AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XXXIX, NUMBER 2 August, 2009 ISSN 0402-012X “I’d rather be in Philadelphia” AMS Philadelphia 2009 12–15 November www.ams-net.org/philadelphia/ If you share W. C. Fields’s sentiment that “on the whole, I’d rather be in Philadelphia,” then Bob Krist, Philadelphia ConventionCourtesy & Visitors Bureau you won’t want to miss the American Mu- sicological Society’s Annual Meeting 12–15 November 2009 at the Sheraton Philadel- phia City Center Hotel. Located in Center City (downtown) Philadelphia, the Sheraton includes all the amenities one expects of a first-class hotel. Those wishing to explore Philadelphia’s three centuries of history, vi- brant cultural life, and celebrated restaurants need not venture far afield: within walking distance are the magnificent City Hall, newly gleaming from a recent face-lift; the Reading Philadelphia from the west bank of the Schuylkill River Terminal Market, offering something for ev- ery culinary taste; and an inviting lineup of OPUS Campaign Drawing to Close museums such as the Philadelphia Museum of Art, Rodin Museum, Academy of Natural Crosses $2 million mark Sciences, and Franklin Institute science muse- The OPUS Campaign, a five-year effort to funding for AMS 75 PAYS (the Publications um, all lining the graceful Benjamin Franklin enhance the research, travel, and publication Awards for Younger Scholars). Step forward continued on page  opportunities for all walks of musicology, is and answer that call. set to reach its climax at the Society’s seventy- And if you simply haven’t gotten around to fifth-anniversary meeting this November in it yet, as is the case with too many of us, won’t In This Issue… Philadelphia. With over $2 million in new you take the time to register your support in President’s message ...... 2 funding already in hand, there is much to any amount at all? We hope that, in the end, AMS 75 Events ...... 4 celebrate. the List of Donors will embrace every mem- Hampson Benefit in Philadelphia . . 4 But the finale ultimo, by definition, de- ber of our Society. Grove Online Forum ...... 5 mands stretto, crescendo, and tutta forza. Take By now you know the power of grass-roots Awards, Prizes, Honors ...... 6 the time, now, to examine the donor lists at philanthropy: 109 AHJ AMS 50 dissertation Reynolds appointed Studies Editor . .8 ams-net.org/opus and consider your own leg- fellowships awarded, 141 books subvened, Committee & Study Group News . .8 acy to this chapter in our history. (It will be 42 Otto Kinkeldey Awards. Today there are Robertson elected President . . . . 9 twenty-five years before we do it again.) Can Beth Bartlet fellows in France, Janet Levy Philadelphia Preliminary Program . 11 you reach the $5,000 level? The $1,000 level? News from the AMS Board . . . .19 Monthly payments by automatic deduction The Box Score News Briefs ...... 19 can extend beyond the campaign’s official Date Donors $5K $1K Executive Director’s report . . . . 19 closing date and make it relatively painless to 2.01.2009 $1,976,889 1,389 73 222 Frisch at LC Lecture Series . . . . 22 achieve those levels. 7.01.2009 $2,007,813 1,415 73 223 Conferences ...... 22 Or can you become a guarantor of the Certified eligible for NEH: $745,231 Obituaries ...... 23 NEH matching grant? We may need as many Still needed for full certification: $214,769 AMS Indianapolis ...... 24 as four hundred more donations of $500 to Legacy Gifts ...... 27 clear that account and achieve full federal continued on page 2 President’s Message As we prepare for our seventy-fifth anniver- groups, and forums given by other societies Balthazar, Bruce Brown, Anna Maria Busse sary celebration, it seems fitting to look back have also been added to the mix. And at our Berger, Victoria Cooper, Stephen Crist, James at what our annual meeting was like when seventy-fifth anniversary meeting, we will Deaville, Michael Long, Claudia MacDon- we met in Philadelphia twenty-five years ago, have an extra session during the daytime slots ald, Carol Oja, John Rice, Louise Stein, and having just achieved our half-century mark. devoted to panel sessions by various study Anne Walters Robertson. And some of those Richard Crawford, it turns out, did the same groups and AMS committees. “Something in the early stages of their careers were Walter thing in his president’s message in 1984 when for everyone” could well be the motto of the Frisch, Jonathan Glixon, Mary Hunter, Peter he compared the bustling, beehive-like meet- meeting. Given the shift in our field towards Jeffery, Mary Lewis, Brian Mann, Jann Pasler, ings of the mid-Eighties with the earliest twentieth-century studies, it is not surpris- Sarah Reichardt, Greg Smith, and Rebecca AMS conventions—small, provincial affairs ing to see the impressive number of sessions Harris-Warrick. I am pleased to report that of attended only by a privileged few. In contrast in modern and contemporary European and the 112 scholars who presented papers at the to those sparse beginnings, so he wrote: American music, including popular music, 1984 Annual Meeting, some ninety percent film, and jazz studies—around forty percent are still members of the Society. While a few Our Annual Meetings have turned into four- of the total. As expected, the number of ses- have pursued careers in other fields, the vast day bazaars, mixing scholarly interchange, 1750 concert-going, sight-seeing, job-hunting, sions dealing with music before has de- majority are now senior music faculty mem- colleague-hunting, meals with friends old creased, but still makes a notable showing bers at universities, colleges, and conservato- and new, general basetouching, and whatev- with about thirty-four percent, while late ries across the United States and Canada. er level of wheeling and dealing we scholars eighteenth- and nineteenth-century music Statistics show that over the past few years, can manage. Attending an Annual Meeting make up nineteen percent of the total. Some the majority of presenters at our Annual Meet- now is a bit like swimming in a heavy sea. of the sessions follow the periodization for- ing have continued to be those in the earlier One bobs one’s way through hotel lobbies, mula found in the 1984 program, but others stages of their careers—just as it was twenty- through the roiling hordes at the no host present a remarkable mix of topics from a va- five years ago. A look through the program for cocktail party, through the maze of presen- riety of eras with such titles as “France: The our Philadelphia meeting affirms this trend. It tations chosen by the Program Committee, Long View,” “Colonialism,” “Displacements,” appears that senior musicologists make up less treading people and papers, here and there “Stagings,” and “British Topics.” than a quarter of the participants with the re- finding one to hang on to. The session titles, however, present only one maining three-quarters composed of graduate But while the number of attendees and at- part of the story. The participants at the two students, post-doctorates, and young faculty tractions on offer at our annual meetings cer- meetings offer another perspective of our an- members—a very good sign, as these scholars tainly did undergo a dramatic transformation nual meetings and our Society. In 1984, one represent the bright future of our Society. during the first fifty years of our Society, it might guess that senior scholars presented a Back in 1984, Richard Crawford rightly felt can seem by comparison that not much has high proportion of the papers. While such that the AMS had come a long way from its changed since then—or has it? notable figures as Edward Lowinsky, Bruno early years. Over the past two decades, we Comparing the program in this Newslet- Nettl, and Claude Palisca did speak, most of have witnessed dramatic developments in our ter with that of the 1984 meeting, I noticed the participants were younger musicologists. field, developments unimaginable in the early that there is actually a considerable difference I thought that I would probably not recog- eighties. Many of these changes can be attrib- between the two get-togethers. Although the nize many of their names, since a terrible job uted to scholars who, twenty-five years ago, format of our meetings has remained basically market—just as tight as it is now—surely were in the earlier stages of their careers. Giv- the same, the contents of the sessions reflect meant that a good number of these young en this record, it is exciting to contemplate the expansion and eclecticism we have expe- presenters would have left the field. To my what transformations the young members of rienced in our field. Indeed, there has been surprise, I knew practically all of them: they our Society will bring to fruition over the next more growth in musicological scholarship are now senior members of our Society. A ran- quarter century. Stay tuned! during the past twenty-five years than the dom sampling from the many graduate stu- —Jane A. Bernstein previous fifty. dents giving their first papers includes Scott Back in 1984, nearly all the sessions dealt with western European art music, with over AMS OPUS half on music before 1750 and a quarter on late eighteenth-century and nineteenth-cen- continued from page  tury music. Among the remaining sessions, only one each was devoted to the turn of the independent scholars, Harry Powers world Breaking OPUS News twentieth century, to American music, and to travel awardees. And a host of other opportu- “Jazz and Political Music.” There were no pa- nities recognizing the many paths and unlim- As this Newsletter went to press, the AMS pers on popular music. ited directions of music scholarship. received a $10,000 anonymous contribution The preliminary program for our present Help bring the OPUS Campaign home by for the purpose of recognizing and supporting Philadelphia meeting, as you can see on pp. acting now, so that your gift can be recognized outstanding teaching. The Board of Directors 11 18 – of this Newsletter, demonstrates just at our seventy-fifth birthday. is currently at work to determine the specific how much our field has grown. The number —D. Kern Holoman and details, and will make a further announce- of day sessions has increased from twenty- Anne Walters Robertson ment when a formal plan emerges. eight to thirty-six. Night sessions, study

 AMS Newsletter AMS Philadelphia 2009 and the Clash of Pianistic Titans,” featuring meeting. To reserve a room, please consult the music of Chopin, Liszt, Mendelssohn, Thal- Web site or contact the AMS office. Job can-  continued from page berg, and others on Friday 13 November. didates can sign up via the Web or (if spots are Orchestra 2001, one of Philadelphia’s pre- still available) at the interview desk in the ho- Parkway. Only a mile away is the Old City mier ensembles devoted to new music, will tel. AMS policy prohibits interviews in private district with the Liberty Bell, Independence perform works by Libby Larsen, Esa Pekka rooms without appropriate sitting areas. Hall, the Betsy Ross House, and many other Salonen, and Franz Schreker on Saturday 14 Benefit programs. Members of the Society treasures nestled among the tree-lined blocks November. Also on Saturday, the renaissance are urged to support the AMS OPUS Cam- of Georgian townhouses. wind band Piffaro will team up with the Cho- paign through the usual registration opportu- Anyone with an interest in the city’s co- ral Arts Society of Philadelphia to perform “A nities: contributions to any funds are welcome. lonial roots will enjoy the special two-hour Portuguese Vespers,” including mid-seven- Contributors receive complimentary beverage walking tours of Old City (“Ben Franklin, teenth century works by João Lourenço Re- tickets for the Thursday evening opening re- Music-lover” and “High Life in Colonial Phil- belo, Diogo Dias Melgás, António Pinheiro, ception. adelphia”) offered by Philadelphia on Foot to and others. Jazz aficionados will want to visit Registration. Conference registration fees: AMS members on Friday and Saturday after- the Painted Bride Art Center, where Peter Ap- Early (till 5 p.m. ET 30 September): $95 ($40, noons. Visitors may also choose to visit West felbaum and the New York Hieroglyphics will student/retired); Regular (1 to 29 October): Philadelphia, where AMS member Jean K. play following a pre-concert discussion with $125 ($70, student/retired); Late/Onsite: $145 Wolf, in her capacity as Executive Director of AMS member Guthrie Ramsey. Last, but ($80, student/retired). AMS members receive The Woodlands historic mansion, cemetery, certainly not least, Stéphane Denève will con- a conference registration form via US mail; a and landscape, will lead a tour of this national duct the Philadelphia Orchestra in a program PDF version, as well as Online registration is historic landmark on Friday. Tour partici- including Prokofiev’s Suite from The Love for available at the Web site. pants will enjoy lunch in William Hamilton’s Three Oranges, Barber’s Violin Concerto (with Child care. If a sufficient number wish to late eighteenth-century mansion, recognized soloist James Ehnes), and Tchaikovsky’s Sym- arrange child care, the AMS office will assist in as one of the most significant Federal-style phony no. 4. coordinating it. Please contact the AMS office buildings in America. Transportation from the hotel will be avail- if this is of interest. The conference Web site will include tour- able for those wishing to attend the concerts. Scheduling. Please contact the AMS office ist information and links to the Web pages of Further details on these and other area per- to reserve rooms for private parties, receptions, various city sights, in addition to a list of rec- formances will be available on the conference or reunions. Space is limited, so please com- ommended area restaurants. Web site and registration form. municate your needs as soon as possible. The The Program. This year’s program, select- Weather. Fall weather is generally temper- AMS Web site provides further information. ed and organized by a committee of seven ate in Philadelphia, with temperatures rang- Student Assistants. The Local Arrangements chaired by Tamara Levitz, includes the 144 ing from the 60s to the 30s. Visitors will want Committee, chaired by Steven Zohn (Temple best proposals drawn from 590 submissions, to have a warm coat for evenings and early University), seeks students to help during the and (new this year) “alternative format” ses- mornings, and packing an umbrella is advis- conference in return for free registration and 11 sions presented by AMS study groups and able. $ per hour (six hours minimum). If this is committees (see p. 4). Among the more in- Interviews. A limited number of rooms at of interest, please see the Web site or contact triguingly titled paper sessions are “Death the Sheraton Philadelphia City Center Hotel the AMS office. and Transfiguration,” “Policing Music,” and will be available for job interviews during the —Steven Zohn, Local Arrangements Chair “Performing Under Suspicion: Generic Con- ventions and African-American Female Sing- ers,” while the full breadth of our discipline is reflected in topics ranging from chant, to film music, to performance practices, not to mention separate sessions devoted to such diverse figures as Athanasius Kircher, Haydn, and Cage. Evening sessions and panel dis- cussions are scheduled for each night of the conference, in addition to dozens of ancillary meetings, receptions, and parties taking place throughout the weekend. All the details may RomanCourtesy Vinoly, Philadelphia Convention & Visitors Bureau be found in the Preliminary Program, starting on p. 11. Special Performances. Several performers and arts organizations have planned special events to coincide with the AMS conference. On Thursday 12 November, acclaimed bari- tone Thomas Hampson will present a recital of American songs, part of his continuing Song of America project—see p. 4 for details. The Philadelphia Classical Symphony, with AMS member Kenneth Hamilton, piano so- loist, will offer a program titled “Hexameron The Kimmel Center, home of the Philadelphia Orchestra August 2009  AMS 75 EVENTS AMS officers and committee chairs are orga- rangements Committee (Steven Zohn, chair) The AMS at 75,” with speakers Lewis Lock- nizing a series of activities and events to make have put together an extraordinary series of wood, Suzanne Cusick, Charles Hiroshi our seventy-fifth anniversary as special as pos- evening and daytime concerts. See the stories Garrett. The forum will also recognize Past sible. nearby, and plan to order tickets early, as we Presidents, Honorary Members, Correspond- Things to See: In the exhibit hall, we are anticipate sell-out crowds. ing Members, and AMS members of fifty or planning a display of AMS historical mate- Things to Do: Five special sessions using more years standing. Finally, Saturday night rials organized by Society archivist Marjorie non-traditional formats will take place during we are throwing a ballroom birthday party Hassen and University of Pennsylvania mu- the meeting, starting on Thursday afternoon. that incorporates many university parties as sic librarian Richard Griscom, and the new In keeping with our seventy-fifth anniversary, well. All are invited, and participating univer- AMS quilt. Browse the exhibit, admire the four of these will examine historiographical sities will have a table or tables reserved and quilt, and then purchase raffle tickets at the issues from the perspectives of the Commit- marked for their guests. The party will mark OPUS booth for the quilt, the Encyclopedia of tee on Cultural Diversity, the Committee on the conclusion of the OPUS campaign, with Popular Music, or a hard-bound set of Rich- the Status of Women, the Cold War Study co-chairs Anne Walters Robertson and D. ard Taruskin’s award-winning Oxford History Group, and the Ecocriticism Study Group. Kern Holoman toasting our success. An un- of Western Music. On Saturday, arrive early at The Pedagogy Study Group will explore as- substantiated rumor has it that a giant “Hap- the Business Meeting to watch a slide show pects of musicological outreach related to the py Birthday” sing-along will also take place, produced in conjunction with the OPUS weekend’s Philadelphia Orchestra program. accompanied by the elusive yet world-famous campaign. And throughout the meeting, be On Thursday, President Jane Bernstein Holoman-Robertson piano duo. on the lookout for the special name tags that will lead off anniversary festivities with a toast In short, we anticipate that there will be identify those who have been AMS members at the traditional opening reception. Friday something for everyone at this very special for fifty or more years. afternoon will feature a plenary Presidential meeting. Please join us for this once-in-a- Things to Hear: The Performance Com- Forum titled “Reflect on the Past, Consider lifetime event! mittee (Ross Duffin, chair) and the Local Ar- the Present, and Look Toward the Future: —Honey Meconi

Thomas Hampson Recital AMS Performances

Thomas Hampson will present a solo recital Increased for at the Philadelphia Annual Meeting to benefit Philadelphia a new AMS initiative on song research. His recital is part of the nationwide “Song The Performance Committee has expanded of America” project he is mounting this year its usual offerings to six noontime and after- in conjunction with the Library of Congress, noon concerts, four of which will be present- marking the 250th anniversary of the first ed in St. Clement’s Church, about four blocks American song, “My Days Have Been So from the Sheraton Hotel. The committee feels Wondrous Free,” composed in 1759 by Phila- strongly that all the performances will be sig- delphian Francis Hopkinson. The song was nificant and unusual, and encourages attend- published in 1788 in a collection dedicated to ees to attend as many as possible. George Washington, a friend of the patriot Friday noon, César Reyes will give a recital author. Hopkinson was a signer of the Dec- of Mexican piano works, and at St. Clement’s laration of Independence as well as lawyer, Erin Headley will give a short lecture and con- poet, inventor, and painter. cert of seventeenth-century Roman laments Hampson will be drawing on the extensive on the lirone. At 2 p.m. (St. Clement’s) Roger collection at the Library of Congress for his Moseley will lead a historically-informed im- recital. Last year he was appointed special ad- provisation of eighteenth-century Opera Buf- visor to the Library of Congress for his work fa. Saturday noon, Seda Röder will present a in American song. He is especially interested recital of Viennese piano music in the context in promulgating the ways American song of Berg’s op. 1 Sonata, and at St. Clement’s continues to communicate the story of the the ensemble Gravitación will give a perfor- country—its history and its spiritual inner Thomas Hampson mance of the anonymous Missa Sine nomine life—through texts wedded to music. from JenaU 21 (c. 1525), with commentary. At A panel of musicologists will join him for a discussion following the recital. A special benefit 2 p.m. (St. Clement’s) Frank Latino, assisted reception follows. by a chamber ensemble, will present a lec- The concert will take place Thursday 12 November, 7:30 p.m., at the Independence Seaport ture-recital featuring compositions by Walter Museum, Penn’s Landing. Bus transportation for conference attendees will be provided as part Gieseking. See the Preliminary Program and of the ticket price. Further information and tickets will be available via the conference registra- the meeting Web site for more details. tion form and the meeting Web site.

 AMS Newsletter AMS Quilt Raffle Grove Music Online Open Forum Quilts are like illuminated manuscripts: they can become heirlooms, passed down through As Jane Bernstein and I reported in an e-mail Centres) to advise her and ensure an open generations. To benefit the OPUS campaign, to the AMS membership last April, due to a flow of feedback from the scholarly com- four AMS members are making what is sure restructuring of Grove Music Online, edi- munity to her and the other Grove editors. to become just such an heirloom: a seventy- tor-in-chief Laura Macy’s position was elim- Since the changes were announced, the Pan- fifth anniversary quilt to be raffled off at the inated. Laura had been the editor of Grove el has been meeting regularly by telephone Annual Meeting. Sized for a double bed, the Music Online since its inception as the on- conference with OUP representatives. The quilt is based on the “Philadelphia” block, line version of the New Grove Dictionary of Panel had no role in planning the restruc- aptly enough. The quilt top is being pieced by Music and Musicians, 2nd ed. She deserves turing, nor does it have any editorial role. Mary Natvig, Annegret Fauser, Lydia Hamess- our profound thanks for eight years of ex- Rather, the function of the Panel is to com- ley, and Honey Meconi. Annegret Fauser will cellent stewardship of Grove Music Online. municate to OUP the concerns and interests piece and appliqué the quilt back, and Mary During her tenure, she maintained careful of the scholarly community. Natvig will hand-quilt the finished spread oversight of Grove Online and launched In our meetings, we have given feedback with musicological touches. The quilt will be several new initiatives, including the forth- on the job description for the new external on display in Philadelphia, and raffle tickets coming second edition of the New Grove editor-in-chief and editorial board, advocat- will be available both on site and prior to the Dictionary of American Music. Scholars and ing for a strong editorship with sufficient meeting (at the AMS Philadelphia 2009 Web students of music rely on Grove Online, and financial resources; have discussed possible site). The winning ticket will be drawn at the it has been reassuring to have an editor of candidates; have urged a clearer separation Saturday evening Awards Presentation. Tick- such insight and integrity at the helm. Those between Grove and other Oxford online ets are $10 each. of us who are also Grove authors have ap- materials; and have helped to plan a system- preciated her editorial guidance. I am very atic revision and updating of the articles in sorry to see her tenure end, and on behalf Grove Music Online. This last is of major of the entire AMS, I offer our thanks for her importance if we are to ensure that Grove outstanding work. is current and of the highest quality. I hope The restructuring of Grove includes clos- that scholars who are asked to update or re- ing the office in Oxford, eliminating Laura’s vise articles in Grove will make it a priority position as internal editor-in-chief, consoli- to do so. dating operations in New York, and creating The restructuring of Grove Online has un- a new structure with an external editor-in- derstandably been met with expressions of chief assisted by an editorial board. concern by the musicological community. When Grove was acquired by OUP in At the invitation of the AMS Board, repre- 2002, Laura organized the Grove Advisory sentatives of OUP have agreed to participate Panel, a group of advisors appointed by in an open forum on Grove Music Online eight scholarly societies (AMS, Royal Musi- at the AMS Annual Meeting in Philadel- cal Association, International Musicological phia, at 7:30 p.m. Friday. Please come and Society, Society for Music Theory, Society share your questions, concerns, and advice. for Ethnomusicology, International Council for Traditional Music, Music Library Associ- —J. Peter Burkholder Mary Natvig, Annegret Fauser, and Lydia ation, and International Association of Mu- AMS Representative to the Hamessley choosing material for the AMS quilt sic Libraries, Archives, and Documentation Grove Advisory Panel

OUP-AMS Books Raffle AMS Annual Meeting Hotel and Travel Information Buy your tickets today for the amazing raffles A block of rooms has been reserved at the Sheraton Philadelphia City Center Hotel, 17th that will be held at the Annual Meeting in and Race Streets, in Center City. Rates are $169 for a single or double, $189 for a triple, $209 Philadelphia to benefit the OPUS Campaign! for a quad, and $219 for a junior suite, plus 15.2% tax. Reservations may be made either Once again, our generous friends at Oxford through the meeting Web site or by telephone: (800) 325-3535 or (215) 448-2000; to reserve University Press have donated sets of Rich- a junior suite, call (215) 448-2857. Conference rates are valid through 11 October, subject to ard Taruskin’s monumental Oxford History of availability. Western Music, 6 vols. (2004) and of the 4th Travel to Philadelphia. Philadelphia is served by the Philadelphia International Airport edition of Colin Larkin’s (ed.) Encyclopedia (PHL), which hosts all major carriers. For transportation from the airport, the Sheraton of Popular Music, 10 vols. (2006) that will go Philadelphia City Center Hotel recommends using the Lady Liberty Shuttle (www.ladylib- to the winning ticket holders. Purchase your ertyshuttle.com); tickets are $10 one way per person. Public rail transport is also available tickets for just $5 each for either of these sets. every 30 minutes (disembark at Suburban Station, four blocks from the Sheraton; $7 each Tickets are available on the meeting regis- way). Taxi fare is a flat rate of $28. The journey from airport to the Sheraton takes under tration form, the Web site, or at the OPUS 20 minutes. Table in Philadelphia. Winning tickets will be Driving directions. The Sheraton is two blocks from the Interstate 676 (Vine Street drawn at the Saturday evening Awards Pre- Expressway) Broad Street exit. See the Web site for detailed directions. sentation.

August 2009  Awards, Prizes, and Honors

AMS Awards and Prizes In late 2008, Bonny Miller received a Levy AHJ AMS 50 Fellowships: Four doctoral Grant to travel to Belgium for the project candidates in musicology have been selected “Database of British ‘Magazine Music’ in the for Alvin H. Johnson AMS 50 Dissertation Eighteenth-Century Popular Press.” In early 2009 Fellowship Awards for 2009–10: Corbett , Ronit Seter received a Levy Grant for Bazler (Columbia University), “The Com- travel to Israel to work on the project “Na- edies of Opera Seria: Handel’s Post-Academy tionalism, Orientalism, and Folklorism in 1940 2000 Operas, 1738­– 1744”; Anna Zayaruznaya Jewish-Israeli Art Music, – .” (Harvard University), “Form and Idea in the A grant from the Harold Powers World Fourteenth Century Motet”; Martin Ned- Travel Fund was awarded to Kassandra bal (Eastman School of Music, University Hartford (Stony Brook University) for the of Rochester), “Morals across the Footlights: research project “Race, Nation, Musical Mod- German Opera, National Identity, and the ernism: Rio de Janeiro, New York, and Paris, Aesthetics of Morality, 1770–1820”; and An- 1914–1945.” Erika Honisch drew Oster (Princeton University), “Radio, Howard Mayer Brown Fellow Rubble, and Reconstruction: The Genre of Grants from the Eugene K. Wolf Travel 2009 outstanding book award for Leo Orn- Funkoper in Postwar West Germany.” One of Award were awarded to Rebekah Ahrendt stein: Modernist Dilemmas, Personal Choices the four accepted the award on an honorary (University of California, Berkeley), for work (Bloomington, 2007) . basis. toward her dissertation, “A Second Refuge: French Opera and the Huguenot Migration, Michael Scott Cuthbert (MIT) received a 1685 1713 Rachel Mundy The Howard Mayer Brown Fellowship is – ,” and to (New York grant from the Seaver Institute for $100,000 presented by the Society to promising minor- University), for work toward her dissertation, to support the project “music21: a Computer- ity graduate students pursuing a doctoral de- “Re-Inventing the Avant-Garde: From the aided Framework for Musical Analysis.” He gree in music. The2009 –10 fellowship recipi- Black Virgin to the Golden Oriole.” was also named a 2009–10 Fellow at Harvard’s ents are Erika Honisch (University of Chi- Other Awards, Prizes and Honors Villa I Tatti research institute in Florence, cago) and Sumitra Ranganathan (University writing on music during the Black Death and of California, Berkeley). One of the recipients Ayden Adler (Eastman School of Music, Uni- Great Schism. accepted the award on an honorary basis. versity of Rochester) received the SAM 2009 Jeremy Day-O’Connell (Knox College) re- A grant from the M. Elizabeth C. Bartlet dissertation award for “‘Classical Music for ceived a Fulbright grant for research in Scot- Fund for Research in France was awarded to People Who Hate Classical Music’: The Influ- land on his project “Music, Language, and Sarah Gutsche-Miller (McGill University), ence of Arthur Fiedler and the Boston Pops the Minor Third.” for research on her project “Pantomime Ballet Orchestra on the Culture of Classical Music Marsha Dubrow on the Music-Hall Stage: The Popularization in America.” (CUNY Grad Center) re- 2009 of Classical Ballet in Fin-de-Siècle Paris.” cieved a Milstein Family Foundation C. Matthew Balensuela (DePauw Universi- Research Fellowship for her project “Lazar TheJanet Levy Fund for Independent Schol- ty), co-author of Music Theory from Boethius to Weiner, New York, and the American Jewish ars supports travel and research expenses. Zarlino: A Bibliography and Guide (Hillsdale, 2007) received the MLA’s 2008 outstanding book-length research tool award. Karol Berger (Stanford University) received the Mozart Society of America’s 2008 award for the best scholarly work on Mozart pub- lished in English in 2007 for Bach’s Cycle, Mo- zart’s Arrow: An Essay on the Origins of Musical Modernity (Berkeley, 2007). Mark Evan Bonds (University of North Car- olina) has been awarded 2009–10 fellowships from the NEH and the ACLS for his project “The Myth of Absolute Music.” Thomas Brothers (Duke University) received a Guggenheim fellowship for his project “Louis Armstrong and American Culture, 1922–1935.” Michael Broyles and Denise Von Glahn Corbett Bazler (Florida State University) received the SAM Martin Nedbal AHJ AMS 50 Fellow AHJ AMS 50 Fellow  AMS Newsletter librarianship and/or music bibliography for the article “Culture Wars, Canonicity, and A Basic Music Library,” Notes 64 (2007), 232–47. Frank Latino (University of Maryland, Col- lege Park) received the AMS Capital Chap- ter’s 2009 best student presentation award for his paper “At the Piano: Fusilier Walter Giese­ king: Gieseking’s Years as a German Military Musician during World War I.” Kendra Preston Leonard received a Wilder Fellowship from the Beinecke Library, Yale University, for research on Louise Talma’s op- era The Alcestiad. Sumitra Ranganathan Laurence Libin (Metropolitan Museum of Howard Mayer Brown Fellow Art) received the American Musical Instru- Sindhumathi Revuluri (Harvard University) ment Society’s 2009 Curt Sachs Award in rec- Andrew Oster was named an Andrew W. Mellon Fellow for ognition of service to organology. AHJ AMS 50 Fellow 2009–10 at the Penn Humanities Center. Communal Music Enterprise of the 1920s to Sandra Mangsen (University of Western On- Tilden Russell (Southern Connecticut State 1960s.” tario) has been elected president of the Mid- University) received a grant from the NEH western Historical Keyboard Society. Annegret Fauser (University of North Caro- for his project “The Compleate Dancing lina) received a Wissenschaftskolleg zu Berlin Ingrid Monson (Harvard University) was Master: A Translation of Gottfried Taubert’s Fellowship and a NEH Faculty Research Fel- named Fellow for 2009–10 at the Stanford Recht­schaffener Tantzmeister (1717).” lowship for her book project “Sounds of War: Humanities Center, and received a Guggen- Katelijne Schiltz (Ludwig-Maximilians-Uni- Music in America during World War II,” and heim fellowship for her project “Music of versität München) has been appointed Laure- a Marie Curie Intra European Fellowship for Mali.” “America, Music & War.” ate of the Royal Flemish Academy of Belgium Bruno Nettl (University of Illinois) has been for Science and the Arts. William J. Gibbons (University of North awarded the Jan Patočka Memorial Medal by Katelijne Schiltz and Bonnie J. Blackburn’s Carolina) has been awarded a Mellon/ACLS the Academy of Sciences of the Czech Repub- Canons and Canonic Techniques, 14th–16th fellowship for his dissertation, “Eighteenth- lic. Century Opera and the Construction of Na- Centuries: Theory, Practice, and Reception His- tional Identity in France, 1875–1918.” Roger Parker (King’s College London) has tory (Leuven, 2007) received a 2008 citation been elected a Fellow of the British Academy. of special merit from the Society for Music James Grier (University of Western Ontario) Theory. has been awarded fellowships from the NEH, Ron Pen (University of Kentucky) received the ACLS, and the Canada Council for the the SAM 2009 distinguished service award. Kathleen Sewright (Rollins College) received a grant from the National Endowment for Arts for his project “The Foundations of Mu- Steven Plank (Oberlin College) received 800 1100 sical Literacy in the Medieval West – : Early Music America’s 2009 Thomas Binkley continued on page  Oral and Written Transmission in Early Award. Plainsong.” Pierpaolo Polzonetti (University of Notre James Hepokoski (Yale University) and Dame) received an ACLS Fellowship for Warren Darcy (Oberlin College) received his project “Italian Opera in the Age of the the SMT’s 2008 outstanding book award for American Revolution.” Elements of Sonata Theory: Norms, Types, and Deformations in the Late-Eighteenth Century Ardal Powell received a grant from the Global Sonata (New York, 2006). Policy Institute, London, for work on a new translation of Max Weber’s essay on the soci- Jason P. Hobratschk (Florida State Univer- ology of music. sity) received a Fulbright Fellowship for dis- sertation research in Germany on “The Politi- Katherine K. Preston (College of William cal Context of Werner Egk’s 1940 Ballet Joan and Mary) received a National Humanities von Zarissa.” Center/Bowsma fellowship for her project “Against the Grain: Women Managers and Bernardo Illari and Malena Kuss (Univer- English Opera in Late Nineteenth-Century sity of North Texas) received the 2009 Konex America.” Award for contributions to Argentine cul- ture. Alex Rehding (Harvard University) received a Newhouse Center fellowship at Wellesley Edward Komara (SUNY Potsdam) received College, an ACLS fellowship, and a Guggen- Anna Zayaruznaya the MLA’s award for best article on music heim fellowship for 2009–10. AHJ AMS 50 Fellow August 2009  Christopher Reynolds Appointed Editor of AMS Studies in Music

New AMS Studies Editor Christopher Reynolds CR: It would be great to increase the rate of (University of California, Davis) recently spoke publication just a bit, and to shorten the time with Robert Judd about his vision for the series. between acceptance and publication. RJ: Can you say something more about the RJ: Congratulations on your recent appoint- editorial process? ment to the position of AMS Studies editor! CR: Authors submit a detailed proposal and Tell me: exactly what is the nature of this se- at least one chapter, and I then consult with ries? the AMS Publications Committee in decid- CR: The short answer is: AMS Studies in ing whether to proceed. When the decision Music is a great place to publish your next is yes, the author is encouraged to submit a book! The long answer: It’s a joint effort by complete manuscript, which is then sent to the AMS and Oxford University Press to pub- outside readers. On the basis of these reports, lish a limited number of outstanding books the editor and the Publications Committee in musicology; our goal is to cast a wide net, either accept the book or not. I will also work including a broad range of subdisciplines and with the author on any issues of style or argu- scholarly methods or approaches. The AMS ment that I identify, offering questions and has complete editorial control over the selec- suggestions. When the book is sent to OUP, tion; OUP publishes and markets the final they proceed as normal with design and copy- product. Christopher Reynolds editing. RJ: Why should one publish a book with AMS Studies Editor RJ: How does a prospective author submit a AMS Studies? RJ: What sorts of books are you looking for? proposal? CR: Because it is a prestigious place to pub- CR: I would love to publish some work on CR: A full proposal will involve an outline, lish. Because every book in the series receives American music. And books with an ethno- a chapter-by-chapter narrative, a time line, a subsidy from the AMS Publications Com- musicological or analytical approach are cer- and at least one chapter. But I am happy to mittee to help make it more affordable! And tainly welcome. But basically, anyone who begin talking long before an author is at that because while it is routine that presses send thinks his or her book has something impor- stage. E-mail me at any time, especially in the books out to a couple of specialist readers, it tant to offer should contact me. I’d even con- weeks before an AMS or SAM meeting. I also is rare today to publish a book that includes a sider conference reports or multi-author vol- want to hear from colleagues and mentors of careful editorial review by a scholar. umes, although they would need to be tightly prospective authors. I’d like all the help I can RJ: What do you see as the major strengths of focused and selective in what they include. To get in identifying worthy projects as early as the series to date? adapt the annual admonition of every JAMS possible! CR: Quality and variety. In the last years while editor that I can remember, “Send AMS Stud- Mary Hunter was the series editor, several dis- ies in Music your best work!” E-mail Christopher Reynolds at chreynolds@ tinguished books have appeared, representing RJ: Do you have particular hopes for the se- ucdavis.edu. For a list of the books that have a broad spectrum of topics and approaches. ries over the next few years? already appeared and for full details: www.ams-net.org/studies/

Committee News AHJ AMS 50 Fellowship Committee Committee on the Annual Meeting additional daytime room for the Philadelphia meeting, where three study groups and two How does the AHJ AMS 50 Fellowship Com- At the request of the Board of Directors, the committees will present sessions in non-tra- mittee work? What do evaluators look for Committee on the Annual Meeting (CAM) ditional formats; several will address historio- in a good abstract? How can applicants get has been reviewing major components of graphical issues appropriate to our anniver- the most effective letters of reference? What our yearly gathering. Many members re- sary meeting. is a good “representative chapter”? How are sponded to our request for input, and it will CAM will continue to discuss issues con- honorary awards made? What are the terms come as no surprise that there are numerous cerning the Annual Meeting, including of the fellowship? Our committee is holding opinions—often wildly different—as to what whether the number of papers needs to be open forum an Thursday night at the Phila- constitutes the ideal Annual Meeting. CAM’s increased. delphia Annual Meeting to address these and recommendations to the Board, based on —Honey Meconi any other questions prospective applicants the feedback we received, were approved at may have. We hope to demystify the process the March meeting. Changes regarding pre- Committee on Career-Related Issues and procedures, the committee structure, ad- planned formal paper sessions and sessions judication processes, etc. Most importantly, using alternative formats will be put into ef- The Committee on Career-Related Issues we just want to provide opportunities for dis- fect for the Indianapolis meeting in 2010. For (CRI) would like all those attending the na- cussion. details, see the Indianapolis Call for Proposals tional meeting in Philadelphia to be aware of Refreshments will be provided! Come learn (p. 24). the many activities we are offering. The CRI more about this important fellowship. As a transition to the new alternative for- —Mary Davis mat sessions, the Society has arranged for an continued on page   AMS Newsletter President-Elect Anne Walters Robertson Anne Walters Robertson has been elected of the abbey of Saint-Denis of Paris, where re-creation of Benedicamus melodies through President of the Society for the term 2011–12. the kings were buried. Her book Guillaume de re-use of music from other genres. These Currently co-chair of the Society’s OPUS Machaut and Reims: Context and Meaning in works garnered the Society’s Kinkeldey and Campaign, Robertson has headed the AHJ his Musical Works (Cambridge, 2002) reveals Einstein Awards, respectively. More recently, AMS 50 Fellowship Committee and the Lo- the fundamental role of mystical theology in Robertson has examined symbolic and folk- cal Arrangements Committee for the Annual Machaut’s motets. An earlier article, “Bene- loric aspects of polyphonic masses and mo- Meeting in Chicago in 1991. She was a mem- dicamus Domino: The Unwritten Tradition,” tets, including Guillaume Du Fay’s Missa Se ber of the Board of Directors, the Editorial JAMS 41 (1988), dealt with the striking oral la face ay pale. The four compositions based Board of JAMS, the Publications Committee, on the Caput melisma are treated together for and the Council. the first time in her article, “The Savior, the Robertson earned her bachelor’s and mas- Woman, and the Head of the Dragon in the ter’s degrees in piano performance at the Uni- Caput Masses and Motet,” JAMS 59 (2006), versity of Houston and a master’s degree in which won the H. Colin Slim Award. music theory at the Shepherd School of Music Robertson received the Haskins Medal, of Rice University. She received her doctorate the John Nicholas Brown Prize, and the Van in musicology at Yale and joined the faculty of Courtlandt Elliott Prize of the Medieval Acad- the University of Chicago in 1984, where she emy of America and the Wilbur Lucius Cross is the Claire Dux Swift Distinguished Service Medal of the Yale Graduate School Alumni Professor. She served as Chair of the Music Association. She has held grants and fellow- Department and Deputy Provost for Research ships from the George A. and Eliza Gardner and Education. Howard Foundation, the Guggenheim Foun- In her highly interdisciplinary scholarly dation, the American Philosophical Society, work, Robertson has explored the interactions the NEH, the ACLS, the Martha Baird Rock- between medieval music and the art, architec- efeller Fund for Music, and the Fulbright ture, institutional identity, politics, spiritual- Commission. ity, personal devotion, and vernacular poetry Robertson was elected a fellow of the Amer- of the sixth to the sixteenth centuries. The ican Academy of Arts and Sciences in 2008. theme of French royal culture winds its way She was President of the International Ma­ through her books, which focus on the music chaut Society and served on the Council of and ritual of the cathedral of Reims, where the Medieval Academy. the kings of France were crowned, and that President-Elect Anne Walters Robertson

Study Group News

Cold War Study Group the panel will be posted to the Cold War and and other relevant organizations and individ- Music Study Group Web site (www.ams-net. uals. AMS members and others are welcome Now in its third year, the Cold War and Mu- org/cwmsg/) in advance of the meeting. Fol- to submit further citations and resources. The sic Study Group (CWMSG) is pleased to lowing the AMS meeting, our Web site will ESG also maintains a low-volume e-mail list 2009 sponsor a special daytime session at the offer an open forum for further comments for announcements and discussions; informa- Annual Meeting in Philadelphia. Entitled and discussion about Cold War historiogra- tion for subscribing is on the Web site. “Music Historiography in Cold War Con- phy. At the Annual Meeting in Nashville, the texts,” the session will examine the method- The CWMSG aims to encourage new re- ESG held a two-hour round-table with a few ological, interpretive, and ethical challenges search and foster discussion about music of dozen interested and engaged audience mem- that confront scholars studying music of the Cold War era. Our Web site offers infor- bers. The discussion addressed some of the the Cold War. Panelists Lee Bidgood, Elaine mation about past and future activities, mem- methodological and disciplinary issues that Kelly, Laura Silverberg, Heather Wiebe, Hon- bership information, and a directory of cur- face the emerging sub-field of ecomusicol- Lung Yang, and Marcus Zagorski will discuss rent members and research interests. If you ogy. The session was led by a panel of schol- a web of themes relating to music historio­ are interested in becoming involved with the ars, each of whom offered a short response to graphy and the Cold War. More specifically, CWMSG, please contact me at laura.silver- pre-established (and publicly pre-circulated) this session will consider constructions of [email protected]. questions; the audience and panelists then 1945 the past that emerged after , present-day —Laura Silverberg had time for further discussion. Complete au- musicological narratives of the Cold War, and dio files and a text transcript of the panel are competing conceptions of the musical canon. Ecocriticism Study Group available on the ESG Web site. In the process, panelists will consider a range The Ecocriticism Study Group (ESG) is For the upcoming Annual Meeting in of geographical areas (from divided Europe to Philadelphia, the ESG will hold a daytime mainland China), methodologies (including pleased to announce its new Web site, www. ams-esg.org. The site contains bibliographic session in a new format. After an introduc- archival research and participant observation), tion that provides a brief history of (and some and musics (from bluegrass to post-serialism). resources and ecomusicology materials as well Paper abstracts and other information about as information on the activities of the ESG continued on page  August 2009  AMS Fellowships, Awards, and Prizes Descriptions and detailed guidelines for all H. Colin Slim Award for an article of ex- Howard Mayer Brown Fellowship for mi- AMS awards appear in the AMS Directory ceptional merit by a scholar beyond the early nority graduate students in musicology and on the AMS Web site. stages of her or his career Deadline: 15 December 3 Janet Levy Travel and Research Fund for in- Deadline: May Alvin H. Johnson AMS 50 Dissertation- dependent scholars Ruth A. Solie Award for a collection of essays year Fellowships Deadlines: 25 January, 25 July of exceptional merit Deadline: 15 December Deadline: 3 May M. Elizabeth C. Bartlet Fund for research in France Robert M. Stevenson Award for outstanding Deadline: 1 March scholarship in Iberian music, including mu- sic composed, performed, created, collected, Harold Powers World Travel Fund for re- Awards, Prizes, and Honors belonging to, or descended from the musi- search anywhere  cal cultures of Spain, Portugal, and all Latin continued from page Deadline: 1 March American areas in which Spanish and Portu- Eugene K. Wolf Travel Fund for European guese are spoken the Humanities to participate in the sum- research Deadline: 3 May mer seminar “Music Books in Early Modern Deadline: 1 March Philip Brett Award of the LGBTQ Europe: Materiality, Performance, and Social AMS Publication Subventions, supported Study Group for outstanding work in gay, Expression.” by the AMS 75 PAYS, Anthony, Brook, Bu- lesbian, bisexual, and transsexual/transgender Alexander Silbiger (Duke University) re- kofzer, Hanson, Hibberd, Jackson, Kerman, studies ceived a Festschrift in honor of his seventy- Picker, Plamenac, and Reese Funds Deadline: 1 July fifth birthday at the 2009 meeting of the Deadlines: 15 March, 15 September Membership and Professional Develop- Society for Seventeenth-Century Music: Fiori Alfred Einstein Award for an article of excep- ment Travel Fund for members who have Musicali, ed. Claire Fontijn (Harmonie Park tional merit by a scholar in the early stages of little or no financial support to attend the Press). her or his career Annual Meeting Carlos Ernesto Ure has been elected General Deadline: 3 May Deadline: 25 July Secretary of the Argentine Association of Mu- Otto Kinkeldey Award for a book of excep- Noah Greenberg Award for outstanding con- sical Critics. tional merit by a scholar beyond the early tributions to historical performing practices Richard J. Will (University of Virginia) re- stages of her or his career Deadline: 15 August ceived a National Humanities Center/ACLS Deadline: 3 May Eileen Southern Travel Fund for minority Burkhardt fellowship for his project “Mozart Lewis Lockwood Award for a book of excep- undergraduate and terminal master’s students Live: Performance, Media, and Reinvention tional merit by a scholar in the early stages of to attend the Annual Meeting in Classical Music.” 25 her or his career Deadline: September Amy Wlodarski (Dickinson College) received 3 Deadline: May Paul A. Pisk Prize for an outstanding paper a grant from the National Endowment for Claude V. Palisca Award for an outstanding presented by a graduate student at the Annual the Arts to participate in the summer seminar edition or translation Meeting “German Exile Culture in California.” Deadline: 3 May Deadline: 1 October

AHJ AMS 50 Fellowship Committee Open Forum AMS Fellowships and Grants Awarded Come to this forum Thursday night at the Philadelphia Annual July 2007 to June 2009 Meeting to learn more about the process and procedures for this awarded (applied) fellowship. Refreshments provided! See p. 8 for details. Fwp/Grant 2008–09 Amount 2007–08 Amount AHJ AMS 50 4* (56) $57,000 4* (52) $54,000 Guidelines for Announcements of Awards, Prizes, and H. M. Brown 2* (14) $19,000 1 (11) $18,000 Honors Bartlet 1 (14) $2,400 2 (11) $2,500 Levy 2 (25) $2,400 2 (12) $3,000 Awards and honors given by the Society are announced in the MPD 29 (45) $6,600 27 (34) $9,950 Newsletter. In addition, the editor makes every effort to announce Powers 1 (18) $1,000 1 (20) $1,000 widely publicized awards. Other announcements come from in- Southern 6 (9) $2,973 6 (8) $5,582 dividual submissions. The editor does not include awards made Wolf 2 (17) $4,500 2 (14) $5,000 by the recipient’s home institution or to scholars who are not cur- rently members of the Society. Awards made to graduate student Subtotal (Grants) 41 (129) $20,000 40 (99) $27,000 members as a result of national or international competitions are Total $ Fwps/Grants: $96,000 $99,000 also announced. The editor is always grateful to individuals who report honors and awards they have received. *includes one honorary award

 AMS Newsletter AMS ANNUAL MEETING Philadelphia, 12–15 November 2009 Preliminary Program

Peter Kupfer (University of Chicago), “‘We can sing and laugh like WEDNESDAY 11 November children!’: Music, Ideology, and Entertainment in the Soviet 2:00–8:00 Board of Directors Meeting Musical Comedy” Andy Fry (King’s College London), “Remembrance of Jazz Past: Sidney 10:30–4:30 Grove Music Online Advisory Panel Meeting Bechet in 1950s France” Players and Listeners THURSDAY 12 November John Spitzer (Peabody Conservatory), Chair 7:30–9:00 Meeting Worker Orientation John Lutterman (University of California, Davis), “‘Cet art est la perfec- 8:00–12:00 Board of Directors Meeting tion du talent’: Chordal Thoroughbass Realization, the Accompaniment of Recitative, and Improvised Solo Performance on the Viol and Cello in 9:00–5:00 Registration the Eighteenth Century” 11:00–12:30 Howard Mayer Brown Award Anselm Hartinger (Schola Cantorum Basiliensis), “From ‘Chorus Mu- Committee Meeting sicus’ and ‘Großes Concert’ to ‘Stadt- und Kirchen-Orchester’: The Transformation and Modernization of the Leipzig Musical Institutions 11:00–1:30 Society for Seventeenth-Century Music, between 1781 and 1843” Governing Board Meeting John Gingerich (Peabody Conservatory), “Ignaz Schuppanzigh and the 12:00–2:00 Membership and Professional Development ‘Classical’ Culture of Listening” Committee Meeting Matthew Gelbart (Fordham University), “From Microgenres to Meta- 1:00–6:00 Exhibits genres in Nineteenth-Century German Music Aesthetics” Reds THURSDAY AFTERNOON SESSIONS Margarita Mazo (Ohio State University), Chair 2:00–5:00 Joanna Bullivant (University of Oxford), “‘A world of Marxist or- Chansons and Chansonniers thodoxy’? Alan Bush’s Wat Tyler in Great Britain and the German Democratic Republic” Jane Alden (Wesleyan University), Chair Marina Frolova-Walker (University of Cambridge), “Elite Conversation Jennifer Saltzstein (University of Oklahoma), “‘Vos avés bien le rousegnol on Art for the People: Music in the Stalin Prize Committee” oï’: Vernacular Wisdom and Thirteenth-Century Arrageois Song” Peter Schmelz (Washington University in St. Louis), “A Genealogy of Kathleen Sewright (Rollins College), “‘Shadow Chansonniers’ in the Polystylism: Alfred Schnittke and the Late Soviet Culture of Collage” Vérard Print Le Jardin de plaisance et fleur de rethoricque, c. 1501” Katerina Frank (University of California, Davis), “A Red Cowboy in the Giuseppe Fiorentino (Universidad de Granada), “The ‘Folia Frame- White Sun: American Resonances in an Iconic Soviet Eastern” work’: a Link between Oral and Written Traditions in Spanish Music of Committee on the Status of Women Panel: the Renaissance” Perspectives on the AMS CSW since 1974 Emilio Ros-Fábregas (CSIC [Spanish National Research Council], Barcelona), “Origins of the Cancioneros Colombina, Segovia, and Wendy Heller (Princeton University), Chair Palacio: the Codicological Evidence in the Context of the Compilation Jane Bernstein (Tufts University), Marcia Citron (Rice University), Susan Process in Late Fifteenth-Century Spain” Cook (University of Wisconsin-Madison), Julie Cumming (McGill Jazz Migrations University), Judith Tick (Northeastern University), Judy Tsou (University of Washington) Kim H. Kowalke (Eastman School of Music, University of Rochester), Chair THURSDAY AFTERNOON SHORT SESSIONS Charles Gower Price (West Chester University), “Catfish Blues from Jim 2:00–3:30 Jackson to Jimi Hendrix: Transmission and Transformation of a Delta Blues on Commercial Recordings” Death and Transfiguration bruce d. mcclung (University of Cincinnati), “From the Lower East Side Lois Rosow (Ohio State University), Chair to Catfish Row: ‘Strawberries!’ as Cultural Mediation in Porgy and Bess and Street Scene” Olivia Bloechl (University of California, Los Angeles), “Choral Lament and the Politics of Public Mourning in the Tragédie en musique”

August 2009  Deborah Kauffman (University of Northern Colorado), “‘We are the sheep of his pasture’: Violons en basse as Theological Topic” THURSDAY EVENING SESSIONS Music and Philosophy 8:00–11:00 Keith Chapin (New Zealand School of Music), Chair Music in Jewish Life During and After the Third Reich Michael Gallope (New York University), “The Intellectual Sources of Tina Frühauf (Brooklyn College), Organizer and Moderator Vladimir Jankélévitch’s Philosophy of Music” Panelists: Michael Beckerman (New York University); Shirli Gilbert Sanna Pederson (University of Oklahoma), “On the Musically Beautiful (University of Southampton); Lily Hirsch (Cleveland State University), and ‘Absolute Music’” Organizer; Pamela M. Potter (University of Wisconsin-Madison), 3:30–5:00 Respondent; Benita Wolters-Fredlund (Calvin College) Athanasius Kircher Music for the Common Man: Handel, Purcell, and David Crook (University of Wisconsin-Madison), Chair London’s Eighteenth-Century Entertainments Eric Bianchi (Yale University), “Father Kircher’s Singing Sloth (And Other Vanessa Rogers (Wabash College) Wonders of the New World)” Panelists: Berta Joncus (Goldsmiths, University of London), Zak Ozmo John Z. McKay (Harvard University), “Father Kircher’s Miraculous Me- (L’Avventura London) chanical Music-Making Method” Bicoastal America J. Peter Burkholder (Indiana University), Chair FRIDAY 13 November David C. Paul (University of California, Santa Barbara), “Grounding An 7:00–8:45 Chapter Officers’ Meeting American Icon: The New Left, New History, and Charles Ives” Leta Miller (University of California, Santa Cruz), “Symphonies for the 7:00–8:45 Committee on Career-Related Masses: Alfred Hertz and ‘People’s Music’ in San Francisco” Issues Meeting 7:00–8:45 History of the Society Committee Meeting 4:30–5:30 Development Committee Meeting 7:00–8:45 Joint Meeting of the 2009 and 2010 Annual 4:00–6:00 Mozart Society of America Board Meeting Meeting Program Committees 5:00–6:00 Committee on Career-Related Issues 7:00–8:45 Student Representatives to AMS Conference Buddy Meeting Council Meeting Darwin Scott (Brandeis University), Host 7:00–8:45 Committee on Communications Meeting 5:00–6:00 Committee on Career-Related Issues, Session 7 30 8 45 I: “Elder Care” : – : Alvin H. Johnson AMS 50 Dissertation Fellowship Committee Meeting 5:30–8:00 Opening Reception 7:30–9:00 American Brahms Society Board of 6:00–7:30 Journal of Musicology Editorial Directors Meeting Board Meeting 8:30–5:00 Registration 6:30–8:30 Journal of Seventeenth-Century Music, 8 30 6 00 Editorial Board : – : Exhibits 7:30 Thomas Hampson Recital: “Song of FRIDAY MORNING SESSIONS America” 9:00–12:00 8:00 Philadelphia Orchestra Concert Tchaikovsky: Fourth Symphony; Prokofiev: Ars Antiqua Ars Nova Suite from The Love for Three Oranges; Barber: Rebecca Baltzer (University of Texas, Austin), Chair Violin Concerto Katarzyna Grochowska (University of Chicago), “The Complete 7:00–9:00 IMS Cantus Planus Meeting Reconstruction of the Stary Sacz Manuscript and Its Place among Other 8:00–10:00 Shakespeare, Madness, and Music Reception Thirteenth-Century Notre Dame Manuscripts” Warwick Edwards (University of Glasgow), “Music Beyond Measure: 8:00–11:00 Alvin H. Johnson AMS 50 Open Forum Towards a Cognitive Approach to the Rhythms of Medieval Song” Mary Davis (Case Western Reserve University), Stefano Mengozzi (University of Michigan), “The Making of the Chair Hexachordal System: Medieval Musical Semiotics in Transition” 9:30–11:00 Student Reception, hosted by AMS OPUS Karen Desmond (New York University), “From Trees to Degrees: Mensural Theory and Metaphysical Questions of Being” From Singer to Editor: Implications of Transferral Kate van Orden (University of California, Berkeley), Chair Sean Gallagher (Harvard University), “‘Belle promesse e facti nulla’: Lu- dovico Sforza, Lorenzo de’ Medici, and a Singer Caught in the Middle”  AMS Newsletter Julie Cumming (McGill University), “Patterns of Imitation, 1450–1508” 11:00–1:30 Tour of The Woodlands mansion and Mi mi Jesse Rodin (Stanford University), “ , De Orto, and Ocke­ cemetery, led by Jean Wolf ghem’s Shadow” Ted Dumitrescu (Utrecht University), “In the Editor’s Workshop: 12:00–1:00 Committee on Career-Related Issues: Sixteenth-Century Transmission and Twenty-first-Century Textual “Master Teacher Session,” J. Peter Burkholder Criticism” (Indiana University) Looking Forward, Looking Back Jim Davis (SUNY Fredonia), Chair Amy Beal (University of California, Santa Cruz), Chair 12:00–1:30 Committee on Cultural Diversity: Reception for Travel Fund Recipients, Associates, and H. Colin Slim (University of California, Irvine), “Lessons with Stravin- Alliance Representatives sky: the Futurama Symphony by Earnest Andersson (1878–1943) and His Notebook of 1941” 12:15–1:30 Society for Seventeenth-Century Music, Beate Kutschke (University of Hong Kong), “The Great Masters’ Role in Business Meeting Postmodern Music: East and West Germany” 12:15–1:45 Mozart Society of America Meeting Lisa Jakelski (Eastman School of Music, University of Rochester), “The 12:15–1:45 Early Music America Open Session for Early Economics of St. Luke” Music Directors Ian Quinn (Yale University), “The Strange Case of Dr. Construction and Mr. Multicolored Psychedelic Flower” 12:15–1:45 Lecture-recital: “Piano Masterworks of Policing Music Mexican Nationalism” César Reyes (City University of New York) David Rosen (Cornell University), Chair 12:15–1:45 Lecture-recital: “Un deluvio di lagrime: Colin Roust (Oberlin College), “‘O vent de notre liberté’: Singing Resis- The Lirone in Seventeenth-Century Roman tance in Occupied Paris” Laments” Mary Ann Smart (University of California, Berkeley), “Parlor Games: Victoria Redwood, soprano; Elizabeth Kenny, Italian Music and Italian Politics in the Parisian Salon” chitarrone; Erin Headley, lirone, lecturer (University Francesco Izzo (University of Southampton), “The End of the Risorgimento of Southampton) and the Politics of Italian Opera” 12:15–1:45 JAMS Editorial Board Meeting Andreas Giger (Louisiana State University), “Behind the Police Chief’s Closed Doors: The Unofficial Censors of Verdi in Rome” 12:30–1:30 Panel Discussion: “Learning to Archive Music Collections: Internship Possibilities Popular Genres in the Early Twentieth Century in the Library of Congress,” Denise Gallo, David Ake (University of Nevada, Reno), Chair Library of Congress, Chair Larry Hamberlin (Middlebury College), “Scheming Young Ladies: Images 12:30–2:00 Friends of Stony Brook Reception of Female Musicians in Ragtime-Era Novelty Songs” 1:45–2:45 Cavalli Meeting Leanne Langley (Goldsmiths, University of London), “‘Women in the Band’: Music, Modernity, and the Politics of Engagement, London 1913” 2:00–3:30 Concert: “Presenting the Past: Collaborative Improvisation in the Galant Style” Rachel Cowgill (Liverpool Hope University), “The Rise and Fall of the Metropolitan Police Minstrels” Roger Moseley (University of Chicago), with members of the University of Chicago Historically Stephanie Vander Wel (University at Buffalo), “Songs of the West: Folk Inspired Musical Improvisation Workshop Balladry and Tin Pan Alley” Tracing the Path 2:00–3:30 Walking tour: “Ben Franklin, Music-lover” James Currie (University at Buffalo), Chair FRIDAY AFTERNOON SESSIONS Blake Howe (CUNY Graduate Center), “Schubert, Seidl, and the Threat of Finitude” 2:00–5:00 Mark Evan Bonds (University of North Carolina, Chapel Hill), “The Performing Under Suspicion: Generic Conventions Spatial Representation of Temporal Form” and African-American Female Singers Robert Adlington (University of Nottingham), “Peter Schat, Situationist” Susan Cook (University of Wisconsin-Madison), Chair August Sheehy (University of Chicago), “From Sound to Space: Listening In/To Ryoji Ikeda’s Matrix” Julia Chybowski (University of Wisconsin-Oshkosh), “The ‘Black Swan’ The Musical Aesthetics of Race and Ethnicity in America: A Mid-Nineteenth Century Reception Study of Elizabeth Taylor Greenfield” Sponsored by the Committee on Cultural Diversity Jessica M. Courtier (University of Wisconsin-Madison), “Hearing and Ingrid T. Monson and George Lewis, Co-chairs Seeing the Blues: Musical Ideologies, Narrative Containment, and Bessie Smith in St. Louis Blues” Panelists: George E. Lewis (Columbia University), Pamela Potter (Uni- versity of Wisconsin-Madison), Ellie Hisama (Columbia University), Maya C. Gibson (Washington University in St. Louis), “Stranger than Nina Sun Eidsheim (UCLA), Guthrie Ramsey (University of Pennsyl- Fiction: Convention, Collaboration, and Credibility in Billie Holiday’s vania), Jason Stanyek (New York University), Sindhu Revuluri (Harvard Lady Sings the Blues” University) Jenni Veitch-Olson (University of Wisconsin-Madison), “Performing Aida and Performing Leontyne Price” August 2009  Renaissance Italy FRIDAY AFTERNOON SHORT SESSIONS Leofranc Holford-Strevens (Oxford, England), Chair 2:00–3:30 Michael Phelps (New York University), “Reconsidering Du Fay’s Supre- mum est mortalibus bonum” Men and Music Jeffrey J. Dean (Royal Musical Association), “The Far-reaching Conse- Alexandra Amati-Camperi (University of San Francisco), Chair quences of Basiron’s L’homme armé Mass” Shawn Keener (University of Chicago), “The Giustiniana as Everyday Adam Knight Gilbert (University of Southern California), “Argentum et Practice: Male Conviviality in Venetian Life” aurum: Henricus Isaac and the Divine Alchemy” Margaret Murata (University of California, Irvine), “Marc’Antonio Jessie Ann Owens (University of California, Davis), “Cipriano de Rore’s Pasqualini, a Castrato da Camera” Setting of Dido’s Lament: The Beginning of the Seconda Pratica” 3:30–5:00 Schumann and Mendelssohn Chant Topics R. Larry Todd (Duke University), Chair Manuel Pedro Ferreira (University of Lisbon), Chair Holly Watkins (Eastman School of Music, University of Rochester), “The Horticultural Aesthetics of Schumann’s Blumenstück, op. 19” Rebecca Maloy (University of Colorado), “Compositional Planning and Annett Richter (University of Missouri, Columbia), “The Visual Imagination ‘Properization’ in the Old Hispanic Sacrificia” of a Romantic Seascape: Mendelssohn’s Hebrides Overture Revisited” Benjamin Brand (University of North Texas), “TheHistoriae Sanctorum of Dana Gooley (Brown University), “Robert Schumann and the Agencies Medieval Tuscany” of Improvisation” Roe-Min Kok (McGill University), “Home and Alone: Children’s Music 3:30–5:00 AMS/MLA Joint RISM Committee Meeting as Poetics of Exile” 4:30–6:00 Cambridge University Press Reception Stagings 5:30–7:00 Presidential Forum: “Reflect on the Past, Philip Gossett (University of Chicago), Chair Consider the Present, and Look Toward the Future: The AMS at 75” Margaret Butler (University of Florida), “Mozart’s Theater and Its Italian Contemporaries: La Clemenza di Tito in Prague and Turin” Lewis Lockwood (Harvard University), Suzanne Benjamin Thorburn (Yale University), “Recomposing Monteverdi: Ernst Cusick (New York University), Charles Hiroshi Krenek’s L’Incoronazione di Poppea” Garrett (University of Michigan), Jane Bernstein Jennifer Sheppard (University of California, Berkeley), “Reproducing Op- (Tufts University), Moderator era: Emergent Meanings in Janáček on Stage” 5:30–6:30 Singing from Renaissance Notation, directed Emanuele Senici (University of Rome La Sapienza), “Live Opera on by Valerie Horst and hosted by Early Music Screen: Textualization and Liveness in the Digital Age” America World War II and its Aftermath 5:30–7:30 Society for Eighteenth Century Music, Danielle Fosler-Lussier (Ohio State University), Chair Mozart Society of America, Haydn Society of North America, Bach Society, Handel Barbara Milewski (Swarthmore College), “‘More Music for the Kinohalle!’: Society, Beethoven Society: Special Reception, Józef Kropiński’s Compositions from Buchenwald Concentration Camp” City Tavern Timothy Jackson (University of North Texas), “Sibelius and the SS” 6:30–8:00 Oxford University Press Reception Zbigniew Granat (Nazareth College of Rochester), “Willis Conover Meets 7:00 Pre-concert lecture, Philadelphia Classical Polish Jazz: Cold War Cultural Politics and the Birth of an Eastern Avant- Symphony Garde” “Hexameron and the Clash of Pianistic Titans”: Harm Langenkamp (Utrecht University), “Opposing the Hybrids: Nicolas Music of Mendelssohn, Liszt, Thalberg, Pixis, Nabokov, Alain Daniélou, and the Musical Cold War” Herz, Czerny, and Chopin 75 Years of AMS: Why Now is the Time for Ecomusicology Concert begins 8:00 Sponsored by the Ecocriticism Study Group 7:00–8:00 Committee on Career-Related Issues, Aaron S. Allen (University of North Carolina, Greensboro), chair; Mitch- Session III: “The Sonata Goes Moonlighting: ell Morris (University of California, Los Angeles), keynote; Suzannah Alternative Sources of Income Clark (Harvard University), Emily Doolittle (Cornish College), Helmi for Musicologists” Järviluoma (University of Eastern Finland), Thomas Peattie (Boston Uni- versity), respondents 7:00–9:00 University of Southampton, Purcell Society, and Stainer Bell Reception to celebrate the new edition of Fairy Queen 7:30–9:00 Grove Music Online Open Forum 8:00 Philadelphia Orchestra Concert Tchaikovsky: Fourth Symphony; Prokofiev: Suite from The Love for Three Oranges; Barber: Violin Concerto  AMS Newsletter 8:00–10:00 University of North Carolina, Chapel Hill 7:30–9:30 Journal of Musicological Research Editorial Alumni Reception Board Meeting 8:00–10:00 LGBTQ Study Group Session: David Del 7:45–8:45 American Bach Society Editorial Tredici in conversation with Susan McClary Board Meeting 10:00–12:00 LGBTQ Study Group Party 8:00–9:00 American Institute for Verdi Studies Meeting 10:00–12:00 Reception, Forum on Music and 9:00–12:00 Committee on Career-Related Issues, CV Christian Scholarship and Cover Letter Workshop, in the Exhibit FRIDAY EVENING SESSIONS Area 8:30–5:00 Registration 8:00–11:00 8:30–6:00 Exhibits Staging the Baroque: Perils and Pleasures of Baroque Opera DVDs in the Classroom SATURDAY MORNING SESSIONS Rose Pruiksma (Lewiston, Maine) 9:00–12:00 Panelists: Mauro Calcagno (Stony Brook University), Amanda American Recorded Repertories Winkler (Syracuse University), Olivia Bloechl (UCLA), Wendy Heller (Princeton University) Judith Peraino (Cornell University), Chair Journal of the Royal Musical Association session: Albin Zak (SUNY, Albany), “‘Mitch the Goose Man’: Mitch Miller and the Invention of Modern Record Production” “Transatlantic Connections” Mark Clague (University of Michigan), “‘This Is America’: Jimi Hendrix’s Debating Musical Identity: Shifts in Aesthetic Understandings Two-Year Fascination with the United States National Anthem” in Mexico, Seventeenth to Twentieth Centuries Melissa Ursula Dawn Goldsmith (Nicholls State University), “‘Star Me Sponsored by the Hispanic Study Group Kitten’: William S. Burroughs’ Musical Recordings, Marlene Dietrich, and the Aesthetics of His Dark Americana” Leonora Saavedra (University of California, Riverside), Chair John Howland (Rutgers University, Newark), “Luxe Pop: The Six Degrees Jesus A. Ramos-Kittrell (Southern Methodist University), “Negotiating of Separation from Jay-Z and the Hustler Symphony Orchestra to Difference: Ignacio de Jerusalem and Habsburg Confessionalism at the Symphonic Jazz” Cathedral of Mexico” Displacements Dianne Lehmann Goldman (Northwestern University), “The Politics of Musical Style and the Style of Musical Politics in Mid-Eighteenth-Cen- Lydia Goehr (Columbia University), Chair tury Mexico City” Rebekah Ahrendt (University of California, Berkeley), “‘Allons en paix, John Lazos (Université de Montréal), “Mexican Musical Identity in rebatir nos maisons’: Staging the réfugié experience” the Nineteenth Century: A Contextual Appreciation of José Antonio Derek Katz (University of California, Santa Barbara), “‘Kitten on the Keys,’ Gómez” From Player Pianos to Poetism; or How Novelty Piano Came to Prague” Ana Alonso-Minutti (University of North Texas), “‘Mexican Essence’ and Brigid Cohen (University of North Carolina, Chapel Hill), “Moderns on the Cosmopolitan Ideal in the Music of Mario Lavista” the Move: Toward a Historiography of Avant-Garde Diaspora” Hyun Chang (University of California, Los Angeles), “Hip Hop Transnationalism and Diasporic Identity: Korean American Hip Hop SATURDAY 14 November and the Politics of Belonging” Frankish Chant: Diverse Responses to Rome 7:00–8:30 Alexander Street Press Breakfast Reception Charles M. Atkinson (Ohio State University), Chair 7:00–8:45 Committee on the Status of Women Meeting 7:00–8:45 Publications Committee Meeting Peter Jeffery (University of Notre Dame), “The Textual Transmission of Ordo Romanus 1 and the Frankish Reception of Roman Chant” 7:00–8:45 Graduate Education Committee Forum: Michel Huglo (Paris, CNRS; University of Maryland, College Park), “The “Graduate Education in Times of Oktoechos and Carolingian Architecture: New Evidence” Financial Distress” Jesse Billett (University of Cambridge), “Monastic Liturgy in Ninth-Cen- 7:30–8:45 Committee on Cultural Diversity Business tury Francia and the Chants of the Divine Office” Meeting Susan Rankin (University of Cambridge), “To Speak Well and to Sing Wisely: Liturgical Chant and the Carolingian Principle of ‘correctio’” 7:30–8:45 Society for Seventeenth-Century Music: Editorial Board Meeting, Web Library of Haydn Seventeenth-Century Music Elaine Sisman (Columbia University), Chair 7:30–9:00 A-R Recent Researches Series Editors Richard Will (University of Virginia), “Haydn’s Cosmopolitan Scots” Breakfast Meeting William Drabkin (University of Southampton), “‘Hin ist alle meine Kraft’: 7:30–9:00 Society for Eighteenth-Century Music Board Completing Haydn’s Opus 103” of Directors Meeting

August 2009  Karen Hiles (Muhlenberg College), “Encountering the ‘Mighty Monster’: 12:15–1:45 North American British Music Studies Haydn’s English Sea Songs of 1794–95” Association Meeting Emily I. Dolan (University of Pennsylvania), “Orchestral Revolutions: 2:00–3:30 Lecture-recital: “Walter Gieseking as Haydn’s Legacy and the History of Effect” Composer: Premieres of Representative Performance Practices Works from His Unpublished Manuscripts,” Elisabeth Le Guin (University of California, Los Angeles), Chair Frank R. Latino (University of Maryland, College Park), lecturer, with Maxwell Brown, piano; Joy Nancy November (University of Auckland), “Performance History and Mentzel, piano; Michael Mentzel, baritone; Alyssa Beethoven’s String Quartets: Setting the Record Crooked” Moquin, cello; Onyu Park, soprano; Shelby Sender, Stephanie Vial (University of North Carolina, Chapel Hill), “‘Articulating’ piano (University of Maryland) the Nineteenth-Century Slur” 2:00–4:00 Walking tour: “High Life in Colonial Philadelphia” Tom Beghin (McGill University), “Short Octaves müssen sein! Hanswurst, Sauschneider, and Haydn’s Capriccio in G Major, Hob. XVII:1” SATURDAY AFTERNOON SESSIONS Jessica Wood (Duke University), “Building ‘Authenticities’: Boston School Harpsichord Apprentices and the Revival of Manual Labor” 2:00–5:00 Representation in the Third Republic American Modernism Jane Fulcher (University of Michigan), Chair Carol J. Oja (Harvard University), Chair Carlo Caballero (University of Colorado, Boulder), “Delibes and the John D. Spilker (Florida State University), “Henry Cowell as Systematic Eighteenth-Century Traditions” Innovator: The Early Development of ‘Dissonant Counterpoint’” Ralph Locke (Eastman School of Music, University of Rochester), “Restoring Beth E. Levy (University of California, Davis), “The Composer as War Lost Meanings in Musical Representations of Exotic ‘Others’” Correspondent: Modern Music during World War II” Marianne Wheeldon (University of Texas, Austin), “Debussy, Villon, and Maria Cristina Fava (Eastman School of Music, University of Roches- the Ode à la France” ter), “The Downfall of the Composers’ Collective: Musical or Political Lloyd Whitesell (McGill University), “Erotic Ambiguity in Ravel’s Fiasco?” Music” Steve Swayne (Dartmouth College), “Serial ‘Tyranny’ with a Chubby Checker Twist: Schuman’s Seventh Symphony and Questions of History Cold War Ideology and Constructions of History: and Historiography” Music Historiography during the Cold War and Today Sponsored by the Cold War and Music Study Group British Topics Laura Silverberg (Columbia University), Chair and Respondent Byron Adams (University of California, Riverside), Chair Panelists: Marcus Zagorski (University College Cork), Elaine Kelly Andrew Pinnock (University of Southampton), “Ah Money Money! The (Edinburgh University), Heather Weibe (University of Virginia), Lee Birth of the Modern Music Industry in Restoration London” Bidgood (University of Virginia), Hon-Lun Yang (Hong Kong Bap- Deborah Heckert (Stony Brook University), “‘Mistaking the Periwig for tist University) the Face Beneath’: Pastiche, the British, and the Reception of Continental Neo-Classicism during the 1920s and ’30s” 12:00–2:00 American Bach Society Advisory Board, Ardal Powell (Pendragon Press), “‘In pointed and diametrical opposition Luncheon Meeting to the rules of true taste’: The Gothick Musical Style and the Social Construction of Britain” 12:00–2:00 American Handel Society, Board Meeting Louis Niebur (University of Nevada, Reno), “Derbyshire’s Amor: A Glance 12:15–1:45 Committee on Career-Related Issues, Session Inside the Mind of an Electronic Pioneer” IV: Grant Writing for Music Faculty France: The Long View 12:15–1:45 Haydn Society of North America Business Georgia Cowart (Case Western Reserve University), Chair Meeting Jeanice Brooks (University of Southampton), “Singing the Courtly 12:00–4:00 Committee on the Publication of American Body: The Chanson lascive and the Notion of Obscenity in Sixteenth- Music, Luncheon Meeting Century France” 12:15–1:45 AMS Council Meeting Beverly Wilcox (University of California, Davis), “The Hissing of Pagin: Diderot’s Apostle Meets the Cabal at the Concert Spirituel” 12:15–1:45 Concert: “Piano Music In Vienna beyond the Second Viennese School: An Exploration Sarah Hibberd (University of Nottingham), “Cherubini and the Revolu- tionary Sublime” of the Repertories in the Context of Alban Thomas Christensen (University of Chicago), “Tonality Before and Berg’s Piano Sonata op. 1,” Seda Röder After” (Harvard University) Imaginary Landscapes 12:15–1:45 Lecture-recital: “The Anonymous Missa Sine nomine JenaU 21 (c. 1525),” Gravitación: Richard Leppert (University of Minnesota), Chair Ensemble for Early Music (Urbana-Champaign): Louise Chernosky (Columbia University), “Imagining the Listener Sherezade Panthaki, Jay Carter, Daniel Carberg and through American Experimental Music: NPR’s RadioVisions” Matthew Leese, with Zoe Saunders, lecturer Seth Brodsky (Yale University), “Memorial Utopianism in Late Twentieth- Century European Composition”

 AMS Newsletter Tomoko Deguchi (Winthrop University), “Motionless Spherical Mirror on 10:00–1:00 Joint Alumni Reception Top of the Hill: Toru Takemitsu’s Two Early Works in Postwar Japan” Columbia, Cornell, Duke, Eastman, Indiana, Robert Fink (University of California, Los Angeles), “Unwrapping the McGill, NYU, Ohio State, Princeton, Rice, Box: Frank Gehry’s Disney Concert Hall as Postmodern Space” Stanford, UC Berkeley, UC Davis, UCLA, Sacred and Secular Polyphony in Florence Univ. of Chicago, Univ. of Iowa, Univ. of and Ferrara, ca. 1430–1480 Maryland College Park, Univ. of North Carolina Chapel Hill, Univ. of North Texas, Craig Wright (Yale University), Chair Univ. of Pennsylvania, Univ. of Pittsburgh, John Nadas (University of North Carolina, Chapel Hill), “The 1438 Univ. of Texas at Austin, Univ. of Western Creation of a Polyphonic Cappella in Florence Cathedral and Its Role in Ontario, Yale the City’s Musical Culture” James Haar (University of North Carolina at Chapel Hill), “The Compila- SATURDAY EVENING SESSIONS tion and Copying of Mod B (Modena, Bibl. Est., Ms α X.1.11)” 7:00–10:00 Evan MacCarthy (Harvard University), “Ugolino of Orvieto and His Fif- teenth-Century Readers” Lyrica Society Session Bonnie J. Blackburn (Oxford University), “Anna Inglese: The Career of a Professional Woman Singer in the Fifteenth Century” 8:00–11:00 Wagner and Mahler Virtuoso Improvisation: Musical Practices John Deathridge (King’s College London), Chair and Musicological Discourses Steven Huebner (McGill University), “Édouard Dujardin Wagnérien” Mai Kawabata (University of East Anglia) Christopher Alan Williams (Bowling Green, Ohio), “‘Tristan für Anfän- Panelists: Dana Gooley (Brown University), Elisabeth Le Guin (University ger’: Ironic Self-Parody in Die Meistersinger” of California, Los Angeles), Nina Sun Eidsheim (University of Califor- David Kasunic (Occidental College), “Wherefore the Harp?: An Operatic nia, Los Angeles) Model for Mahler’s Adagietto” Stephen Thursby (Tallahassee, Florida), “‘Steht alles in der Partitur’: Gustav Mahler’s Aesthetics of Operatic Production and His Work with SUNDAY 15 November Alfred Roller and Anna von Mildenburg in Vienna” 7:00–8:45 Board of Directors Meeting Only Connect: The Role of Musicology in Community Engagement 7:00–8:45 Performance Committee Meeting 8:30–12:00 Registration Pedagogy Study Group Session, co-sponsored by the Committee on Career-Related Issues and the Philadelphia Orchestra 8:30–12:00 Exhibits (see p. 18) SUNDAY MORNING SESSIONS Jessie Fillerup (University of Kansas) and Anne-Marie Reynolds (SUNY Geneseo), Co-chairs 9:00–12:00 Cage and Company 5:30–7:00 AMS Business Meeting and Awards David Bernstein (Mills College), Chair Presentation Richard H. Brown (University of Southern California), “‘The Spirit Inside 7:30 Jazz at the Painted Bride Each Object’: John Cage, Oskar Fischinger, and ‘The Future of Music’” Peter Apfelbaum and the New York Benjamin Piekut (University of Southampton), “Murder by Cello: John Hieroglyphics; Pre-concert discussion with Cage meets Charlotte Moorman” Guthrie Ramsey Francesca Placanica (University of Southampton), “‘Unwrapping’ the 8:00 Orchestra 2001 Voice: Cathy Berberian’s and John Cage’s Aria (1958)” Music of Larsen, Salonen, and Schreker Daniel Callahan (Columbia University), “Choreomusical Relationships in Merce Cunningham’s Second Hand and the Aesthetic of Indifference” 8:00 Philadelphia Orchestra Tchaikovsky: Fourth Symphony; Prokofiev: Cinematic Imagination Suite from The Love for Three Oranges; Barber: Daniel Goldmark (Case Western Reserve University), Chair Violin Concerto Alexandra Monchick (Harvard University), “Paul Hindemith and the Cin- 8:00 Piffaro with the Choral Arts Society of ematic Imagination: From Im Kampf mit dem Berge to Hin und Zurück” Philadelphia Julie Hubbert (University of South Carolina), “Politics, War and “A Portuguese Vespers”: Seventeenth-century Documentary Film Music: Roy Harris and the Problem of One Tenth works by João Lourenço Rebelo, Diogo Dias of a Nation” Melgás, António Pinheiro Michael Baumgartner (Boston, Mass.), “Alfred Schnittke’s Film Music and his Concerto Grosso no. 1” Per F. Broman (Bowling Green State University), “Behind the Curtain: Ingmar Bergman’s Musical Conception in Höstsonaten”

August 2009  Colonial Consequences Voices Jann Pasler (University of California, San Diego), Chair W. Anthony Sheppard (Williams College), Chair Drew Edward Davies (Northwestern University), “Indexing Africa in Alexandra Wilson (Oxford Brookes University), “Galli-Curci Comes Christmas Season Villancicos” to Town: The Prima Donna’s Presence in the Age of Mechani- Kristy Riggs (Columbia University), “Transcribing Tourism: The Musical cal Reproduction” Travelogue of Francisco Salvador Daniel” Philip Gentry (College of William and Mary), “Crying in the Chapel: Rachel Beckles Willson (Royal Holloway, University of London), “Revisit- Religiosity and Masculinity in Early Doo-Wop” ing Nineteenth-Century Colonialism: Western Musical Interventions in Ryan Dohoney (Columbia University), “Recalling the Voice of Ju- Ottoman Palestine” lius Eastman” Charles McGuire (Oberlin College), “‘Christianity and Civilization’: Yawen Ludden (University of Kentucky), “Music, Culture, and the Nineteenth-Century British Missionaries and the Control of Malagasy Cultural Revolution: From Beijing Opera to Model Opera” Hymnology” SUNDAY MORNING SHORT SESSIONS German Chant and Liturgy Elizabeth Upton (University of California, Los Angeles), Chair 9:00–10:30 Alison Altstatt (University of Oregon), “‘Deo fortius cantando serviant’: Restoration Publishing Liturgical Practice and Socio-musical Organization in Anna von Kathryn Lowerre (Michigan State University), Chair Buchwald’s Buch im Chor” Rebecca Herissone (University of Manchester), “Purcell as Self-Publisher: Mary E. Frandsen (University of Notre Dame), “Salve Regina/Salve Rex Or, Why The Prophetess ‘found so small Encouragement in Print’” Christe: The Lutheran Appropriation of the Marian Antiphons in the Era of New Piety (neue Frömmigkeit)” JoAnn Taricani (University of Washington), “‘An Antidote against Melan- choly’: Decoding Hidden Royalist Propaganda” Alex Fisher (University of British Columbia), “Sound, Space, and Catholic Identity in the German Litany of the Counter-Reformation” 10:30–12:00 Jennifer Bain (Dalhousie University), “Ludwig Schneider’s Butterfly Ef- Eighteenth-Century Vienna fect: How an Obscure Nineteenth-Century Priest Set the Hildegard Mary Hunter (Bowdoin College), Chair Industry into Motion” Bruce Alan Brown (University of Southern California), “‘…les danses con- fédérées’: Multinational Ballets on the Viennese Stages, 1740–1776” Martin Nedbal (Eastman School of Music, University of Rochester), “Preach- ing (German) Morals in Vienna: The Case of Mozart and Umlauf”

Study Group News Pedagogy Study Group formal session at the Annual Meeting, to be 14 2 5 continued from page  held on Saturday, November, – p.m. The The Pedagogy Study Group (PSG) will pursue session will juxtapose community outreach 2009 problems facing) ecomusicology, keynote several activities during fall , including a and audience education with the stated aim speaker Mitchell Morris (UCLA) will offer collaborative session at the Annual meeting of the AMS—to advance “research in the reflections on the parallels between ecomusi- in Philadelphia, a study day for music his- various fields of music as a branch of learn- cology and gender/sexuality studies in music. tory teaching, and a proposal for a pedagogy ing and scholarship.” Speakers will critique A panel of distinguished scholars will offer journal. the relevance and accessibility of musicologi- brief responses to Morris’s presentation, and Teaching Music History Day (TMH), held cal discourse in adult education and explore the audience will then join the discussion. annually, features papers, panels, and discus- avenues for bringing music scholarship to the More information will be provided on the sion forums to benefit both musicologists attention of non-expert listeners, in part by ESG Web site. and those teaching music history from other considering Tchaikovsky’s Fourth Symphony —Aaron S. Allen fields of expertise. The event provides out- (which the Philadelphia Orchestra will per- reach for the latter group—which may lack form over the weekend) as a case study. Rich- LGBTQ Study Group the support and resources of the musicologi- ard Freedman (Haverford College), pre-con- The LGBTQ Study Group is pleased to an- cal community—while offering musicolo- cert lecturer for the Philadelphia Orchestra, nounce that their program for the Philadel- gists an opportunity to reassess pedagogical will be one of the featured speakers. phia Annual Meeting will feature David Del paradigms by learning from colleagues in The PSG is proposing a new journal, tenta- Tredici in conversation with Susan Mc- other disciplines. This year, TMH Day will tively titled the Journal of Music History Peda- Clary about the role of sexuality in his music. take place at Edinboro University in Pennsyl- gogy, to include essays on teaching philoso- The event will take place on Friday night at 8 vania on Saturday, 12 September. The event phies, pedagogical theory, study approaches p.m., followed by the annual AMS LGBTQ will also include refreshments and a luncheon to specific works or topics, course develop- party. If you plan to attend this event, we ask provided by the University. ment, and reviews of textbooks and ancillary that you make a tax-deductible contribution To mark the seventy-fifth anniversary of teaching materials. See Journal News (p. 26) to help pay for the arrangements for Mr. Del the AMS, the PSG will collaborate with the for full details, or visit the PSG Web site: Tredici. Go to www.ams-net.org/lgbtqsg/ for Committee on Career-Related Issues (CRI) www.ams-net.org/psg/. more information. and the Philadelphia Orchestra on its first —Jessie Fillerup —Judith Peraino  AMS Newsletter News Briefs News from the AMS Board Georgia Cowart will serve as co-curator, incorporate resources from all genres, styles, The AMS Board met in Philadelphia in with Katharine Baetjer, of the Metropolitan and applications of music without restriction, March 2009. After receiving the Treasurer’s Museum of Art exhibition “Watteau, Mu- wherever in the world they may be collected. report, outlining a decline in the Society’s sic & Theatre” (22 September–29 Novem- www.library.pitt.edu/RAMH2 Endowment of 16.2% during calendar year ber 2009). The exhibition includes paintings The Society for American Music has estab- 2008, the Board considered at length how from U.S. and European museums, as well as lished the Adrienne Fried Block Fellowship best to meet its financial obligations while musical instruments, drawings, prints, and in her memory (see p. 23). It will support maintaining as many programs as possible. porcelains. scholarly research on topics that illuminate They decided to keep 2009–10 fellowship The Historical Recording Coalition for Ac- musical life in large urban communities. stipends, staff salaries, and travel grant al- cess and Preservation recently established by american-music.org/awards/BlockFellow- lotments at last year’s levels, and to limit the Association for Recorded Sound Collec- ship.php the number of fully funded AHJ AMS 50 fellowships to three. tions. Its mission is to advocate for changes in Dalhousie University has launched a new U.S. copyright law to enable better preserva- M.A. program in musicology. In addition, the board: tion of and access to America’s rich recorded music.dal.ca/Educational%20programs/ • Reappointed Robert Judd as Executive heritage. MA_(Musicology).php Director for a five-year term www.recordingcopyright.org Southwestern University, with support • Requested that Treasurer James Lade­ wig stand for re-election in 2010 for The Arts & Humanities Research Council has from The Andrew W. Mellon Foundation, another two-year term established the Research Centre for Musical will mount performances of all three sets of • Discussed plans for an Open Forum on Performance as Creative Practice. The cen- Debussy’s Songs of Bilitis. One set of perfor- Grove Music Online at the next An- ter’s five-year brief is to focus on live musical mances includes a reconstruction of the his- nual Meeting performance and creative music-making. Vis- toric salon performance given with tableaux • Approved deadline changes for the iting Fellowships and two doctoral student- vivants and mime in Paris on 7 February 1901, Howard Mayer Brown and Alvin H. ships will also be awarded. Its formal launch is as well as the 1897 and 1914 compositions. Johnson AMS 50 Fellowships from 15 scheduled for October 2009. John Rink (Uni- John Michael Cooper will produce the per- January to 15 December each year versity of Cambridge) will serve as Director. formances. www.cmpcp.ac.uk www.southwestern.edu/sarofim/bilitis • Approved a set of recommendations received from the Committee on the University of California, Berkeley Resources of American Music History 2, The has Annual Meeting for changes in Annual Philip Brett LGBT Fund an interactive, edited online directory of col- established the , de- Meeting abstract submission procedure lected resources for musical activity in the signed to support LGBT-related research by (see the Indianapolis Call for Papers, p. United States from pre-colonial times to the graduate students studying in any field. 24, for details). present, is currently in planning stages. It will continued on page  —Pamela F. Starr Executive Director’s Report In a report in the August 2004 AMS Newsletter organize the book exhibit; handle confer- may not be around for the next time!) I identified three foci of the Society: Annual ence registration; and work on-site, together The job has aspects that are like semitrans- Meeting, publications, and member support. with volunteers and hired staff, to ensure a parent layers: the three-part division is seen I won’t repeat details, but I think the tripartite smoothly-run meeting. After the meeting I through the layer of the annual cycle of activi- division still holds true. In this report I would review and pay the bills. ties. Two additional layers color my activities: like to give details of what I actually do. This Membership support: with much help electronic communication and money. is timely: last March I prepared a detailed job from the office staff, I make sure member ac- Working with the Web and e-mail occupies description for the Board of Directors as they counts are in order; handle renewals and wel- a significant portion of my time across all considered my reappointment. come new members; liaise with AMS chap- three divisions of the Society, since many of I play a role in all three areas of the Society; ters; and help committees in their work where our communication needs are handled in this the work tends to be cyclical, based on regular possible. I am an active member, ex officio, way. Currently, the Web site is undergoing a activities and deadlines pertaining to the three of the following committees: Publications, major revision (we hope to unveil it in Au- areas. For publications, I prepare, with the Annual Meeting, Communications, Devel- gust), and that has engaged the office signifi- assistance of my office staff, the Newsletter opment, Finance, and Obituaries. Although cantly. And e-mail correspondence continues each December-January and May-June; the I occasionally offer musicological input on (I send about 350 AMS e-mails a month). I Annual Meeting Program and Abstracts each these committees, my role is usually to assist have learned to use PHP and CSS to facilitate summer; and the AMS Directory in January. with institutional memory and information, managing online renewal, fellowship appli- For the Annual Meeting, I organize meet- or to help coordinate money matters. Com- cation, conference proposal submission, and ing venues and sign contracts (four or five mittee work comes in cycles as well; currently, many other internet-based activities that take years in advance); work with Local Arrange- one of the most important committee jobs place at the Web site. The Society is somewhat ments Chairs to organize events; coordinate has to do with helping support the work of ahead of many of its ACLS peers in that it the proposal submission and review process; the OPUS Campaign as it draws to a close. has active and steady RSS feeds (New books assist the Program Committee in their work; (Since that is on a twenty-five year cycle, I continued on page  August 2009  Committee News ACLS Annual Meeting 2009 continued from page 

The American Council of Learned Societies to the House Appropriations Subcommittee, continues to investigate the difficulties of bal- (ACLS) held its annual meeting in Phila- along with many other policy documents, is ancing work and life issues, this year with a delphia in early May. It was no surprise that available at www.nhalliance.org.) session on the challenges of caring for the el- much of the conversation concerned itself An interesting session on learned journals derly. We are also hosting a session on moon- with current financial woes: not only academ- and open access provoked a good deal of lighting for musicologists, with presentations ic institutions, but member societies and the thought. Many of the ACLS’s constituent so- and discussion on alternate forms of income. Council itself are coping with serious losses cieties are considering responses to the grow- In another session we have guest speakers who not only in endowment income but contribu- ing clamor for free access to scholarly content; will address grant writing for music faculty; tions as well. In her annual address, President the research project reported here, however, we will also be hosting a workshop on vitae Pauline Yu quoted an Economist headline: has realized the extent to which the open and cover letters for those who would like an “desperamus igitur.” model works best in the sciences and technol- outside opinion on their materials. Our own Don Randel, now president of the ogy where journal articles are short and where This year’s Master Teacher speaker will be Mellon Foundation, continued in the gallows the “shelf life” of research is relatively brief. So J. Peter Burkholder, who will no doubt offer humor vein in a luncheon address, asking far it has not worked well for humanities and a stimulating and informative session. Thurs- “are the humanities shovel-ready?” His very social science societies, most of which cru- day evening again features the mixer for the serious theme was the worsening of already cially require the income generated by their thriving Buddy Program for new members. “frail” government support for the humani- flagship journals and have not been able to For more information on the committee’s ties; he urged us all to think seriously about implement open access satisfactorily. There activities in Philadelphia, please go to www. what it is that we really value about human- was also a wide-ranging panel discussion deal- ams-net.org/cri. istic learning—a certain quality of mind, he ing with various aspects of assessment and —James A. Davis argued, that the world sorely needs—and to peer review. work to generate stronger support for its im- The ACLS has responded to fiscal difficul- Committee on Cultural Diversity portance in cultural diplomacy as well as in ties with unavoidable cuts in its fellowship The Committee on Cultural Diversity will the cradle-to-grave quality of life of our own programs; it has cut the number of fellows sponsor a special session at the Philadelphia citizens. rather than the size of awards, and has tried Annual Meeting entitled “The Musical Aes- Jessica Jones Irons, Executive Director of the to spare younger scholars the worst of the ill thetics of Race and Ethnicity.” As the Society National Humanities Alliance, reported fairly effects. Five fellowships were awarded in the celebrates its seventy-fifth anniversary, it is grim news on the NEH funding front; she did music disciplines, plus four further grants for appropriate to consider the following ques- comment, however, that one accomplishment dissertation completion and language study; tions: of the “first hundred days” of the Obama details are still confidential and will be re- • How and why do race, ethnicity, place, and administration was the public posting of the leased in due course. nationality matter in shaping our musical last ten years’ worth of NEH annual reports, —Ruth A. Solie understanding? hitherto unavailable. (Pauline Yu’s testimony • What are the social, political, and/or eco- nomic inequalities that racial and ethnic minorities face? What unique musical Executive Director’s Report voices have been formed to counteract AMS Council such injustices? continued from page  Current activities of AMS Council include • In what ways does race mediate the cre- work on a statement regarding copyright in musicology, Musicology in the news). Its ation and reception of music? By what and fair use; encouraging pedagogy-ori- new Facebook and Twitter presence is small methods do racial and ethnic minorities ented presentations at the Annual Meet- but growing. create musical meaning? ing; considering the role AMS chapter The top layer is money. One half-time staff • In what ways have our current pedagogical meetings play in the work of the Society. member’s position is dedicated to monitor- practices encouraged or excluded the mu- As part of its ongoing work, the Council ing financial activities, and I prepare budgets, sic of racial and ethnic minorities? reviews and selects candidates for honor- monitor spending, write checks, review the The seven panelists (see the Preliminary ary and corresponding membership. taxes and various financial forms, review the Program for a full listing) will present their The AMS Council meets at each year’s bills, and so on. Nearly everything we do has observations, after which we hope to have a Annual Meeting, and conducts business a monetary aspect. lively conversation among all present. Please electronically throughout the year. Coun- Finally, I should say that occasionally I have plan to attend. cil members are listed in the AMS Direc- the chance to do “real musicology,” which I —George E. Lewis and Ingrid Monson tory and at the Web site. Those interested enjoy as well. Last spring I was able to write in serving on AMS Council should let the the article on the Society for the New Grove Graduate Education Committee Council Nominating Committee know; Dictionary of American Music, and I hope in The Graduate Education Committee is work- elections to Council take place in January future to continue historical work on the So- ing on a survey that aims to compile informa- each year. ciety and American musicology, as well as my tion about trends and development in Ph.D. www.ams-net.org/council/ long-standing interests in notation, early key- programs and graduate placement. Last May —Mary Natvig, Council Secretary board music, and spirituality. we sent out questionnaires to the Directors —Robert Judd  AMS Newsletter of Graduate Studies at the Ph.D. programs musician, and teacher. The editor of this vol- The committee utilizes a number of named in the U.S. If you have any questions—espe- ume is Katherine K. Preston. funds to support subventions. Some of these cially if you did not receive the questionnaire Supported by the National Endowment for are unrestricted, while others go to support but feel you should have—please contact the the Humanities, the University of Michigan’s research in specific areas or using specific re- chairs of the Graduate Education Committee American Music Institute, and the AMS, sources. Applications that directly correlate ([email protected] and [email protected] MUSA is conceived as a forty-volume series. with restricted named funds are encouraged. vard.edu). Your input is greatly valued. Although many projected series volumes are An overview of the named funds is at the Web Having accurate information about the already commissioned, the Committee on the site. professional development of our graduate Publication of American Music (COPAM) The committee is well aware that top-qual- students, including job prospects, is of crucial wishes to announce that we remain open for ity research may in the future be packaged in importance, especially in these times of eco- business, standing ready to consider any and ways other than the traditional book; those nomic uncertainty. This situation affects all of all projects now being planned or contemplat- working on non-book research projects are our doctoral programs. We are therefore hold- ed. For information consult James Wierzbicki, encouraged to consider the AMS subventions ing an Open Forum on “Graduate Education executive editor of MUSA, at the University program. in Times of Financial Distress” at this year’s of Michigan: tel. (734) 647-4580; musa-info@ During the past twelve months, the Publi- AMS Annual Meeting (Saturday, 7 a.m., over umich.edu; www.umich.edu/~musausa. cations Committee received thirty-one appli- breakfast). We welcome a lively discussion on —Richard Crawford cations (sixteen from individuals, fifteen from this very topical subject, and we are planning publishers, and none for AMS 75 PAYS). to discuss the results of our survey in this ses- Publications Committee Fifteen publications have been awarded sion. Both the amount of recent and excellent AMS publication subventions totaling over —Alex Rehding and Ruth DeFord scholarly work and the financial crisis render $22,000. Committee on the Publication of the work of the Publications Committee in- Publisher subventions: teresting and difficult: the former, because of American Music Jane Alden, Songs, Scribes and Society (Ox- the many worthy requests that we get from ford) Since the Annual Meeting in Nashville, A-R publishers and individuals, the latter because Jonathan Bellman, Chopin’s Polish Ballade Editions has published Music of the United of the hard choices we have to make, meaning (Oxford) States of America (MUSA), vol. 19, contain- that we simply cannot fund all worthy proj- Benjamin Brinner, Playing Across a Divide: ing Symphony No. 1 and Symphony No. 3 by ects. I would like to take this opportunity to Israeli-Palestinian Musical Encounters in a Florence Price, edited by Rae Linda Brown remind members of the nature of the three Contested Land (Oxford) and Wayne Shirley. These two works—Price’s AMS subvention programs adjudicated and Danuta Mirka, Playing with Meter: Metric First is the earliest symphony by an African administered by this committee. Manipulations in Haydn and Mozart’s Cham- American woman composer—have been First, for scholars currently preparing their ber Music for Strings (Oxford) performed successfully in recent years, and first book: the Society’s AMS 75 PAYS (Pub- Robert Carl, Terry Riley’s ‘In C’ (Oxford) lication Awards for Younger Scholars) sub- MUSA’s package of a critical edition, rental Individual subventions: parts, and a contextual essay promises to help vention program is precisely for you! Please the two works establish themselves more fully. remember that these applications must come Caryl Clark, Haydn’s Jews: Representation (Price’s Second Symphony is lost.) from publishers. I strongly encourage you to and Reception on the Operatic Stage (Cam- Before the end of the summer, another work with your publisher to apply before the bridge) MUSA project is scheduled to appear in book goes into production. The maximum Georgia J. Cowart, Louis XIV and the Poli- print: Songs from “A New Circle of Voices:” The award is $5,000. tics of Spectacle (Chicago); the first publication Sixteenth Annual Pow-Wow at UCLA, edited Our other two subvention programs are supported by the James R. Anthony Endow- by Tara Browner. The music published here, for individuals and publishers. Individuals ment transcribed from an event that took place in may apply for funding to assist with expenses Joanna Demers, The Aesthetics of Experimen- 2001, is intended as a modern complement to involved in the publication of their research tal Electronic Music (Oxford) MUSA 11, Writing American Indian Music, that are not covered by publishers, such as the Glenda Goss, Sibelius and Finland’s Awak- edited by Victoria Lindsay Levine. The earlier costs of illustrations, musical examples, audio ening (Chicago) volume is devoted to historic transcriptions of examples, or permissions fees. The maximum Lily Hirsch, A Jewish Orchestra in Nazi Ger- documents from the 1500s to the late 1900s. award is currently $2,500. Publishers may many (Michigan); one of the first two pub- Professor Browner’s volume, containing thir- apply for funding to reduce the final cost of lications supported by the Barry & Claire teen selections from the same twenty-first- the book to end-users. The maximum award Brook Endowment century event, features her original, elegant, is currently $5,000. J. Sterling Lambert, Schubert’s Multiple Set- and easy-to-read notation incorporating four Guidelines for the three subvention pro- tings of Goethe (Boydell & Brewer) separate elements: the vocal line, the verbal grams can be found at our Web site, www. Louis Niebur, The History and Legacy of the text, the drum line, and the dance move- ams-net.org/pubs/. The Publications Com- BBC Radiophonic Workshop (Oxford); one of ments. mittee has established specific guidelines for the first two publications supported by the Next in line, and scheduled for publica- each subvention program. Please remember Barry & Claire Brook Endowment tion during the fall of 2009 as MUSA 21, is that all subvention applications must con- Hilary Poriss, Changing the Score: Arias, Symphony No. 2 (“Jullien”) (1853 or 1854) by form to the guidelines in terms of outside Prima­donnas, and the Authority of Performance George Frederick Bristow (1825–98), a pro- readers’ reports, detailed budgets, and the (Oxford) lific, talented, but barely known New York- like—applications that do not adhere to the based composer, conductor, violinist, church guidelines cannot be considered. continued on page  August 2009  Committee News AMS / Library of Congress Lecture Series continued from page  In collaboration with the Music Division of the Library Cathy Ragland, Música norteña: Mexican of Congress, the AMS has designated two new lectur- 2009 10 2009 Migrants Creating a Nation between Nations ers for the series in – . In October Walter (Temple) Frisch (Columbia University) will speak on the music 2010 Joseph N. Straus, Twelve-Tone Music in of Arnold Schoenberg, and in spring Steve Swayne America (Cambridge) (Dartmouth College) will speak about his recent research —Robert L. Kendrick on the music and life of William Schuman. Frisch writes that his lecture “will focus on Arnold Committee on the Status of Women Schoenberg’s extraordinary development as a compos- The Committee on the Status of Women er across fifteen years near the beginning of his career, 1897 1912 (CSW) will hold its session in “prime time” on from to , a period framed by his early string Thursday, November12 . In honor of the seven- quartet in D major and the melodramas of Pierrot Luna- ty-fifth anniversary of the AMS, the CSW will ire. Schoenberg went from being little known outside a feature past chairs of the Committee, includ- small circle in Vienna to gaining wide recognition across Europe, and even beyond, as a leading musical modern- ing President Jane Bernstein, Marcia Citron, Walter Frisch Susan Cook, Julie Cumming, Judith Tick, and ist. Between 1897 and 1912 Schoenberg’s work undergoes AMS / Library of Congress Lecturer Judy Tsou. Our speakers will consider the his- profound transformations: from a style based firmly in tory of the CSW and the very genuine changes that of Brahms; to more complex treatment of form, counterpoint, and chromatic harmony in the “status” of women since the CSW’s that owes much to Wagner and Mahler; and then to an intuitively developed atonality and a founding in 1974, and will also draw from their novel method of text-setting that would provide important models for other twentieth-century considerable expertise to explore how thinking composers. The lecture will draw on correspondence and on autograph musical sources held at about gender has shaped research, teaching, the Library of Congress, including manuscripts of the first three string quartets (the D-Major; and performance. More information about op. 7; and op. 10); the sextet Verklärte Nacht, op. 4; and Pierrot lunaire, op. 21.” this session will be posted to the Annual Meet- The lectures are open to the public, and the October event will take place at noon in the ing Web site. Library’s Coolidge Auditorium in the Jefferson building, Library of Congress, Washington, Last November in Nashville the CSW spon- D.C. sored an open meeting entitled “Gender and The first three lectures in the series are now available in webcast form via the AMS Web site. Gen Next: Perspectives from Early Career These include lectures by Judith Tick on Ruth Crawford Seeger; Annegret Fauser on Music, Musicologists,” featuring Maria Purciello, Em- War and the Library of Congress; and most recently Jeffrey Magee on Irving Berlin. The Li- ily Wilbourne, Katherine Axtell, Kimberly brary of Congress webcasts have been accessed by thousands of users, so information about Schaefer, and Micaela Baranello. Even those the rich music holdings of the Library of Congress and the research of AMS members on these panelists who were less involved in gender holdings is reaching a wide audience. Special thanks go to Denise Gallo of the Library of Con- work, or believed their working environments gress for her indispensable efforts in organizing and coordinating this series. to be largely gender-neutral, found themselves The AMS Communications Committee and the LC Music Division invite all mem- grappling with more subtle forms of gen- bers of the Society who have used the Music Division’s collections to submit lec- der discrimination, such as disproportionate ture proposals for the 2010–11 series. Further instructions are found at the Web site: workloads or differing expectations from their www.ams-net.org/LC-lectures/ advisor or chairs (e.g. “women are supposed to —Patrick Macey be more nurturing”). While it was apparent that the AMS is fortunate to have such bright and eloquent scholars to lead us in the future, we also learned that we still need to be vigilant Conferences about gender equality for all our members. This is a highly selective listing; comprehen- City, Chant, and the Topography of Early Lest we imagine that the issues that have so sive and up-to-date listings of conferences in Music, in honor of Thomas Forrest Kelly long concerned the CSW are no longer rel- musicology are posted online. See the link on 2–4 October 2009, Harvard University evant, I would like to refer AMS members to the AMS Web page (www.ams-net.org) for www.music.fas.harvard.edu/chant.html “Standing Still: The Associate Professor Sur- full details. vey” commissioned by the Modern Language Second Viennese School and Early Music Association (www.mla.org/assocprof_survey). IMS Cantus Planus Study Group 8–10 October 2009, Arnold Schönberg Among the key findings is that it takes wom- 23–29 August, Keszthely, Hungary Centre, Vienna en longer than men to be promoted to the www.cantusplanus.org www.schoenberg.at/7_research/ rank of professor (regardless of marital status symposia_2009.htm and number of children), that women spend Haydn and Landon: Perspectives on less time on research and writing and more Haydn Scholarship in Celebration of H. Women’s Impact on the Music of Johann on course preparation and grading, and that C. Robbins Landon Sebastian Bach women report less job satisfaction than their 1–2 October 2009, Boston University 16–18 October 2009, Yale University Institute male counterparts. list.bowdoin.edu/pipermail/ams- of Sacred Music It is a pleasure serving the AMS as chair of announce/2009-February/001311.html www.yale.edu/ism/events/Women_and_ this committee, and I look forward to seeing Bach.html you all in Philadelphia in November! continued on page  —Wendy Heller  AMS Newsletter Obituaries William Ashbrook (1922–2009) William Ashbrook died in Denver on 31 The Society regrets to inform its members of the deaths of the following members: March 2009, aged 87. One of the most signif- Eric Offenbacher, 5 January 2009 Adrienne Fried Block, 5 April 2009 icant Italian opera scholars of his generation, George J. Buelow, 30 March 2009 Donna Mayer-Martin, 24 May 2009 he was particularly known for his pioneering, William Ashbrook, 31 March 2009 Isabelle Bélance, 18 June 2009 still indispensable, scholarly work on Doni- zetti and Puccini. 1922 Adrienne Fried Block (1921–2009) George J. Buelow (1929–2009) Born in Philadelphia in , Bill gradu- ated from the University of Pennsylvania in Adrienne Fried Block, born on 11 March 1921, George J. Buelow, Professor Emeritus at Indi- 1946 and took the M.A. at Harvard in 1947. died peacefully in her beloved New York City ana University, died on 30 March 2009, fol- He taught English literature at Indiana State on 5 April 2009. lowing a long illness. He was born 31 March University, and was Professor of Opera at the Block had a career as a practicing conduc- 1929 in Chicago and spent his formative years Philadelphia College of the Performing Arts. tor before she trained as a musicologist. In there, receiving his bachelor’s and master’s Opera was his life-long passion: a trip down 1958 she received her B.A. from Hunter Col- degrees from the Chicago Musical College. the steep stairs to his subterranean offices in lege in Music Theory and Music Education. In 1951 he began graduate studies in musi- Terre Haute or Philadelphia (he called them, Then followed a Certificate from the Dalcroze cology at New York University with Martin with typical self-deprecation, his “bilges”) School of Music, her professional base for the Bernstein, Gustave Reese, and Curt Sachs. revealed an imposing, bewildering mass of next three decades. Beginning as a teacher Following a 1954–55 Fulbright fellowship in recordings and scores. What is more remark- in the Dalcroze Method in 1957, she served Hamburg, he served on the editorial staff of able, though, is that this passion developed as the School’s Choral Director from 1964 various music journals while writing his dis- into a second career as a formidable opera through 1985. sertation under the direction of Jan LaRue. scholar. After extended research trips to Ber- Block entered the doctoral program in mu- In 1961, Buelow received his Ph.D. and gamo and elsewhere, he published in 1965 his sicology at the Graduate Center of the City joined the faculty of the University of Cali- first operatic book, Donizetti, at a time when University of New York in 1969, the year it fornia, Riverside. A Guggenheim Fellowship there was renewed public interest in the com- was founded under the leadership of Barry S. (1966–67) enabled him to return to Europe poser’s lesser-known works but very little re- Brook. In 1978 she finished her dissertation, for further research, and after a brief sojourn liable scholarship on them in any language. later published as The Early French Parody at the University of Kentucky (1968–69), he Three years later came The Operas of Puccini, Noël by UMI Research Press (1983). After that, moved to Rutgers University in 1969. In 1977 whose sympathetic appraisal of the music was she invested herself in the burgeoning field of he joined the faculty of Indiana University, counterpointed by telling discussions of the American music studies. Its anti-authoritari- where he taught courses in musicology, choral autograph scores and skilful expositions of the tangled genesis of each one of Puccini’s an ethos in the 1970s and early 1980s attracted music, and piano literature until his retire- operas. her kind of intelligence and she found ways ment in 1999. Many more years of research resulted, in to link her passion for social justice with the Buelow was president of the American Bach 1982, in Donizetti and His Operas, which has women’s history movement, especially in re- Society (1987–92), vice president of the Amer- remained the essential source on the composer. lation to American musical life. Along with ican Handel Society (1989–93), and a member The control of detail and powers of synthesis her co-editor Carol Neuls Bates, she made a of the Directorium of the International Musi- that enabled Bill to sift through and digest the major contribution to the emerging field of cological Society, the Commission Internation- scattered detritus of Donizetti sources remain women’s studies through Women in American ale Mixte of RISM, and numerous boards. In entirely remarkable. Quite how he did all this Music: A Bibliography of Music and Literature addition, he served for many years as Ameri- amidst his other commitments and distrac- 1979 Acta musicologica ( ). can editor for and founded tions remains a mystery (Bill was also, and Block followed that with sociological pro- the series Studies in Musicology, which pub- famously, devoted to the joys of conviviality); 110 1977 90 files of the field. She edited and introduced lished volumes ( – ) under his gener- but—for all of us who love Italian opera—the Barbara Hampton Renton’s The Status of al editorship. In these capacities, he provided results continue to be a source of enlighten- Women in College Music, 1976–77: A Statisti- encouragement for many scholars preparing ment and pleasure. In later life, Bill enjoyed cal Study (College Music Society, 1980), and their first publications and extended his influ- the scholarly recognition he richly deserved: continued the project by publishing statis- ence beyond the classroom to a generation of as contributor to academic journals and sym- tics about women’s status in academic music younger American musicologists. posia; as a presence at AMS national meet- (published in Women’s Studies/Women’s Status Buelow’s research centered on German mu- ings; as co-author (with Harold Powers) of a [College Music Society, 1989]). sic of the seventeenth and early eighteenth monograph on Turandot; and, between 1993 Block’s biography of the pianist and com- centuries, emphasizing performance practice, and 1997, as the enterprising editor of Opera poser, Amy Beach, Passionate Victorian: The music theory, and opera. His dissertation, Quarterly. In 2002 the Fondazione Donizetti Life and Work of an American Composer revised and published as Thorough-Bass Ac- of Bergamo and the Centro Studi Giacomo 1867–1944 (Oxford University Press, 1998), companiment According to Johann David Hei- Puccini of Lucca dedicated an entire interna- culminated many years of scholarship on nichen, provides a comprehensive exposition tional conference to him: a fitting climax to Beach’s life and work. She made a remarkable of the relationship between the performance the career of a man who will be remembered contribution through her impeccable and hu- practice and music theory of the time. He au- with extraordinary fondness by his many, mane scholarship about this composer whom thored more than a hundred articles for both many friends and colleagues. few took seriously and whose music they did editions of the New Grove Dictionary of Music —Roger Parker continued on page  continued on page  August 2009  Annual Meeting, Indianapolis, Indiana 4–7 November 2010

Call for Papers formal exchange of ideas in a public forum al papers will be selected from the remaining than in paper sessions. These can cover a wide proposals, for a total of about 144. No paper Deadline: 5 p.m. EST, range of topics: they may examine a central accepted during the first round of discussion 15 January 2010 body of scholarly work, a methodology or will be eliminated in the second round. Al- critical approach, or lay the groundwork for ternative format sessions and evening panel The 2010 Annual Meeting of the AMS will a new research direction. Such panels should discussions are reviewed separately from indi- be held in Indianapolis, Indiana, from Thurs- comprise participants’ brief position state- vidual proposals and formal sessions. day, 4 November, to Sunday, 7 November. ments, followed by general discussion among Application restrictions. No one may The Program Committee welcomes proposals panelists and audience. Panel discussions will appear on the Indianapolis program more for individual papers, formal sessions, evening be scheduled for the same duration of time than twice. An individual may deliver a pa- panel discussions, and sessions using alterna- as full or half sessions of papers. For this pro- per and appear one other time on the pro- tive formats in all areas of scholarship on mu- posal, organizers should outline the rationale gram, whether participating in an evening sic. For the 2010 Annual meeting, proposal and issues behind the proposal, describe the panel discussion or alternative format session, guidelines have been significantly revised, activities envisioned, and explain why each functioning as a chair-organizer of a formal and a new category of submission (alterna- panelist has been chosen. Evening panel dis- session, or serving as a respondent, but may tive-format sessions) added. Please read the cussions will be considered only as a whole. not deliver a lecture-recital or concert. Partici- guidelines carefully: proposals that do not Maximum length: 500 words. pation in extra-programmatic offerings such conform to them will not be considered. Daytime sessions using alternative for- as interest-group meetings or standing com- The 2010 meeting will be held jointly with mats. The Indianapolis meeting will include mittee presentations (e.g., the Committee on the Society for Music Theory (SMT). The six daytime three-hour time blocks utilizing Career-Related Issues) does not count as an AMS Program Committee warmly invites alternative formats, i.e. activities other than appearance for this purpose. proposals for papers to be read at joint ses- “traditional” papers. Both three-hour and Only one submission per author will be ac- sions sponsored by both societies. ninety-minute sessions may be proposed. cepted. Authors who presented papers at the Proposals will be accepted according to the Examples of alternative formats include, but 2009 AMS meeting may not submit propos- following four categories: are not limited to, sessions combining per- als for the AMS portion of the 2010 meeting. Individual proposals. Proposals should formance and scholarship, sessions discussing Organizers of evening panel discussions or represent the talk as fully as possible. A suc- an important publication, sessions featuring alternative format sessions may not also pres- cessful proposal typically articulates the main debate on a controversial issue, and sessions ent a formal paper in the same year or in the aspects of the argument or research findings devoted to discussion of papers posted online preceding one, but participants may do so. clearly, positions the author’s contribution before the meeting. Sessions may be proposed Authors may not submit the same proposal with respect to earlier work, and suggests the by an individual or group of individuals, by to both the AMS and the SMT 2010 program paper’s significance for the AMS community. a Study Group, by a smaller society that has committees. If an author submits two differ- Authors will be invited to revise their propos- traditionally met during the Annual Meeting, ent proposals to the AMS and the SMT and als for the Program and Abstracts, distributed or by an AMS committee wishing to explore both are accepted, only one of the papers may at the meeting; the version read by the Pro- scholarly issues. Proposals for alternative for- be presented. gram Committee may remain confidential. mat sessions should outline the intellectual Submission procedure. Proposals must Maximum length: 350 words. content of the session, the individuals who be received by 5 p.m., EST, Friday, 15 Janu- Formal sessions. An organizer representing will take part, and the structure of the session. ary 2010. Electronic proposal submission is several individuals may propose a Formal Ses- Maximum length: 500 words. encouraged: www.ams-net.org/indianapolis/. sion, either a full session of four papers, or a Length of presentations: Forty-five min- Please note that electronic proposal submis- half session of two papers. For this proposal, utes are allotted for each individual proposal sion ceases precisely at the deadline. In order organizers should prepare a rationale, explain- and constituent formal session proposal. The to avoid technical problems with submission ing the importance of the topic and the pro- length of presentations is limited to thirty of a proposal, it is strongly suggested that pro- posed constituent papers, together with the minutes in order to allow ample time for posals be submitted at least 24 hours before names of the organizer, participants, respon- discussion. Formal sessions must observe the the deadline. Due to the volume of proposals dent (if applicable), and a suggested chair- forty-five-minute slots for paper presentation received, proposals received after the deadline person. The organizer should also include a and discussion. Position papers delivered as cannot be considered. A FAQ on the proposal proposal for each paper, which conforms to part of evening panel discussions should be submission process is available at the Web the guidelines for individual proposals above. no more than ten minutes long. site, and those planning to submit propos- Formal Session proposals will be considered as Program Committee procedures: The Pro- als are encouraged to review the information a unit, accepted or rejected as a whole. Maxi- gram Committee will evaluate and discuss posted there. mum length: 350 words for the rationale, individual paper proposals anonymously (i.e., Proposals may also be mailed to the AMS 350 words for each constituent proposal. with no knowledge of authorship). After an Indianapolis Program Committee, attn: Evening panel discussions. Evening panel initial selection of approximately 120 papers, Robert Judd, American Musicological Soci- discussions are intended to accommodate including those in formal sessions, the authors ety, Bowdoin College, 6010 College Station, proposals that are amenable to a more in- of all proposals will be revealed, and addition- Brunswick ME 04011-8451, to be received by

 AMS Newsletter 15 January 2010. If mailed, proposals must be Call for Performances proposal; (5) for concerts, a one-page expla- printed in 10- or 12-point single-spaced type- nation of the significance of the program or face on one 8.5 x 11-inch or A4 page. Proposals Deadline: 5 p.m. EST, manner of performance; for lecture-recitals, a sent by regular mail must include (on a sepa- 15 January 2010 description (two pages maximum) explaining rate page): the author’s name, institutional the significance of the program or manner of affiliation or city of residence, audio-visual re- The AMS Performance Committee invites performance, and a summary of the lecture quirements, and full return address, including proposals for concerts, lecture-recitals, and component, including information about e-mail address whenever possible. other performances and performance-related the underlying research, its methodology, Receipts will be sent to all who submit pro- events during the 2010 Indianapolis Annual and conclusions; (6) audio or visual materials posals. Those who submit proposals via mail Meeting. The committee encourages propos- (twenty minutes maximum) that are repre- should provide either an e-mail address or als that demonstrate the Society’s diversity of sentative of the program and performers. self-addressed stamped postcard for this pur- interests, range of approaches, and geographic An individual may not present both a paper pose. Receipts will be sent by the beginning of and chronological breadth. We welcome per- and a performance (or lecture-recital) at the February 2010. formances that are inspired by or comple- meeting. If an individual submits proposals Organized, on-going affiliated societies. ment new musicological finds, that develop to both the AMS or SMT Program Com- Such groups should contact Robert Judd at a point of view, or that offer a programmatic mittee and the Performance Committee and the AMS office about scheduling a room for focus. The 2010 Annual Meeting will be held both are selected, she or he will be given an their meetings rather than applying through jointly with the Society for Music Theory, and early opportunity to decide which invitation program committee procedures. we especially invite proposals that will be of to accept and which to decline. The AMS can —Michael Long interest to members of both societies. sometimes offer modest financial support for Program Committee Chair Freelance artists as well as performers and performance-related expenses. ensembles affiliated with colleges, universities, Please see the Application Cover Sheet for Call for Nominations: or conservatories are encouraged to submit proposal submission details. Materials must Session Chairs, AMS Indianapolis proposals; available times for presentations be received at the AMS office no later than 2010 include lunch hours, afternoons, and Thurs- 5 p.m. EST, 15 January 2010. Due to the high day evening (4 November 2010). Nominations are requested for Session volume of applications, exceptions cannot be Required application materials include: (1) made to this deadline; please plan accord- Chairs at the AMS Annual Meeting in an application cover sheet (available from Indianapolis, 4–7 November 2010. Please ingly. Receipts will be sent to those who have the AMS office or at www.ams-net.org/in- submitted proposals by the deadline, and the send nominations via mail, fax, or e-mail dianapolis); (2) a proposed program, listing to the office of the AMS, including name, committee’s decisions will communicated by repertory, performer(s), and the duration 7 April. contact information, and area of expertise. of each work; (3) a list of audio-visual and Self-nominations are welcome. Deadline: performance needs; (4) a short (100-word) —David Schulenberg 20 March 2010. biography of each participant named in the Performance Committee Chair

Philadelphia Program Selection The program committee, the Board of Di- for the periods before these countries were Fifteenth century (19 / 11) rectors, and I all felt dissatisfied with the modern nations, because the abstracts clearly General 3 Italy 9 categorization process used by program com- divided geographically in this way, based on France 4 Spain 1 mittees for logistical purposes in the past. For modern research. Most abstracts adopted the Germany 2 this reason, I decided to approach the thorny methodologies of historical research based on “categorization” question differently this year. archival studies, or hermeneutics, although Sixteenth century (23 / 8) Submitters were not requested to make any I did not tabulate these results. The follow- General 1 Germany 2 categorization at all. The committee then pre- ing table reports the submission / acceptance England 3 Italy 10 pared for the selection meeting by entering rate according to chronology, nationality or France & Japan 1 keywords for abstracts as they read them. In geography, and the most salient topics only. Flanders 3 Spain 3 order to create these statistics for the Newslet- Where submissions cross boundaries or fall 38 9 ter, I went through the submissions after the into two or more groupings, they are counted Seventeenth century ( / ) selection process had been completed and or- twice; thus the totals add up to more than the General 1 Germany 3 ganized them according to keywords entered 590 proposals actually submitted. Austria 2 Italy 13 by the committee, as well as according to England 8 Spain 2 what emerged from the abstracts themselves.I France 9 noticed that almost all the people who sub- Era (submitted / accepted) Eighteenth century (59 / 13) mitted abstracts organized them according to Broad chronology (3 / 1) chronology (dates rather than stylistic peri- General 1 France 9 Thirteenth century and earlier 18 11 ods), works, and composers/authors. Certain ( / ) Austria 20 Germany 12 prominent themes also emerged that seemed Fourteenth century (5 / 0) Brazil 1 Italy 2 very important to the discipline (Popular Mu- France 5 England 9 Spain 2 sic, for example). Europe 1 USA 2 I also chose to use national designations even continued on page  August 2009  Philadelphia Program Selection Adrienne Fried Block News Briefs continued from page  continued from page  continued from page  not know. The biography won an Irving R. Nineteenth century (103 / 20) Lowens Award from the Society for Ameri- Internet Resources News Algeria-France 1 Italy 7 can Music, and widespread recognition for its Austria 16 Madagascar 1 significance, originality, methodological rich- The Australia and New Zealand Postgradu- England 7 Palestine 1 ness, and literary quality. She also edited an ate Music Research Thesis register, begun in Europe 2 Poland 1 edition of Beach’s String Quartet for the AMS 2007, now contains 2,430 records. France 10 Russia 2 series Music of the United States of America www.musicresearchanz.com Germany 45 USA 10 (1995). Ballad Operas Online (BOPO) catalogues Twentieth century (296 / 70) In recent years Block was absorbed in the for the first time ballad operas (1728–1760) project “Music in Gotham,” which documents General 11 Israel 1 and their music. the musical life of New York City in the 1860s. Asia-USA 1 Italy 6 www.odl.ox.ac.uk/balladoperas Working with co-project leader John Graziano Austria 13 Japan 3 The Britten Thematic Catalogue, an online- at the CUNY Graduate Center, they won ma- Brazil 5 Korea 1 only resource, has launched its beta version, jor grants to support their vision. The project England 15 Mexico 1 including records for 735 Britten juvenilia. was a touchstone for many scholars working Canada 7 Netherlands 2 musariada.mus.uea.ac.uk/btc China 1 Norway 1 in aspects of nineteenth-century American Margaret Kartomi Col- Czech Republic 3 Poland 2 music history. At the time of her death Block The first part of the lection of field recordings Denmark 2 Russia 5 was writing an article about the early years of made over the Europe 4 Soviet Union 14 the New York Philharmonic Orchestra and past forty years in Sumatra, Indonesia, has Europe-USA 3 Spain 2 the impact of musical idealism on what she been made accessible through the ARROW France 31 Sweden 1 called “serious music.” The wry smile on her Repository at Monash University. arrow.monash.edu.au Germany 30 USA 128 face which often accompanied discussions of Hungary 1 “serious music” complemented the mixture of Mozart Ways is a Web-based project that in- courage and intensity that marked the life and cludes publishing Mozart’s correspondence Twenty-first century( 14 / 1) work of this passionate scholar. (and translations) together with maps and General 8 USA 3 —Judith Tick time lines. The first stage is now complete. Germany 2 USA-Europe 1 www.mozartways.com Important areas of research Stanford University Libraries and the Film 33 Popular music 35 George J. Buelow Monterey Jazz Festival have launched a LGBTQ 7 Women comprehensive Web site for the Monterey continued from page  Jazz 13 in music 16 Jazz Festival Collection. It includes a database documenting 9,000 jazz pieces, interviews, I hope this gives some sense of the breadth and Musicians, the New Grove Dictionary of and other events representing over 1,000 of the discipline presented to the program Opera, and Die Musik in Geschichte und Ge- hours of audio and video recordings. committee for evaluation. This is necessarily genwart, as well as a monograph on Rich- collections.stanford.edu/mjf abbreviated and subjective to some degree. ard Strauss’s Ariadne auf Naxos and reviews Additional information, including break- and articles for journals, Festschriften, and downs according to composers and works, is collections. In addition, he edited Johann Journal News available at the Web site: www.ams-net.org/ Mattheson’s Cleopatra for Das Erbe deutscher Resonance: an Interdisciplinary Music philadelphia. Musik (1975), a collection of studies on Jo- Journal, edited by graduate students at the —Tamara Levitz hann Mattheson (1983), and the volume on USC Thornton School of Music, announces Program Committee Chair, Philadelphia late Baroque music for the series Man and the publication of its Spring 2009 edition. 1993 Music ( ). www.usc.edu/libraries/partners/resonance Nashville 2008 Program and George Buelow’s sixty-fifth birthday was Abstracts Emendation marked with the publication of a Festschrift, Alamire Foundation (Leuven, Belgium) an- nounces the launch of the Journal of the Laureen Whitelaw writes: “In the abstract Festa musicologica (1995), and in October Alamire Foundation. The Journal provides referencing my paper in the Nashville 2008 2004, the Musicology Department and the a critical forum for the most recent and out- Program and Abstracts, I inadvertently omit- Center for the History of Music Theory and standing research on music in or related to the ted proper citation and acknowledgment of Literature of the Jacobs School of Music at Low Countries up to the end of the Ancien Matthew Head’s article, “‘If the pretty little Indiana University cosponsored a “Celebra- Régime. It will appear twice yearly. hand won’t stretch’: Music for the Fair Sex tion of Scholarship,” a conference in honor of www.arts.kuleuven.be/alamire in Eighteenth-Century Germany” (JAMS 52 the seventy-fifth birthdays of Malcolm Brown (1999), 203–54). I regret this oversight and and George Buelow and their service to the A new journal, the Journal of Music History sincerely admire Dr. Head’s work. His article discipline. Pedagogy, is currently in the planning stages was fully acknowledged within the presenta- Contributions in memory of Professor Bue- and projected to be published before the end tion at the conference.” [The online version of low may be made to the OPUS Fund of the of 2010. Interested authors are invited to sub- the Nashville 2008 Program and Abstracts has AMS. mit articles. been emended to include citation. —Ed.] —Thomas J. Mathiesen www.depauw.edu/acad/events/pedagogy  AMS Newsletter AMS Legacy Gifts 50 Years Ago: 1959 • Preparations for the Congress of the In- Lloyd Hibberd (1904–1965) ternational Musicological Society, New York, 1961, engaged much of the Board Isaac Lloyd Hibberd served as professor of mu- of Directors’ time and energy. sic at North Texas State University (now the • Otto Kinkeldey, elected Honorary University of North Texas) from 1945 until his President in 1958 (aged 80), attended death. He was a great collector of books and all meetings of the Board. music editions, and his 10,000-volume library • Howard Mayer Brown, Mantle Hood, was a significant bequest to the NTSU library. Peter Kivy, and George Perle published In 2008, the library took the Lully editions he their first JAMS articles. donated and created an impressive interactive • “Your Treasurer [Otto E. Albrecht] is internet resource on the music of Lully. glad to report that the pressure of his Lloyd Hibberd was a committed member work has been eased by the appoint- of the AMS, and served on its Council. His ment of the new Business Manager of $10,000 bequest to the AMS in 1965 was the Journal. A great deal of unnecessary restricted to the support of musicological correspondence has been avoided and publications. The current value of the Lloyd in many cases the Treasurer’s right hand Hibberd Publications Endowment is about Lloyd Hibberd knoweth what the Business Manager’s $70,000. left hand doeth almost immediately.” (Albrecht was also appointed Business Conferences International Forum for Young Manager in early 1959.) Musicologists continued from page  • The Board reached an agreement with 14–17 May 2010, Yokohama the Music Teachers National Associa- wwwsoc.nii.ac.jp/msj4/english.html Interdisciplinary Musicology tion to publish Doctoral Dissertations 26–29 October 2009, Paris in Musicology independently. cim09.lam.jussieu.fr Calls for Papers • The Southern Chapter was established. • Dragan Plamenac’s revised edition of Sacred Music in the Habsburg Empire the complete works of Ockeghem, vol. 1619–1740 and Its Contexts Music without Walls? Source Studies in the 1, was published by the AMS. 5–8 November 2009, University of Utrecht Twenty-first Century www.roac.nl/roac/habsburgmusic.phtml 16–17 December 2009, Queen’s University Belfast 25 Years Ago: 1984 Popular Music in the Mercer Era, 1910– www.symposiummusicwithoutwalls.co.uk • The Society celebrated its fiftieth an- 1 September 2009 1970 Deadline: niversary with many activities at the 13–14 November 2009, Georgia State Music and Disability Philadelphia Annual Meeting, includ- University ing the launch of the AMS 50 Capital www.library.gsu.edu/spcoll 15–17 January 2010, CUNY Grad Center list.bowdoin.edu/pipermail/ Campaign. • The Board approved a member survey Mediating Jazz ams-announce/2009-June/001505.html on the use of the computer in musicol- 26–27 November 2009, University of Salford Deadline: 1 September 2009 ogy, and recommended “holding work- list.bowdoin.edu/pipermail/ shops for computer users at annual ams-announce/2009-March/001357.html Forum on Music and Christian Scholarship meetings.” Present Perspectives on Tonality: Assess- 26–27 February 2010, Boston University • The AMS awarded a grant to the In- ment and Prospects www.fmcs.us ternational Association for the Study 26–28 November 2009, Université François- Deadline: 1 October 2009 of Popular Music to assist the organiza- Rabelais, Tours tion at its foundation. list.bowdoin.edu/pipermail/ Twentieth-Century Music and Politics ams-announce/2009-April/001433.html 14–16 April 2010, University of Bristol Conference on Nineteenth-Century Music list.bowdoin.edu/pipermail/ 8–11 July 2010, University of Southampton 1948 and All That: Music, Ideology and ams-announce/2009-May/001494.html list.bowdoin.edu/pipermail/ Power in the Soviet Union Deadline: 1 September 2009 ams-announce/2009-April/001421.html 27–28 November 2009, University of Deadline: 2 November 2009 Cambridge AMS Rocky Mountain Chapter / SEM list.bowdoin.edu/pipermail/ Southwest Chapter North American British Music Studies ams-announce/2009-April/001431.html 16–17 April 2010, University of Arizona, Association Tucson 9 Jul.–1 Aug. 2010, Drake University, Des Consequences of Wagner list.bowdoin.edu/pipermail/ Moines 27–28 November 2009, Lisbon ams-announce/2009-June/001507.html www.nabmsa.org www2.fcsh.unl.pt/cesem Deadline: 15 February 2010 Deadline: 1 February 2010 August 2009  Next Board Meetings Meetings of AMS and Related Society Election Results The next meetings of the Board of Direc- Societies The results of the 9 election of AMS tors will take place on 11 November 2009 2010: officers and the Board of Directors: in Philadelphia and 6 March 2010 in In- SEM: Los Angeles, Ca. President: Anne Walters Robertson dianapolis. CMS: 23–26 Sept., Minneapolis, Minn. Secretary: Pamela F. Starr AMS/SMT: 4–7 Nov., Indianapolis, In. Directors-at-Large: 2011: Interested in AMS Committees? Anna Maria Busse Berger CMS: 20–23 Oct., Richmond, Va. Susan Cook The president would be pleased to hear AMS: 10–13 Nov., San Francisco, Ca. Lloyd Whitesell from members who wish to volunteer for 2012: assignments to committees. Send your as- AMS/SEM/SMT: 10–13 Nov., New AMS Newsletter Address and signment request and CV to Jane Bern- Deadlines stein, Tufts University: jane.bernstein@ Orleans, La. tufts.edu. CMS: 15–18 Nov., San Diego, Ca. Items for publication in the next issue of the AMS Newsletter must be submitted by Editor, AMS Newsletter 1 December to: American Musicological Society The AMS seeks an Editor for the AMS Electronic statistics 6010 College Station Newsletter. See the formal announcement Brunswick, ME 04011-8451 for full details: In the last twelve months (7/08 to 6/09) www.ams-net.org/newsletter the AMS Web site has had 123,400 visits and displayed 464,800 pages (38,700 per The AMS Newsletter (ISSN 0402-012X) month). The most popular pages were: is published twice yearly by the American Nashville meeting (25,800), Web sites of Ongoing Grants and Fellowships Musicological Society, Inc. and mailed to interest to musicologists (21,900), Gradu- all members and subscribers. Requests for Grants and fellowships that recur on an- ate programs in musicology (15,400), An- additional copies of current and back is- nual cycles are listed at the AMS Web site. nouncements (12,000), and Philadelphia sues of the AMS Newsletter should be di- www.ams-net.org/grants.php meeting (11,800). rected to the AMS office. Subscription numbers: All back issues of the AMS Newsletter 2 769 AMS-Announce: , are available at the AMS Web site: Moving? 1 495 AMS-L: , www.ams-net.org To send AMS mailings accurately, the Facebook: 617 AMS must receive notice of changes of New Books in Musicology (RSS): 46 Claims for missing issues must be address at least four weeks prior to each Musicology in the News (RSS): 40 made within 90 days of publication (over- mailing. Send to [email protected]. Twitter: 35 seas: 180 days).

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