vassar College), Chair Valerie Goertzen (Loyola University), Chair Katherine Ermolaev Ossorgin (Princeton University), “Liturgical Borrow- (jointly sponsored by the Committee on ings as Film Music in Eisenstein’s Ivan the Terrible” Career-Related Issues and Publications Tobias Plebuch (Humboldt University), “Music and Ideology in Das un- Committee) sterbliche Herz ()” 12:15–1:45 Council Meeting David Neumeyer (University of Texas, Austin), “Unattainable Text?: On a Contemporary Film Music Studies” 12:15–1:45 American Musical Instrument Society Study Paula Higgins (University of Nottingham), “Stemming the Rose, Queer- Session ing the Song: Brokeback Mountain, Old Hollywood, and the Radical 12:15–1:45 Pedagogy Study Group Business Meeting Politics of Rufus Wainwright” and Study Session Medieval Compositional Process 12:15–1:45 Early Music America Open Session for Early Rebecca Maloy (University of Colorado), Chair Music Directors Andrew Hughes (University of Toronto), “The Becket Chants: Motives, 12:30–1:45 Concert (sponsored by the Performance Modes, and Models” Committee): “From Scherzo to Son: Piano Jamie Younkin (Toronto, Ontario), “The Scaccabarozzi Sketches: Some Aspects Music by Cuban Women Composers, of Composition and Compilation Technique in Late Ambrosian Song” ca. 1870 to present,” Margaret E. Lucia Anna Maria Busse Berger (University of California, Davis), “Composi- (Shippensburg University), Piano tional Process in Trecento Music” 12:45–1:45 Haydn Society of North America Meeting Robert Nosow (Dallas, Texas), “The Perlaro Cycle Reconsidered” Music of Devotion SATURDAY AFTERNOON SESSIONS Christine Getz (University of Iowa), Chair 2:00–5:00 Noel O’Regan (University of Edinburgh), “Lay Devotion and Church Interwar Music Reform in Late Sixteenth-Century Rome: Influences on Palestrina James Deaville (Carleton University), Chair in the s” Alexander J. Fisher (University of British Columbia), “The Burning Thorn- Dániel Péter Biró (University of Victoria), “Plotting the Instrument: On bush and the Holy Turtledove: Johannes Khuen’s Thoroughbass Songs for the Changing Role of Timbre in Mahler’s Ninth Symphony and Webern’s the Franciscan Nuns of Counter-Reformation Munich” Symphonie Op. ” Janet Hathaway (Northern Illinois University), “Defining Music in the Clois- Joel Haney (California State University, Bakersfield), “Slaying the Wag- ter: Devotional Song in the Royal Convent of Las Descalzas (Madrid)” nerian Monster: Das Nusch-Nuschi and the Postwar Crisis of Musical Bettina Varwig (Magdalen College, University of Oxford), “Enchanting Germanness” Rituals: Celebrating the Reformation Centenary in ” Marie-Noëlle Lavoie (University of Montreal), “Identity, Musical Borrow- ing and Regionalism: Jewishness in Milhaud’s Interwar Compositions” SATURDAY MORNING SHORT SESSIONS Jacinthe Harbec (University of Sherbooke), “TheSkating Rink Ballet: Hon- egger’s Rondo Sonata Form as Counterpoint to Léger’s Cubist Scenery” 9:00–10:30 The Musical World of Jean Molinet, Stravinsky Burgundian Chronicler and Poet Pieter van den Toorn (University of California, Santa Barbara), Chair Jane Alden (Wesleyan University), Chair François de Médicis (University of Montreal), “Stravinsky and the  Crystallization of Debussy’s Style” Anna Zayaruznaya (Harvard University), “What Fortuna Can Do to a Minim” –– Michael Randall (Brandeis University), “‘Mon flaïollet ne vault plus riens’: Julie Hedges Brown (Northern Arizona University), “Thestyle hongrois and On Sex, Music, and Rhetoric in Jean Molinet” Schumann’s Formal Experiments of ” Kathleen Sewright (UNC-Chapel Hill/Rollins College), “Charles Adalyat Issiyeva (McGill University), “‘You were born to be a Spark for Po- d’Orléans, Philip the Good, and a Wool Merchant’s Daughter: An Intro- et’s Inspiration’: Exotic Other in Nineteenth-Century Russian Art-Song” duction to the British Library MS Lansdowne ” Alejandro Planchart (University of California, Santa Barbara), “Guillaume 5:30–7:00 Business Meeting and Awards Presentation Du Fay’s Late Songs and the Circle of Molinet” 8:00–10:00 Boston University Alumni Reception Playing with Signs 8:00–01:30 UCLA Alumni Reception Richard Mook (Arizona State University), Chair 9:00–11:00 Eastman School of Music Alumni Reception Jonathan Greenberg (UCLA), “Phonetic Play in Louis Armstrong’s Tin 9:00–11:00 University of Texas at Austin Reception Pan Alley” Melissa de Graaf (University of Miami), “‘Romantic Savage’: Representa- 9:00–12:00 Cornell Reception tions of Race in Paul Bowles’s Denmark Vesey” 9:00–12:00 Indiana University Reception Gabriel Solis (University of Illinois, Urbana-Champaign), “‘Bluesology’: 9:00–12:00 Princeton University Department of Music Gil Scott-Heron and the Semiotics of the Voice” Reception Ken McLeod (University of Toronto), “Playing with Masculinity: The Politics of Music and Sports in Leon Gast’s When We Were Kings” 9:00–12:00 Stanford Reception Seventeenth-Century French Music 9:30–11:30 Ohio State Reception Georgia Cowart (Case Western Reserve University), Chair 9:30–1:30 UC Berkeley Alumni Reception Catherine Gordon-Seifert (Providence College), “Pious Persuasion: Bé- 10:00–11:00 University of North Texas Alumni Reception nigne de Bacilly’s Spiritual Airs for Repentant Souls” 10:00–12:00 Yale Party Margot Martin (Los Angeles, Calif.), “The Rhetoric ofMouvement and Pas- sionate Expression in Seventeenth-Century French Harpsichord Music” 10:00–12:00 McGill University Reception Peter Bennett (Case Western Reserve University), “Sacred Music in Louis XIII’s musique de la chambre: The Rise of the Modern and the Origins of SATURDAY EVENING SESSIONS Louis XIV’s Grand Motet?” Rose Pruiksma (Lewiston, Maine), “Gossip, Travelogues, Drinking Songs 8:00–11:00 and Political Satire: The Afterlife of the ‘Air pour la Maison de France’ Concert (sponsored by the AMS Performance from Louis XIV’s Court Ballet, Hercule Amoureux ()” Committee): “Battling the Serpent: the Caput and SATURDAY AFTERNOON SHORT SESSIONS L’homme armé Traditions in Music,” Pomerium, Alexander Blachly (University of Notre Dame), Director 2:00–3:30 The American Musical Panel: Musicology and Nation: A Canadian Perspective bruce mcclung (University of Cincinnati), Chair Mary Ingraham (University of Alberta), Chair Carol J. Oja (Harvard University), “Bernstein’s Wonderful Town and Mc- James Deaville (Carleton University), Serge Lacasse (Université Laval), Carthy-Era Politics” Sherry Lee (University of Toronto), Gordon E. Smith (Queens University) Jessica Sternfeld (Rhode Island College), “‘We’re All in This Together’: New Panel: Early French Musical Modernism: Media, New Show Music, Youth Culture, and High School Musical” Its Sources and Idioms Performers and Performance Michael J. Puri (University of Virginia), Moderator José Bowen (Southern Methodist University), Chair Daniel Albright (Harvard University), Gurminder Kaur Bhogal (Welles- ley College), Carlo Caballero (University of Colorado, Boulder), Ralph P. Kenneth Hamilton (Birmingham University), “Performers, Composers, Locke (Eastman School of Music, University of Rochester), Jann Pasler and Our Need for a Narrative: The Delayed Demise of Piano Preluding” (University of California, San Diego) David Trippett (Harvard University), “The Composer’s Rainbow: Rudolf Kolisch and the Role of Interpretation in Performance” 3:30–5:00 Gesture and Pantomime SUNDAY  November Mary Ann Smart (University of California, Berkeley), Chair 7:00–8:45 Board of Directors Meeting Sin-yan Hedy Law (University of Chicago), “From Garrick’s Dagger to Gluck’s 7:00–8:45 Graduate Education Steering Committee Dagger: The Dual Concept of Pantomime in French Enlightenment” Breakfast Meeting: “The Role of the Master’s Estelle Joubert (University of Toronto), “Feeling Death’s Hand on the Operat- Degree in Musicology” Alceste ic Stage: The Embodiment of Suffering in Wieland and Schweitzer’s ” 7:00–8:45 Performance Committee Meeting Nineteenth-Century Exotic 8:30–12:00 Registration Jonathan Bellman (University of Northern Colorado), Chair 8:30–12:00 Exhibits –– SUNDAY MORNING SESSIONS Louis Niebur (University of Nevada, Reno), “‘Bring All Up and Mix ‘em Good’: Experimental Sound Collage in Early British Radio” 9:00–12:00 Elizabeth Wells (Mount Allison University), “Fings Ain’t Wot They Used Copland and Schoenberg T’Be: British Modernism and London’s Soho Musicals” Elizabeth Bergman (Princeton University), Chair Matthew Gelbart (Los Angeles, Calif.), “A Cohesive Shambles: The Clash’s London Calling and the Normalization of Punk” E. Douglas Bomberger (Elizabethtown College), “Boulanger and the Copland Passacaglia” SUNDAY MORNING SHORT SESSIONS Bryan R. Simms (University of Southern California), “Copland the Serial- 9:00–10:30 ist, –” Sabine Feisst (Arizona State University), “Arnold Schoenberg—American” Fifteenth-Century Italian Theory Emily Abrams Ansari (University of Western Ontario), “Aaron Copland Anne Stone (Queens College and Graduate Center, CUNY), Chair and Cultural Diplomacy: ‘Un-American’ Composer Meets Cold War Ambassador” Linda Cummins (University of Alabama), “‘Habent sua fata libelli’: The Destinies of Divina auxiliante gratia” Mahler Benjamin Brand (University of North Texas), “Inside the Studio of a Late- Jon Finson (University of North Carolina, Chapel Hill), Chair Medieval Choirmaster: John Hothby at the Cathedral of Lucca” Timothy Freeze (University of Michigan), “‘Der Romantiker der Posing the Question: Queer Performances Großstadt’: Mahler and Viennese Operetta” and Popular Culture Caryl Clark (University of Toronto), “Hirschfeld, Mahler, and the fin-de- Nadine Hubbs (University of Michigan), Chair siécle Revival of Haydn’s Der Apotheker” Sue Taylor (Washington University in St. Louis), “Mahler’s ‘Symphonia Judith A. Peraino (Cornell University), “The Sexuality of the Surface: domestica’: The Sixth Symphony’s Scherzo and a Barnyard Tale of Family Andy Warhol, David Bowie and the Art of Posing” Values” Mitchell Morris (UCLA), “Liberace and the Ostentatious Taboo” Sherry Lee (University of Toronto), “‘Was soll denn euch mein Singen?’: 10:30–12:00 Das klagende Lied Dislocated Sound in Mahler’s ” Anonymous Editors Making Meaning in French Baroque Opera Bonnie Blackburn (Wolfson College, University of Oxford), Chair Tim Carter (University of North Carolina, Chapel Hill), Chair Ruth DeFord (Hunter College and Graduate Center, CUNY), “Who De- Lois Rosow (Ohio State University), “Echoes of Allegories Past in Lully’s vised the Proportional Notation in Isaac’s Choralis Constantinus?” Phaëton” Jean-Pierre Noiseux (University of Quebec—Montreal), “Dom Pothier’s Rebecca Harris-Warrick (Cornell University), “Reading Roland ” Tonary and the Genesis of the Liber Gradualis” Graham Sadler (University of Hull), “Masonic Opera before Mozart: Ra- Rock and Country Underground meau, Cahusac, and the Rituals of French Freemasonry” Raphaëlle Legrand (University of Paris, Sorbonne), “Rameau’s Art d’aimer: Robert Walser (UCLA), Chair Music and Eroticism in the Age of Enlightenment” Melissa Ursula Dawn Goldsmith (Nicholls State University), “Perspectives Post-War Britain on Jim Morrison from the Underground: Jim Morrison and the Los An- geles Free Press” Andy Fry (King’s College London), Chair Travis Stimeling (Millikin University), “‘Up Against the Wall, Redneck Heather Wiebe (University of Michigan), “Purcell and the Performance of Mother’: Confronting Stereotypes and Caricatures in Merle Haggard’s Secrets in Postwar Britain” ‘Okie from Muskogee’”

News from the AMS Board

The AMS Board met in Quebec City in • discussed guidelines for the new publica- • agreed that this year each award and prize March . Bad weather prevented three tion subventions to be funded by OPUS committee should select a single winner members from attending, but the rest heard • considered ways of improving the annual with no finalists regular reports from officers and commit- Business & Awards Meeting • discussed plans for the seventy-fifth an- tess of the Society. Among its actions, the • affirmed the Society’s support for DDM- niversary of the Society Board: Online, RILM, and MLA/RISM The Board also received personal reports • approved the Society’s budget for the up- • approved a message to members concern- from Thomas Riis, Quebec City Program coming year ing the case of Natalie Ghuman, an AMS Committee chair, who reported on that • authorized funding for four AHJ AMS member barred from readmission to the committee’s deliberations, and Victor Coel- 50 Fellowships and one Howard Mayer United States last summer ho, AMS Quebec City Local Arrangements Brown Fellowship at the increased sti- • authorized a pilot program to offer par- Committee chair, who presented plans for pend of $, for -, and accept- tially-subsidized travel to the Annual the fall meeting of the Society. ed award recommendations presented by Meeting for students who are presenting —Rufus Hallmark, Secretary the respective award committees papers and Pamela F. Starr

–– Conferences

This is a highly selective listing; comprehen- New Dimensions in Organ Conservation New Sources of Milanese Chant sive and up-to-date listings of conference in and Documentation – October, Houghton Library, Harvard musicology are posted online. See the link on – October, University of Rochester University the AMS Web page (www.ams-net.org) for www.organsociety.org hcl.harvard.edu/libraries/houghton/ambro- full details. siana.html The eyboardK Sonata in Spain and Portu- Reconsidering the Arts in the German Musicology and Recordings gal during the Eighteenth Century Democratic Republic – September , Royal Holloway, – October, Almería, Andalusia – October, Dickinson College University of London www.fimte.org list.bowdoin.edu/pipermail/ams-an- www.charm.rhul.ac.uk Messiaen the Theologian nounce/-January/.html – October, Boston University Music, Justice, and Gender Understanding Bach’s B-minor Mass www.oliviermessiaen.net – September, Syracuse University – November, Queen’s University Belfast list.bowdoin.edu/pipermail/ams-an- Poetics and Politics of Place in Music www.music.qub.ac.uk/tomita/bachbib/con- nounce/-April/.html – October, Vilnius, Lithuania ferences/Belfast-Nov/ The Clash of ulturesC and Civilizations in www.rhul.ac.uk/Music/Golden-pages/Con- French Music: Performance and Analysis Music and Opera in the Imperial Age ferences//-a-pap.html – November, Brigham Young University- – September, Brno, Czech Republic Music and National Identity Hawaii mto.societymusictheory.org/ – October, Université Marc-Bloch, Stras- academics.byuh.edu/finearts/?q=node/ mto-events.html?id= bourg, France Analyzing Popular Music in Context machiavel.u-strasbg.fr/musique/even/  November, University of Liverpool Ritual Dynamics and the Science of Ritual identite-e.html list.bowdoin.edu/pipermail/ams-an-   September– October, Heidelberg, Germany nounce/-February/.html www.rituals-.com continued on page 

AMS Committees in choosing our areas of specialization. at our November  meeting. For more in- continued from page  This is the first in a series of three meetings formation, see: www.digitalpreservation.gov. that the CSW will present over the next sever- Two new NRPB-commissioned reports other ways we can broaden our mission. al meetings dealing with the impact of gender were published during fiscal year  and We are delighted to welcome Ingrid Mon- studies and feminist theory on our discipline, both will be of interest to AMS members son, professor and chair of the Music De- culminating in a special session planned for and respective university librarians: “Copy- partment, Harvard University, as incoming the seventy-fifth anniversary of the Society in right Issues Relevant to Digital Preservation co-chair of the CCD. Ingrid’s book, Saying  on the history and future of women in and Dissemination of Pre- Commercial Something: Jazz Improvisation and Interaction the AMS. Sound Recdorings by Libraries and Archives” (), won the Society for American Music’s —Wendy Heller (www.clir.org/pubs/reports/pub /pub.  Irving Lowens Prize for the best book in pdf); and “Capturing Analog Sound for American music. Digital Preservation: Report of a Roundtable Finally, we would like to thank outgoing National Recording Preservation Discussion of Best Practices for Transferring co-chair Yvonne Kendall for her devoted Board (NRPB) Analog Discs and Tapes” (www.clir.org/pubs/ work for the CCD. Her enthusiasm and car- Starting this spring all of the four million items reports/pub/pub.pdf). ing, generous spirit have been an inspiration of recorded and visual materials in the Library In March , a second Recording Engi- to us all. of Congress are leaving Washington, D.C. and neer’s Roundtable was convened to extend the —Jann Pasler moving to the library’s new National Audio- technical to the digital preservation of audio. Committee on the Status of Women visual Conservation Center in Culpeper, Va. The two days of presentations are posted on This new ,-square-foot complex will the CLIR Web site (www.clir.org). In July, an- The Committee on the Status of Women store the Library’s audiovisual collections, in- other NRPB-sponsored symposium was held (CSW) will sponsor a panel discussion at cluding all sound recordings, films and videos in Austin and focused on the need to establish the AMS Annual Meeting Thursday evening: (www.loc.gov/loc/lcib//navcc.html). new educational curricula for audio preserva- “Musicological Choices: Gender, Prestige, Digital Preservation is a new issue (there are tionists, including university-based graduate and the Power of Subject Specializiation.” more new files created each day than there level degree programs. Speakers will include Susan Cook and Nadine are objects currently in the Library) and how The  National Recording Registry was Hubbs. to preserve Web pages and digitally native recently announced. See: www.loc.gov/today/ Our speakers will consider from their dif- sounds is an important initiative. The Coun- pr//-.html. fering perspectives (junior, senior, adminis- cil on Library and Information Resources Members of the AMS are encouraged to trative, and graduate students) the status of (CLIR) and the Library of Congress National suggest recordings for preservation in the reg- gender studies and scholarship and women, Digital Information Infrastructure Preserva- istry; go to: www.loc.gove/rr/record/nrpb/. and question of authority, value, and prestige tion Program presented an emerging strategy — José Bowen

–– () from Princeton University. He taught Obituaries at Harvard, the University of Pennsylvania, The Society regrets to inform its members of the deaths of the following members: and from  to  Princeton, where he was Scheide Professor of Music History. He Andrew D. McCredie Harold S. Powers was elected a Fellow of the American Acad-     June March emy of Arts and Sciences in  and an Hon- Edward Colby John Charles Duffy orary Member of the Society in .  September   March  Harry’s scholarship ranged widely within the fields of musicology, ethnomusicology Merle Peterson Frank Kirby and music theory. To do him justice would  December   March  require a whole raft of scholars, and so I will call on Harry himself: In  he gave plenary address at the joint AMS/SEM/SMT meeting Elliot Forbes (1917–2006) Illinois, following a lengthy illness. Born in in Oakland, “Three Pragmatists in Search of a New York, he earned his Bachelor of Arts from Theory,” later published in Current Musicol- The passing of Elliot Forbes marks the end of Colorado College and went on to achieve his ogy (). Steering between “the quicksand an era in Beethoven scholarship and in wider doctorate under Leo Schrade at Yale Univer- of pontification and the quagmire of autobi- musical circles, above all those associated with sity in . In his early years he had a var- ography,” he offered a view of his own intel- choral music at Harvard University, where he ied teaching career, being active briefly at the lectual agenda. Riffing on Pirandello, Powers was conductor of the Harvard Glee Club and universities of Virginia, Texas, West Virginia, described his formation from three characters:   Radcliffe Choral Society from to . and Washington. In  he joined the fac- an aspiring tenor, “whose top never developed  properly”; “a would-be composer, who man- He taught at Princeton University from ulty of Lake Forest College in Illinois, where    aged to get from middle Strauss to middle to , then at Harvard from to . he remained until his retirement in . He Bartók”; and a piano major who after gradua- As a member of an old Boston family and chaired the Music Department for a decade tion “went on the payroll of an import-export a great-grandson of Ralph Waldo Emerson, and helped develop its first course on jazz his- Forbes was intensely loyal to Harvard, its Mu- trader operating in Southeast Asia and Japan tory. [and] fell in love with the exotic East.” From sic Department, and its musical traditions. The most prolific scholar in the annals of Besides his scholarly articles and his Norton these beginnings emerged the music historian Lake Forest College, Kirby was a three-time specializing in opera, the theory teacher, and Critical Score of Beethoven’s Fifth Symphony, recipient of awards from the Alexander von Forbes’s place in musicology was secured by “what is usually described as an ethnomusi- Humboldt Foundation. His primary field of cologist.” his editing and revising of Thayer’s Life of interest was the Austro-German repertory, Beethoven (Princeton University Press, ), Challenging these labels and the larger agen- with an emphasis on the eighteenth and nine- da of musical scholarship, he would admit to which brought Thayer’s nineteenth-century teenth centuries, but his scholarly interests no theory at all, and only described himself biography up to date with modern Beethoven ranged widely, including German Renaissance as publishing “in three quite specific and scholarship as it stood in the s, by means theory, keyboard music history, Beethoven, seemingly unrelated fields—Indian music, of copious annotations and cross-references. Herder, Goethe, and in later years, Wagner. the pre-history of tonality, and Italian opera On Forbes’s retirement a volume entitled He is well known for his Short History of Key- studies.” For these three fields, he employed Beethoven Essays was brought out by Lewis board Music (; translated in Japanese and but two approaches. One was “confrontation, Lockwood and Phyllis Benjamin (Harvard Korean), his Introduction to Western Music of multiple representations one with another  University Press, ), with essays by James (), and his widely-used score anthologies, in Italian opera and Indian music, of tender- Webster, Martin Staehelin, Alan Tyson, May- Music in the Classic Period () and Music minded rational theory with tough-minded nard Solomon, Michael Ochs, Edward T. in the Romantic Period (). As a scholar he empirical practice in Indian music and Me- Cone, Geoffrey Block, Christopher Reynolds, was indefatigable, visiting the Northwestern dieval/Renaissance music.” The other was Sieghard Brandenburg, J. Merrill Knapp, and University Music Library on countless occa- “based on confrontation of things that have Robert Winter. Other tributes include the sions. At the time of his death, he was engaged something, but not everything in common:  Winter issue of The Beethoven Journal, in research leading to a study of the compo- congruences and contradictions between mu- dedicated to his memory, which includes a sitions of the legendary conductor Wilhelm sical theory and musical practice.” I can but personal memoir of Forbes by Martin Ander- Furtwängler. invite you to examine these approaches while son. For decades Frank Kirby was one of the reading his work systematically. Harry wrote only one book, Puccini’s Turan- All who knew El Forbes (as he was called by mainstays of the Midwest Chapter of the dot: The End of the Great Tradition, co-writ- everyone) came to realize that his dedication AMS. A gentle, soft-spoken man, he be- ten with William Ashbrook (Princeton, ). to great music and his enthusiasm for music- friended many and was cordial to all. As was characteristic of many scholars of his making were constants in his life. And his —Theodore Karp infectious ability to enjoy music, to revel in generation, his primary means of scholarly communication were articles and substantial it, and to nourish its healing powers, remains Harold S. Powers (1928–2007) in the memories of his many students, col- review-articles. Taken together, they form leagues, and friends. Harold S. Powers died on  March . sustained and transformational explorations —Lewis Lockwood Born in New York City on  August , he within a series of fields. To mention just those earned a B.Mus. in piano from Syracuse Uni- with which I am most familiar, the articles Frank Kirby (1928–2007) versity (), an M.F.A. in composition and on mode and tonal type in sixteenth- and seventeenth-century music continue to shape Frank Kirby died  March  in Skokie, musicology () and a Ph.D. in musicology continued on page  –– Conferences “Farther Along,” The Southern Gospel Performing Romantic Music Convention-Singing Tradition 10–13 July 2008, School of Music, Durham  continued from page – April , Middle Tennessee State Uni- University versity, Murfreesboro list.bowdoin.edu/pipermail/ams-an- Sexualities in Improvisation palimpsest.stanford.edu/byform/mailing- nounce/2007-March/000243.html – November, Vancouver lists/arsclist///msg.html Deadline: 31 January 2008 www.english.ubc.ca/whatsnew/CominOut- Deadline: 1 October 2007 SwinginCallforPapers.pdf Coltrane: TheWork and its Legacy Music, Body, and Stage: The Iconography News Briefs – November , University François- of Music, Theater and Opera    Rabelais, Tours, France – March , CUNY Graduate Center, The Philip Brett Memorial Peace Garden New York www.culture.gouv.fr/culture/sites-dracs/cen- will be dedicated at the University of Califor- web.gc.cuny.edu/rcmi/thConference.htm tre/actu/coltrane/CallForPapers. nia, Riverside, on  October , the fifth Deadline: 1 October 2007 htm anniversary of his death. Friends and col- De-Canonizing Music History Empirical Musicology Conference leagues are invited to make contributions in  November– December, Sibelius Academy – April , University of London support of the memorial at www.music.ucr. musped.org www.music.sas.ac.uk edu/brettgarden. Deadline: 1 October 2007 Percy Grainger at 125 The CD Happy Land: Musical Tributes to  December, University of Melbourne Musical Structure Laura Ingalls Wilder will be included on list.bowdoin.edu/pipermail/ams-an- – July , Department of Music Studies, the National Endowment for the Humanties nounce/-May/.html Aristotle University of Thessaloniki, Greece “We the People Bookshelf,” and sent to , The razilianB Piano www-gewi.uni-graz.at/staff/parncutt/cim. community and school libraries as part of this htm  January– February , the Sorbonne year’s program. It is part of the Pa’s Fiddle 31 November 2007 and the Brazilian Embassy, Paris Deadline: Project, an educational program created by Dale Cockrell (Vanderbilt University). His Messiaen Studies Germany’s Reception of the Broadway Ingalls-Wilder Family Songbook will be pub-  March– April, , Toowoomba, Aus- Musical lished in the AMS-sponsored MUSA series. – March , Kurt-Weill-Gesellschaft tralia Dessau, Germany www.publicmemory.org/Conference. For the bicentennial year of Anton Eberl, www.rhul.ac.uk/Music/Golden-pages/Con- htm composer and friend of Mozart who died in ferences//--grb.html Deadline: 16 December 2007 , A. Duane White (Clearwater Christian College) invites anyone who is interested in Calls for Papers editing, performing, or recording Eberl’s mu- sic to contact him at duanewhite@earthlink. Louisiana Consortium for Medieval and Voices Across Time: net. Renaissance Studies Musicology and K–12 Education The CMME Project, dedicated to the online – October, Loyola University, New Or- publication of critical editions of mensural leans Voices Across Time: American History music, has a new Web site: www.cmme.org. www.h-net.org/announce/show. Through Music is a project to infuse mu- The first CMME project, A Choirbook for cgi?ID= sic as a humanistic discipline into K– Henry VIII and His Sisters—Theodor Dumi- Deadline: 1 September 2007 history, social studies, and language arts  classrooms. It was developed by the Cen- trescu’s edition of manuscript Royal E. xi of Bach and the Oratorio Tradition ter for American Music at the University the British Library—appeared in December  – May, , Bethlehem, Penna. of Pittsburgh, with the support of the So- . Forthcoming editions include the Occo list.bowdoin.edu/pipermail/ams-an- ciety for American Music. Its detailed and Codex and music of the fourteenth-century   nounce/ -January/ .html rich Teaching Resource Guide provides a Brussels rotulus. Scholars are encouraged to Deadline: 1 September 2007 model for applying musicological research propose projects for online publication. See the Web site for further information. John Rich and the Eighteenth-Century to the needs of teachers in the primary and secondary grades. London Stage The Lyrica Society of Word-Music Relations Voices Across Time also intends to spon- – January , Royal College of Sur- announces its new Web site, www.lyricaso- sor a Summer Institute for Teachers with geons of England, Lincoln’s Inn Fields, Lon- ciety.org. Its journal, Ars Lyrica, welcomes don, U.K. funding from the National Endowment submissions. Send articles to the editor, Ber- www.johnrich.com for the Humanities in the summer of til van Boer ([email protected]), the Deadline: 30 September 2007 . The Institute explores how to use reviews editor for literature, Charlene Ship- popular songs as primary sources for the Society for Seventeenth-Century Music man ([email protected]), or the re- study of themes in American history. – April, , Huntington Library, San views editor for music, Christopher Williams Fuller details about the project and the Marino, Calif. ([email protected]). The society holds Teaching Resource Guide are avaliable at www.sscm-sscm.org an essay competition and participates in a www.voicesacrosstime.org. Deadline: 1 October 2007 number of conferences of related organiza- –– tions; see the Web site for full details. Executive Director’s Report An Open Letter from Kate van Orden The Juilliard School has announced www. continued from page  continued from page  juilliardmanuscriptcollection.org, contain- ing images of ninety-nine manuscripts from is to develop an extensive series of podcasts need to address that hardest of questions— the their collection. to reach the more remote areas of the state “why should we care?” A JAMS article—“your effectively with humanities programming. I best work”—offers scholars a new perspective, The first Goldberg Musical Essay Competi- was invited to serve on the advisory commit- be it material, historical, analytical, historio- tion will award three prizes of €,, €, tee of the project, and eagerly look forward to graphical, or whatnot. and €,, and the prize-winning articles will helping develop the program. I would be very That having been said, there are fields in be published. For further details, see www. interested to hear from those who have done which I would like to broaden the scope of goldbergweb.com/en/competitions/composi- similar things in their own regions. the Journal, and this is reflected in the edito-  tion/_.php. Finally, this issue marks the end of Pe- rial board for , whose members are listed ter Alexander’s tenure as Editor of the AMS below. We especially welcome submissions Deadline: 30 October 2007 Newsletter. Peter has worked hard and well at that intersect with film studies, anthropology, Musica Toscana, Inc., announces a prize this for three years; the Society, and I person- dance, aesthetics, performance, and studies of ally, am profoundly grateful for his generous non-elite culture. for the best article in a periodical or a collec- contribution. As for the remaining word in that pat tion of essays, or book published in English, —Robert Judd phrase, You know who You are. The Journal French, Italian, Spanish, or German within belongs to the entire Society and those whose the calendar year and four prior years on a interests bring them to music. I aspire to have subject dealing with any aspect of music in Demographic Survey the Journal reflect the brilliant plurality of our Tuscany between  and . For further discipline as it continues to encompass new details, see list.bowdoin.edu/pipermail/ams- continued from page  horizons, reaffirms its roots, and unapologeti-   cally pursues that Romantic credo, de la mu- announce/ -June/ .html Renaissance: .% () sique avant toute chose. So please send us your Deadline: 31 January 2008    Baroque: . % ( ) best work. Medieval: .% () —Kate van Orden .  Correction Eighteenth century: % ( ) Opera: .% () JAMS Editorial Board, vol. 61 (2008) In the February  AMS Newsletter, two France: .% () papers were inadvertently left out of the Linda Austern, Northwestern University Italy: .% () Thomas Bauman, Northwestern University listing of the Capital Chapter meeting. Romantic: .% () M. Jennifer Bloxam, Williams College Both were from the meeting of  April Germany: .% () Stefano Castelvecchi, University of Cambridge , College of William and Mary: Classical: .% () Lawrence Earp, University of Wisconsin-Madison Emily Robertson (George Washington Seventeenth century: .% () Ellen Harris, Massachusetts Institute of Technology University), “Missa Jouyssance vous don- Popular music: .% () Robert Holzer, Yale University neray: An Unknown Sixteenth-Century Sacred music: .% () Steven Huebner, McGill University Mass” England: .% () Brian Hyer, University of Wisconsin, Madison Italian opera: .% () Travis Jackson, University of Chicago Elizabeth Titrington (University of Klára Móricz, Amherst College Music theory: .% () Maryland, College Park), “Jesus Christ Mitchell Morris, University of California, Los Angeles Chant: .% () Superstar: How Religious Controversy Simon Morrison, Princeton University    Shaped a Cultural Phenomenon” Bach: . % ( ) David Patterson, Chicago, Illinois Performance: .% () Sanna Pederson, University of Oklahoma Moving? Performance practice: .% () Martin Scherzinger, Eastman School of Music, To send AMS mailings accurately, the Latin America: .% () University of Rochester AMS must receive notice of changes of Jazz: .% () Judy Tsou, University of Washington address at least four weeks prior to each mailing. Fully digesting and interpreting the demo- Membership Dues AMS graphic data requires more time and space Calendar year   College Station than available here; the Web site will give Brunswick ME - graphs and more nuanced data that show Regular member $   ;    ( ) - toll free ( ) - fuller information, including relations among Salary less than $, $ [email protected] questions. Meanwhile, the Membership Student member $ www.ams-net.org  and Professional Development Committee Emeritus member $  (MPDC) welcomes your reactions to this in- Joint member $ Next Board Meetings Sustaining Member $ formation, and suggestions for ways the Soci- Life Member $, The next meeting of the Board of Direc- ety might follow up on the trends or patterns   tors will take place on October in that interest you. Please send your thoughts Overseas, please add $ for air mail Quebec City; the Spring meeting will take to Richard Freedman (rfreedma@haverford. delivery. Students, please enclose a copy place – March  in Nashville. edu), Chair of the MPDC. of your current student ID. –– Annual Meeting, Nashville, Tennessee 6–9 November 2008

Call for Papers organizer of a session, or serving as a respon- observe the forty-five-minute slots for paper dent, but may not deliver a lecture-recital or presentation and discussion. Deadline: 5 p.m. EST, concert. Participation in extra-programmatic Evening panel discussions: Evening pan- 15 January 2008 offerings such as interest-group meetings or el discussions are intended to accommodate standing committee presentations (e.g., the proposals that are amenable to a more infor-  The Annual Meeting of the AMS will be Committee on the Status of Women) does mal exchange of ideas in a public forum than held in Nashville, Tennessee, from Thursday, not count as an appearance for this purpose. in paper sessions. These may examine a cen-   November, to Sunday, November, jointly Receipts will be sent to all who submit tral body of scholarly work, a methodology or with the Society for Music Theory. The Pro- proposals. Those who submit proposals via critical approach, or lay the groundwork for gram Committee welcomes proposals for in- mail should provide either an e-mail address a new research direction. Such panels should dividual papers, formal sessions, and evening or self-addressed stamped postcard for this comprise participants’ brief position state- panel discussions in all areas of musicology. purpose. Receipts will be sent by the begin- ments, followed by general discussion among We will continue to follow the guidelines ning of February . panelists and audience. Panel discussions will   adopted in , which allow -word ab- Length of presentations: The length of be scheduled for the same duration of time stracts and thirty-minute papers. Please read presentations submitted by individuals and as full or half sessions of papers and will take these guidelines carefully, as proposals that do those proposed as part of formal sessions will place during the evenings. Organizers of pan- not conform to them will not be considered. be limited to thirty minutes in order to allow el discussions should submit the names of all  Proposals must be received by p.m., EST, ample time for discussion. Position papers de- panelists in a proposal of no more than    Tuesday, January . All persons submit- livered as part of a panel discussion should be words that outlines the issues, clarifies the ting proposals are invited to do so by mail, no more than ten minutes long. rationale behind the proposal, describes the addressed to AMS Nashville Program Com- Individual proposals: Proposals should activities envisioned, and explains why each mittee, attn: Robert Judd, American Musico- represent the talk as fully as possible. A suc- panelist has been chosen. Such a proposal will  logical Society, Bowdoin College, Col- cessful proposal typically articulates and sub- not be vetted anonymously and will be con-   lege Station, Brunswick ME - , or on stantiates major aspects of its argument or sidered only as a whole. Organizers of panel the Web at www.ams-net.org. Proposals must research findings clearly, points out the nov- discussions may not also present a formal pa-  words, not exceed and, if mailed, must elty of the research (and its relation to earlier per in the same year or in the preceding one,   be printed in - or -point single-spaced work), and indicates its significance for the but panelists may do so. Organized, on-going .   typeface on one x -inch or A page. Pro- scholarly/musical community. Authors will study groups and affiliated societies should posals sent by regular mail must include (on be asked to revise their proposals for the book contact Robert Judd at the AMS office about a separate page): the author’s name, institu- distributed at the meeting; the version read scheduling a room for their meetings rather tional affiliation or city of residence, audio- by the Program Committee can remain con- than applying under this category. visual requirements, and full return address, fidential. If a submission is not an individual Program Committee procedures: The including e-mail address whenever possible. If proposal, it should be labeled as belonging to Program Committee will evaluate and discuss submitting electronically, the on-screen direc- one of the following categories. all the proposals anonymously (i.e., with no tions should be followed carefully. Please note Formal sessions: An organizer represent- knowledge of authorship) and initially choose  that proposals longer than words will be ing several individuals may propose a Formal roughly  papers. The authors of all propos- automatically truncated. As in the past, only Session, which may take the form of () an als will then be revealed, and approximately one submission per author will be consid- entire session of four papers, or () a half ses- twenty-four more papers will be selected from ered. sion with two papers. In a -word anony- the remaining proposals, for a total of .  The meeting will be held together mous proposal, the organizer should set out No paper accepted during the first round of with the Society for Music Theory (SMT). the rationale for the session, explaining the discussion will be eliminated in the second The AMS Program Committee warmly invites importance of the topic and the proposed round. Session chairs will be discussed by the proposals for papers to be read at joint ses- grouping of papers, together with a suggest- whole committee, taking into account nomi- sions sponsored by both societies. If authors ed chairperson (who would be named). The nations, including self-nominations, sent to submit two different proposals to the AMS organizer should also include a proposal for the AMS office by  March . and the SMT and both are accepted, only one each paper, which conforms to the guide- —Steven Huebner of the papers may be read. Authors may not lines for individual proposals stated above. Program Committee Chair submit the same proposal to both the AMS Formal Session proposals will normally be and the SMT. Authors who read papers at the considered as a unit, accepted or rejected as  AMS meeting may not submit propos- a whole. Applicants who would permit their Call for Performances als for the AMS portion of the  meeting. proposal to be considered in the event that Deadline: 15 January 2008 No one may appear on the Nashville pro- the complete Formal Session proposal is not gram more than twice. An individual may accepted should indicate as much at submis- The Performance Committee for the  deliver a paper and appear one other time on sion (a check-off box for this is included in Annual Meeting in Nashville invites propos- the program, whether participating in an eve- the online form). All organizers, including als for lunch-time or evening performances, ning panel discussion, functioning as a chair- those who wish to include respondents, must either as strictly musical concerts or as lecture-

–– recitals. The committee encourages proposals Harold S. Powers that demonstrate the Society’s diversity of in-  Years Ago: 1957 continued from page  terests, range of approaches, and geographic • Secretary Louise E. Cuyler reported and chronological breadth. We especially the research agenda for studies in “pre-tonal” that membership stood at ,, % welcome performances that are inspired by music. of whom were students. Fifty-five reg- or complement new musicological finds, that I was Harry’s student at Princeton in the ular and forty-seven student members develop a point of view, or that offer a pro- . He was a challenging, sometimes dif- joined in . grammatic focus. ficult and always generous mentor but his Free-lance artists as well as performers and • Frederick Burkhardt became president passionate engagement with so many aspects ensembles affiliated with colleges, universi- of the American Council of Learned of musical scholarship transformed my own ties, or conservatories are encouraged to sub- Societies. The ACLS received a $ mil- mit proposals, specifying concert or lecture- work, as well as that of his many students and lion grant from Carnegie and Ford recital. Applicants should send three copies colleagues. Peter Jeffery’s description captures foundations to commence their fellow- of the materials listed below to: AMS Perfor- the essence: “He worked very hard, read very ship program. mance Committee, Bowdoin College,  thoughtfully, and had a knack for proposing • The Fulbright Scholars program was College Station, Brunswick, ME -; just the right word for what I meant. The initiated. [email protected]. comments he wrote in the margins of my dis- • The Journal of Music Theory began to Required materials include: () a proposed sertation drafts were marvels of concise hu- be published. program, listing repertory, performer(s), and mor, which in those pre e-mail days almost • The Board of Directors agreed to meet  the duration of each work; ( ) a list of au- amounted to an epistolary correspondence. together with the Program Committee  dio-visual needs; ( ) the applicant’s e-mail Once I wrote a note objecting to his sugges- in future, due in part to complaints address and a short (-word) biography of tion that I divide up the text with more sub- about “the concentration of papers each performer; () three copies of a CD or titles, arguing that a sufficiently well-written upon Medieval, Renaissance, and Ba- DVD of no longer than twenty minutes that text should not need them. Harry’s deflating is representative of the program and perform- roque subjects, and because of what but kindly-meant reply: ‘A limpid, utterly pel- ers; () for concerts, a one-page explanation several AMS members seem to feel is lucid account of this mass of material is clearly of the significance of the program or manner a failure to consider potential papers of performance; or for lecture-recitals, a maxi- beyond your powers at this time, and possibly submitted from the membership at mum of two pages explaining the significance beyond anyone’s powers at any time.’” large.” of the program or manner of performance, I worked with Harry the summer before his • The Publications Committee received plus a summary of the lecture component, death on the guidelines for a travel fund in the manuscript of Joseph Kerman’s The including information about the underlying his honor. We struggled to find language that Elizabethan Madrigal (his doctoral dis- research, its methodology, and conclusions. would capture what was most important to sertation). [It was published in , and is Receipts will be sent to those who have sub- him, that the recipients work on “the music still in print; the AMS has sold two copies so mitted proposals by the beginning of Febru- itself.” Harry’s abiding commitment to “the far this year.] ary, and the committee’s decisions will com- music itself” in a lifetime of profound schol- municated by the end of March. arship continues through the Powers Fund.  Years Ago: 1982 An individual may not present both a pa- Appropriately enough, the inaugural Pow- • The AMS Annual Meeting was held in per and a performance or lecture-recital at the ers Fund recipient is announced in this very meeting. If an individual submits proposals to Ann Arbor at the campus of the Uni- newsletter (see p. ). I think Harry would versity of Michigan—the last time the both the Program Committee and the Perfor- have been pleased. mance Committee and both are selected, she AMS met on a college or university —Jessie Ann Owens or he will be given an early opportunity to campus. decide which invitation to accept and which • The Martha Baird Rockefeller Fund for to decline. The AMS can sometimes offer ex- Music was dissolved, having expended tremely modest stipends to performers whose  million, through , grants to proposals are accepted for the purpose of re- individuals and  grants to organi- imbursing extraordinary performance-related zations, in twenty years. [Its dissolution expenses. precipitated the inauguration of the AMS 50 —Christopher Smith Fellowship Program, first proposed at the No- Performance Committee Chair vember  meeting of the Board of Direc- tors.] Call for Nominations: • After a crisis in early , the AMS Session Chairs, AMS Nashville reached an agreement with the Vereni-  ging voor Nederlandse Musziekge- schiedenis to cooperate in the prepara- Nominations are requested for Session tion of the New Josquin Edition. Chairs at the AMS Annual Meeting in • The AMS Committee on the Publica- Nashville, – November . Please tion of American Music was formed. send nominations via mail, fax, or e-mail Its inaugural members were Lawrence to the office of the AMS, including name, A. Gushee (chair), Richard Crawford, contact information, and area of expertise. H. Wiley Hitchcock, James Haar, and Self-nominations are welcome. Deadline: Cynthia A. Hoover.  March . Harold S. Powers –– President-Elect Jane A. Bernstein Society Election Results Jane A. Bernstein has been elected President rently the Austin Fletcher Professor of Music. The results of the 200 election of AMS   of the Society for the term – . She has She has received fellowships and grants from officers and the Board of Directors: served the Society in many capacities: as chair the John Simon Memorial Guggenheim Foun- of the Kinkeldey Award Committee, the Ein- dation, the National Endowment for the Hu- President: Jane A. Bernstein stein Award Committee, and the Committee manities, the Gladys Krieble Delmas Founda- Secretary: Pamela F. Starr on the Status of Women, and as a member of tion, the American Philosophical Society, and Directors-at-Large: the JAMS Editorial Board, the AHJ AMS 50 the American Council of Learned Societies, Karol Berger Fellowship Committee, the Board of Directors, as well as the Distinguished Alumna Citation Suzanne Cusick and other committees. She attended the the of Excellence from the University of Massa- Patrick Macey City College of New York, where she earned chusetts and the Distinguished Scholar Award her bachelor’s degree. She received a master’s from Tufts University. In  she was elected degree from the University of Massachusetts a Fellow of the American Academy of Arts and Newsletter Address and Deadlines and a doctorate from the University of Cali- Sciences. Items for publication in the next issue of fornia, Berkeley. Bernstein joined the faculty of Bernstein’s scholarly works center on the AMS Newsletter must be submitted by Tufts University in , serving for two terms sixteenth-century music, particularly the chan-  December to: as Chair of the Music Department. She is cur- son and Italian print culture and on women’s studies. She received the Otto Kinkeldey Award Kristen M. Lavoie from the Society for her book Music Printing in American Musicological Society Renaissance Venice: The Scotto Press (–)  College Station (Oxford University Press, ). She is also the Brunswick, ME - author of Print Culture and Music in Sixteenth- fax: () - Century Venice (Oxford University Press, ) and the editor of Women’s Voices across Musical The AMS Newsletter (ISSN 0402-012X) Worlds  (Northeastern University Press, ). is published twice yearly by the American She has served as editor of the thirty-volume Musicological Society, Inc. and mailed to series The Sixteenth-Century Chanson (Garland, all members and subscribers. Requests for – ) and Philip Van Wilder: Collected Works additional copies of current and back is- (TheBroude Trust, ). Her recent articles in- sues of the AMS Newsletter should be di- clude “Publish or Perish? Palestrina and Print rected to the AMS office. Culture in th-Century Italy,” Early Music  (), “Bindo Altoviti and Music,” in Raphael, All back issues of the AMS Newsletter Cellini, and a Renaissance Banker: The Patronage are available at the AMS Web site: of Bindo Altoviti (Isabella Stewart Gardner Mu- www.ams-net.org seum, ), and “‘Bewitched, Bothered and Claims for missing issues Bewildered’: Lady Macbeth, Sleepwalking and must be  the Demonic in Verdi’s Scottish Opera,” Cam- made within days of publication (over- seas:  days). President-Elect Jane A. Bernstein bridge Opera Journal  ().

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