AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLV, NUMBER 2 August 2014 ISSN 0402-012X Milwaukee: Queen City, Cream City, Brew City AMS Milwaukee 2014 6–9 November www.ams-net.org/milwaukee The AMS comes to Milwaukee for the first time this November for our Annual Meeting, joint with the Society for Music Theory. The city is historically famous for its specialized manufacturing, including Merkel and Har- ley-Davidson motorcycles, and beer brew- eries, including Miller, Schlitz, and Pabst; Harley-Davidson and Miller still thrive here, as do many other industries and microbrew- eries. Part of the old Pabst brewery has been repurposed as the University of Wisconsin- Milwaukee’s Zilber School of Public Health. Milwaukee’s downtown is bisected by the Milwaukee River into East Town (the River Milwaukee Art Museum to the Lake) and Westown (from the River to +Branch of the Milwaukee Public Library). itself has its own venues, including the brew- about Tenth Street, just west of the Central Both have numerous hotels, restaurants, and pubs on Water Street and the Public Market, cultural venues. In Westown, near the Hilton at the border of the Third Ward. We are cur- In This Issue… hotel and the convention center where our rently planning a brewery tour or pub crawl. sessions will take place, the Milwaukee Public At the lakefront, the Milwaukee Art Museum, President’s Message ...... 2 Museum (the natural history museum) will with its distinctive wing designed by Santiago MUSA Transitions ...... 4 have a special exhibit, “Alien Worlds and An- Calatrava, will be hosting an exhibit entitled President’s Endowed Plenary Lecture . 5 droids.” It is also the site of an I-Max theater. “Of Heaven and Earth: 500 Years of Italian What I Do in Musicology . . . . .6 To the south, the Harley-Davidson Museum Painting” during the conference. The nearby Public Musicology Conference . . .6 is within walking distance of the hotel (go Discovery World has its ongoing exhibit, “Les Awards, Prizes, Honors ...... 7 south across the Sixth Street Viaduct). East Paul’s House of Sound.” Grants, Fellowships ...... 10 of the hotel on Wisconsin Avenue are the Other things to know about Milwaukee AMS Public Lectures ...... 11 Shops and Grand Avenue, which feature a cuisine include beer’s best complements: Executive Director’s Message . . . 12 food court and the Renaissance Book Shop— burgers, brats, and other sausage, a reflection News from the AMS Board . . . .12 a must-visit for used book fans. There is also of the city’s Germanic past. The Friday Fish Milwaukee Preliminary Program . .13 a branch of Renaissance Books in the airport, Fry tradition is alive and well: filets (or fillets) Milwaukee Performances . . . . .28 which I believe is the only used bookstore in of perch or walleye with fries or potato pan- Milwaukee Program Selection . . .28 an American airport. cakes and marble rye bread. For those who ACLS Annual Meeting 2014 . . . 29 Along the Milwaukee River from the Mar- prefer Asian cuisines (Thai, Indian, Chinese), News Briefs ...... 29 cus Center for the Performing Arts to the His- local restaurants usually have a weekday, all- Committee News ...... 30 toric Third Ward is a walkway with parks and you-can-eat lunch buffet, and sometimes a Study Group News ...... 32 sculptures, where one can take a selfie with weekend brunch buffet as well. AMS Louisville 2015 ...... 34 the landmark Bronze Fonz. A number of the The Program.The program committees of Access to Online Resources Survey . 36 Water Street pubs and restaurants have seat- the AMS and SMT have been hard at work Newsletter Editor James Parsons . . 36 ing along the Riverwalk. South of East Town, assembling a rich selection of papers span- CFPs, Conferences ...... 37 the Historic Third Ward (the gallery district) ning a wide array of topics, from chant and Obituaries ...... 38 has a number of fine dining venues, whose By-laws Change Proposals . . . . 40 fare ranges from sliders to sushi. East Town continued on page  President’s Message: Shaping the Annual Meeting

The Annual Meeting is a remarkably com- which I claimed that Gershwin based Porgy gradually petered out, ending after 2002, but plex event shaped by dozens of people. Our and Bess on Berg’s Wozzeck. I was fortunate I would guess that members of my genera- four-day gathering occupies Bob Judd and that when I resubmitted the paper the next tion just never learned the moves necessary his staff, of course, but also the many who year, it was accepted; the article that grew to glide across the floor to the strains of serve on the Committee on the Annual out of the paper went on to win a couple “Don’t Get Around Much Anymore.” And Meeting, the Program Committee, the Per- of awards. I cite my own example not to in- yet while it worked, it worked very well, both formance Committee, the Local Arrange- dicate that the program committee made a for the chance to watch as Claude Palisca and ments Committee, and the AMS Board. mistake in my case, but rather as an example Bonnie Wade (among many others!) showed Were we to count the many members who of the kind of scholarship that does not easily us all how graceful professors could be, and choose the awards to be presented, distribute lend itself to being summarized in 350 words. for the chance to laugh with those who were travel funds to attend the meeting, work on Recently the Board has considered other happily klutzy on the floor, and who couldn’t committees that sponsor events, and prepare ways to improve this situation, including ex- care less because it was such fun. Harry Pow- the activities of the ten study groups, the panding the conference to Thursday morn- ers springs to mind. numbers would be much higher. ing. That would add twenty-seven hours of So it is a particular thrill to announce the No group works harder, or under more meeting time and many additional papers rebirth of the AMS dance. This year it will pressure, than the Program Committee. In and sessions. The Society for Ethnomusicol- be a joint AMS-SMT affair on Friday night, recent years the number of submissions has ogy manages a longer meeting, but for the with a rock band that will give our members a climbed above 700. Since there are only 216 moment at least, CAM and the Board have chance to climb on stage and play. Ever since prime-time slots, the task of selecting who I learned that Bonnie Gordon, distinguished gets to read a paper is incredibly challenging. No group works harder, or under scholar of Monteverdi and gender, had a se- Members who agree to serve on this com- cret life playing electric viola in a rock band, mittee realize that whatever they do, many more pressure, than the Program Committee I was convinced that the Annual Meeting worthy papers will not be chosen. Indeed, would be a better place if she and others like in recent years the committee can be certain her had a chance to demonstrate their talents that they will disappoint two-thirds of those declined to move in this direction. Yet an- to friends, colleagues, and students. Many who submit. other option would be to add more rooms of us play electric guitars, keyboards, or one Having one’s paper rejected hurts. I know for two or three additional simultaneous ses- form of percussion or another. this first hand, as does virtually every per- sions. All of this is to say: we are aware there I am incredibly grateful to John Covach for son I have asked, including many AMS past is a problem, and we are working to find a making this happen, and to the University of presidents. Long ago the decision whether solution. To that end, we will soon survey the Rochester Institute for Popular Music for its the Program Committee would read with or membership on this subject; keep an eye out generous support of his band. They will trav- without names attached was left up to the for the survey notice, which is planned for el to Milwaukee in order to play for us, and chair of the committee. Since about 2000 the early August. more, to form the solid core that our mem- Committee on the Annual Meeting (CAM) Arguably the growing competition to pres- bers can then join, subbing in as time and and the Board have made decisions about ent research at the AMS Annual Meeting has talent allow (see p. 20 for more information). whether some papers might be accepted dur- had a positive impact on the emergence of Speaking of gratitude: in my term I’ve had ing a final “reveal” stage (at which time the peripheral sessions. Our ten study groups the great pleasure of working with many names are disclosed). In 2013 CAM recom- have grown increasingly active with evening dedicated and talented individuals, such as mended and the Board agreed to try a policy sessions, as have several committees, and my remarkable predecessor and successor, of restricting that number to a handful. Wednesdays and Thursday mornings have Having chaired a Program Committee often been claimed by ancillary organiza- Anne Walters Robertson and Ellen Harris. many years ago, and having participated in tions. These groups are important sources of I’d like to applaud AMS Vice President Joe discussions with the Board, I can report that intellectual energy and innovation. Auner, who has never flinched at my “just very conscientious people disagree about the one more thing!” requests for help. As VP he proper course of action. Those who think * * * has chaired the CAM, so he has always had that the entire process should be anonymous When I first started attending AMS meet- plenty to do. Without his enthusiastic sup- argue passionately and sincerely that the ab- ings, there were four events that gave mem- port, our Friday night dance would not have stracts need to speak for themselves and that bers a chance to come together: an opening come to pass, but that is just one of many to accept a paper based on the writer’s iden- reception on Thursday evening, a plenary issues he and his committee have dealt with. tity favors senior scholars over junior. Those lecture, the business meeting, and a Saturday To him, to Andy Weaver, who has done such who believe that the Program Committee night ball, with live music played by a jazz an elegant job of editing this Newsletter should be able to accept some papers on the band or combo. Over the years two of these these past years, to our intrepid treasurer, Jim basis of a scholar’s identity argue with equal fell away, the plenary lecture and the dance. Ladewig, who keeps us solvent and laughing, passion and sincerity that abstracts favor cer- The lecture was squeezed out of the business and most of all, to Bob Judd, who has earned tain types of scholarship over others. Some meeting by the proliferation of awards that all the praise that has been heaped upon him papers lend themselves to summarizing in our endowments have made possible. Hap- over the years, I say a heartfelt thanks. What a way that a brief abstract can capture; oth- pily, that event returned as an honorary lec- a pleasure it has been. ers do not, including the rejected abstract in ture last year. It is less clear why the dance —Christopher Reynolds  AMS Newsletter AMS Milwaukee 2014 Eighteenth-Century Music, and Society for ($85 student/retired). AMS members receive Seventeenth-Century Music will hold pub- a conference registration form via U.S. mail; continued from page 1 lic meetings or receptions. Additionally, the a PDF version, as well as online registration, standard array of receptions and parties will is available at the web site. medieval motets to Steve Reich, Dolly Par- take place over the course of the weekend. Child Care. If a sufficient number wish to ton, and almost everything in between. The Details can be found in the Preliminary Pro- arrange child care, the AMS office will assist program is especially rich in sessions devoted gram (pp. 13–27), and announcements from in coordinating it. Please contact the AMS to American music and music and politics, the membership about meetings and events office if this is of interest. with two sessions on World War I to mark can be found at the meeting web site. Scheduling. Please contact the AMS office this year’s centennial. Among the newer ap- Interviews. A limited number of rooms at to reserve rooms for private parties, recep- proaches appearing on the program are ses- the conference hotel will be available for job tions, or reunions. Space is limited, so please sions on music and activism, arts efficacy, interviews during the meeting. To reserve a communicate your needs as soon as possible. and intellectual property. Joint sessions room, please consult the web site or contact The Milwaukee meeting web site provides featuring collaborations between AMS and the AMS office. Job candidates can sign up SMT members include a panel on Thomas via the web or (if spots are still available) at further information. Adès, alternative-format sessions entitled the interview desk in the hotel. AMS policy Student Assistants. The AMS seeks students “Queer Music Theory: Interrogating Notes prohibits interviews in private rooms with- to help during the conference in return for of Sexuality” and “Why Voice Now?”, and a out appropriate sitting areas. free registration and $11 per hour (six hours how-to session on preparing poster presenta- Registration. Conference registration fees: minimum). If this is of interest, please see tions that includes examples: eleven poster Early (until 5 p.m. ET 30 September): $105 the web site or contact the AMS office. presentations on empirical approaches to ($45, student/retired); Regular (31 October): —Mitchell Brauner music theory and musicology. In addition $135 ($75, student/retired); Late/Onsite: $155 Local Arrangements Chair to the usual wide range of evening sessions presented by AMS committees and study groups, other evening sessions explore such Annual Meeting Hotel and Travel Information topics as hymnological research, post-1900 musical patronage, the pedagogy of seven- TheHilton Milwaukee City Center hotel, 509 West Wisconsin Avenue, is a classic art deco 1927 teenth-century music, and digital musicol- hotel with rich furnishing and distinctive architecture built in . Originally called the ogy. Peruse the Preliminary Program (pp. Schroeder Hotel, today the Hilton Milwaukee Downtown is recognized as the city’s largest hotel with a tradition of excellence spanning nearly eighty-five years. Rates for attendees 13–27) to discover the full range of offerings! are $184 (plus $27.78 tax) per night for one or two adults, $204 (plus $30.80 tax) for three Special Performances. Early Music Now is adults, $224 (plus $33.82 tax) for four adults. In-room wireless or wired internet is available presenting Quicksilver (Boston/New York) for $9.95 per day. in a program entitled “The Invention of Reservations may be made either through the meeting web site or by telephone: (414) 7 30 Chamber Music” on Saturday at : p.m. 271-7250 (ask for group code “American Musicological Society”). Conference rates are valid at St. Paul’s Episcopal Church, northeast through 15 October, subject to availability. 8 of downtown. On Saturday at p.m., the Air Travel. General Mitchell International Airport (MKE) is served by Air Canada, Milwaukee Symphony will perform Proko- AirTran, American Airlines, Delta, Frontier, Southwest, United, and US Airways. The fiev’s “Classical” Symphony and a premiere airport is twelve miles south of the conference hotel on South Howell Avenue, a fifteen- of Marc Neikrug’s Bassoon Concerto at the to-twenty-minute drive depending on route and traffic. Taxi service is available outside Marcus Center. The Performance Commit- Baggage Claim 3. Taxi fares to the hotel are about $24 to $29. Milwaukee County Transit tee has also put together its usual slate of System provides public buses, and is available outside US Airways ticketing. Fare is $2.25, concerts as part of the program (see p. 28). and exact change or pre-purchased ticket is required. Go Riteway Transportation Group Weather. The weather in southeastern Wis- offers Shared Ride Airport Shuttle for $14 one way. Milwaukee Country Transit Plus is consin in early November is pleasantly cool, a transportation service for individuals with a disabling illness or condition that prevents with average highs just above fifty and lows them from using Milwaukee County Transit System buses. For more information, visit in the mid-to-high thirties. On average, Mil- their web site or call (414) 343-1700 (TTD (414) 343-1704). waukee receives some precipitation on about Coach USA Airport Express runs buses every hour from O’Hare airport in Chicago to thirty-five percent of the days in early No- Fourth Street and St. Paul Avenue, right across from the Intermodal Terminal, about four vember. Snow is possible but rare. blocks from the hotel. The fare is $29 one way and $53 round trip, and the trip takes about Ancillary Meetings. Organizations with an hour and three quarters. This might be an alternative to flying between O’Hare and ties to the AMS continue to participate Mitchell, which, while a very short flight itself, might include a two- or three-hour layover. enthusiastically during the Annual Meet- Trains and Buses. Milwaukee is served by Amtrak’s Hiawatha service to or from Chicago ing. This year, the American Bach Society, and Minneapolis, as well as Greyhound and Badger Bus, all at the Intermodal Terminal, 433 American Beethoven Society, American West St. Paul Ave., about four blocks from the hotel. Megabus also serves Milwaukee, stop- Brahms Society, American Handel Soci- ping across the street from the Intermodal Terminal on Fourth Street and St. Paul. ety, American Institute for Verdi Studies, Driving directions. A downtown area map and links to detailed driving directions are Early Music America, Society for Christian available at the Hotel and Travel Information web page. Parking at the Hilton City Center $24 Scholarship in Music, Lyrica Society, Mozart is self service and is per day, with in and out privileges. Additional information. The Hotel and Travel Information page found at the AMS web Society of America, North American Brit- site (www.ams-net.org/milwaukee/travel-info.php) provides full travel information. ish Music Studies Association, Society for August 2014  MUSA Transitions Richard Crawford (Distinguished Profes- sor Emeritus, the University of Michigan), founding editor of Music of the United States of America (MUSA), has announced his retirement as editor-in-chief, a posi- tion he has held for twenty-six years, dur- ing which he oversaw the publication of twenty-five of a projected forty total vol- umes. He will likewise step down as chair of the AMS Committee on the Publication of American Music (COPAM), a position he has held since 1985. In many ways, MUSA embodies Rich’s vi- sion for excellence in scholarship as service. Mark Clague Gayle Sherwood Magee Supported by a collaborative research grant study. The humanities’ quickening interest projects include assisting the International from the National Endowment for the Hu- in race, class, and gender has done much to Dictionary of Black Composers and the New manities since its founding, MUSA has de- promote American musical studies. And the Grove Dictionary of American Music, Second veloped into a wide-ranging community of cultural power of American popular music Edition. At the University of Michigan, he scholars. The editorial board, MUSA staff, and its offshoots, both in and outside the serves as Director of Research, Co-director and volume editors have worked in concert United States, has claimed a growing share of the American Music Institute, and edi- under Rich’s guidance to explore the land- of scholarly attention from various fields. tor-in-chief of the George and Ira Gershwin scape of American music studies. MUSA Like other areas into which musical scholars Critical Edition. He has served on the AMS volumes unite scholarship and performance are being drawn, American music is prov- Council, as webmaster of the AMS Midwest for the benefit of a broad readership, includ- ing itself a challenging, rewarding field for Chapter, and currently serves on the board ing scholars, students, performers, and lis- study.” of the Society for American Music. teners in the general public. Its publications That American music study is now fa- Gayle Sherwood Magee is Associate Pro- have received multiple Paul Revere Awards miliar scholarly territory owes much to the fessor at the School of Music of the Uni- from the Music Publishers Association. vision, passion, and dedication of scholars versity of Illinois at Urbana-Champaign. Indeed, the MUSA volumes cultivated like Rich Crawford, who in the course of She publishes on American music since under Rich’s guidance stand as founda- forging and sharing the story of music in the late nineteenth century, including the tional scholarship, while pressing against the United States have simultaneously se- music of Charles Ives, film music, and con- the boundaries of traditional critical edit- cured the foundational building blocks of temporary music. Her book Robert Altman’s ing to offer not only operas, symphonies, musicological scholarship through bibliog- Soundtracks will be published by Oxford chamber music, choral music, and songs, raphy, archival collections, and critical edi- University Press later this year in the series but also jazz transcriptions, powwow mu- tions of musical works. Music/Media. Other recent publications in- sic, musical theatre, psalmody, marches, Rich will be replaced at MUSA by co- clude “Songwriting, Advertising, and Myth- and avant-garde and experimental music. editors-in-chief Mark Clague and Gayle making in the New Hollywood: The Case Editions such as Dale Cockrell’s The Ingalls Sherwood Magee. Mark Clague is Associ- of Nashville (1975)” (Music and the Moving Wilder Family Songbook and Victoria Lind- ate Professor of Musicology at the Univer- Image, 2012); “Rethinking Social Class and say Levine’s Writing American Indian Music sity of Michigan School of Music, Theatre American Music” (Journal of the American have further stretched the critical edition & Dance, with affiliate appointments in Musicological Society, 2011); “Marketing the into the realm of historical ethnography. American Culture, African and AfroAmeri- Voice: Opera, Film, and the Case of Rob- A virtuoso collaborator, Rich made run- can Studies, Non-Profit Management, and ert Altman” (Theatre Survey, 2010); and ning MUSA and COPAM seem effortless, Entrepreneurship. A former professional “Robert Altman and the New Hollywood even as he continued to produce his own bassoonist, he completed his Ph.D. in his- Musical,” in The Sound of Musicals, edited ground-breaking, exemplary research, teach torical musicology at the University of Chi- by Steven Cohan (2010). She is currently inspiring classes, and advise and mentor cago in 2002. His research focus is music writing a book on William Bolcom for the young scholars. As Rich has written in MU- in the United States, and he has published University of Illinois Press’s American Com- SA’s successful grant applications, “MUSA on band and orchestral music, opera, film posers series. Her 2008 book Charles Ives signals the coming-of-age of American stud- music, African American culture, jazz, Mo- Reconsidered received a Choice Outstanding ies within the field of musicology. That the town, patriotic music (especially “The Star- Academic Title Award. Since 2010 she has AMS has undertaken a project of this kind, Spangled Banner”), urban sociology and served as the President of the Charles Ives and that the National Endowment for the culture, musicology pedagogy, entrepre- Society (www.charlesives.org), a non-profit Humanities has funded it, testify that our neurship, and the critical editing of music. organization supported by the American nation’s musical traditions, long overlooked He served as MUSA’s third executive editor Academy of Arts and Letters that sponsors or downplayed in the academy, are now rec- from 1997 to 2003 and has been a mem- editions, performances, and recordings of ognized as worthy of serious research and ber of COPAM ever since. His editorial the composer’s works.  AMS Newsletter Margot Fassler to Deliver Second Annual Plenary Lecture nately, when she arrived at Syracuse Univer- Digital and Guggenheim Fellowships, Fassler sity in the mid-1970s to begin a Master’s De- is now designing a sounding replica of Hilde- gree in musicology, there were distinguished gard’s cosmos, to be unveiled at the Medieval scholars there to inspire her: George Nugent, Academy of America’s Annual Meeting in Aubrey Garlington, and Eugene Wolf. Soon 2015 at Notre Dame. Her most recent books after graduating she entered Cornell for the are Music in the Medieval West and its accom- Ph.D., where there were many fine medieval- panying Anthology (2014). Fassler is fortunate ists and musicologists, a great library, and the to be married to a musicologist, Peter Jeffery, best possible advisor: Don Randel. Fassler’s to have two fine sons and a daughter-in-law, first job after the Ph.D. was at Yale Univer- and to have students who continue to be her sity, where she spent most of her professional teachers. life (with a happy stint at Brandeis), eventu- The lecture Fassler will give in Milwaukee ally directing the Yale Institute of Sacred Mu- is entitled “Hildegard’s Cosmos and Its Mu- sic. In 2010, it was time to try things learned sic: Making a Digital Model for the Modern from wonderful colleagues at Yale in a new Planetarium.” The work reported on in this Margot Fassler place, and she joined the splendid music and talk is a collaborative effort involving forces After the success of the inaugural AMS Presi- theology faculties of the University of Notre performative, scholarly, and technological. Because of the way Hildegard describes her dent’s Endowed Plenary Lecture at the 2013 Dame, where she now directs the Program in understanding of the cosmos in the treatise Annual Meeting in Pittsburgh, given by Sacred Music and is the Keough-Hesburgh Scivias, the model unfolds in two acts. The Richard Crawford, this annual series contin- Professor of Music History and Liturgy. First Act allows for the events that occur be- Fassler has written over fifty articles, made ues at the Milwaukee Annual Meeting. As fore the universe as she depicts it was set in four documentary films, and has written last year, the lecture will be held Thursday at motion with all its epic struggles, and the Gothic Song: Vic- 5:30 p.m., immediately preceding the tradi- several books, including Second Act places the Cosmic Egg in motion, tional opening reception. This year’s speaker torine Sequences and Augustinian Reform in with zoomable features. To do this work, the is Margot Fassler. Twelfth-Century Paris (1993/2011), which creators have transformed flat illuminations Musicology is not readily discoverable for won both the Otto Kinkeldey Award and the into moving, sounding three-dimensional kids growing up on a farm in upstate New John Nicholas Brown Prize, and The Virgin images, following Hildegard’s instructions York, but as soon as Margot Fassler figured of Chartres: Making History through Liturgy for how they work as faithfully as possible. out that the study of music could be com- and the Arts (2010), which won both the It is as though a twelfth-century composer bined with theology, history, and drama, she ACE Mercer’s International Book Award and wrote a storyboard for us to follow, lacking knew that was what she wanted to do. Fortu- the Otto Gründler Prize. Working on ACLS the technology herself.

AMS Receives Bequest from Louise Goldberg Announces Estate of Elizabeth Keitel Her Retirement from JAMS In June 2014 the AMS received word that Elizabeth Ann Keitel had Since the Spring 2005 issue of the Journal, Dr. Louise Goldberg left the Society about $300,000 from her estate. has served JAMS, the AMS, and musical scholarship at large Elizabeth Keitel was born in Harrisburg, Pennsylvania, in 1948 through her exemplary work as Assistant Editor and, more re- and did graduate work in medieval studies at Cornell, receiving her cently, as Managing Editor. A Juilliard-trained violist who earned Ph.D. in 1976 (“A Chronology of the Compositions of Guillaume her Ph.D. from the Eastman School of Music with a dissertation de Machaut Based on a Study of Fascicle-Manuscript Structure in on Les Troyens, Louise previously served as the Head of Reference the Larger Manuscripts”). She taught in the Music Department at and then Head of Rare Books and Special Collections at East- Yale from 1975 to 1982, after which her career changed direction: man’s famed Sibley Music Library. She copyedited a great number she became a development consultant for nonprofits, specializing of books in the Eastman Studies in Music series and was Managing in planned giving. She was a founding member of the Planned Editor for the University of Rochester Press. Giving Group of Connecticut. In 1987 she married Claude V. Louise has recently decided that it is time to retire from JAMS. Palisca (1921–2001), AMS Honorary Member and Past President. Over the past decade, she has worked with four Editors-in-Chief Although she left academe and medieval studies in 1982, she never and has copyedited articles, colloquies, and reviews by over 350 lost her interest in the field and stayed in touch with the AMS on contributors. Her “eagle eye” has caught countless mistakes and a regular basis. She passed away in Hamden, Connecticut, in 2013. incidents of wobbly wording, and she has steadfastly maintained The AMS Board of Directors is now considering how best to use “JAMS style” while carefully shepherding each issue through the her generous bequest both as an appropriate memorial to the com- production process. On behalf of the entire Editorial Board, I of- mitment to the discipline that she shared with Claude Palisca, and fer Louise hearty congratulations and wish her all the best in her as an enduring legacy that will serve members effectively in perpe- much deserved retirement. To adopt Louise’s own favorite email tuity. We hope to be able to announce these plans in the next AMS sign off, “onward!” Newsletter. —W. Anthony Sheppard

August 2014  “What I Do in Musicology”: Thoughts from the Field In this issue’s installment of our series of essays by the notorious Robben Island prison (which Through public AMS members who have pursued careers outside held Nelson Mandela for eighteen years) and musicology, a wid- the traditional tenure-track faculty line, Janie the women’s jails. In South Africa, I worked er following can Cole reflects on her inadvertent entrance into on various archival collections of liberation- be reached, and public musicology and its effect on her career struggle materials and started to record oral a difference can path. testimonies and music by surviving political be made. Record- I am the founder/executive director of Mu- prisoners of the apartheid prisons. ing oral histories sic Beyond Borders (MBB), an organization acts as catharsis Janie Cole that focuses on research, cultural-heritage Unless you sing your own song, the hymn and creates posi- preservation through oral-history archives, sheet will be buried away, your history will tive change in the survivors’ lives and com- publications, and film documentaries of con- disappear, no matter how noble it is. (An- munities. Future screenings of our powerful visual narratives at international film festivals, temporary music history where crimes against thony Suze, Robben Island prisoner 501/63) higher-educational institutions, and academic humanity and socio-political conditions of conferences and seminars can ultimately stim- repression, violence, protest, and freedom are The importance of recording the oral histo- ulate social engagement and create a learning critical. MBB seeks to uncover how those suf- ries of unknown foot soldiers of the struggle tool for future generations, while preserving a fering oppressive regimes use music to protest and crimes against humanity before time runs unique cultural heritage. human-rights violations and advance social out (struggle veterans are aging) led to the justice globally. MBB aims to capture the rich founding of Music Beyond Borders as a plat- Human beings must not repeat mistakes of cultural and musical heritage and diversity of form for reaching a wider audience through the past … Because if people understand the human experience by transforming real different media, for building a board of schol- what was going on, it will be a learning stories into instruments that promote public ars and advisors, for fundraising, and for de- tool for future generations. To know what it awareness and incite civic engagement to de- veloping social media. My transition from means to dehumanize the other, and to also fend humanitarian values and human rights writing academic books to being an activist know that even in the midst of that dehu- on a global level. in music and cultural-heritage preservation manization, the truth prevails, good will al- My move into the realm of public musicol- has developed the project into various other ways prevail over evil. (Thoko Mpumlwana, ogy was sparked by a new research project mediums for scholarly research and teaching, Number 4 political prisoner) upon which I embarked after being awarded which will include a documentary film, mul- the 2010 Janet Levy Prize from the AMS for timedia museum exhibitions, and a unique To conclude, I inadvertently now find my- travel to South Africa. Having spent the pre- digital oral-history archive. These auxiliary self in a brave new world of public musicology vious fifteen years working on late renaissance outcomes provide the potential for the preser- with a challenging mission in cultural heritage and early baroque Italian music and cultural vation of rare historical evidence in different preservation and developing new mediums history and lecturing at various American formats and for future musicological research for musicological research. I also fully intend universities in Florence, I had begun to ex- and development. The processes of filmmak- to continue to straddle both public and aca- plore new research interests in the field of ing and production, for example—involving demic spheres through papers, publications, music and human rights. This evolved into shooting, scripting, editing, securing rights, and teaching in the hope of captivating wider a book project about music during the anti- post-production, social media, and affiliated audiences, raising interdisciplinary awareness, apartheid struggle and its critical role as a tool web sites—become important components and inspiring and fostering a new generation for resistance, survival, and propelling social that transform the nature of musicological of musicologists who will carry forward our justice by political prisoners, especially at research. discipline.

Why Don’t They Call the Musicologist? This question is often asked at musicology programs, exhibits, and television programs. Although a good number of AMS members conferences. Readers of this column certainly Why? The answer, I think, stems from the fact have initiated or been involved in excellent know that performing-arts centers, museums, that few musicologists have significant train- public musicology projects, there are cur- and documentarians often skip the musicolo- ing and knowledge in public engagement. rently no established training programs or gist when they plan music-related education Just how much is there for us to learn? A journals dedicated to discussing how musi- glance outside musicology might be useful. cologists can engage people outside the acad- A “public history movement” emerged in emy. Given the job crisis for musicologists, the 1970s, largely in response to the lack of the time is right to institutionalize the sub- academic positions. This led to the formation field of public musicology. We need to gather of the National Council on Public History, the experiences of those who have done and which since 1979 has hosted annual confer- taught public musicology, see what we can ences and published a quarterly journal. To- learn from public history and public science, day, there are over two hundred universities and encourage interested scholars to come up around the world with undergraduate and/or with innovative and wild ideas. graduate programs in public history, teaching As part of this effort, Westminster Choir Westminster Choir College, host to “The Past, Present, students how to engage with the public and College of Rider University in Princeton, and Future of Public Musicology” next January bridge the gap between town and gown. continued on page   AMS Newsletter sertation “The Vienna Tonkünstler-Societät Awards, Prizes, and Honors and the Oratorio, 1771–98.” AMS Awards and Prizes 2014 A grant from the Jan LaRue Travel Fund was awarded to Christopher Bowen (University AMS Chapter Student Awards Five doctoral candidates in musicology re- of North Carolina, Chapel Hill) to conduct ceived Alvin H. Johnson AMS 50 Disserta- research for his article “Savage Sumptuous- The Capital Chapter presented the Irving tion Fellowship Awards for 2014–15: Delia ness in the City of Lights: The Paris Premiere Lowens Award for Student Research to David Casadei (University of Pennsylvania), “The of The Bartered Bride.” Ottinger (Catholic University of America) Crowded Voice: Speech, Music, and Com- for “Music as Confrontation: Fin-de-siècle munity in Milan, 1955–1974”; Elizabeth Grants from the Janet Levy Fund for inde- Vienna in the First Movement of Mahler’s Dister (Washington University, St. Louis), pendent scholars were awarded to Elinor Third Symphony.” “Inspiring the Nation: French Music about Frey, to support the project “Integrating the Jeanne d’Arc, 1931–1945”; Alexandra Grabar- Violoncello Music of Angelo Maria Fiorè with The Greater New York Chapter presented chuk (University of California, Los Angeles), Early Performance Practice”; and to Harvey the student paper prize to Lynette Bowring “The Soundtrack of Stagnation: Paradoxes Sachs, to support research in Buenos Aires for (Rutgers University) for “‘The coming over within Soviet Pop and Rock Music of the his biography of Arturo Toscanini. of the works of the great Corelli’: The Influ- 1970s”; Anicia Timberlake (University of ence of Italian Violin Repertoire in London, California, Berkeley), “The Politics and Praxis A grant from the Harold Powers World 1675–1705.” of Children’s Music Education in the German Travel Fund was awarded to Kelly St. Pierre The Midwest Chapter presented the A-R Edi- Democratic Republic, 1949–1989”; Claudio (Case Western Reserve University) for re- tions Award to Danielle Kuntz (University Vellutini (University of Chicago), “Cultural search on her book “Bedřich Smetana: Myth, of Minnesota) for “Lisbon’s Musical Elite and Engineering: Italian Opera in Restoration Music, and Propaganda.” the Genesis of Oratorio in Early Eighteenth- Vienna.” Two of the recipients accepted the A grant from the Ora Frishberg Saloman Century Portugal (1719–1723)” and the In- award on an honorary basis. Fund for musicological research was award- diana University Press Award to Jess Peritz The Howard Mayer Brown Fellowship is ed to Molly Barnes (University of North (University of Chicago) for “Staging Domes- presented by the Society to promising mi- Carolina, Chapel Hill) to conduct research ticity: Rousseau and the Politics of the Do- nority graduate students pursuing a doctoral for her dissertation “The Ideal of Egalitarian- mestic Sphere in Grétry’s Lucile.” degree in music. The 2014–15 fellowship re- ism in American Musical Discourse, 1848–61.” cipient is Mia Gormandy (Florida State Uni- The New England Chapter presented the versity). A grant from the AMS Teaching Fund was Hollace Anne Schafer Memorial Award to awarded to James A. Grymes (University of two winners, one for 2012–13 (postponed on Grants from the M. Elizabeth C. Bartlet North Carolina, Charlotte) for the project account of the Boston Marathon bombing) Fund for research in France were awarded to “Integrating Composition and Improvisation and one for 2013–14. The 2012–13 recipient Julia Doe (Columbia University) to conduct into the Study of Twentieth-Century Music.” was Hannah Lewis (Harvard University) for research on her book “Marie Antoinette et la “Michael Gordon’s Decaying Orchestra: De- Musique: Comic Opera at the French Court Grants from the Eugene K. Wolf Travel casia as Audiovisual Elegy,” and the 2013–14 (1770–1789),” and Mindy LaTour O’Brien Fund were awarded to Annelies Andries recipient was Jane Daphne Hatter (McGill (University of California, Los Angeles) for re- (Yale University), for research on her dis- University) for “Plorer, Gemir, Crier: Musical search for her dissertation “Music and Moral sertation “Modernizing Spectacle: The Paris Mourning and the Composer.” Repair in Early Modern France.” Opéra under Napoleon and Louis XVIII”; The New York State–St. Lawrence Chapter Joel Schwindt (Brandeis University), for re- A grant from the Virginia and George presented the student paper prize to Anne search on his book “Orpheus and the Aca- Bozarth Fund for musicological research Marie Weaver (Eastman School of Music, demics: Manifestations of the Accademia degli in Austria was awarded to Laurie McManus University of Rochester) for “Some Fuss (Shenandoah University) for research on Invaghiti’s Philosophy in Monteverdi’s Orfeo”; her book “Brahms in the Priesthood of Art: and Emily Wuchner (University of Illinois at continued on page  Viennese Aesthetics at the Crossroads of Urbana-Champaign), for research on her dis- Purity and Sensuality.” A grant from the Wil- liam Holmes/Frank D’Accone Endowment for travel and research in the history of op- era was awarded to Mia Tootill (Cornell Uni- versity) for research for her dissertation “From the Underworld to the Opéra: Representations of the Devil on the Pa- risian Musical Stage, 1827–69.” Delia Casadei Elizabeth Dister Alexandra Grabarchuk August 2014  Awards, Prizes, and Honors Term Fellowship for research toward his dis- Triumph of the Animated Statue on the Eigh- sertation “Musical Practices of the Honnête teenth-Century Musical Stage.”  continued from page Homme in Seventeenth-Century France.” Andrew A. Cashner (University of Chicago) about a Flea: Musorgsky’s ‘Mephistopheles’s Carol K. Baron (Stony Brook University) received a Mellon/ACLS Dissertation Com- Song in Auerbach’s Cellar’ and Its Sources in will introduce a performance of Charles Ives’s pletion Fellowship for “Faith, Hearing, and Beethoven and Gounod.” Universe Symphony at the “Balkan MicroFest” the Power of Music in Hispanic Villancicos, The Northern California Chapter and the in August 2014 at the fortress in Knin, Croa- 1600–1700.” Pacific Southwest Chapter presented the In- tia. Bethany Cencer (Stony Brook University) golf Dahl Memorial Award to Danielle Stein Karol Berger (Stanford University) received received a Kanner Fellowship in British (California State University, Northridge) for the Humboldt Research Award of the Alex- Studies from the UCLA Center for 17th- & “The Office of Strategic Services Muzac Proj- ander von Humboldt Foundation and was 18th-Century Studies, as well as a Hunting- ect: ‘Lili Marleen,’ Marlene Dietrich, and the elected fellow of the American Academy of ton Library Travel Grant, in support of her Propaganda Music of World War II.” Arts and Sciences. dissertation “‘Come Friendly Brothers Let Us The Pacific Northwest Chapter presented the Sing’: London Partsong Clubs and Masculin- Anna Maria Busse Berger (University of Best Student Paper prize to Caitlyn Triebel ity, 1750–1820.” California, Davis) will spend the 2015–16 aca- (University of Alberta) for “Twenty-Four demic year at the Wissenschaftskolleg zu Ber- Suzannah Clark (Harvard University) re- Tone Rows? A Study of Influence and Inven- lin (Institute of Advanced Studies). ceived an ACLS Fellowship for “Quirks in tion of Serial Technique in Pierre Mercure’s Tonality: Aspects in the History of Tonal Tétrachromie (1963).” Christopher Bowen (University of North Spaces.” The South-Central Chapter presented the Carolina, Chapel Hill) received a Fulbright Alice Miller Cotter (Princeton University) Rey M. Longyear Student Paper Award to grant to Prague in support of his dissertation received a Mellon/ACLS Dissertation Com- Mary Helen Hoque (University of Georgia) “‘We Shall Remain Faithful’: Gender, Nation- pletion Fellowship, as well as the 2014 Dena for “‘A good band is much needed here’: Re- alism, and the Village Mode in Czech Opera, Epstein Award for Archival and Library Re- constructing Community through Music in 1866–1916.” search in American Music from the Music the Reconstruction South.” Samuel Brannon (University of North Caro- Library Association, for “Sketches of Grief: The Southeast Chapter presented the Student lina, Chapel Hill) received a Charles Mont- Genesis, Musical Development, and Revision Presentation Award to David VanderHamm gomery Gray Fellowship from the Newberry in the Operas of John Adams, Peter Sellars, (University of North Carolina, Chapel Hill) Library in support of his dissertation “Writ- and Alice Goodman.” She also received the for “Broadcasting ‘Hillbilly’ Virtuosity: ing about Music in Early Modern Print Cul- inaugural Virgil Thomson Fellowship from Showcasing Musical Skill in a Down-Home ture: Authors, Printers, and Readers.” the Society for American Music for “John Ad- Way.” Michael Broyles (Florida State University) ams’s Political Operas.” The Southern Chapter presented the award was honored with a Distinguished Service Ci- Erik Entwistle (Longy School of Music) re- for best paper read by a student to Timothy tation from the Society for American Music. ceived the 2014 Eva Judd O’Meara Award of Love (Louisiana State University) for “The Mark Burford (Reed College) won the 2014 the Music Library Association for the best re- National Bard of Ireland: Thomas Davis and Notes 2013 Irving Lowens Article Award from the Soci- view in for his review in the June His Songs Fit for a Nation.” Bohuslav Martinů: ety for American Music for “Sam Cooke as issue of F. James Rybka’s The Compulsion to Compose The Southwest Chapter presented the Pop Album Artist–A Reinvention in Three (Scarecrow Press). 2013 Hewitt-Oberdoerffer Award to Eve Songs,” Journal of the American Musicologi- Cesar D. Favila (University of Chicago) re- Ruotsinoja (University of Houston) for “Aes- cal Society (2012). ceived a Fulbright grant to Mexico in support thetics of the Arabesque and Grotesque in of his dissertation “Music in Early Modern Devin Burke (Case Western Reserve Univer- Mendelssohn’s Witches’ Sabbath.” Conceptionist Convents of New Spain.” He sity) won the SECM Student Paper Award for also received the 2014 Graduate Student Prize Other Awards, Prizes, and Honors an outstanding paper presented by a graduate from the Society for Christian Scholarship in student at the Sixth Biennial Conference of Music for most distinguished paper presented Michael Bane (Case Western Reserve Uni- the Society for Eighteenth-Century Music/ at the annual meeting of the society, for “Sa- versity) received a Newberry Library Short- Haydn Society of North America, for “The cred Music and Its Sacred Space: The Early Modern Novohispanic Convent Coro.” Kate Galloway (Memo- rial University of New- foundland) received the Adrienne Fried Block Fellowship from the So- ciety for American Music for “From Cityscapes to Landscapes: Collabora- tions and Collisions be- tween Natural and Built Environments in Hil- Anicia Timberlake Claudio Vellutini Mia Gormandy  AMS Newsletter degard Westerkamp’s Soundscape Composi- 2013 Outreach Award for a 2011 conference at Board of Directors of the American Academy tions.” the University of Iowa entitled “Re-creation: of Arts and Sciences. Musical Reception of Classical Antiquity.” Devora Geller (Graduate Center, CUNY) Christopher Reynolds (University of Cali- 2014 received the Dena Epstein Award for Ann Labounsky (Duquesne University) re- fornia, Davis) received the Richard S. Hill Archival and Library Research in American ceived the Pennsylvania Federation of Music Award for the best article on music librarian- Music from the Music Library Association Clubs, Inc. Keystone Salute award in grateful ship or best article of a music-bibliographic for “Paradise’s Flower: Joseph Rumshinsky recognition of distinguished service to music nature, for “Documenting the Zenith of and Yiddish Theater Music in New York, and outstanding contributions to the civic Women Song Composers: A Database of 1900–1950.” and cultural life of Pittsburgh. Songs Published in the United States and Adam Gilbert (University of Southern Cali- Clara Latham (New York University) re- the British Commonwealth, ca. 1890–1930,” fornia), together with Rotem Gilbert, won ceived a 2014 Woodrow Wilson Women’s Notes (2013). the 2014 Thomas Binkley Award from Early Studies Dissertation Fellowship from the Music America for outstanding achievement Woodrow Wilson National Fellowship Foun- Gina Rivera (University of Pennsylvania) in performance and scholarship by the direc- dation for “Rethinking the Material Ear: was named Andrew W. Mellon postdoctoral tor of a university or college early music en- Sound and Voice in Psychoanalysis.” fellow in the Penn Humanities Forum at the semble. 2014 15 Elizabeth Eva Leach (University of Oxford) University of Pennsylvania for – . Glenda Goodman 2013 (University of Southern was awarded the Dent Medal of the Roy- John Romey (Case Western Reserve Univer- California) won the 2014 Wiley Housewright al Musical Association. sity) received a Fulbright grant to Paris in sup- Dissertation Award from the Society for Karen Anne Leistra-Jones (Franklin and port of his dissertation “From the Street to the American Music for “American Identities in Marshall College) received an NEH Sum- Stage: Popular Song and the Construction of an Atlantic Musical World” (Harvard Univer- mer Stipend for “Curating the Musical Mu- 1680 1715 sity, 2012). Parisian Spectacle, – .” seum: The Brahms Circle and Modern Per- Dana Gooley (Brown University) was award- formance.” Jennifer Saltzstein (University of Oklahoma) ed a fellowship from the Howard Foundation received an NEH Summer Stipend for “Me- Kendra Preston Leonard (Loveland, Ohio) for his book project “Improvisational Aes- dieval Learning and Vernacular Music: The received the inaugural Judith Tick Fellowship thetics in Nineteenth-Century Music.” from the Society for American Music for “The Songs of the Cleric-Trouvères” Richard Griscom (University of Pennsylva- Complete Works for Voice and Piano by Lou- Deborah Schwartz-Kates (University of Mi- nia), together with David Lasocki, received ise Talma, a Scholarly Edition.” ami) received an NEH Summer Stipend for the Vincent H. Duckles Award of the Music Beth E. Levy (University of California, “The Film Music of Argentinian Composer Library Association for the best book-length Davis) won the 2014 Irving Lowens Book Alberto Ginastera (1916–1983).” bibliography or other research tool, for The Award from the Society for American Music Recorder: A Research and Information Guide, for Frontier Figures: American Music and the Elaine Sisman (Columbia University) was 3rd ed. (Routledge, 2012). Mythology of the American West (University of elected fellow of the American Academy of Matthew J. Hall (Cornell University) won California Press, 2012). Arts and Sciences. the 2014 Irene Alm Memorial Prize for out- Hannah Lewis (Harvard University) won the standing student paper presented at the An- Laurie Stras (University of Southampton) 2014 Mark Tucker Award for outstanding stu- nual Conference of the Society for Seven- received a National Co-ordinating Centre for dent paper presented at the Annual Meeting teenth-Century Music for “Concerts Royaux, Public Engagement award for her work with of the Society for American Music for “Love 1670–1700: Genre, Style, Performance Prac- the ensemble Celestial Sirens. Me Tonight (1932) and the Development of tice.” the Integrated Film Musical.” David Trippett (Bristol University) received Trevor Herbert (Open University) received Anne MacNeil (University of North Caro- the Bruno Nettl Prize of the Society for Eth- the Anthony Baines Prize from the Galpin lina, Chapel Hill) received an ACLS Digital nomusicology for his book, an edited trans- Society for outstanding contributions to or- Innovation Fellowship for “Mapping Secrets.” lation of Carl Stumpf, The Origins of Mu- ganology. sic (Oxford University Press, 2012). He was Matthew D. Morrison (New York Univer- Carol A. Hess (University of California, Da- also awarded the Donald Tovey Prize from sity) was appointed a postdoctoral fellow in vis) received an NEH Summer Stipend for Oxford University for Wagner’s Melodies: Aes- the Tisch School of the Arts at New York Uni- “Copland, Cultural Diplomacy, and Latin thetics and Materialism in German Musical versity, affiliated with the NYU-Clive Davis America.” Identity (Cambridge University Press, 2013). Institute of Recorded Music. Claudia Jensen (University of Washington) Margaret Murata (University of California, Holly Watkins (Eastman School of Music, will be the project director for an NEH Col- Irvine) was named an Honorary Member of University of Rochester) received an ACLS laborative Research Grant project entitled the Society for Seventeenth-Century Music. Fellowship for “Echoes of the Nonhuman: “The Russian Court Theater in the Late Sev- Organicism, Biology, and Musical Aesthetics enteenth Century and Its Context in Trans- Peter S. Poulos (University of Cincinnati) from the Enlightenment to the Present.” national Information Exchange,” which will won the Competition Prince Francesco Maria include scholars from Sweden (Ingrid Maier Ruspoli, musicological section, for his essay Alexandra Wilson (Oxford Brookes Univer- and Heiko Droste), Russia (Stepan Shamin), “Simone Molinaro’s Madrigali a cinque voci sity) was awarded a British Academy Mid-Ca- and Estonia (Jürgen Bey). and Genoese Patrons in Rome.” reer Fellowship for the academic year 2014–15 Robert Ketterer (University of Iowa) re- Don M. Randel (University of Chicago, for the project “Opera, Popular Culture and ceived the American Philological Association’s Cornell University) was elected Chair of the Cultural Categorisation in 1920s Britain.”

August 2014  AMS Fellowships, Awards, and Prizes Robert M. Stevenson Award for outstanding scholarship in Iberian music Descriptions and detailed guidelines for all Eugene K. Wolf Travel Fund Deadline: 1 May AMS awards appear in the AMS Directory for European research MPD Travel Fund and on the AMS web site. Deadline: 1 April Publication subventions are drawn from the to attend the Annual Meeting 22 AMS 75 PAYS, Anthony, Brook, Bukofzer, Alfred Einstein Award Deadline: May for an outstanding article by a scholar in the Hanson, Hibberd, Jackson, Kerman, Picker, Eileen Southern Travel Fund Plamenac, and Reese Endowments. Applica- early stages of her or his career to attend the Annual Meeting tion deadlines are 15 February and 15 August Deadline: 1 May Deadline: 1 June each year. Otto Kinkeldey Award Janet Levy Travel and Research Fund for an outstanding book by a scholar beyond Philip Brett Award for independent scholars the early stages of her or his career of the LGBTQ Study Group for outstanding Deadline: 1 March Deadline: 1 May work in gay, lesbian, bisexual, and trans- sexual/transgender studies Teaching Fund Lewis Lockwood Award Deadline: 1 July for innovative teaching projects for an outstanding book by a scholar in the Deadline: 1 March early stages of her or his career Thomas Hampson Fund Deadline: 1 May for research and publication in classic song M. Elizabeth C. Bartlet Fund Deadline: 15 August for research in France Music in American Culture Award Deadline: 1 April for outstanding scholarship in music of the Noah Greenberg Award United States for outstanding performance projects William Holmes/Frank D’Accone Fund Deadline: 1 May Deadline: 15 August for research anywhere Deadline: 1 April Claude V. Palisca Award Paul A. Pisk Prize Jan LaRue Travel Fund for an outstanding edition or translation for an outstanding paper presented by a for European research Deadline: 1 May graduate student at the Annual Meeting Deadline: 1 April Deadline: 1 October H. Colin Slim Award Harold Powers World Travel Fund for an outstanding article by a scholar be- Howard Mayer Brown Fellowship for research anywhere yond the early stages of her or his career for minority graduate study in musicology Deadline: 1 April Deadline: 1 May Deadline: 15 December

Ora Frishberg Saloman Fund Ruth A. Solie Award Alvin H. Johnson AMS 50 for research anywhere for an outstanding collection of essays Dissertation Year Fellowships Deadline: 1 April Deadline: 1 May Deadline: 15 December

• American Antiquarian Society AMS-Newberry Library Guidelines for Announcements Short-Term Fellowship • American Council of Learned Societies of Awards and Prizes • Camargo Foundation Robert Ketterer (University of Iowa) re- • Columbia Society of Fellows in the Hu- Awards and honors given by the Soci- ceived the inaugural AMS-Newberry Li- manities ety are announced in the Newsletter. In brary Short Term Fellowship for the proj- • Delmas Foundation addition, the editor makes every effort ect “Early Opera, Ancient History, and to announce widely publicized awards. European Relations with the Ottoman • Deutscher Akademischer Austauschdienst Other announcements come from in- Empire.” The fellowship continues: dead- • Fulbright U.S. Scholar Program dividual submissions. The editor does line 15 January 2015. • Guggenheim Memorial Foundation Fel- not include awards made by the re- lowships cipient’s home institution or to scholars Additional Grants and Fellowships • Harvard University Center for Italian Re- who are not currently members of the Many grants and fellowships that recur on naissance Studies Society. Awards made to graduate stu- annual cycles are listed at the AMS web site: • Humboldt Foundation Fellowships dent members as a result of national or www.ams-net.org/grants.php. • Institute for Advanced Study, School of international competitions are also an- Grants range from small amounts to full- Historical Studies nounced. The editor is always grateful year sabbatical replacement stipends. The list • International Research & Exchanges Board to individuals who report honors and of programs includes the following: awards they have received. • Kurt Weill Foundation for Music • American Academy in Berlin • National Endowment for the Humanities • Social Science Research Council • American Academy in Rome • National Humanities Center Fellowships • University of London, Institute of Musical • American Academy of Arts & Sciences • Newberry Library Fellowships Research  AMS Newsletter AMS / Library of Congress AMS / Rock and Roll Hall of Lecture Series Fame and Museum Lecture Series

The next AMS/Library of The next AMS/Rock and Roll Congress Lecture will take Hall of Fame and Museum place in the Coolidge Audi- (RRHOFM) Lecture will take torium at noon on Tuesday place in the library and archives 7 October. Carol A. Hess of the RRHOFM, Cleveland, (University of California, Ohio at 7 p.m. on 12 Novem- Davis) will present “Copland ber. Samantha Bennett (Austra- as Good Neighbor: Cultural lian National University) will Diplomacy in Latin America present “Rock, Recording, and during World War II.” Rebellion: Technology and Pro- 1990 Carol Hess describes her cess in s Record Produc- tion.” lecture as follows: “Scholars Samantha Bennett de- and the general public have scribes her lecture as follows: long acknowledged Aaron Carol A. Hess “RRHOFM inductees Tom Samantha Bennett Copland’s attraction to Latin Dowd, Berry Gordy Jr., Les Paul, Sam Phillips, and Phil Spector rep- America, noting his associations with several composers from that resent a 1950s/1960s ‘recordist canon,’ pioneers of maverick recording region and his Latin-themed works such as El salón México, Dan- methodologies responsible for shaping the sound of classic rock and zón cubano, and Three Latin American Sketches. Between 1932 and roll. Their work not only forms the underpinning of rock music’s sonic 1972, Copland made eight visits to Latin America, four as a cultural characteristics: it also represents an oft-imitated body of audible stylis- diplomat under the auspices of the U.S. State Department (1941, tic, generic, and aesthetic recording principles. Some of their radical, 1947, 1962, 1963). His cultural diplomacy in Latin America remains experimental, and at times rebellious production techniques—Paul’s largely unexamined, however, despite the rich trove of materials in ‘Sound on Sound,’ Spector’s ‘Wall of Sound,’ and Phillips’s ‘Slap Echo,’ the Aaron Copland Collection of the Library of Congress. Here we for example—have (re)informed a continuum of established rock pro- find the diaries Copland kept during these visits, his reports for the duction standards. Reference to this ‘recordist canon’ and their ground- State Department, correspondence with Latin American musicians, breaking work is documented throughout rock historiography, particu- concert programs of his performances, reviews of his works from larly in the work of Albin Zak, Mark Cunningham, David Morton, and Spanish- and Portuguese-language presses, and scripts of the radio Greg Milner. broadcasts he gave in various Latin American capitals. “Less acknowledged in academic discourse is the work carried out by “My talk will focus on Copland’s 1941 trip, the most extensive recordists in rock production more recently; the 1970s and 1980s gave and, from the standpoint of cultural diplomacy, the most urgent. way to increased multitrack recording capabilities and large-scale mix- It took place at the height of Franklin D. Roosevelt’s Good Neigh- ing console classic rock record construction. However, the 1990s marked bor policy, which sought to counter Nazi infiltration in the western a significant turning point in pop and rock sound recording. At a time hemisphere. Copland, who had enthused over ‘a new world with its when computer-based digital audio workstations were fast becoming own new music’ that could challenge the European tradition, was the norm, many sound recordists of the era either rejected this new ideally suited to promote a fundamental tenet of the Good Neigh- direction outright or blended technological and processual precursors bor policy, namely, that the Americas are united by shared historical into unconventional and individualized working practice(s). Such (re) and cultural experiences. Analyzing the Library of Congress materi- inventions of technological and processual modes of production mirror 1950 1960 als enables us to explore the musical ramifications of this principle those of the s/ s ‘recordist canon.’ “This lecture considers the role of understudied, yet key individuals as manifested in Latin American reaction to Copland’s works. I will responsible for shaping the sound of some of the decade’s most success- propose that the 1941 trip, undertaken when U. S. cultural diplo- ful popular music releases from later RRHOFM inductees, from Jim macy was in its fledging stages, anticipates the ultimately ephemeral Scott and Rick Rubin’s ‘loud and mono’ treatment of Red Hot Chili nature of Good Neighborly ideology, which Copland nonetheless Peppers’ Californication to William Orbit’s vintage analogue synthesis- enthusiastically promoted during this most overtly political of his laden production of Madonna’s Ray of Light. What were the maverick Latin American trips.” recording techniques and processes implemented by these recordists in Carol Hess has published books and articles on the music of Spain order to achieve such instantly recognizable works? And to what extent and the Americas. Her book Manuel de Falla and Modernism in is a new ‘recordist canon’ formed via 1990s rock recordings? Giving long Spain, 1898–1936 (2001) won the ASCAP-Deems Taylor Award overdue recognition to the contemporary sound recordist, this lecture and the American Musicological Society’s Robert M. Stevenson illuminates the technologies and processes implemented by rock music’s Award. In 2004, she published Sacred Pas- concealed sonic orchestrators.” sions: The Life and Music of Manuel de Falla. The two AMS Lecture Series will continue in Samantha Bennett’s recent work includes a Her most recent book, Representing the the spring of 2015. Webcasts of the lectures chapter for the Oxford Handbook of Music and Good Neighbor: Music, Difference, and the are available at the AMS web site. The Com- Virtuality (forthcoming) and an article for the Pan American Dream (2013), explores the munications Committee welcomes propos- forthcoming Popular Music & Society Special reception of Latin American concert music als from AMS members interested in giving Edition on the Sex Pistols. Her first book, in the United States. Her next book, Aaron a lecture as part of these distinguished series; Modern Records, Maverick Methods: Technology Copland in Latin America: A Composer’s Di- see www.ams-net.org for full details. The ap- and Process in Contemporary Record Production, ary, will be published by Indiana University plication deadline is 1 December 2014. is forthcoming in the University of Michigan Press. Press series “Tracking Pop.” August 2014  Executive Director’s Message Last winter I visited Washington D.C. twice the U.S. are available at the Humanities Indi- onstrated the past three years. His interviews on behalf of the AMS. In January I attended cators web site. and work to build “What I Do in Musicol- a one-day “stakeholders meeting” organized In early March I returned to Washington ogy” have been particularly welcome to see. by the American Academy of Arts and Sci- to participate in the National Humanities I’m sorry to say that he gently rebuffed my ences (AAAS) to discuss developments in Alliance (NHA) Humanities Advocacy Day subtle hint to stay on for another three years, their Humanities Indicators data collection activities. The word I heard most frequently and no doubt he already has sufficient plans / assessment project (HumanitiesIndicators. was “community.” The message that support to fill the void now looming! Thanks, Andy, org). This is an important initiative that the for the humanities leads to more informed for your good work, and all best wishes for AMS has agreed to support financially. We and engaged citizens—people who are more the projects ahead. find ourselves constantly asking data-oriented interested and involved in local community —Robert Judd questions to do with our discipline and the activities—was driven home repeatedly. This humanities generally, and we have often been is no surprise, considering the work of Hu- stymied by the absence of well-constructed manities Advocacy Day: delegations from the News from the and -presented information. It is especially NHA visited congressional representatives on AMS Board important to track information in meaning- Capitol Hill and talked with them about fed- ful categorical ways over an extended time eral support for the humanities. I met with The AMS Board met in Milwaukee in March period (longitudinal data collection), and this staff officers of senators and members of the 2014. In addition to its normal review of fi- is one of the primary purposes of the AAAS House of Representatives and discussed with nancial and committee reports and reviewing work on this front. The data pertaining to the them the importance of financial support nominations and appointments to commit- humanities is complex and somewhat difficult for the many humanities-oriented programs tees and Society positions, the Board: to organize, since aspects of the humanities currently part of the national budget. I was • Agreed upon a dues increase in the 2015 are idiosyncratic or discipline-specific. For able to talk a little about Music of the United calendar year. example, collecting data on undergraduate States of America, our own federally funded • Agreed to increase the Society’s fellowship study in history or literature has little parallel initiative, but I also stressed programs such stipends to $21,000 per year. in musicology, since our discipline is relatively as the digitization projects of the National • Approved the Council recommendations small as an undergraduate major. Historical Publications and Records Com- regarding proposed by-laws changes re- Another purpose to the Humanities Indi- mission, the Department of Education’s Title garding the term of Council service and cators is to provide information for efforts VI/Fulbright Hays International Education voting rights for student members of to build support for humanities projects. In programs, the Institute of Museum & Library Council (see p. 40). June 2014 a series of new reports were posted Services, and the Library of Congress. I was • Approved a proposal from the Committee at the web site, including reports on founda- left with sympathy for the challenges faced by on the Annual Meeting to provide funding tion funding in the humanities (in decline Congress in balancing competing interests in for guest academics to attend the Annual compared to 2007) and on non-NEH federal a time of limited and stressed resources. The Meeting (see p. 30). funding for the humanities (in decline: $855 work of the NHA is ongoing and important. • Approved a thirty percent increase in million to $594 million in inflation-adjusted It is worth your time to visit their web site and grants to attend the Annual Meeting ad- value from 2008 to 2014). An interestingly sign up for their email newsletter. See www. ministered by the Committee on Member- nuanced report on funding for doctoral stud- nhalliance.org for details. ship and Professional Development. ies in the humanities reveals the “feast or fam- * * * • Approved administering a survey of the ine” situation wherein fifty percent of doctor- This issue of the AMS Newsletter marks membership regarding possible ways to ex- ate recipients completed their degree with no the sixth and final issue edited by Andrew tend or expand the Annual Meeting. debt, but twenty-eight percent had more than H. Weaver. His contribution to the Society • Approved an increase to the Treasurer’s $30,000 in debt, and fifteen percent more the past three years has been important and honorarium. than $60,000. These and many other pieces significant, and I speak for us all in thanking • Reappointed Robert Judd as Executive Di- of information that shape the humanities in him profusely for his hard work so well dem- rector for a five-year term.

Public Musicology Conference committee is currently seeking individual- • The Relationship Between Academic paper, lecture-recital, panel, workshop, and Musicology and Public Musicology continued from page  innovative-format proposals on any aspect • Music and Historical Preservation of public musicology. These include but are New Jersey, recently approved a new Mas- • Public Musicology vs. Public History not limited to the following areas: ter’s of Music program in American and and Public Science • Innovative Programming Public Musicology. The school is also or- The deadline for proposals is 1 September ganizing a conference entitled “The Past, • The History of Public Musicology 2014, and submission information can be Present, and Future of Public Musicology,” • Music and Museums found at publicmusicology.wordpress.com. which will take place from 30 January to 1 • Musical Archives and the Public Presentations will be considered for a book February 2015. Designed to further research • Music, Collective Memory, and Histori- on public musicology to be edited by the on how music scholars, performers, educa- cal Interpretation conference organizers. I hope you will join tors, journalists, and industry professionals • The Material Culture of Music me in Princeton in January! can engage with the public, the program • Musical Tourism —Eric Hung  AMS Newsletter AMS/SMT ANNUAL MEETING Milwaukee, 6–9 November 2014 Preliminary Program (as of 16 July 2014) Mobile app available 1 October WEDNESDAY 5 November THURSDAY AFTERNOON SESSIONS 9:00–12:00 Grove Editorial Board 2:00–5:00 12:30–5:00 Grove Editorial Board and Advisory Panel Ballet (AMS) 2:00–8:00 AMS Board of Directors Davinia Caddy (University of Auckland), Chair 2:00–6:00 SMT Executive Board Erica Siegel (University of California, Riverside), “Vaughan Williams and the Reformation of Ballet in Britain” 6 15 7 30 : – : SMT Executive Board, Networking Anne Searcy (Harvard University), “A Cold War Welcome: The American Committee, Publications Committee, Reception of Prokofiev and His Choreographic Collaborators during the and Awards Committee Dinner Bolshoi Ballet’s 1959 Tour” 7:30–11:00 SMT Publication Awards Committee Sarah Town (Princeton University), “Dancing the Revolutionary Dysto- pia: Nicolás Guillén Landrián’s Los del baile (1965)” 7:30–11:00 SMT Networking Committee Eftychia Papanikolaou (Bowling Green State University), “Uwe Scholz’s 7:30–11:00 SMT Publications Committee Große Messe” Chant (AMS) Alejandro Planchart (University of California, Santa Barbara), THURSDAY 6 November Chair Bibiana Gattozzi (Princeton University), “Beneventan Notated Fragments 9:00–7:00 Registration in Abruzzo: Exchange and the Domestication of Plainchant in Southern 11:00–7:00 Speaker Ready Room Italy” James Maiello (University of Manitoba), “The Epiphany Liturgy at Pistoia 1:00–6:00 Exhibits as an Expression of Episcopal Authority” 7:30–9:00 Meeting Worker Orientation Henry Parkes (Yale University), “Chant, Scripture, and Heresy in the Gre- gorian Antiphoner: A View from the Eleventh Century” 8:00–12:00 AMS Board of Directors Matthew Peattie (University of Cincinnati), “Nuance-Rich Notation in 8:00–12:00 SMT Executive Board Breakfast Eleventh-Century Manuscripts from Benevento” 9:00–12:00 SMT Music Theory Hack Daysponsored by Eastern Borders (AMS) the SMT Music Informatics Interest Group Simon Morrison (Princeton University), Chair 9:00–12:00 SMT Peer Leadership Seminar I: Elise Bonner (Princeton University), “Anti-French Villainies and Italian “Shostakovich’s Twelfth String Quartet” Opera at the Russian Court” Patrick McCreless (Yale University), instructor Miriam Tripaldi (University of Chicago), “Dispelling the Western Myth: 9:00–12:00 SMT Peer Leadership Seminar II: Opera, Mobility, Experimentation, and the Emergence of the Russian “Writing about Hearing and Making Nation in Saint Petersburg” Aggregate-Based Music” Anne Marie Weaver (Eastman School of Music, University of Rochester), “Some Fuss about a Flea: Musorgsky’s ‘Mephistopheles’s Song in Auer- Andrew Mead (Indiana University), instructor bach’s Cellar’ and Its Sources in Beethoven and Gounod” 10:00–12:00 SIMSSA: Single Interface for Music Score Kelly St. Pierre (Case Western Reserve University / Cleveland Institute of Searching and Analysis, Working Group Music), “Smetana’s Music Battles and Wagner’s Music Dramas: Investi- 11:00–1:30 Society for Seventeenth-Century gating a Propaganda War” Music Governing Board Eighteenth-Century Opera and Dance (AMS) 12:00–2:00 AMS Membership and Professional Mary Hunter (Bowdoin College), Chair Development Committee Don Fader (University of Alabama), “Le Régent en Bacchus? French Oper- 12:00–2:00 Mozart Society of America Board atic Allegory, Noble Self-Construction, and Philippe d’Orléans’s Penthée (1703)” 1:00–2:00 National Endowment for the Humanities Bruce Alan Brown (University of Southern California), “Opera in France, Grant program information and Italy, and on the Moon, as Viewed by a Frenchman, Financier, and Phi- individual consultations losophe” August 2014  Joseph Fort (Harvard University), “Joseph Haydn and the 1792 Ball of the Darren Mueller (Duke University), “Producing ‘Timeless’ Music: Gesellschaft bildender Künstler” Manfred Eicher and the Recording of Keith Jarrett’s Solo Concerts: John Platoff (Trinity College), “Francesco Benucci, Nancy Storace, and Bremen/Lausanne (1973)” Sarti’s Fra i due litiganti in Vienna” Jacob Sagrans (McGill University), “Allegri’s Miserere and the Choir Musical Responses to World War I (AMS) of King’s College, Cambridge: The Story of a Standard Recording” Laura Watson (National University of Ireland Maynooth), Chair Racialized Boundaries (AMS) Anya Holland-Barry (University of Wisconsin-Madison), “French Music Charles Hiroshi Garrett (University of Michigan), Chair during World War I: La Gazette and Lili Boulanger” Samuel Dwinell (Cornell University), “‘Indecent Anguish of the Lesley Hughes (University of Wisconsin-Madison), “Irony through In- Quivering Flesh’: Queer Intimacies of the Black Atlantic in Michael strumentation: Hindemith’s Quintet for Clarinet and String Quartet and the Great War” Tippett’s The Knot Garden” Michelle Meinhart (Martin Methodist College), “Singing Tommies and Tamara Levitz (University of California, Los Angeles), “In the Shadow their ‘Stourhead Mother’: An Unlikely Musical Family in an English of the Zoot Suit Riots: Racial Exclusion and the Foundations of Mu- Country House during the First World War” sic History” Christopher Scheer (Utah State University), “Dancing at the Rebirth of John McCluskey (University of Kentucky), “‘This is Ghetto Row’: the World: Holst’s Hymn of Jesus and the First World War” Musical Segregation in American College Football” The Final Frontier (SMT) Ken McLeod (University of Toronto), “Holograms and Techno- Spirituality in Recent Rap Music” Nora Engebretsen (Bowling Green State University), Chair John Muniz (Yale University), “Rethinking Enharmonic Modulations: Rocky Relationships (SMT) Notation and Tendency” Christopher Doll (Rutgers University), Chair Hyunree Cho (Seoul, Korea), “Contextualized Musical Transformations and Inconsistent Multiplicity” Robin Attas (Elon University), “Meter and Motion in Pop/Rock Backbeats” Marek Zabka (Comenius University, Slovakia), “The Tonnetz vs. Voice Leading in the Constructions of Abstract Musical Spaces: A Chicken- Drew Nobile (University of Chicago), “Harmonic Function in Rock and-Egg Dilemma” Music: A Syntactical Approach” Justin Lundberg (New England Conservatory), “A Theory of Voice-Lead- Guy Capuzzo (University of North Carolina, Greensboro), “A Beat- ing Sets for Post-Tonal Music” Class Approach to Polyrhythm in the Music of Meshuggah” Interactive Presentations: A Poster Session on Empiri- Nathaniel Condit-Schultz and Claire Arthur (Ohio State University), cal Approaches to Music Theory and Musicology (AMS/ “Beat and Switch: Multi-stable Rhythms, Metric Ambiguity, and SMT) Rock & Roll Fake-Outs” Eamonn Bell (Columbia University), Johanna Devaney (Ohio State Theorists vs. Theorists (SMT) University), Ben Duane (Washington University in St. Louis), Richard Henry Klumpenhouwer (Eastman School of Music, Univer- Freedman (Haverford College), Ichiro Fujinaga (McGill University), Eric sity of Rochester), Chair Isaacson (Indiana University), Aaron Kirschner (University of Utah), Jus- tin Lundberg (New England Conservatory of Music), Alexander Morgan Maryam Moshaver (University of Alberta), “Fundamental Bass and (McGill University), Laurent Pugin (RISM Switzerland), Jesse Rodin Metalanguage: An Anatomy of Two Analytical Practices” (Stanford University), Craig Sapp (Stanford University), Daniel Shana- Áine Heneghan (University of Michigan), “Schoenberg’s Sentence” han (Louisiana State University), Susan Forscher Weiss (Johns Hopkins Daniel Walden (Harvard University), “Musica Prisca Caput: Vitru- University), Christopher White (University of North Carolina, Greens- vian Music Theory and Enharmonicism in Sixteenth-Century Italy” boro), Kirill Zikanov (Yale University) Joon Park (University of Oregon), “The Monochord = (Motion + Nineteenth-Century Form (SMT) Space) = Musical Motion” Steven Vande Moortele (University of Toronto), Chair Jonathan Guez (Yale University), “Process and Symmetry in Schubert’s Expanded Type 1 Sonatas” Edward D. Latham (Temple University), “‘Beautiful Infinity’: The Per- manent Interruption as a Symbol of Romantic Distance in the Music of Robert Schumann” Anders Tobiason (University of Wisconsin-Madison), “Rotational Form and the Price of Assimilation in Schubert’s ‘Sei mir gegrüsst’” Michael Baker (University of Kentucky), “Multiply-Interrupted Structure in Clara Schumann’s ‘Liebst du um Schönheit’” Producing Classic Recordings (AMS) Arved Ashby (Ohio State University), Chair Philip Gentry (University of Delaware), “Walter Legge’s Tristan and the Magnetophonic Imagination” Lucille Mok (Harvard University), “Take Twenty-One: Technological Vir- tuosity and Glenn Gould’s Goldberg Variations, 1954 to 1959” Downtown Milwaukee’s World Festival  AMS Newsletter Darwin Scott (Princeton University), “The Blue Mountain Project: A THURSDAY AFTERNOON SHORT SESSIONS Digital Archive of Modernist Arts Journals” Sarah Adams (Harvard University), “The RISM OPAC: Next Stages” 2:00–3:30 Jane Gottlieb (Juilliard) and Susan Vita (Library of Congress), “The Music Source Studies (AMS) Treasures Consortium” Ecomusicology and Listening Beyond Categorical Benjamin Korstvedt (Clark University), Chair Limits Mario Aschauer (Sam Houston State University), “Organizing the Work- shop: How Bruckner Acquired His Compositional Process” Sponsored by the AMS Ecocriticism Study Group Paul Bertagnolli (University of Houston), “‘At Merlin’s feet the wily Vivien Tyler Kinnear (University of British Columbia), Chair lay’: A New Program in the Manuscript Sources for Edward MacDowell’s Alexandra Hui (Mississippi State University), Daniel Grimley (Univer- Sonata Eroica” sity of Oxford), James Currie (University at Buffalo, SUNY) 3:30–5:00 Music and Mexicanidad as Post-National Imaginary Britten’s Texts (AMS) Sponsored by the AMS Ibero-American Music Study Group Heather Wiebe (King’s College London), Chair Leonora Saavedra (University of California, Riverside), Chair Christopher Chowrimootoo (University of Notre Dame), “The Turn of the Peter J. García (California State University, Northridge), “Chicano Screw, or: The Gothic Melodrama of Modernism” Music Discourses from Southern California: Nationalism and De- Kevin Salfen (University of the Incarnate Word), “Reading Montagu Slat- colonial Turns to Latinidad and Hispanidad in a Post-Chicano Era” er’s Peter Grimes” Lillian Gorman (University of Illinois at Chicago), “The (New) Mex- ican Familia: Music, Language, Power, and Latinidad in Northern 4:15–5:15 AMS Development Committee New Mexico” Jesús A. Ramos-Kittrell (Southern Methodist University), “¿De quién es 4:30–5:30 AMS Committee on Career-Related la fiesta? Mexicans Roots in Colombian Vallenato” Issues Conference Buddy Mixer Alejandro L. Madrid (Cornell University), Respondent 5:30–6:30 AMS President’s Endowed Plenary Lecture New Approaches to Introducing Jewish Music Margot Fassler (University of Notre Dame), “Hildegard’s Cosmos and Its Sponsored by the AMS Jewish Studies and Music Study Group Music: Making a Digital Model for the Modern Planetarium” Joshua Walden (Johns Hopkins University), Chair 6 00 6 30 : – : SMT Conference Guides Michael Beckerman (New York University), Philip Bohlman (Univer- 6:30–8:00 Opening Reception sity of Chicago), Ronit Seter (Jewish Music Research Center), Wendy Heller (Princeton University), Tina Frühauf (Columbia University / 7:30–9:30 Journal of Seventeenth-Century RILM), Mark Kligman (University of California, Los Angeles), Sam- Music Editorial Board uel Zerin (New York University) 9:30–11:00 Student Reception New Ontologies of Sound and Music Sponsored by the AMS Music and Philosophy Study Group THURSDAY EVENING SESSIONS Naomi Waltham-Smith (University of Pennsylvania), Chair Jonathan De Souza (University of Western Ontario), “On Musical 8:00–11:00 Objects” After the Post (SMT) Christopher Haworth (University of Calgary), “Sound Synthesis Pro- cedures as ‘Texts’: A New Virtuosity in Computer Music” Jonathan Bernard (University of Washington), Chair Daniel Villegas Velez (University of Pennsylvania), “The Matter of Aaron Harcus (Graduate Center, CUNY), “Varieties of Pitch Presence: Hearing: Diderot, d’Alembert, Le Cat, and the Multinaturalist Ratio- Process, Gesture, and the Excessive Polyvalence of Pitch in Atonal Music” nality of Eighteenth-Century Sound” Sean Atkinson (Texas Christian University), “Steve Reich’s Phase Music Robin James (University of North Carolina, Charlotte), “Music and Reconsidered” the Ambivalent Politics of Feminist New Materialism” Brett Clement (Ball State University), “Frank Zappa and Atonality” Olivia Bloechl (University of California, Los Angeles), “Aural Vulnera- John Roeder (University of British Columbia), “Formative Processes in bleness as Ethical Ontology” Post-Tonal Canons” Partimenti (SMT) Digital Musicology: New Cooperative Initiatives (AMS) Michael Callahan (Michigan State University), Chair Frances Barulich (Morgan Library & Museum), Chair Joshua W. Mills (Florida State University), “Partimenti, Imitatio, and Bonna Boettcher (Cornell University), “The Contemporary Composers Exempla: Exploring (and Applying) the Pedagogical Parallels between Web Archive” Rhetoric and Composition” Judy Tsou (University of Washington), “The Crisis Confronting Twenty- Simon Prosser (Graduate Center, CUNY), “Some Dispositiones of the First-Century Sound Recording Collections” Fonte Schema” August 2014  Stefan Eckert (Eastern Illinois University), “Aspects of Partimento Sense and Sensibility (SMT) Practice in Joseph Riepel’s Anfangsgründe zur musikalischen Setzkunst” Philip Rupprecht (Duke University), Chair Robert O. Gjerdingen (Northwestern University), “Harmony without Theory: Apprenticeship at the Paris Conservatory” Marianne Kielian-Gilbert (Indiana University), “‘Compassion with the Abyss’: Sensory Estrangement in Britten’s Late Works Death in Venice, Pop without Tech op. 88 and Phaedra, op. 93” Sponsored by the AMS Popular Music Study Group Eloise Boisjoli (University of Texas at Austin), “Defining Sensibility: A Mitchell Morris (University of California, Los Angeles), Chair Topical World in the Slow Movements of Haydn’s String Quartets” Nicholas Johnson (Butler University), “Reviving the American Musical Past: The Rejection of Technology in the Modern String Band” Matthew Richardson (Northwestern University), “Vulnerable Voices and FRIDAY 7 November the Production of Affect in Japanese Idol Pop” 8:30–6:00 Registration & Speaker Ready Room Michael D’Errico (University of California, Los Angeles), “Off the Grid: Self-Effacing Production in Juke and Footwork” 8:30–6:00 Exhibits Mimi Haddon (McGill University), “Free-Reeding and the ‘Plaintive Cry’ 7:00–8:45 AMS Chapter Officers of the Exotic: Understanding Post-Punk’s Relationship to Dub through the Materiality of the Melodica” 7:00–8:45 AMS Committee on Career-Related Issues Toward a Theory of Music Patronage Post-1900 (AMS) 7:00–8:45 AMS Committee on Communications Jeanice Brooks (University of Southampton), Chair 7:00–8:45 AMS Committee on the History of the Society Louis Epstein (St. Olaf College), Rachel S. Vandagriff (University of Cali- fornia, Berkeley), James Steichen (Princeton University), William Robin 7:00–8:45 SMT Ad Hoc Sustainability (University of North Carolina, Chapel Hill) Issues Committee Emily Richmond Pollock (Massachusetts Institute of Technology), Re- 7:00–8:45 SMT Committee on the Status spondent of Women Breakfast THURSDAY EVENING SHORT SESSIONS 7:00–8:45 SMT MTO Editorial Board 8:00–9:30 7:00–8:45 SMT Music Theory Spectrum Editorial Board Romantic Aesthetics (SMT) 7:30–8:45 Alvin H. Johnson AMS 50 Dissertation Berthold Hoeckner (University of Chicago), Chair Fellowship Committee Judith Ofcarcik (Fort Hays State University), “The Aesthetics of Rupture: 7:30–8:45 AMS Graduate Education Committee Adorno and the Adagio of Beethoven’s Ninth Symphony” 7:30–8:45 AMS Program Committees for the Anna Gawboy (Ohio State University), “The Musical Opus as Magnum 2014 and 2015 Annual Meetings Opus: Organicist Analysis and the Hermetic Tradition” 7:30–8:45 AMS/SMT Joint Music and Disability Teaching Writing as a Music Theorist Study Group “Recasting Music: Sponsored by the SMT Professional Development Committee Body, Mind, and Ability” Nancy Rogers (Florida State University), Moderator 7:30–8:45 AMS Student Representatives to Council Carla Colletti (Webster University), Walter Everett (University of Michi- 7:30–8:45 SMT Breakfast Reception for Students gan), William Marvin (Eastman School of Music, University of Roches- hosted by SMT Professional ter), Lynne Rogers (William Patterson University) Development Committee 9:30–11:00 7:30–9:00 American Brahms Society Board Main Title Music (SMT) 9:00–12:00 SMT Graduate Student Workshop I: “Exploring Pitch Memory and Melody Mark Richards (University of Lethbridge), Chair Perception: Empirical Approaches” Scott Murphy (University of Kansas), Respondent Elizabeth West Marvin, instructor James Buhler (University of Texas at Austin), “Branding the Franchise: 9:00–12:00 SMT Graduate Student Workshop II: Music and the (Corporate) Myth of Origin” “Finding Narratives in Formal Analysis of Frank Lehman (Tufts University), “Intra-phrasal Chromaticism and For- Popular Music” mal Structures in Korngold’s Main Titles” Jocelyn Neal, instructor Charity Lofthouse (Hobart and William Smith Colleges), “Identification and Alienation: Subjectivities in the Main-Title Music of Alien-Themed 9:00–12:00 SMT Graduate Student Workshop III: Films” “Renaissance Instrumental Music” Peter Schubert, instructor

 AMS Newsletter FRIDAY MORNING SESSIONS Visions and Revisions in the Seventeenth and Eighteenth Centuries (AMS) 9:00–12:00 Steven Zohn (Temple University), Chair Cinematic Sounds (AMS) Thomas Lin (Harvard University), “Creating a Hit: In the Workshop of Cicognini/Cavalli’s Giasone” Daniel Goldmark (Case Western Reserve University), Chair Maria Anne Purciello (University of Delaware), “Moral Poems, Symbolic Alexandra Monchick (California State University, Northridge), “Béla Ba- Figures, and Poetic Conceits: Reimagining Allegory for the Seventeenth- lázs’s ‘Last Take’: An Operatic Tribute to Silent Film” Century Operatic Stage” Charles E. Brewer (Florida State University), “Alec Wilder’s ‘Fall’ from the Anita Hardeman (Western Illinois University), “Venus and the Semiotics Avant Garde” of the French Opera Prologue, 1700–1750” Berthold Hoeckner (University of Chicago), “Film, Music, Affective Mathieu Langlois (Cornell University), “‘Mere Bastard Sounds’: Dandrieu Economies” and Musical Pictorialism” Carolyn Abbate (Harvard University), “Sound Object Lessons” France Making a Spectacle of Itself (AMS) FRIDAY MORNING SHORT SESSIONS Stephen Rumph (University of Washington), Chair 9:00–10:30 Kimberly White (University of Southampton), “Offenbach’s Madame Fa- vart and the Business of Performing” Affect and Collaboration at the Fin de siècle (AMS) Julianne Lindberg (University of Nevada, Reno), “In Search of Lost Time: Nostalgia, Exile, and Fauré’s Dolly” Michael Beckerman (New York University), Chair Rachana Vajjhala (University of California, Berkeley), “Fauré, Debussy, Andrew Burgard (New York University), “A Moravian Fin de siècle: Col- and Les Bébés in Toyland” laborative Dynamics Underlying the Emergence of Janáček’s Distinctive Samuel Dorf (University of Dayton), “Musicology, Archaeology, and Fau- Compositional Style” ré’s Hymne à Apollon (1894)” Daniel Grimley (University of Oxford), “‘In the Mood’: The Affective Music and Activism (AMS) Landscapes of Edvard Grieg’s Stemninger, op. 73” George E. Lewis (Columbia University), Chair The End of the Undergraduate Music History Sequence? Felicia M. Miyakawa (Austin, Tx.), “Sing out, Brother! Zilphia Horton’s (AMS) ‘Unfinished’ CIO Songbook” Tammy L. Kernodle (Miami University), “On the Battlefield: Black Wom- Colin Roust (University of Kansas) and Douglass Seaton (Florida en Musicians and the Mass-Mediation of the Civil Rights Movement” State University), Co-chairs Gianpaolo Chiriacò (University of Salento), “Singing the Black Experi- J. Peter Burkholder (Indiana University), Don Gibson (Florida State Uni- ence: Authenticity and Social Meaning in Lena McLin’s Vocal Pedagogy” versity), Melanie Lowe (Vanderbilt University) Janie Cole (Music Beyond Borders), “Just You and the Bucket: Music and Resistance in the Apartheid Women’s Prisons” Experimentalism in Practice: Perspectives from Latin Queer Music Theory: Interrogating Notes of Sexuality America (AMS) (AMS/SMT) Eduardo Herrera (Rutgers University), Chair Co-sponsored by AMS LGBTQ Study Group & SMT Queer Ana Alonso-Minutti (University of New Mexico), “Performing Resistance: Resource Group Quanta and the Musical Avant Garde of 1970s Mexico” Nadine Hubbs (University of Michigan) and Gavin Lee (Singapore), Co- Marysol Quevedo (Indiana University), “Experimental Music and the organizers Avant Garde in Post-1959 Cuba: Revolutionary Music for the Revolution” Amy Cimini (University of California, San Diego), Moderator Naomi André (University of Michigan), James Currie (University at Buf- Music in World War I-Era France (AMS) falo, SUNY), Roger Mathew Grant (Wesleyan University), Judith Per- aino (Cornell University) Jann Pasler (University of California, San Diego), Chair William Cheng (Dartmouth College) and Kevin Korsyn (University of Barbara Kelly (Keele University), “World War I and the Parisian Avant Michigan), Respondents Garde: New Music, Patriotism, and Narratives of Rupture” Schenker—Oy! (SMT) Jillian Rogers (University of California, Los Angeles), “La Plus Grande Consolatrice: Music as Therapeutic Corporeal Practice in World War I- Gordon Sly (Michigan State University), Chair Era France” Wayne Alpern (Mannes College of Music, New School University), “Schenker’s Yiddishkeit” Ornamentation (SMT) Karl Braunschweig (Wayne State University), “Language and Mediation Joseph Straus (Graduate Center, CUNY), Chair in Schenker’s Theory of Tonal Music” Jason Hooper (University of Massachusetts, Amherst), “Schenker’s Con- Paul Miller (Cornell University), “How Low Can You Go? The Effects of ception of Sonata Form before the Urlinie” Ornamentation on Corelli’s Deeper Structure” Frank Samarotto (Indiana University), “The Urlinie, Melodic Energies, Michael Buchler (Florida State University), “Ornamentation in Atonal and the Dynamics of Inner Form” Music” August 2014  Performing Nineteenth-Century Opera (AMS) Christine Boone (Indiana University), “Girls Who Are Boys Who Like Boys to Be Girls: Mashups and Androgyny” Heather Hadlock (Stanford University), Chair Gundula Kreuzer (Yale University), “Faire un tamtam: Sound and the Virtuosity (AMS) Gong in Nineteenth-Century Opera” Karen Henson (University of Miami), Chair Flora Willson (King’s College, Cambridge), “Parallel Motion: Touring Fal- Catherine Motuz (McGill University), “In Defense of the Virtuoso: Late staff and Manon Lescaut, 1893–94” Renaissance Ornamentation in a Rhetorical Context” Without…. (SMT) David VanderHamm (University of North Carolina, Chapel Hill), Harald Krebs (University of Victoria), Chair “Sounding the Limits: Technology, Virtuosity, and Disability” Stanley Kleppinger (University of Nebraska–Lincoln), “Pitch Centricity without Pitch Centers” 12:00–2:00 RILM on ProQuest Lunch and Richard Cohn (Yale University), “Meter without Tactus” presentation of ProQuest platform RSVP: [email protected] 10:30–12:00 12:00–2:00 SMT Graduate Student Workshop American Indianism (AMS) Participants Lunch Michael Pisani (Vassar College), Chair 12:15–1:15 Alexander Street Press Music Jeffrey van den Scott (Northwestern University), “American Indianism Online Demo Session and the Creative Work of Frederick Russell Burton: ‘The Accompani- 12:15–1:15 Alvin H. Johnson AMS 50 Fellowship Forum ment Completes the Song’” 12:15–1:15 AMS Committee on Career-Related Issues, Aaron Ziegel (Towson University), “The Politics of International Opera Session I: “Self-Advocacy for Adjunct/ Production: Arthur Nevin’s Poia in Berlin, 1910” Contingent Faculty” American Modernisms (AMS) Felicia Miyakawa, Chair Andrew Mead (Indiana University), Chair 12:15–1:15 AMS LGBTQ Open Board Meeting Alison Maggart (University of Southern California), “America’s Past(time): 12:15–1:45 JAMS Editorial Board Whirled Series Baseball, Atemporality, and Milton Babbitt’s ” 12:15–1:45 Mozart Society of America Anoosua Mukherjee (New York University), “Beyond the University Walls: Building an Infrastructure for Modern American Music” 12:15–1:45 SIMSSA: Single Interface for Music Score Searching and Analysis Cycles (AMS) 12:15–1:45 SMT Committee on Diversity Susan Youens (University of Notre Dame), Chair Travel Grant Recipients Lunch Angeline Van Evera (Vienna, Va.), “Schubert, Well Temperament, and the 12:15–1:45 SMT Jazz Theory and Analysis Conception of Key: Defending the Transpositions in Winterreise” Interest Group Andrew H. Weaver (Catholic University of America), “Memories Spoken 12:15–1:45 SMT Music Cognition Interest Group and Unspoken: Hearing the Narrative Voice in Dichterliebe” 12:15–1:45 SMT Post-WWII Music Analysis Exile (AMS) Interest Group Stephen Hinton (Stanford University), Chair 12:15–1:45 Society for Seventeenth‑Century Music Derek Katz (University of California, Santa Barbara), “‘America costs me Business Meeting sleepless nights’: The Kolisch Quartet and the Business of Chamber Mu- 12:30–1:30 Internship Possibilities in the sic in 1930s America” Library of Congress Collections Erin K. Maher (University of North Carolina, Chapel Hill), “Becoming a Transatlantic Composer: Darius Milhaud at the End of Exile” 1:00–3:00 SMT CV Review 3 30 5 00 Jazz Transformations (SMT) : – : AMS/MLA Joint RISM Committee Keith Salley (Shenandoah University), Chair FRIDAY AFTERNOON CONCERT Jonathan De Souza (University of Western Ontario), “Melodic Transfor- mation in George Garzone’s Triadic Chromatic Approach; or Jazz, Math, 2:00–3:30 and Basket Weaving” Recital: From Carissimi to Croft: The Influence of the Michael McClimon (Indiana University), “Jazz Harmony, Transforma- tions, and ii–V Space” Italian Solo Motet in English Sacred Solo Music of the Restoration Mashups and Borrowings (SMT) Robert Crowe (Boston University), Soprano, and Il Furioso: Neil Joseph Auner (Tufts University), Chair Cockburn (Boston University), Organo Portativo; Victor Coelho Thomas Johnson (Graduate Center, CUNY), “Mashups, Meaning, and (Boston University) and David Dolata (Florida International Uni- Form” versity), lute

 AMS Newsletter Xin Ying Ch’ng (University of Southampton), “What is an ‘English’ FRIDAY AFTERNOON SESSIONS Voice? Alfred Deller and the English Musical Renaissance” Nico Schüler (Texas State University), “The Harlan Trio (1930–33) as a 2:00–5:00 Pioneer of, and Its Contributions to, Historical Performance Practice” American Mythopoetics (AMS) Robert D. Pearson (University of North Texas), “Tovey’s Renaissance” Neil Lerner (Davidson College), Chair Harmonic Function in Chromatic Music at Twenty Mark Clague (University of Michigan), “Singing the Self into Citizen- (SMT) ship: How Performance Transformed a Star-Spangled Song into the U.S. Scott Murphy (University of Kansas), Chair National Anthem” Steven Rings (University of Chicago), “Metaphor, Technology, and Expe- Emily Gale (University of California, Merced), “Sounding Citizenship in rience in Harrison’s Harmonic Theory” Mitch Miller’s Sing Along with Mitch” Jon Wild (McGill University), “Diatonic Melodic Inversion Viewed John Kapusta (University of California, Berkeley), “Richard Nixon in the through a Harrisonian Lens: Reger’s Variations on a Theme by Mozart, Zone” op. 132” Frank Lehman (Tufts University), “Presidential Representation and Po- Suzannah Clark (Harvard University), “Arthur von Oettingen as Analyst” litical Mythopoetics in John Williams’s JFK and Nixon” Daniel Harrison (Yale University), “Extending Harmony to Extended Composers Responding (SMT) Chords” Anne Shreffler (Harvard University), Chair Knowledge Made Easel (SMT) Gillian Robertson (Florida State University), “Brahms’s Emergent Iden- Leigh VanHandel (Michigan State University), Chair tity: A Narrative Interpretation of Variations on a Theme by Paganini, op. Roger Graybill (New England Conservatory), “Part Writing as Process: In- 35, Book I” terviews with Students” Micah Lomax (Florida State University), “Prokofiev’s ‘Haydnskiy’ Sym- Gilad Rabinovitch and Johnandrew Slominski (Eastman School of Music, phony: Accounting for both Western and Russian Musical Features in University of Rochester), “Partimenti and Galant Schemata as Pedagogi- Analysis” cal Tools: Developing and Evaluating New Teaching Methods for Style Jeffrey Perry (Louisiana State University), “Cage’s Satie, 1948–58” Improvisation” Laura Emmery (Emory University), “In Disguise: Borrowings in Elliott Ji Chul Kim (University of Connecticut), “Pitch Dynamics in Tonal Mel- Carter’s Early String Quartets” ody: The Role of Melodic Step and Leap in Establishing Tonal Stability” Corporate or Neoliberal Musics (AMS) Trevor de Clercq (Middle Tennessee State University), “A Model for Scale- Degree Reinterpretation: How Melodic Structure, Modulation, and Ca- James Currie (University at Buffalo, SUNY), Chair dence Choice Interact in the Chorale Harmonizations of J. S. Bach” You Nakai (New York University), “Inside-Out: David Tudor’s Concep- Yoel Greenberg (Bar-Ilan University), “A Corpus-Based, Bottom-Up Ap- tion of the Pepsi Pavilion as a Musical Instrument” proach to Musical Form” Joel V. Hunt (University of California, Santa Barbara), “‘Oblique Harmo- Nicholas Jurkowski (University of California, Santa Barbara), “The Elec- ny’ in Henry Brant’s Variations for Four Instruments” tronic Avant Garde and the Genesis of Music as Collaborative Research” Andrew Wilson (Oberlin College), “Meter in the Sarabande: Equal or Un- Andrea Moore (University of California, Los Angeles), “Neoliberalism equal, Consonant or Dissonant?” and the Musical Entrepreneur” Dan Tramte (University of North Texas), “Introducing tA/v\Am, the Au- William Cheng (Dartmouth College), “Staging Overcoming” dio/Video Analysis Machine: An Interactive Analysis Medium for Music Cross-Dressed Performance, Gender, and Sexuality in Theorists” Cross-Cultural Perspective (AMS) Listening Practices (AMS) Susan Cook (University of Wisconsin-Madison), Chair Mark Katz (University of North Carolina, Chapel Hill), Chair Nancy Guy (University of California, San Diego), “‘What does it mean Catherine Hennessy Wolter (University of Illinois at Urbana-Champaign), to do something in the name of love?’: The Cross-Dressing Devotions “‘Much as a Pianist Reads His Sheet Music’: Forging a Domestic and of Beverly Sills Fans” Commercial Place for the Mechanical Piano” Joseph S. C. Lam (University of Michigan), “The Art and Eroticism of Jonathan Goldman (Université de Montréal), “Listening to Pierre Boulez’s Cross-Dressing in Contemporary Chinese Kunqu Opera” Doubles in Stereo” Gillian Rodger (University of Wisconsin-Milwaukee), “Did the Clothes Elizabeth Ann Lindau (Earlham College), “‘Boring Things’: Drone and Make the Man? Cross-Dressed Performance in Nineteenth-Century Va- Repetition in the Music of the Velvet Underground” riety and Burlesque” Victor Szabo (University of Virginia), “Ambient Music in an Age of Ubi­ Henry Spiller (University of California, Davis), “Going through the Mo- quitous Listening” tions: Transgender Performance in topeng Cirebon from North Java, In- Music and Performance in Nineteenth-Century donesia” Germany (AMS) The Early Music Renaissance (AMS) Sanna Pederson (University of Oklahoma), Chair Byron Adams (University of California, Los Angeles), Chair Dana Gooley (Brown University), “Music–Poetry–Improvisation: Carl Loewe’s Performative Romanticism” Eric Lubarsky (Eastman School of Music, University of Rochester), “Ar- nold Dolmetsch as Antimodernist: Elevating the Past and Negating the Katherine Hambridge (University of Warwick), “Performing History: The 1800 1815 Modern” Musical Past at the Berlin Nationaltheater, – ” August 2014  Eric Schneeman (Northeast Lakeview College), “Giacomo Meyerbeer’s 3:30–5:00 Production of Christoph Gluck’s Armide in the Musical Politics of Bie- dermeier Berlin” Opera at the Fin de siècle (AMS) Alexander Stefaniak (Washington University in St. Louis), “Brilliant, Tran- Cormac Newark (University of Ulster), Chair scendent Virtuosity in Clara Wieck Schumann’s 1830s Concerts” Sarah Fuchs Sampson (Eastman School of Music, University of Roches- Pleasures of Space, Speech, Song (AMS) ter), “Cultivating the Connoisseur: Technologies of Listening and the Bonnie Gordon (University of Virginia), Chair Paris Opéra’s Fin-de-siècle Audience” Jessica Payette (Oakland University), “French Grand Opera in Fin-de- Jeanice Brooks (University of Southampton), “Gossiping to Music in Six- siècle Vienna: Challenging Wagnerian Myth through Hugonian Drama- teenth-Century France” turgy” Daniel Donnelly (McGill University), “Making Private Music Public: An- tonio Molino, Domenico Venier, and the Musical donne zendile” 5:00–7:00 AMS Ecocriticism Study Group Arne Spohr (Bowling Green State University), “‘Like an Earthly Paradise’: Concealed Music and the Performance of the Other in Late Renaissance 5:00–6:30 AMS Graduate Education Committee Pleasure Houses” Reception for Prospective Graduate Students Olivia Bloechl (University of California, Los Angeles), “True Confessions: 5:00–7:00 AMS/SMT Joint Philosophy Opera’s Theater of Guilt and Remorse” Interest Group Meeting Religion and Enlightenment in Germany (AMS) 5:00–7:00 Eastman School of Music Alumni Reception Reginald Sanders (Kenyon College), Chair Michael Maul (Bach-Archiv Leipzig / Peabody Institute), “The Perfor- 5:00–6:30 Journal of Musicology Board mance Calendar of a Schütz Student: New Light on the Reform of Lu- theran Church Music in the Late Seventeenth Century” 5:00–6:30 Rice University Alumni Reception Max Schmeder (University of California, Berkeley), “The ‘Goldberg’ 5:00–7:00 SMT History of Music Theory 1741 Variations ( ) as a Rebuttal to Newton’s ‘Queries’ from the Opticcks Interest Group informational meeting (1704/1740)” Yael Sela-Teichler (Open University of Israel), “This, Too, an Enlighten- 5:00–7:00 SMT Mathematics of Music Analysis ment Theory of Music: Moses Mendelssohn on Music, Poetry, and the Interest Group Sublime” Jeanne Swack (University of Wisconsin-Madison), “‘A Curse and Abomi- 5:00–7:00 SMT Queer Resource Interest Group nation to God and Men’: Erdmann Neumeister’s Anti-Jewish Writings in the Context of Early Eighteenth-Century Hamburg” 5:00–7:00 SMT Work and Family Interest Group Timbre Rocks! (SMT) Brad Osborn (University of Kansas), Chair The Return of the AMS Dance Kate Heidemann (Columbia University), “Toward a System of Vocal Tim- On Friday night 7 November the AMS and SMT, supported by the bre Description in Popular Song” University of Rochester Institute for Popular Music (IPM) and its di- David K. Blake (Stony Brook University), “‘Anna’s Ghost All Around’: Tim- rector, John Covach, will sponsor a dance during the joint Annual bre and Meaning in Neutral Milk Hotel’s In the Aeroplane over the Sea” Meeting. Music will be supplied by a rock band from the IPM. The David Heetderks (Oberlin Conservatory), “The Grain of Disorientation: main purpose of the band, however, is to provide a group that attend- Pitch Indigestibility and Divergence in Sonic Youth’s Noise Rock” ees can join for a couple of songs. If you are a rock musician, this may Lori A. Burns (University of Ottawa), “Sculpting a Vocal Narrative Across be your big break! the Concept Album: Vocal Delivery and Treatment in P!nk’s The Truth There is no need to About Love” bring your own guitar or drum kit, since you will borrow one from FRIDAY AFTERNOON SHORT SESSIONS the band. The dance 10 00 2:00–3:30 begins at : and continues with the New Theatricality (AMS) band until midnight, after which an AMS Steven Huebner (McGill University), Chair or SMT DJ will take Evan Moskowitz (Graduate Center, CUNY), “Artaudian Lyricism in the over for an hour. Ad- Chamber Works of Giacinto Scelsi” ditional details, in- Megan Varvir Coe (University of North Texas), “Musicality of Language cluding instructions and ‘Corporeal Writing’: Reconciling Music, Language, and Dance in for reserving playing Symbolist Theater” time with the band, will be announced in early September: see www.ams-net.org/ milwaukee/. John Covach  AMS Newsletter 5 00 7 00 : – : University of Illinois Reception FRIDAY EVENING SESSIONS for Alumni and Friends

5:15–6:15 AMS Committee on Career-Related 7:00–9:00 Issues, Session II: “What I Didn’t Learn World War I and the Music of Conciliation in Grad School: Surviving and Thriving in Professional Reality” Sponsored by the Lyrica Society James V. Maiello (University of Manitoba), Elliott Antokoletz (University of Texas at Austin), “Affect Regulation and Chair Trauma in Alban Berg’s Wozzeck: Peak of Expressionism in the War Years” Ryan Weber (Misericordia University of Pennsylvania), “‘Full of dross, 5:30–6:30 Singing from Renaissance Notation but equally full of godhead’: War, Whitman, and Grainger’s Essentialist presented by Early Music America Imagination” 5:30–7:30 University of North Carolina, Paul-André Bempéchat (Harvard University), “Christians, Jews, and the Spiritual Mechanics of Post-war Conciliation” Chapel Hill Alumni Reception 8:00–10:00 6:00–7:00 AMS By-laws Changes Meeting New Work in LGBTQ Music Scholarship (AMS) 6:00–7:00 Society for Eighteenth-Century Sponsored by the AMS LGBTQ Study Group Music, General Meeting Emily Wilbourne (Queens College, CUNY) and Stephan Pen- 6:00–7:30 W. W. Norton Reception nington (Tufts University), Co-chairs

6:00–8:00 Boston University Reception 8:00–11:00 6:00–8:00 CUNY Graduate Center Reception After Orfeo: Music History Pedagogy in the Seven- teenth Century (AMS) 6:00–8:00 Florida State University College of Music Alumni Reception Wendy Heller (Princeton University), Chair

6:15–7:45 AMS Committee on Career-Related Issues, Arne Spohr (Bowling Green State University), Robert Holzer (Yale Session III: University), Rose Pruiksma (University of New Hampshire), Drew “Building Partnerships in the University and Edward Davies (Northwestern University), Amanda Eubanks Community” Winkler (Syracuse University) Randall Goldberg (Youngstown State Assessing Student Learning in the Online Environ- University), Chair ment (AMS) 6:30–8:00 Oxford University Press Reception Sponsored by the AMS Pedagogy Study Group 7:30–8:00 AMS Music and Dance Study Group Kevin R. Burke (Florida Institute of Technology), Chair Business Meeting Jennifer Hund (Purdue University), Douglas Shadle (Vanderbilt 9:00–12:00 University of Chicago Alumni Reception University), Jennifer Snodgrass (Appalachian State University), Kris Shaffer (University of Colorado, Boulder), Elizabeth Wells 9:00–11:00 Juilliard Party (Mount Allison University)

9:00–11:00 University of Michigan Alumni Reception Dancing Undisciplined Sponsored by the AMS Music and Dance Study Group 9:00–12:00 University of Pittsburgh Reception Chantal Frankenbach (California State University, Sacra- 10:00–12:00 AMS/SMT Dance mento), Moderator 10:00–12:00 AMS LGBTQ Study Group Party Hammered (SMT) 10:00–10:30 AMS Pedagogy Study Group Thomas Christensen (University of Chicago), Chair Business Meeting John Peterson (Florida State University), “Intentional Actions: Iden- 10:00–12:00 Case Western Reserve University Reception tifying Musical Agents in Schubert’s Piano Sonata in A, D. 959” Randolph Johnson (Oklahoma Baptist University), “Parlor-Music 10:00–12:00 Columbia University Department Marginalia: Piano Arrangements as Symphonic Glosses” of Music Reception Garreth Broesche (University of Wisconsin-Madison), “Glenn 10:00–12:00 Harvard Music Reception Gould, Musical Ontology, and the Filmmaking Analogy” Allison Wente (University of Texas at Austin), “Stockpiling Memo- 10:00–12:00 Society for Christian Scholarship ries: The Player Piano, the Phonograph, and Bergson’s Two Mo- in Music Reception dalities of Musical Memory” August 2014  Interdisciplinarity Today: Five Perspectives (AMS) 9:30–11:00 Sponsored by the AMS Graduate Education Committee Analytical Approaches to Time Cycles in World Music Todd Decker (Washington University in St. Louis) and (SMT) Michael Puri (University of Virginia), Co-chairs Lawrence Shuster (College of Saint Rose), Chair Berthold Hoeckner (University of Chicago), Nadine Hubbs (Uni- John Roeder and Michael Tenzer (University of British Columbia), versity of Michigan), Brian Hyer (University of Wisconsin-Mad- “Large-Scale Formative Processes in Ostinato Music” ison), Tiffany Ng (University of California, Berkeley), Annette Kofi Agawu (Princeton University), “The Metrical Underpinnings of Afri- Richards (Cornell University) can Time-Line Patterns” Looking Back at 1989: A Critical Reassessment of the Cold War’s End (AMS) Sponsored by the AMS Cold War and Music Study Group SATURDAY 8 November Peter Schmelz (Washington University in St. Louis), Chair 8:30–5:00 Registration & Speaker Ready Room Alison Furlong (Ohio State University), Trever Hagen (University of Exeter), Christoph Hust (Hochschule für Musik und Theater, 8:30–6:00 Exhibits Leipzig), Johanna Frances Yunker (University of Massachusetts, 7:00–9:00 A-R Recent Researches Series Amherst), Andrea Bohlman (University of North Carolina, Chapel Editors’ Breakfast Hill), Joy Calico (Vanderbilt University) 7:00–9:00 American Institute for Verdi Studies Board Negotiation and Self-Advocacy Skills for Women Sponsored by the SMT Committee on the Status of Women 7:00–8:45 AMS Committee on Women and Gender Laurel Parsons (University of Victoria), Chair 7:00–8:45 AMS Publications Committee Rachel Lumsden (University of Oklahoma), Stefanie Acevedo (Yale Uni- 7:00–9:00 Journal of Music History versity), Don Gibson (Florida State University), Eileen M. Hayes (Tow- Pedagogy Editorial Board son University), Áine Heneghan (University of Michigan), Brenda Ra- venscroft (Queen’s University), Joseph Straus (Graduate Center, CUNY), 7:00–8:45 SMT Committee on Diversity Breakfast Joel Phillips (Westminster Choir College, Rider University) 7:00–8:45 SMT Professional Development Psychoanalysis and Music: A (Sexual) Relationship? Committee Breakfast (AMS) 7:00–8:45 SMT Regional and Affiliate Seth Brodsky (University of Chicago), Chair Societies Breakfast Fred Maus (University of Virginia), Amy Cimini (University of Califor- 7:30–8:45 AMS Committee on Cultural Diversity nia, San Diego), Holly Watkins (Eastman School of Music, University of Rochester), Clara Latham (New York University) 7:30–9:00 Society for Eighteenth-Century Mladen Dolar (University of Ljubljana), Respondent Music Board of Directors Timbreland (SMT) 7:30–9:00 Web Library of Seventeenth- Ellie Hisama (Columbia University), Chair Century Music Editorial Board Zachary Wallmark (Southern Methodist University), “Is Timbre a 7:45–8:45 American Bach Society Editorial Board Metaphor?” 9:00–12:00 AMS Committee on Career-Related Jeffrey DeThorne (University of Wisconsin-Madison), “Ionizing Timbral Agents through Prismatic Dispersion in Varèse’s Hyperprism (1924)” Issues, CV and Cover Letter Workshop Robert C. Cook (University of Iowa), “A Timbral Ecology of the Heiliger Dankgesang” SATURDAY MORNING SESSIONS Nathaniel Mitchell (Indiana University), “Sharp as a Tack, Bright as a But- ton: Timbral Metamorphoses in Saariaho’s Sept Papillons” 9:00–12:00 FRIDAY EVENING SHORT SESSIONS Bodies (AMS) 8:00–9:30 Susan McClary (Case Western Reserve University), Chair Eighteenth Century (SMT) Heather Buffington Anderson (University of Texas at Austin), “‘Her Whole Body Was an Instrument’: Betty Carter and the Queering of Bop” W. Dean Sutcliffe (University of Auckland), Chair Jennifer Chu (Yale University), “‘Speak, so I may see you’: Laurie Ander- Matthew R. Shaftel (Florida State University), “Unity and Discontinuity son’s Performative Voices and Cyborg Bodies” in the Act II Finale of Le nozze di Figaro” Shana Goldin-Perschbacher (Temple University), “Trans*Americana” Edward Klorman (Queens College, CUNY / The Juilliard School), “Meter Fred Maus (University of Virginia), “‘Expressive Potential’ and Music as Agency: Performing Metrical Manipulations in Chamber Music” Criticism”  AMS Newsletter Inventing American Music (AMS) Nicole Vilkner (Rutgers University), “‘The street is in our houses’: Traffic Flow in the Salon of Princess Mathilde Bonaparte” Mary Simonson (Colgate University), Chair Erin Sweeney Smith (Case Western Reserve University), “Popular Music Performing Digitally (SMT) and the New Woman in the Progressive Era” William Rothstein (Queens College and Graduate Center, Jane Mathieu (Tulane University), “Midtown, 1905: The Case for an Al- CUNY), Chair ternate Tin Pan Alley” Jeffrey Swinkin (University of Massachusetts), “The ‘Breakout’ Module in Eric Hermann (University of Maryland), “When Vaudeville Meets the Mozart’s K. 279: Analysis and Performance of an Ambiguous Primary 1924 1929 Phonograph: The Studio Creations of Uncle Dave Macon ( – )” Theme” Nate Sloan (Stanford University), “Beyond the Jungle: Reconsidering Wayne Petty (University of Michigan), “Some Multimovement Designs in Early Ellington” C. P. E. Bach’s Late Keyboard Sonatas” Meaning (SMT) Pedro Segarra-Sisamone and Jennifer M. Cancelado (Conservatorio de Robert Hatten (University of Texas at Austin), Chair Musica de Puerto Rico), “Into the Labyrinth: Borges, Schenker, Bach, and the Game of Interpretation” Dave Easley (Oklahoma City University), “Pressure’s On: Vocal Produc- Alan Dodson (University of British Columbia), “Schenker’s Performance tion, Paralanguage, and Meaning in American Hardcore Punk (1978–86)” of Chopin’s Preludes and the Meanings of Interruption” William Guerin (Indiana University), “The Concept of Musical Meaning: New Peircean Perspectives” Remaking Operas (AMS) Joshua Albrecht (University of Mary Hardin-Baylor), “The Pathos of Ryan Minor (Stony Brook University), Chair Beethoven’s Pathétique: Exploring Relationships Between Affective Meaning and the Theories of Hatten, Meyer, and Others” Benjamin Thorburn (Bluefield College), “Recomposing Monteverdi: Lu- igi Dallapiccola’s Adaptation of Il ritorno d’Ulisse in patria” Julie Pedneault-Deslauriers (University of Ottawa), “Applied Subdomi- nants and Motivic Treatment in Schoenberg’s ‘Warnung,’ op. 3, no. 3” Danielle Ward-Griffin (Christopher Newport University), “Realism Redux: Staging Billy Budd in the Television Age” Music and the Sacred (AMS) Leah Weinberg (University of Michigan), “Intermediality, Collaboration, Erika Honisch (Stony Brook University), Chair and the Cultural Consecration of Einstein on the Beach through Film” Jennifer Tullmann (University of Kentucky), “Confronting the Composer: Ireri E. Chávez-Bárcenas (Princeton University), “Distorting Reality: Operatic Innovations in Olga Neuwirth’s American Lulu” Christmas Villancicos and the Culture of Sacred Immanence in Early Seventeenth-Century Puebla de los Ángeles” Singing and Dancing (SMT) Cesar Favila (University of Chicago), “Music for Profession Ceremonies in Early Modern Novohispanic Convents” Mitchell Ohriner (Shenandoah University), Chair Catherine Gordon-Seifert (Providence College), “Combatting the De- Julia Alford-Fowler (Temple University and Delaware County Commu- mons Within: The Role of Jean-Joseph Surin’s Cantiques spirituels (1655) nity College), “Uncovering the Functionality of Klezmer Music” in Mystical Contemplation and Demonic Exorcism” Rebecca Simpson-Litke (University of Georgia), “Flipped and Broken Dianne L. Goldman (Northwestern University), “Authorship and In- Clave: Dancing Through Metric Ambiguities in Salsa Music” tent in Ignacio Jerusalem y Stella’s Responsory Cycle for the Virgin of Rob Schultz (University of Kentucky), “Paradigmatic Analysis and Me- Guadalupe” lodic Variation Principles in an Aka Polyphonic Song” Music, Violence, and Order (AMS) Justin London (Carleton College) and Rainer Polak (Hochschule für Musik und Tanz Köln), “Dansa from Mali: Tempo-Metrical Types in a Jairo Moreno (University of Pennsylvania), Chair Non-isochronous Meter” Elizabeth Hoover (Miami University), “An Order We Are not Looking for: Why Voice Now? (AMS/SMT) Earle Brown’s Open Form as Bergsonian Disorder” Stephen Decatur Smith (Stony Brook University), “‘The Plaint of the Martha Feldman (University of Chicago), participant and Moderator Ideal amid Violence’: Sound, Music, Nature, and the Soul in Hegel and James Q. Davies (University of California, Berkeley), Nina Eidsheim Adorno” (University of California, Los Angeles), Brian Kane (Yale University), Etha Williams (Harvard University), “The Hörender in Hörigkeit: Adorno, Steven Rings (University of Chicago), Emily Wilbourne (Queens Col- Siren Song, and the Heteronomous Aesthetics of Enlightenment” lege, CUNY) Maria Edurne Zuazu (Graduate Center, CUNY), “Music, Obscenity, and the Performance of Violence in The Act of Killing (Joshua Oppenheimer, SATURDAY MORNING SHORT SESSIONS 2012)”

Performativity in France (AMS) 9:00–10:30 Michael Puri (University of Virginia), Chair New Instruments (AMS) Rebecca Geoffroy-Schwinden (Duke University), “Mobilizing the Social Network: Revolutionary Musicians and the Birth of French Romanticism” Deirdre Loughridge (University of California, Berkeley), Chair Fabio Morabito (King’s College London), “Authenticity or Spectacle? Us- Erinn Knyt (University of Massachusetts), “New Instruments, New ing the Score as a Script in the 1820s Parisian String Quartet Concerts” Sounds, and New Musical Laws: Ferruccio Busoni, Edgard Varèse, and Fanny Gribenski (Ecole des hautes Etudes en sciences sociales), “The the Music of the Future” Church as Showroom for Instrument-Making and Musical Virtuosity: Saraswathi Shukla (University of California, Berkeley), “Seeing Rubens, Organ Inaugurations in Nineteenth-Century Paris” Hearing Ruckers: The Sonic Palette of the Franco-Flemish Harpsichord” August 2014  Notation, Improvisation, Secrecy (AMS) 12:15–1:45 Haydn Society of North America David Rothenberg (Case Western Reserve University), Chair 12:15–1:15 North American British Music Roseen Giles (University of Toronto), “Theology and Secrecy in the Musi- Studies Association cal Notation of Medieval Armenia” 12:15–1:45 SMT Analysis of World John A. Graham (Princeton University), “Reinventing Improvisation: Per- Music Interest Group forming Georgian Liturgical Chant from Neume Notation” The Persistence of Surrealism: Thomas Adès’s Music and 12:15–1:45 SMT Committee on the Status of Its Reception (AMS/SMT) Women Brown Bag Open Lunch Eric Drott (University of Texas at Austin), Chair 12:15–1:45 SMT Early Music Interest Group Drew Massey (Binghamton University, SUNY), “Thomas Adès and the 12:15–1:45 SMT Music Improvisation Interest Group Dilemmas of Musical Surrealism” Edward Venn (University of Leeds), “Hearing Adès’s Music ‘as’ (Sur)real” 12:15–1:45 SMT Music Theory Pedagogy Interest Group 10:30–12:00 12:15–1:45 SMT Russian Theory Interest Group Mid-century Technologies of Wonder and Horror (AMS) 12:30–2:00 Friends of Stony Brook Reception James Deaville (Carleton University), Chair Rika Asai (Indiana University), “The Multimedia Advertisement: Consoli- SATURDAY AFTERNOON CONCERT dated Edison’s Diorama at the 1939–40 New York World’s Fair” Reba Wissner (Montclair State University / Berkeley College), “Music 12:15–1:45 for Murder, Machines, and Monsters: ‘Moat Farm Murder,’ The Twilight Zone, and the CBS Stock Music Library” Lecture-Recital: A New Voice for the Clavier: C. P. E. Motets (AMS) Bach and the Changing Idiom of Keyboard Music Dolores Pesce (Washington University in St. Louis), Chair David Schulenberg (Wagner College), keyboards and lecturer Catherine A. Bradley (Stony Brook University), “Why Choose an Un- popular Tenor? Combining Plainchant and Vernacular Song Techniques SATURDAY AFTERNOON SESSIONS in Thirteenth-Century Motets” Monica Roundy (Cornell University), “What Is a Pes?” 2:00–5:00 Postmodern Creative Processes (SMT) SMT Plenary Session: Business Meeting, Awards Presen- Richard Kurth (University of British Columbia), Chair tation, and Keynote Address Amy Bauer (University of California, Irvine), “Ideology, Compositional Lydia Goehr (Columbia University), “Does It Matter Where We Begin? Process, Optics, and Form in Georg Friedrich Haas’s in vain” Thinking about First Lines and False Starts” Christoph Neidhöfer (McGill University), “Luciano Berio’s ‘Poetics of Analysis’” America Making a Spectacle of Itself (AMS) Larry Stempel (Fordham University), Chair 12:00–2:00 American Bach Society Advisory Jeffrey Magee (University of Illinois at Urbana-Champaign), “Arthur Lau- Board Luncheon rents, Radio, and Modern American Musical Theater” 12:00–2:00 American Handel Society Board James O’Leary (Oberlin College), “‘If This Isn’t Love, It’s Red Propagan- da’: Finian’s Rainbow (1947) and the Postwar Political Musical” 12:00–5:00 AMS Committee on the Publication Lloyd Whitesell (McGill University), “Style Modes and Meaning in the of American Music Luncheon Film Musical” Marian Wilson Kimber (University of Iowa), “Kitty Cheatham, Classical 12:00–2:00 RILM on EBSCO Lunch and presentation of Music, Spirituals, and the Career of a Professional Child” EBSCO platform. RSVP [email protected] Arts Efficacy (AMS) 12:15–1:45 AMS Committee on Career-Related Issues, Sumanth Gopinath (University of Minnesota), Chair Session IV: “What Do We Want Them to Know? Victoria Aschheim (Princeton University), “History as an Image: Different Teaching ‘Introduction to Musicology’ in a Trains and Its Sketches through a Benjaminian Lens” Changing Field” Ryan Ebright (University of North Carolina, Chapel Hill), “‘Reconciling Olga Haldey (University of Maryland), Chair the Family of Man’: Steve Reich’s The Cave and the Political Efficacy of Art” Marcelle Pierson (University of Chicago), “Voice and Techné in Music for 12:15–1:45 AMS Council 18 Musicians” Brent Wetters (Providence College / MIT), “Excavating Luigi Nono’s Il 12:15–1:45 AMS Popular Music Study Group canto sospeso”

 AMS Newsletter Beyond Discipline Envy (AMS) Singing, Memory, and Gender (AMS) Sponsored by the AMS Committee on Women and Gender Sarah Day-O’Connell (Knox College), Chair Emily Wilbourne (Queens College, CUNY), Chair Sarah F. Williams (University of South Carolina), “‘Chronicled in Ditty’: Naomi André (University of Michigan), Gascia Ouzounian (Queen’s Uni- Music, Memory, and Theater in Seventeenth-Century English Broad- versity Belfast), Maureen Mahon (New York University), Peter Shelley side Ballad Performance” (University of Washington), Chaya Czernowin (Harvard University) Andrew Greenwood (Southern Illinois University Edwardsville), “The Atmosphere of Song in Enlightenment Scotland” Early Modern Song (AMS) C. Megan MacDonald (Florida State University), “‘Heaven Is Nearer Jesse Rodin (Stanford University), Chair Since Mother Is There’: Gendered Spaces in Southern Gospel Song- books of the Great Depression” Alanna Ropchock (Case Western Reserve University), “The Medici, The Habsburgs, and Martin Luther: Context and Transmission of Josquin’s Bethany Cencer (Stony Brook University), “From Mourning to Moral- Missa Pange lingua in Reformation Germany” izing: Elegiac Partsong, Masculinity, and the Rhetoric of Sympathy” Jane Hatter (McGill University), “Plorer, gemir, crier: Musical Mourning Who Owns Music? (AMS) and the Composer” Judy Tsou (University of Washington), Chair Clare Bokulich (Stanford University), “A Song within a Motet within a Mass: Josquin’s Tu solus and Generic Nesting in Fifteenth-Century Mu- Ann van Allen-Russell (Trinity Laban Conservatoire), “Imaginative Ter- sic” ritory: J. C. Bach, C. F. Abel, and the Rise of Intellectual Property” Cory Gavito (Oklahoma City University), “Naming the Nameless: Katherine Maskell (Ohio State University), “Early Litigation and the Giovanni Stefani’s Anonymous Songbook Anthologies and Their Con- Foundations of American Music Copyright Law” cordant Sources” Joanna Demers (University of Southern California), “Sound-Alikes, Law, and Style” Hearing Ecologies (AMS) Lisa Cooper Vest (Indiana University), “Plagiarism and the Redefinition Holly Watkins (Eastman School of Music, University of Roches- of the Avant Garde in Mid-century Poland” ter), Chair Jonathan Hicks (King’s College London), “London Promenades, c. 1840” 5:30–7:00 AMS Business Meeting and Awards Presentation James Deaville (Carleton University), “Wagner, Hearing Loss, and the Ur- ban Soundscape of Late Nineteenth-Century Germany” 5:30–7:30 SMT Film Music Interest Group David Trippett (Bristol University), “From Distant Sounds to Aeolian 5:30–7:30 SMT Music Informatics Interest Group Ears: Towards a Theory of Auditory Prosthesis” Kyle Devine (City University London), “Decomposed: The Political 5:30–7:30 SMT Performance and Analysis Ecology of Music, from Shellac to Plastic” Interest Group Hemispheric Dialogues (AMS) 5:30–7:30 SMT Popular Music Interest Group Carol A. Hess (University of California, Davis), Chair 7:30–9:00 North American British Music Studies Association Reception and Musicale Alyson Payne (Lake Michigan College), “‘The Wozzeck of the Western Hemisphere’: Alberto Ginastera’s Don Rodrigo, the Rockefellers, and the 7:30 Early Music Now presents Quicksilver Inter-American Sound” “The Invention of Chamber Music” Miguel J. Ramirez (Western Kentucky University), “From Dachau to La St. Paul’s Episcopal Church Paz: Erich Eisner and the Confluence of Jewish, Austro-German, and 8:00 Milwaukee Symphony Orchestra Bolivian Music Traditions” Prokofiev, “Classical” Symphony Robert Riggs (University of Mississippi), “The Leon Kirchner/Roger Ses- Marc Neikrug, Bassoon Concerto sions Correspondence (1948–50) and Thomas Mann’s Doctor Faustus” Gunther Schuller, Seven Studies on Themes of Eric Smigel (San Diego State University), “Postcards from California: Paul Klee The ‘Valentine Manifesto’ in James Tenney’s Postal Pieces” Mussorgsky-Ravel, Pictures at an Exhibition Performing, Learning, Citizenship (AMS) Marcus Center for the Performing Arts Charles McGuire (Oberlin College), Chair 9:00–11:00 AMS Dessert Reception Mary Channen Caldwell (Wichita State University), “Performing Learn- 9:00–11:00 Duke University Alumni Reception ing: Grammar, Theology, and Singing in the Middle Ages” 9:00–11:00 Indiana University Reception Catherine Schwartz (McGill University), “Self-Realization and the Poli- 9:00–12:00 New York University Reception tics of Modern Voice Production: On Dr. Pierre Bonnier and ‘Holistic’ Vocal Techniques in Fin-de-siècle France” 9:30–11:00 McGill University Reception Kate Guthrie (University of Southampton), “Democratizing Art: Music 10:00–1:00 Cornell Reception Education in Postwar Britain” 10:00–1:00 Princeton University Department Anicia Timberlake (University of California, Berkeley), “What’s in a Syl- of Music Reception lable? Solfège and Music Literacy in the German Democratic Republic” 10:00–1:00 Stanford Reception

August 2014  10:00–1:00 UCLA Musicology Alumni Reception SUNDAY MORNING SESSIONS 10:00–1:00 University of California, Berkeley Alumni Reception 9:00–12:00 10:00–12:00 University of Cincinnati, College- Archaeology of the Modern (SMT) Conservatory of Music Reception Patricia Hall (University of Michigan), Chair 10:00–1:00 University of North Texas Alumni Reception Zachary Bernstein (Graduate Center, CUNY), “The Problem of Com- 10:00–1:00 University of Pennsylvania Party pleteness in Milton Babbitt’s Music and Thought” Joseph Salem (Yale University), “Boulez Revised: Pragmatism in the 10:00–12:00 University of Western Ontario Reception Composer’s Formative Works” C. Catherine Losada (University of Cincinnati), “Boulez and the Aesthet- 10 00 12 00 Yale Party : – : ics of Proliferation” Benjamin Levy (University of California, Santa Barbara), “Music for the SATURDAY EVENING SESSIONS Bottom Drawer: The Twelve-Tone Sketches of György Ligeti (1955–56)”

8:00–11:00 Early Tonal Corpora (SMT) Ian Quinn (Yale University), Chair Confronting the “Live”: The Idea of Performance in the Twenty-First Century (AMS) Peter Schubert and Julie E. Cumming (McGill University), “Another Lesson from Lassus” Chair Joanna Demers (University of Southern California) Megan Kaes Long (Yale University), “Cadential Syntax and Tonal Expec- Paul Sanden (University of Lethbridge), Joseph Auner (Tufts University), tation in Seventeenth-Century Homophony” Friedemann Sallis (University of Calgary) Christopher Brody (Indiana University), “The Second-Reprise Medial PAC and the Form of Bach’s Binary Dance Movements” Recasting Music: Body, Mind, and Ability Dmitri Tymoczko (Princeton University), “A Study on the Origins of Co-sponsored by the AMS Music and Disability Study Group Harmonic Tonality” and SMT Music and Disability Interest Group Blake Howe (Louisiana State University), Jennifer Iverson Eighteenth-Century Music Theory (SMT) (University of Iowa), and Stephanie Jensen-Moulton (Brooklyn Nathan Martin (Yale University), Chair College), Co-chairs Abigail Shupe (University of Western Ontario), “Rameau, Voltaire, Cas- Michael Bakan (Florida State University), Jessica Holmes (McGill Univer- tel, and the Stakes of Enlightenment Music Theory” sity), Joseph Straus (Graduate Center, CUNY) Steve Grazzini (Bloomington, Ind.), “In Defense of Rameau’s Theory of Elizabeth J. Grace (National Louis University), Andrew Dell’Antonio Supposition” (University of Texas at Austin), and Tobin Siebers (University of Michi- William O’Hara (Harvard University), “Possible Mozarts: Recomposition gan), Respondents and Counterfactual Logic” A Thousand Tongues to Sing: Current Projects in Hym- August Sheehy (University of Chicago), “‘I know what I love in my Mo- nological Research (AMS) zart’: Gottfried Weber and the Problem of Judgment” Esther Crookshank (Southern Baptist Theological Seminary) and Eighteenth-Century Reading, Experimental Writing Dianne McMullen (Union College, New York), Co-chairs (AMS) Stephen A. Crist (Emory University), Chris Fenner (Southern Baptist Theological Seminary), Joseph Herl (Concordia University, Nebraska) Kate van Orden (Harvard University), Moderator Emily H. Green (George Mason University), Elisabeth LeGuin (Univer- sity of California, Los Angeles), Glenda Goodman (University of South- SUNDAY 9 November ern California), Roger Moseley (Cornell University) French Modernisms (AMS) 8:30–12:00 Registration & Speaker Ready Room Andrew Shenton (Boston University), Chair 8:30–12:00 Exhibits Kimberly Francis (University of Guelph), “Letters from India/Lessons from Paris: Marcelle de Manziarly’s Correspondence with Nadia Bou- 7:00–8:45 AMS Board of Directors langer, 1924–25” 7:00–8:45 AMS Performance Committee Alexander Stalarow (University of California, Davis), “Postwar Orpheus at Play: Parody in Orphic Settings by Pierre Schaeffer and Jean Cocteau” 7:00–9:00 SMT 2014–15 Program Robert Sholl (Royal Academy of Music / University of West London), Committees Breakfast “Olivier Messiaen: The Organ as God’s Mouthpiece” Vincent Rone (University of California, Santa Barbara), “Fighting Mod- 8:00–9:00 SMT Interest Group and Standing ernism with Modernism: The French Organ School Responds to the Committee Breakfast Second Vatican Council of the Catholic Church”

 AMS Newsletter Moving Lines in Popular Music Studies (AMS) SUNDAY MORNING SHORT SESSIONS Andrew Flory (Carleton College), Chair 9:00–10:30 Carolyn Brunelle (University at Buffalo, SUNY), “The AFM vs. the Brit- ish Invasion: Immigration Laws, Work Visas, and How Government Downtown Sounds (AMS) Shaped the 1960s American Pop Charts” Tamar Barzel (Wellesley College), Chair Oded Erez (University of California, Los Angeles), “Becoming Mediter- ranean: Greek Popular Music and the Negotiation of Mizrahi (Eastern) Ryan Dohoney (Northwestern University), “An End to Downtown: The Identity in Israel” Society for Black Composers, the Brooklyn Community Concerts, and Julian Onderdonk (West Chester University), “‘Roll Over Vaughan Wil- the Black Radical Tradition” liams’: Richard Thompson and the Predicament of ‘Electric Folk’” Theodore Gordon (University of Chicago), “Sound is God: La Monte Eric Smialek (McGill University), “Extreme Metal and Its Others: Metal Young and Pandit Pran Nath in New York” Audiences’ Hostility towards Adolescence” Kindertotenlieder (AMS) Music and the State (AMS) Robert Fink (University of California, Los Angeles), Chair Brigid Cohen (New York University), Chair Christopher M. Barry (Madison, Wisc.), “Song Analysis Beyond Repre- sentation: Inner Worlds in Mahler’s Second Kindertotenlied ” Yana Lowry (Fort Eustis, Va.), “Calling for International Solidarity: Hanns Eisler’s Mass Songs in the Soviet Union” Melinda Boyd (University of Northern Iowa), “Dolly Parton’s Kindertotenlieder” Richard Nangle (Boston University), “‘Ideal und Wirklichkeit’: Hanns Eisler’s Later Settings of Tucholsky” Music in/as Politics (AMS) Noriko Manabe (Princeton University), “Rock under Censorship: Alle- Alessandra Campana (Tufts University), Chair gories, Metaphors, and Obfuscation in Antinuclear Records from Post- Fukushima Japan” Anthony Alms (Brooklyn College), “Music, Mythos, and the Hegemony Phil Ford (Indiana University), “We Are Our Demands: Sound Practice of Reason” and the Occupy Movement” Mary Ann Smart (University of California, Berkeley), “The Description of Power and the Power of Description: Listening to Donizetti after New Orientalisms (AMS) Historicism” Jonathan Bellman (University of Northern Colorado), Chair 10:30–12:00 Stewart Carter (Wake Forest University), “The Editor from Hell: Informa- Composers’ Philosophers (AMS) tion and Misinformation on Chinese Music in Late Eighteenth-Century France” Brian Hyer (University of Wisconsin-Madison), Chair Thomas Irvine (University of Southampton), “J. N. Forkel, Global His- Aaron Hayes (Stony Brook University), “Openness of Musical Form and tory, and the Challenge of Chinese Music” of Self in Jean Barraqué’s Le temps restitué ” Stephen Cottrell (City University London), “Ali Ben Sou Alle and His Robert Hasegawa (McGill University), “‘Production of Presence’ in Liza Turcophone: Middlebrow Music and Orientalism on the Nineteenth- Lim’s Invisibility” Century Concert Stage” Jessica Stankis (Santa Maria, Calif.), “Maurice Ravel’s Perfection through Country (AMS) the Perspective of Style Japonais” David Brackett (McGill University), Chair Performing Theory (SMT) Stephanie Vander Wel (University at Buffalo, SUNY), “Rose Maddox’s James Buhler (University of Texas at Austin), Chair Roadhouse Vocality and the California Sound of 1950s Rockabilly and Honky-Tonk” Jocelyn Ho (Stony Brook University), “Musical Structure as Movement: A Dan Blim (Carleton College), “Reel Country: Country Music, Authentic- Bodily-Based Gestural Analysis of Toru Takemitsu’s Rain Tree Sketch II” ity, and the Politicized Reception of Robert Altman’s Nashville” Bonnie McAlvin (Graduate Center, CUNY), “Performance, Narrative, and Pitch Network Structure” Italian Fascism (AMS) Alex Newton (University of Texas at Austin), “Music Performing Mon- Arman Schwartz (University of Birmingham), Chair sters, Monsters Performing Music: Music as Skin in 1930s Horror Film” Davide Ceriani (Rowan University), “‘Renewing’ Italy’s Image in the Elizabeth Medina-Gray (Yale University), Analyzing Modular Smoothness United States: Italian Instrumental Music as Fascist Propaganda in the in Video Game Music” 1920s and 1930s” Wagner (AMS) Zoey Cochran (McGill University), “Opera, Fascism, and the Uomo non vir ” David Trippett (Bristol University), Chair Anthony Barone (University of Nevada, Las Vegas), “Der Jugend muntre Spiele? Richard Wagner’s Seven Compositions for Goethe’s Faust” Michael Richardson (Stony Brook University), “Wagner’s Tannhäuser, Ha- gen’s Minnesinger, and the missing Volksbuch” Tahirih Motazedian (Yale University), “Die kommunistische Walküre: Eisenstein’s Marriage of German Wagnerism with Soviet Communism” Brooke McCorkle (University of Pennsylvania), “Love, Sex, and Tannhäuser in Occupied Japan” Milwaukee City Hall August 2014  Performances in Milwaukee The AMS Milwaukee 2014 Performance that illustrates his use of a dialoguing or the ganist Neil Cockburn and lutenists Victor Committee received only three proposals “duologuing” style, which suggests the use Coelho and David Dolata. and selected one to be performed at the of a double manual harpsichord; and later On Saturday evening at 7:30, the group Annual Meeting: a lecture-recital by David “symphonically inspired” works that feature Quicksilver will perform a concert entitled Schulenberg entitled “A New Voice for the extremes in dynamic specifications and ges- “The Invention of Chamber Music” at St. Clavier: C. P. E. Bach and the Changing tures unheard in works from his father’s gen- Paul’s Episcopal Church (914 E. Knapp St.), Idiom of Keyboard Music.” Robert Crowe eration. Schulenberg is not only a specialist which will feature renaissance and baroque was selected last year to perform at the con- of historical keyboard instruments, but he is chamber music. Quicksilver, led by violin- ference in Pittsburgh, but he had to cancel also the author of three books, The Keyboard ists Robert Mealy and Julie Andrijeski, has due to illness. Fortunately, he will be able to Music of J. S. Bach (1992/2006), The Music of been praised for “impeccable, soulful play- perform his program on Italian solo motets Wilhelm Friedemann Bach (2010), and The in Restoration England at this year’s confer- Music of Carl Philipp Emanuel Bach (forth- ing” (New York Times) and lauded as a ence. coming, 2014) and has published critical leader in the field of historically informed Historical keyboard specialist David editions of works by J. S. and C. P. E. Bach. performance. Quicksilver specializes in the Schulenberg will be the featured artist on A 2:00 concert on Friday afternoon fea- extravagant trio sonatas of the Italian and Saturday at noon. His lecture-recital will tures male soprano Robert Crowe and the German seventeenth century as well as stun- be a chronological retrospective of C. P. group Il Furioso, who will perform a con- ning chamber works of the high baroque. E. Bach’s writing for solo keyboard instru- cert entitled “From Carissimi to Croft: The The group’s CDs include “Stile Moderno: ments, demonstrating a gradual evolution in Influence of the Italian Solo Motet in Eng- New Music from the Seventeenth Century” his manner of composition over a sixty-year lish Sacred Solo Music of the Restoration.” and the recently released “Fantasticus.” This period. This development reflects changes Charles Stuart’s return to England in 1660 concert is part of the Early Music Now Con- in Bach’s use of instruments, from harpsi- also marked the introduction of the conti- cert Series, under the direction of Charles chord to clavichord and pianoforte, as well nental music he so loved, particularly Ital- Q. Sullivan. Early Music Now is the only as transformations in compositional style ian solo motets. By the end of the century, organization in Wisconsin that focuses ex- and public tastes. As Schulenberg will dem- English composers Purcell, Blow, and Croft clusively on historically informed, period in- onstrate, these changes include the obvious were writing their own solo motets in the strument performances of medieval, renais- increase in dynamic markings, use of Bebung Italian style. The music performed on this (unique to the clavichord), and an increas- concert is drawn primarily from Harmonia sance, and early baroque music. ing flexibility of texture to imitate orchestral Sacra (1714), which includes works by the Committee members Steven Swayne, writing. Most of the pieces that appear on aforementioned English composers as well Mitchell Brauner, David Dolata, and I in- the program have rarely been heard in mod- as works by Roman composers Carissimi vite you to attend and enjoy these concerts. ern times and include an early work in the and Gratiani. The concert will also include —Catherine Gordon-Seifert style of J. S. Bach; a sonata from the 1740s instrumental works played by Il Furioso or- Performance Committee Chair

Milwaukee Program Selection

After two months of reading and scoring acceptance rate also remained consistent the Program Committee, and as before proposals, the AMS Program Committee at about thirty percent: 192 individual pa- I am grateful on several fronts. Bob Judd converged on Philadelphia for a three-day pers, two formal sessions, three alternative- handles the logistics of this process with weekend of discussion, selection, and panel format sessions, four joint sessions, and deceptive ease; it is far from simple, and organization. Down the hall at the Penn’s six evening panels. As my predecessor re- we all owe him a debt for making every- View Inn, the SMT Program Committee marked last year, the AMS meeting remains thing function so smoothly. The committee conducted a parallel exercise, and we came quite selective. worked late into the night, and with an un- together to discuss Joint Session proposals Our discussion encompassed the selec- failing sense of responsibility and fairness: and to share two memorable meals. The tion process itself, notably the two-stage re- please join me in thanking Suzanne Cusick, AMS committee received 660 proposals, of view format instituted this year, the choice Heather Hadlock, Beth Levy, Ryan Minor, which 574 were individual and the remain- of proposals after the authors are revealed Alejandro Planchart, and Daniel Goldmark der divided among two- and four-paper (the number this year was set at five), the (next year’s chair). And finally, thanks to formal sessions, alternative-format sessions, balance between different formats, the rela- everyone who contributed to this year’s di- and evening panels. Taken together with tive representation of different directions in verse, inspiring, and often mind-bending eleven AMS/SMT Joint Session proposals, the field, and the degree of collaboration group of proposals, a testament to the re- five for formal sessions and six for alterna- between the two societies. Follow-up with markable intellectual breadth and vibrancy tive-format sessions, this represents about the Committee on the Annual Meeting has of our Society. the same number of submissions as for the resulted in some changes that are reported 2013 meeting. With the number of slots elsewhere in this Newsletter (see p. 35). —Richard Will on the program remaining the same, the This was my third experience serving on Program Committee Chair  AMS Newsletter ACLS Annual Meeting 2014 to continue, which new ideas to pursue, and which big ideas might take fifteen to twenty The Annual Meeting of the American Coun- A fascinating evening session was devoted years to come to fruition. He believes the hu- cil of Learned Societies took place in Phila- to the Committee of Administrative Officers’ manities should be not defensive but assertive delphia, 8–9 May 2014. Of the 190 attendees, on-going survey of the constituent learned in crafting a compelling narrative, and he over half were delegates or administrative of- societies of ACLS: “Money, Members, Mis- plans to continue support for the “scholarly ficers of the constituent societies. AMS mem- sion: Learned Societies by the Numbers.” communication zone.” He describes diversity bers in attendance included John Graziano It was heartening to see how well the AMS (SAM delegate), Edward Jurkowski (SMT stacks up against its larger and smaller peers, as “our compelling interest.” delegate), Richard Leppert (ACLS Board), especially in the high percent of budget going The Friday afternoon panel, “The Public Susan McClary (ACLS Board chair emerita), to support the work of its members, as, for Face of the Humanities,” drew a large audi- and humanities and music administrators Jef- example, in publication subventions. (Some ence and was written up by Jennifer Ruark frey Kallberg and Robert Walser. societies spend most of their money on bu- in the Chronicle of Higher Education online. Bruno Nettl, the first AMS member ever reaucratic overhead.) Stagnating membership Anthony Appiah, chair of the ACLS Board, to be selected as the Charles Homer Haskins levels seem to be a problem across the board, moderated a discussion among Jill Lepore, Prize Lecturer, gave the evening address, “A even as revenues and conference attendance Michael Bérubé, and Alexander Nemerov, Life of Learning,” at the American Philosoph- rise. Delegates shared strategies after they in which front and center was the desire to ical Society. His extraordinarily distinguished, wondered publicly how an organization could communicate to the public (and to federal varied, and prolific career, coextensive with reveal its “importance to your life.” funders) not just the value of timeless works the rise of ethnomusicology in the United President Pauline Yu’s eloquent advocacy of art but the importance of research in the States, made for a compelling narrative en- for the humanities took its usual inspirational humanities. Reasons for the loss of human- livened by musical examples “from the field” form in her report to the delegates, but there ists’ “cultural authority” in the classroom and and scintillating humor. He was a huge hit. were sobering moments when she suggested in public venues were debated (Bérubé: “the The new director of ACLS Fellowship Pro- that the increased demand for fellowships theory genie is not going back in the bottle”), grams, Matthew Goldfeder, reported that in since the recession points to an unmet need, a but the need to assert scholarly legitimacy the still-ongoing 2013–2014 competition, the national deficit in support of the production comparable to that of STEM (science, tech- ACLS would award over fifteen million dol- of knowledge. She announced that for the nology, engineering, mathematics) disciplines lars in fellowships to 300 scholars (out of over 2014–2015 competition, the total number of found wide support. 3500 applicants), with more than 550 schol- awards will increase from sixty-five to seventy, As your AMS delegate, I have now con- ars serving as peer reviewers. AMS members with seventy-five as the ultimate goal; for de- cluded my two-year term as Chair of the were awarded fellowships in the Central Pro- tails, see acls.org. Executive Committee of Delegates and con- gram (two of sixty-five), ACLS/Mellon Dis- Earl Lewis, former chair of the ACLS comitant ACLS Board service at the Annual sertation Completion (two of sixty-four), and Board, gave his first luncheon address to the Meeting, and I feel privileged to have served Digital Innovation (one of seven). However, delegates as president of the Mellon Founda- both societies, whose interests are remarkably 2014–2015 will be the last year of the Ryskamp tion. His inaugural year was devoted to four congruent, in this way. and Digital Innovation Fellowships. questions: which efforts to conclude, which —Elaine Sisman

News Briefs only other obligation is to pursue their own Mozart: New Documents, curated by Dex- research. Eligibility requirements are a Ph.D. ter Edge and David Black, offers facsimiles, The Marta and Austin Weeks Music Library, and substantial publications. Application transcriptions, and commentary on recently Frost School of Music, University of Miami deadline is 1 November 2014. Details: www. uncovered references to Mozart and his music announces the acquisition of an important hs.ias.edu from the composer’s lifetime. The site cur- collection of books and other secondary The Library of Congress has acquired jazz leg- rently has over thirty documents available, literature relating to opera and opera sing- end Max Roach’s vast personal collection of with sixty more expected over the coming ers. The collection was the personal library papers, music, photos, and audio and video months. Details: sites.google.com/site/mo- of Roger Gross, a major New York dealer in recordings. Details: www.loc.gov/today/ zartdocuments/ musical autographs who had a special love of pr/2014/14-012.html opera. The collection, which runs to several Monuments of Seventeenth-Century Music thousand volumes, relates to opera and op- era singers from the late eighteenth century Internet Resources is a new series of open-access, peer-reviewed to the present. Details: library.miami.edu/ News editions dedicated to large anthologies of blog/2014/06/04/weeks-acquires-major-op- music, offered by the Web Library of Sev- era-literature-collection/ enteenth-Century Music. Volume 1, which Publishers Bärenreiter and J. B. Metzler, in recently launched and will continue to add The Institute for Advanced Study, a com- partnership with RILM, will offer the mu- scores through the fall and winter, will in- munity of scholars focused on intellectual in- sic encyclopedia Die Musik in Geschichte und 250 quiry free from teaching and other university Gegenwart online beginning in 2017. MGG clude nearly keyboard arrangements of obligations, invites applications from scholars Online will include the content of the 1994– works by Jean Baptiste Lully, edited by David of all nationalities for membership for up to 2008 print edition, as well as future updates, Chung. Details: www.sscm-wlscm.org/index. a year, either with or without a stipend. Resi- revisions, and additions. Details: rilm.org/ php/monuments-of-seventeenth-century- dence in Princeton is required, and members’ mgg-announce-en.html music August 2014  Committee News Alvin H. Johnson AMS 50 for new features for sorting data (like all data the power at a panel on adjunct self-advocacy Fellowship Committee of a country, region, or library), a search for (Felicia M. Miyakawa, chair). Our colleagues digital images, as well as other improvements. in the early stages of their careers can find out The Alvin H. Johnson AMS 50 Fellowship The A/II database platform is also expanding “what they didn’t learn in grad school” (James committee received sixty-three applications to host data about additional types of musical Maiello, chair). Everyone is welcome to learn for fellowships for the 2014–15 academic year sources, traditionally described in the printed more about “building partnerships” within (compared with fifty-one in the last round), volumes of the series A/I and B. Part of RISM the university and between the university covering a wide range of musical scholarship. B/I, printed collections between 1500 and and its home community (Randall Goldberg, We were very impressed by the fine work be- 1550, revised by Howard Mayer Brown, has chair). And finally, our annual Master-Teach- ing done by excellent students in graduate been converted to a database and will soon er roundtable this year is concerned with de- programs across the nation, and we faced be published as part of the RISM online cata- signing “Introduction to Musicology” courses some very tough choices in making our final logue. For series A/I, the same procedure is while we contend with the ever-fluid defini- recommendations on awards. planned for 2014. Keil’s complete report can tions and constantly changing boundaries of As one might expect, the best applications be read at www.rism.info/en/publications/ our discipline (Olga Haldey, chair). contained a cogent dissertation prospectus iaml-conferences/2013.html. Apart from the panel sessions, CCRI con- that situated the project in its broader con- —Daniel F. Boomhower tinues to sponsor the Buddy Program, which texts, and a sample chapter that persuaded pairs conference neophytes with grizzled the reader by way of the coherent presenta- Committee on the Annual Meeting veterans for the purposes of mentorship and tion of innovative ideas, new materials, and In the August 2013 AMS Newsletter the Com- mutual enlightenment. We are always on nuanced argument. We were also more con- mittee on the Annual Meeting (CAM) an- the lookout for willing mentors; please vol- vinced by texts that demonstrated careful at- nounced a trial program to streamline the unteer on the conference web site or contact tention to matters of style and presentation evaluation of proposals for the 2014 Annual the program coordinator Christopher Gibbs. than by those that appeared not to do so; such Meeting. This involved a two-stage process And of course we will yet again be running things matter at this high level of competi- starting with an initial review by a subgroup our ever-popular Saturday morning CV/cover tion. A very few applications were ruled out of the program committee, followed by the letter workshop. Anyone interested in partici- of consideration by being incomplete or by entire committee reading proposals ranked pating can sign up at the conference registra- not seeming to adhere to the requirement that in the top half. Based on feedback from the tion desk; we recommend reserving your time these are, indeed, dissertation-completion fel- program committee and in consultation with slot early, as they tend to fill up quickly. We lowships. CAM, the Board has decided to return to hope to see many of you at our events this The submission guidelines will change the original process, which entails the entire November! slightly for the next round of applications (for committee reading all proposals. The full pro- —Olga Haldey 2015–16 fellowships), which are due on Mon- cedures, which will be in place for the 2015 day 16 December 2014; further details will meeting in Louisville, are described in the appear on the AMS web site in due course. Committee on the History of the Call for Proposals (p. 34). We will also be holding an information ses- Society CAM has also developed a program to pro- sion for prospective applicants and other in- vide funding for AMS committees and study The Committee on the History of the Society terested parties at 12:15 p.m. on Friday 8 No- groups to bring a non-musicology scholar to is pleased to report that it has made impor- vember, during the Society’s Annual Meeting the Annual Meeting each year. It will be made tant progress on the two projects most basic in Milwaukee. available for the 2015 meeting; we will make to its ongoing mission of collecting materials —Tim Carter a detailed announcement toward the end of to document the history of the Society. To- 2014 AMS-Music Library Association . gether with our new AMS archivist, Richard We will continue to consider ways to fa- Griscom, we are formulating clear policies Joint RISM Committee cilitate the challenging work of the program and procedures for the collection and organi- Klaus Keil, Director of the Zentralredaktion committee in evaluating the large number zation of the Society’s papers at the University of RISM, reported numerous significant ad- of proposals submitted each year. Please let of Pennsylvania library (www.ams-net.org/ vances in the work on the International Index me know if you have any comments or sug- administration/archives.php). We have also of Musical Sources through July 2013 at the gestions pertaining to the Annual Meeting: returned to the oral history project, begun annual meeting of the International Associa- [email protected]. over ten years ago but recently dormant, and tion of Music Libraries, Archives and Docu- —Joseph Auner have begun to collect new interviews—now mentation Centres. The online RISM A/II da- Committee on Career-Related Issues video-recorded—with AMS members who tabase of music manuscripts (opac.rism.info), have been particularly active in the Society available as open data since July 2013 and now The Committee on Career-Related Issues and in the field of musicology. We hope that also available as linked open data, continues (CCRI) is sponsoring a number of exciting this project will engage as many AMS mem- to grow through submissions of data from events at the upcoming Annual Meeting in bers as possible; if you would like to partici- national offices, including the U.S. office at Milwaukee. As we have tried to do over the pate, whether as interviewer or interviewee, Harvard University. The data in the online past few years, our panel sessions are designed please write to Jane Stevens (jrstevens@ucsd. RISM catalogue also continues to grow and to appeal to a wide range of conference at- edu) or Tony Cummings (cumminga@lafay- to become useful in innovative ways. A new tendees. This November, we invite contin- ette.edu). search engine has been released, which allows gent faculty to discover their power to fight —Jane Stevens

 AMS Newsletter Committee on the Publication of Committee on Women and Gender Annette Richards—have not only made sig- American Music nificant commitments to interdisciplinarity The Committee on Women and Gender in their work, but they also represent an array The past year has seen a number of im- (CWG) has organized a special alternative- of interests and profiles that ranges from mu- portant innovations in the editorial office format session for the Annual Meeting. Titled sicology to theory, the eighteenth century to of Music of the United States of America “Beyond Discipline Envy,” the session’s start- the twenty-first, and visual culture to gender (MUSA). Under the direction of Executive ing point is musical interrogation of Adriana and sexuality. In addition to describing their Editor Dexter Edge, who joined MUSA in Cavarero’s work on voice. Chaired by Emily personal experiences with interdisciplinarity, March 2013, the office has moved increasing- Wilbourne, the session brings together mu- they will also discuss the professional risks ly toward a “laboratory” model, with several sicologists Naomi André and Gascia Ouzou- and rewards of interdisciplinary work at a part-time editorial assistants drawn from the nian, cultural anthropologist Maureen Ma- moment when a recent growth in certificate pool of doctoral students at the University hon, theorist Peter Shelley, and, in a CWG programs has made this research possibility of Michigan School of Music, Theatre & first, invited guest speaker Chaya Czernowin. eminently feasible and attractive for graduate Dance. Each assistant works primarily on a Currently Walter Bigelow Rosen Professor of students. single MUSA volume and has a considerable Music at Harvard (the first woman to hold In Milwaukee the GEC will also host its an- degree of autonomy in doing that work. The this position), Czernowin is an acclaimed nual reception for prospective graduate stu- composer whose works (published by Schott) MUSA staff holds regular weekly meetings, dents and faculty directors of graduate stud- are widely performed throughout the world as is common in scientific labs, and during ies. The reception will take place on Friday at and recorded on Deutsche Grammophon, the summer, the entire staff often works in 5 p.m. We hope to see many of you there! Mode, Wergo, Neos, Col Legno, Ethos, Telos, the MUSA office simultaneously, allowing —David Grayson and Mary Ann Smart and Einstein Records. She is the recipient of for cross-fertilization of ideas and expertise numerous honors and grants, including Gug- Publications Committee among the various projects. This laboratory genheim, NEA, and Rockefeller fellowships, model also allows the MUSA office to do 2014 and she was recently appointed Fromm Com- In Spring , the Publications Committee serious editorial work on more than one vol- poser in Residence at the American Academy awarded subventions to twenty-eight books $44 000 ume at a time. in Rome. The panel will thus contribute to for a total of , . They include the fol- 2014 In early March at the meeting of the dialogue across disciplines and between schol- lowing: Hildegard of Bingen and Mu- Society for American Music, Edge read a ars and composers. For further information Jennifer Bain, sical Reception: The Modern Revival of a Medi- paper (“MUSA as Laboratory for Editorial on Czernowin, visit chayaczernowin.com. Theory and Practice”) outlining some of the —Honey Meconi eval Composer (Cambridge University Press); advantages of this collaborative, “laboratory” supported by the AMS 75 PAYS Endowment model. In winter term 2014 at the Univer- Graduate Education Committee Geoffrey Baker, El Sistema: Orchestrating sity of Michigan, Edge also taught a doctoral Venezuela’s Youth (Oxford University Press); In June 2013, the Chronicle of Higher Educa- seminar, “Studies in Musical Sources and supported by the Manfred Bukofzer Endow- tion launched its Ph.D. Placement Project, a Editing,” which made use of the resources ment broad challenge to readers to improve report- of the Music Library’s Rare Books room to Ryan Raul Bañagale, Arranging Gershwin: ing on job placement for recent Ph.Ds. At the Rhapsody in Blue and the Creation of an Ameri- give students hands-on experience analyzing Annual Meeting in Pittsburgh last November, musical sources and creating critical editions. can Icon (Oxford University Press); supported the AMS Graduate Education Committee by the AMS 75 PAYS Endowment This class has already had a direct benefit for (GEC) discussed ways to promote complete MUSA: seminar members Mishona Col- Benjamin Brand, Holy Treasure and Sacred and transparent reporting of placement data Song: Relic Cults and their Liturgies in Medi- lier and Jessica Getman are now working as by graduate programs in musicology. The editorial assistants. MUSA’s assistants also eval Tuscany (Oxford University Press); sup- committee unanimously carried a motion ported by the AMS 75 PAYS Endowment include Evan Ware and Chris Smith, while recommending that all Ph.D.-granting insti- previous assistants include Julie Anne Nord Jonathyne Briggs, Sounds French: Global- tutions should list visibly on their web sites ization, Cultural Communities and Pop Music and Ethan Allred. All have made significant placements from the last ten years. Such list- contributions to the MUSA editions. in France, 1958–1980 (Oxford University ings should be comprehensive, logging out- Press); supported by the AMS 75 PAYS En- Currently at the front of MUSA’s publish- comes for all graduates—not just those who dowment ing pipeline are: George Whitefield Chad- have tenure-track positions, but also those David Brodbeck, Defining Deutschtum: Po- wick’s opera The Padrone, edited by Mari- working as adjuncts, still looking for a posi- litical Ideology, German Identity, and Music- anne Betz; Machito and His Afro-Cubans, ed- tion, or working outside the academy. In this Critical Discourse in Liberal Vienna (Oxford ited by Paul Austerlitz and Jere Laukkanen; a difficult job market we see such information University Press); supported by the Donna volume of American folk songs in the Anglo- as essential for current and prospective gradu- Cardamone Jackson Endowment American tradition, edited by Norm Cohen ate students, who deserve to have clear picture Todd Decker, Who Should Sing “Ol’ Man and the late Anne Dhu McLucas; and Joseph not just about the successes of specific gradu- River”?: The Lives of an American Song (Ox- Di goldene Rumshinsky’s Yiddish operetta ate programs, but also about the job prospects ford University Press); supported by the John kale, edited by Michael Ochs. Last May, Di of a Ph.D. in musicology generally. Daverio Endowment goldene kale received a successful concert per- Following up on last year’s panel on gradu- Meredith Kirkpatrick, ed., Ralph Kirkpat- formance with piano at the National Yiddish ate education in the digital age, the commit- rick: Selected Letters (University of Rochester Theater-Folksbiene in New York City. tee will sponsor a Friday evening session in Press); supported by the Lloyd Hibberd En- Please be sure to visit MUSA’s new web site Milwaukee on the topic of interdisciplinarity. dowment at www.ams-net.org/MUSA/. The panelists—including Berthold Hoeckner, —Dexter Edge Nadine Hubbs, Brian Hyer, Tiffany Ng, and continued on page  August 2014  Committee News sity Press); supported by the AMS 75 PAYS Ibero-American Music Study Group Endowment continued from page  Michael Slowik, After the Silents: Hollywood At the Annual Meeting the Ibero-American Film Music in the Early Sound Era, 1926– Music Study Group will host a panel on Nina Sun Eidsheim, Sensing Sound: Singing 1934 (Columbia University Press); supported Thursday evening that explores musical ar- and Listening as Vibrational Practice (Duke by the AMS 75 PAYS Endowment ticulations of “Mexicanidad.” Chaired by University Press); supported by the AMS 75 Marie Sumner Lott, The Social Worlds of Leonora Saavedra, the panel includes con- PAYS Endowment Nineteenth-Century Chamber Music: Compos- tributions by Jesús A. Ramos-Kittrell, Peter D. Rose Elder, Why the Amish Sing: Songs of ers, Consumers, Communities (University of Il- J. García, and Lillian Gorman. Recognizing Solidarity and Identity (Johns Hopkins Uni- linois Press); supported by the AMS 75 PAYS contemporary discourses of “Mexicanness” versity Press); supported by the Lloyd Hib- Endowment as post-national imaginaries, this panel uses berd Endowment Andrew Talle, Keyboard Culture in the Time three musical case studies to explore the ways Kimberly Francis, Nadia Boulanger: Teach- of J. S. Bach (University of Illinois Press); sup- in which different geographical locations, po- ing Stravinsky (Oxford University Press); sup- ported by the AMS 75 PAYS Endowment litical and socioeconomic conditions, and in- ported by the AMS 75 PAYS Endowment Kate van Orden, Materialities: Books, Read- dividual and group histories have contributed Nalini Ghuman, Resonances of the Raj: In- ers, and the Chanson in Sixteenth-Century Eu- to the pluralistic experience of citizenship and dia in the English Musical Imagination, 1897– rope (Oxford University Press); supported by identity. Alejandro L. Madrid will participate 1947 (Oxford University Press); supported by the Margarita M. Hanson Endowment as a respondent, and we expect a lively discus- the Manfred Bukofzer Endowment Anna Zayaruznaya, The Monstrous New Art: sion. A short business meeting will follow the Andrew Granade, Harry Partch, Hobo Com- Divided Forms in the Late Medieval Motet panel. We encourage all who have interests in poser (University of Rochester Press); support- (Cambridge University Press); supported by Latin American and Iberian music and those ed by the AMS 75 PAYS Endowment the Otto Kinkeldey Endowment with broad interest in musics of the Americas Roger Mathew Grant, Beating Time and In accordance with the Society’s proce- to attend, as a main focus of the meeting will Measuring Music in the Early Modern Era (Ox- dures, these awards were recommended by be planning future Study Group activities and ford University Press); supported by the AMS the Publications Committee and approved areas of focus. 75 PAYS Endowment by the Board of Directors. Funding for AMS —Susan Thomas Nadine Hubbs, Rednecks, Queers, and subventions is provided through the National Jewish Studies and Music Study Country Music (University of California Endowment for the Humanities, the Andrew Group Press); supported by the Dragan Plamenac W. Mellon Foundation, and the generous Endowment support of AMS members and friends. Those The Jewish Studies and Music Study Group Elaine Kelly, Composing the Canon in the interested in applying for AMS publication (JSMSG) is pleased to announce that Joshua German Democratic Republic: Narratives of subventions are encouraged to do so. See the Walden will chair its session “New Approach- Nineteenth-Century Music (Oxford University program descriptions for full details (www. es to Introducing Jewish Music” on Thursday Press); supported by the AMS 75 PAYS En- ams-net.org/pubs/subvention.php). Next evening in Milwaukee. Professor Walden and dowment deadlines: 15 August 2014, 15 February 2015. his panel (Michael Beckerman, Philip Bohl- Mark Kroll, Ignaz Moscheles and the Chang- —Walter Frisch man, Tina Frühauf, Wendy Heller, Mark ing Face of Musical Europe (Boydell and Brew- Kligman, Ronit Seter, and Samuel Zerin) will er); supported by the Claire and Barry Brook Study Group News present methodologies they developed in un- Endowment dergraduate teaching and pedagogical writing Matthew McDonald, Breaking Time’s Ar- Cold War and Music Study Group in the field of Jewish music, including in the row: Experiment and Expression in the Music To mark the twenty-fifth anniversary of the preparation of the forthcoming Cambridge of Charles Ives (Indiana University Press); sup- fall of the Berlin Wall, the Cold War and Mu- Companion to Jewish Music. ported by the AMS 75 PAYS Endowment sic Study Group (CWMSG) will sponsor an Two other upcoming conferences in which Scott Messing, Marching to the Canon: The evening panel at the upcoming Annual Meet- members of the JSMSG are involved may be Life of Schubert’s “Marche militaire” (Univer- ing that will critically reassess the legacies of of interest to AMS members more broadly: sity of Rochester Press); supported by the Jo- 1989. We will consider the degree to which on 29–30 September 2014, Rebecca Cypess seph Kerman Endowment 1989 marked a historical turning point, dis- and Nancy Sinkoff will host a symposium Michael Ochs, ed., Joseph Rumshinsky, Di cuss the implications of 1989 for the music at Rutgers University entitled “Sara Levy’s goldene kale (1923), Full-Score Critical Edition historiography of the Cold War, and explore World: Music, Gender, and Judaism in En- (A-R Editions); supported by the Gustave Re- music-making in societies in transition. Ali- lightenment Berlin,” which will feature an ese Endowment son Furlong, Trever Hagen, Christoph Hust, interdisciplinary group of scholars from the Katelijne Schiltz, Music and Riddle Culture and Johanna Frances Yunker will launch our United States and Israel in history, religious in the Renaissance (Cambridge University discussion with four case studies of 1989’s im- philosophy, and women’s studies, as well as Press); supported by the Martin Picker En- pact in Central Europe. Andrea Bohlman and musicologists Christoph Wolff, Steven Zohn, dowment Joy Calico will respond, and Peter Schmelz and Yael Sela-Teichler. On 19–21 October David Schulenberg, The Music of Carl will chair. Please join us on Friday evening! 2014, the conference “Jewish Music and Jew- Philipp Emanuel Bach (University of Roches- We welcome new members. If you would ish Identity,” organized by Judah Cohen, ter Press); supported by the Otto Kinkeldey like to join the CWMSG or learn more about Randall Goldberg, Klára Móricz, Helene Endowment our activities, please visit our web site: www. Sinnreich, and Francesco Spagnolo, will take Assaf Shelleg, Jewish Contiguities and the ams-net.org/cwmsg. place at Youngstown State University. The Soundtrack of Israeli History (Oxford Univer- —Lisa Jakelski aim of the conference is to explore the ways in

 AMS Newsletter which music “mirrors and shapes the diverse Leonard, offers the following suggestions to tives on the kinds of objects of which music modes of Jewish identity found throughout conference attendees: is made and begin to articulate new ways of the world and across history.” • Presenters can make their handouts more addressing music’s relationality, agency, and The JSMSG looks forward to ongoing spon- accessible by posting PDF copies online in materiality. We hope that this session will sorship of and participation in these many advance and by making large-type copies provide a forum in which our Society can de- avenues of scholarship. This work within the available. An easy way to make a large-type bate how a broader “ontological turn” in the Study Group will be led by the newly elected handout is to magnify an 8.5 x 11 page onto humanities, coupled with the increasing im- board and chair, to be officially instated at the an 11 x 17 page. (For more information on portance of sound and media studies, might Annual Meeting in Milwaukee. readable type, visit www.aph.org/edre- open new forms of inquiry in the music fields. —Lily E. Hirsch and Rebecca Cypess search/lpguide.htm) The MPSG’s first conference collabora- • Sometimes it can be difficult to see infor- tion took place at Stony Brook University on Music and Dance Study Group mation that is projected onto a screen, es- 18–19 April 2014. “Sound and Affect: Voice, pecially in large rooms. Presenters should Music, World” was jointly organized by Stony The Music and Dance Study Group (MDSG) avoid using small type and should verbally Brook’s Department of Music and Depart- is pleased to announce its second business describe their slides during their presen- ment of Philosophy, in collaboration with the meeting and evening session at the 2014 An- tation. (For more information on image AMS MPSG with the assistance of its coun- nual Meeting in Milwaukee, the city that gave descriptions, visit sotdandzera.hubpages. terpart in the U.K., the MPSG of the Royal us Eugene Loring, John Neumeier, and the com/hub/Image-Descriptions-And-How- Musical Association. The conference drew an Pabst Brewing Company. We will be gather- To-Write-Them). interdisciplinary group of scholars based in ing at 7:30 p.m. for our business meeting and • To ensure audibility, everyone—present- musicology, music theory, and ethnomusicol- at 8 p.m. for our evening session on Friday 7 ers, chairs, and audience members asking ogy as well as art history, literary studies, me- November. questions—should use a microphone. dia studies, and philosophy. Keynote speakers “Dancing Undisciplined,” our evening ses- Speak slowly and clearly. If someone has included Robin James, Tamara Levitz, and sion, will explore the incorporation of dance difficulty accessing the microphone, au- Gary Tomlinson. Judy Lochhead, Eduardo in music pedagogy and scholarship. Ac- dience members can assist in bringing it Mendieta, and Stephen Decatur Smith were knowledging dance as a long-neglected yet closer to the speaker. principal organizers. The AMS MPSG con- indispensable aspect of musicological study, • Everyone should make sure that aisles are tinued to collaborate with the RMA MPSG the panel will consider effective inclusions of clear, with unobstructed access to the re- by contributing to the programming and pre- dance in the music history/theory curriculum served seating in the front rows for persons sentations at its Fourth Annual Conference, and how we might build collaborations be- with disabilities. held 27–28 June at King’s College London. tween music and dance departments. Chan- The DISMUS groups continue to build We also call attention to a special issue of tal Frankenbach will moderate the discussion and utilize a support network to help SMT/ Opera Quarterly devoted to opera and philos- between panelists and audience members. We AMS members encountering disability in ophy (vol. 29, nos. 3–4, 2013). The issue’s “Ar- hope that you will join us in this lively and their teaching or personal lives: musicdisabili- ticulations” section, edited by Stephen Deca- productive exchange before dancing over to tystudies.wordpress.com/support-networks/. tur Smith, features essays on Alain Badiou’s the Friday night parties. We are also collaboratively building a data- Five Lessons on Wagner (2010) by a number of During its first year of existence, MDSG has base, “Musical Representations of Disability,” scholars active within the MPSG, including already revealed itself to be an active, engaged, which chronicles musical works that thema- Stephen Decatur Smith, Michael Gallope, and supportive group of scholars. Whether tize disability or that have disabled charac- and Brian Kane, as well as Kenneth Reinhard you are looking for dance-related CFPs or ters: musicdisabilitystudies.wordpress.com/ and Naomi Waltham-Smith. wanting to join an international e-discussion musical-representations-of-disability/. Please If you are interested in joining the MPSG with dance and music scholars about the visit our web site, which includes instructions email list, please contact Amy Cimini at aci- content of Marie Taglioni’s diaries in the Bib- to join the DISMUS-L email listserv and a [email protected]. We also encourage you to liothèque nationale de France, the MDSG link to our Facebook group: musicdisabilit- visit our tumblr at musicandphilosophy.tum- listserv is a truly invaluable resource. It is free ystudies.wordpress.com. If you are interested blr.com. and easy to join, as is adding your name to the in contributing a guest posting to our blog, —Amy Cimini Study Group’s online membership directory: please contact one of us at the contact infor- just contact Sam Dorf ([email protected]) mation listed on our web site. Pedagogy Study Group and/or our webmaster Matilda Butkas-Ertz —Blake Howe, Stephanie Jensen- Already this year, the Program Committee of ([email protected]). Information Moulton, and Jennifer Iverson about cross-society contacts and ideas for fu- the Pedagogy Study Group (PSG) has been ture events should be sent to Sarah Gutsche- Music and Philosophy Study Group hard at work, so I would first like to offer Miller ([email protected]). my thanks to all of them for their hard work: —Daniel Callahan We are very excited about the coming year Kevin Burke (chair), Daniel Barolsky, James for the Music and Philosophy Study Group Briscoe, Julia Chybowski, Scott Dirkse, Con- Music and Disability Study Group (MPSG). Both our Thursday evening panel stance Edwards, and Sandra Yang. session and Friday 5 p.m. meeting at the An- At the time of this writing, PSG is pre- Improving conference accessibility continues nual Meeting in Milwaukee will be devoted paring for the 2014 Teaching Music History to be an important mission of the Disability the topic “New Ontologies of Sound and Conference, hosted at Roosevelt University and Music Interest/Study Groups of the AMS Music.” Designed to foster conversation, our on 13–14 June and co-organized by Matthew and SMT (DISMUS). The Ad Hoc Com- sessions invite speakers to critically assess how Baumer and Colin Roust. For the first time, mittee on Accessibility, chaired by Kendra a focus on ontology might yield new perspec- continued on page  August 2014  Study Group News a roundtable discussion in which the panel- In June, PMSG hosted its inaugural Junior ists will address issues and best practices in Faculty Workshop. Over three days, twenty- continued from page  assessing music skills and competencies us- one early-career popular music researchers ing MOOCs (massive open online courses), and six senior scholars gathered at the Uni- this has been expanded into a two-day event, learning management systems, social media, versity of Richmond to workshop papers with twenty-five presentations, a keynote online assessments, and other supplemental panel, and an unconference session (which resources provided by textbook publishers. and discuss issues pertaining to teaching, was webcast as a Google Hangout and can be The Spring 2014 issue of the Journal of Music workplace politics, promotion and tenure, viewed in its entirety at www.youtube.com/ History Pedagogy (vol. 4, no. 2) was dedicated and work–life balance. We hope to host a watch?v=MEcwPJdvCS8). The2015 confer- to “Essays in Honor of Douglass Seaton,” similar event in two years. This fall, PMSG ence will be hosted by the University of Cin- guest edited by Jennifer Hund, and to a will publish the first installment of our new cinnati College-Conservatory of Music. roundtable from the Second Biennial Confer- bibliography series edited by Anna Stephan- PSG events at the AMS Annual Meeting ence of the East Asian Regional Association of Robinson. will include an alternative-format session the International Musicological Society, guest To begin staggering the terms of the Chair and an evening session. The former was or- edited by Brian Thompson. ganized and proposed to the PSG Program —Colin Roust and the Secretary/Treasurer as stated in the Committee by Douglass Seaton. Entitled Bylaws passed in 2012, PMSG will hold an “The End of the Undergraduate Music His- Popular Music Study Group election for Chair this fall. Joanna Love will tory Sequence?”, this panel discussion Fri- The Popular Music Study Group (PMSG) accept nominations, including self-nomina- day morning will feature Melanie Lowe and has had an exciting spring. We received an in- tions, in September. Details will be sent to all Peter Burkholder debating the pedagogical credible twenty-four abstracts for our session, dues-paying members of the Study Group. and philosophical value of traditional music “Pop Without Tech,” at the Annual Meet- To contact PMSG’s officers and to join, history survey sequences, along with alterna- ing in Milwaukee. I would like to thank the please visit www.ams-net.org/studygroups/ tives to such a curriculum. In addition, the program committee—Joanna Love (chair), pmsg/officers_and_membership.html. Don’t Immediate Past President of NASM, Don Mandy Smith, Brian Wright, and Alexandra forget to like our Facebook page (www.face- Gibson, will present the position of accred- Apolloni—for completing the difficult task of iting agencies toward various music history selecting just four of these excellent propos- book.com/AMSpop). Here, we will post up- curricula. The evening session Friday is titled als. Details about the session are available on dates about the group and interesting stories “Assessing Student Learning in the Online our web site (www.ams-net.org/studygroups/ in the world of popular music. Environment.” Kevin Burke will moderate pmsg/). —Eric Hung

Annual Meeting, Louisville, Kentucky, 12–15 November 2015

Call for Papers Proposals for poster proposals should fol- stracts included in a Formal Session proposal Deadline: 5 p.m. EST low the guidelines for submission of individ- will not be considered for separate individual 15 January 2015 ual proposals, and include an explanation of presentation. Maximum length: 350 words the content and goals of the graphic presen- for the rationale, and 350 words for each tation. Technical guidelines for posters will constituent proposal. The2015 Annual Meeting of the AMS will be be distributed with acceptance information. Length of presentations: Forty-five min- held in Louisville, Kentucky, from Thursday Proposals will be evaluated anonymously utes are allotted for each individual proposal 12 November to Sunday 15 November. The and should contain no direct or indirect sig- and constituent Formal Session proposal. Program Committee welcomes proposals for nal of authorship. Maximum length: 350 The length of presentations is limited to individual papers or poster presentations, words. thirty minutes in order to allow ample time formal sessions, evening panel discussions, Formal Sessions. An organizer represent- for discussion. and sessions using alternative formats in all ing several individuals may propose a Formal Evening panel discussions. Evening panel areas of scholarship on music. Please read Session, either a full session of four papers, discussions are intended for more informal the guidelines carefully: proposals that do or a half session of two papers. For this pro- exchange of ideas. They can cover a wide not conform will not be considered. posal, organizers should prepare a rationale, range of topics: for example, they may ex- Proposals will be accepted according to the explaining the importance of the topic and amine a central body of scholarly work, in- following five categories: the proposed constituent papers, together vestigate a methodology or critical approach, Individual and Poster proposals. Propos- with the names of the organizer, partici- or lay the groundwork for a new research als should represent the presentation as fully pants, respondent (if applicable), and a sug- direction. Evening panels should comprise as possible. A successful proposal typically gested chairperson. The organizer should participants’ brief (no more than ten min- articulates the main aspects of the argument also include a proposal for each paper, which utes) position statements, followed by gener- or research findings clearly, positions the au- conforms to the guidelines for individual al discussion among panelists and audience. thor’s contribution with respect to previous proposals above. Formal Session proposals Evening panel proposals should outline the scholarship, and suggests the paper’s signifi- will be considered as a unit and accepted or rationale and issues behind the proposal, cance for the musicological community, in rejected as a whole. The proposed session’s identify the panelists and describe the ac- language that is accessible to scholars with a consistency and coherence is an important tivities envisioned, explain why each panelist variety of specializations. part of the evaluation process. Paper ab- has been chosen, and identify the duration  AMS Newsletter of the session (90 minutes or three hours). promising proposals and forms sessions for sessions may not also present a formal paper Maximum length: 500 words. presentation. When all but five presentation in the same year or in the preceding one, but Daytime sessions using alternative for- openings have been filled, the committee re- participants may do so. mats. Examples of alternative formats in- veals authors of proposals and completes its Submission procedure. Proposals must clude, but are not limited to, sessions com- work. Knowledge of authorship facilitates be received by 5 p.m. EST, 15 January 2015. bining performance and scholarship, sessions the work of the committee in forming topi- Electronic proposal submission is encour- discussing an important publication, sessions cally balanced sessions and improving the aged. Please note that electronic proposal featuring debate on a controversial issue, and balance between senior and junior scholars submission ceases precisely at the deadline. sessions devoted to discussion of papers post- on the program. In order to avoid technical problems with ed online before the meeting. Sessions may Authors for all submissions that are cho- submission of a proposal, it is strongly sug- be proposed by an individual or group of sen will be invited to revise their proposals gested that proposals be submitted at least individuals, a Study Group, a smaller society for the Program and Abstracts, distributed at twenty-four hours before the deadline. Due that has traditionally met during the Annual the meeting; the version read by the Program to the volume of proposals received, propos- Meeting, or an AMS committee wishing to Committee may remain confidential. als received after the deadline cannot be con- explore scholarly issues. Position papers de- Application restrictions. No one may ap- sidered. A FAQ on the proposal submission livered as part of alternative-format sessions pear on the Milwaukee program more than process is available at the web site, and those should be no more than ten minutes long. twice. An individual may deliver a paper planning to submit proposals are encour- Proposals for alternative-format sessions and appear one other time on the program, aged to review the information posted there. should identify the participants, outline the whether participating in an evening panel intellectual content of the session, describe discussion or alternative-format session, Those unable to submit a proposal electroni- 10 the structure of the session, and identify the functioning as a chair-organizer of a formal cally should contact the AMS office by 2015 duration of the session (90 minutes or three session, or serving as a respondent, but may January regarding accommodation pro- hours). Maximum length: 1000 words. not deliver a lecture-recital or concert. Par- cedures. Program Committee procedures: The ticipation in extra-programmatic offerings Receipts will be sent to all who submit Program Committee will evaluate and dis- such as interest-group meetings or standing proposals by the beginning of February 2015. cuss individual paper and poster proposals committee presentations (e.g., the Commit- AMS committees and study groups; af- anonymously (i.e., with no knowledge of tee on Career-Related Issues) does not count filiated societies.Sessions organized by such authorship). All proposals are evaluated on as an appearance for this purpose. groups are not reviewed by the Program a scale from zero to five by the entire com- Only one submission per author will be ac- Committee. They should contact Robert mittee. The scores are collated, averaged, and cepted. Authors who presented papers at the Judd at the AMS office to schedule their ranked accordingly, after which the commit- 2014 AMS meeting may not submit propos- meetings. tee meets to discuss final selections. During als for the 2015 meeting. Organizers of eve- —Daniel Goldmark this meeting, the committee selects the most ning panel discussions or alternative-format Program Committee Chair

Call for Performances the AMS office or at www.ams-net.org/lou- the AMS is unable to offer a fee to artists, isville); 2) a proposed program listing reper- modest subsidies are occasionally available Deadline: 15 January 2015 tory, performer(s), and the duration of each for performance-related expenses. Please work; 3) a list of audio-visual and perfor- see the application cover sheet for proposal The AMS Performance Committee invites mance needs; 4) a short (100-word) biogra- submission details. Materials must arrive at proposals for concerts, lecture-recitals, and phy of each participant named in the pro- the AMS office no later than 5 p.m. EST, 15 other performances and performance-related posal; 5) for concerts, a one-page explanation January 2015. Exceptions cannot be made to events during the 2015 Louisville Annual of the significance of the program or manner this deadline, so please plan accordingly. Re- Meeting. We encourage proposals that dem- of performance; for lecture-recitals, a de- ceipts will be sent to those who have submit- onstrate the Society’s diversity of interests, scription (two pages maximum) explaining ted proposals by the deadline, and the com- range of approaches, and geographic and the significance of the program or manner of mittee will communicate its decisions by 15 chronological breadth inspired by or com- performance, and a summary of the lecture April 2015. plementing new musicological finds that de- component, including information pertain- —David Dolata velop a point of view or offer a programmatic ing to the underlying research, its methodol- Performance Committee Chair focus. Performances related to the meeting’s ogy, and conclusions; 6) representative audio venue are especially welcome. or visual materials pertaining to the program Call for Nominations: Session Freelance artists as well as performers and and performers (twenty minutes maximum). Chairs, AMS Louisville 2015 ensembles affiliated with colleges, universi- An individual may not present both a paper ties, or conservatories are encouraged to sub- and a performance (or lecture-recital) at the Nominations are requested for Session Chairs at the AMS Annual Meeting in mit proposals. Available presentation times meeting. If an individual’s proposals to the Louisville, 12–15 November 2015. Please include lunch hours, afternoons, and Thurs- Program and Performance Committee are visit the web site (www.ams-net.org/mil- day evening, 12 November 2015. both selected, the applicant will be given an waukee) for full details. Self-nominations 1 Required application materials include: ) early opportunity to decide which invita- are welcome. Deadline: 16 March 2015. an application cover sheet (available from tion to accept and which to decline. Though August 2014  75 Years Ago: 1939 • Claude Palisca chaired the Program Com- Membership Survey: Use and mittee for the Annual Meeting held in • Preparations for the September 1939 New Desirability of Online Research Washington, D.C. Board members Paul York Musicological Congress dominated Tools Henry Lang and Jan LaRue proposed that the time. Two letters from well-known full papers, not abstracts, be considered In May 2014 The AMS sent a survey to mem- musicologists unable to attend give an by the committee; the Board approved bers regarding access to online research tools: indication of the shadow looming over the proposal informally, but left the final RILM, JSTOR, and Grove Music Online. Of the meeting (and the world): Albert decision to the discretion of the Program the 3,400 survey invitations sent, we received Schweitzer wrote, “I would have been very 1,600 responses (47.5%). The results are as fol- happy to assist with the Congress and to Committee. • At the Annual Meeting, permission was lows: participate in discussions about musical RILM JSTOR Grove questions, which are my specialty. But be- given to graduate students from Columbia cause of the political situation, I cannot University to staff a table near registration Percentage of members with access leave Africa now. In the case of a war, I to solicit subscriptions to their new journal 74 85 84 Current Musicology. should not be cut off, far from my hospi- Estimated usage tal, which would be more necessary than ever.” Romain Rolland’s regrets included 25 Years Ago: 1989 weekly 24 59 51 the following: “There was a time when monthly 30 32 35 musicological publications maintained a • The Board authorized a reprint of Cynthia quarterly 27 8 12 jealously national character. Why not seek Verba’s 1980 booklet The Ph.D. and Your yearly 19 2 3 to establish them now on a truly world- Career (see www.ams-net.org/resources/ Source of access to the resources for both the original and the 2011 revised wide basis? . . . In the field of art, there academic 97 96 93 is not—there should not be—any rivalry version). among nations. The only combat worthy • The Board declined a recommendation Relationship to the academy (for those with of us is that which is waged, in every coun- to add telephone numbers and email ad- academic access): try, and at every hour, between culture and dresses to AMS Directory listings. student 31 27 29 ignorance, between light and chaos. Let us • President H. Colin Slim lamented the faculty, staff, 67 71 70 save all of the light that can be saved! Mu- “dismal record” of twenty percent voter retired sic is the sun of the inner universe.” participation (about 700 people) in the For those with no access to the resources: if most recent AMS election. 50 Years Ago: 1964 they were available, how often do you think you • Philip Brett formally organized the Gay would use them? • The Board approved a second printing of and Lesbian Study Group (now called the weekly 18 43 51 Joseph Kerman’s The Elizabethan Madrigal LGBTQ Study Group). monthly 37 31 31 (1962). The book has been in print ever • Obituaries were published for Isabel Pope quarterly 34 16 13 since, and a free electronic version is avail- Conant (b. 1901), Karl Geiringer (b. 1899), yearly 11 19 5 able at the AMS web site. and Carl Dalhaus (b. 1928). The results indicate that members have more access to JSTOR and Grove than Newsletter Editor James Parsons RILM, but all three are accessible to at least three quarters of respondents. JSTOR and The AMS is pleased to announce the appoint- takes many forms: AMS-L, AMS-Announce, Grove are utilized more than RILM. Nearly ment of James Parsons as Editor of the AMS Musicology Now, the Newsletter, and web site. all respondents have access via an academic Newsletter for a three-year term beginning with Each serves a distinct audience, yet all have a institution; the ratio of student users to oth- the February 2015 issue. A specialist in German common goal. ers is steady at 30/70. Of those who are em- song from the eighteenth century to the present, Reading recently the January 1971 first issue ployed, 85% are full-time, 13% part-time. he is professor of musicology at Missouri State of the Newsletter, I was amazed that Presi- One speculative question was put to those University. dent Claude Palisca also served as Editor. One without access to the resources. Grove was fa- It was easy to answer yes learns from the second issue vored, with over 80% of respondents estimat- 1971 when President Christo- that the Chapel Hill ing usage on at least a monthly basis. JSTOR pher Reynolds recently national meeting program was not far behind at 74%, with RILM at asked if I would serve as filled only two pages; com- 55%. (It is worth remembering that this ques- AMS Newsletter Editor. pare that with the August tion was only answered by about four hun- The AMS has that effect on 2013 issue where the pro- dred of 3,400 Society members.) people: one wants to pitch gram runs to ten. After for- in. I am excited to help ty-three years many things AMS New Books spread the AMS word and have changed, yet the pur- 125 titles have been added to the AMS hope forthcoming issues pose of the Newsletter has New Books list since the beginning of the will be meaningful both not: it is your publication year. within and outside our and exists to serve you. I See www.ams-net.org/feeds/newbooks/ ranks. As the Society this eagerly await your ideas and for details and information on submitting year marks its eightieth an- suggestions (jamesparsons@ titles. niversary, communication James Parsons missouristate.edu).  AMS Newsletter CFPs and Conferences The Music of War: 1914–1918 The Power of Affections: Poetry, 30–31 August 2014 Music, and Spectacle in Seventeenth- The AMS has implemented an internet site British Library, London Century Italian Opera Librettos to list conferences and CFPs that is easy to Royal Musical Association 13–14 November 2014 search and sort. See musicologyconferences. 4–6 September 2014 University of Pennsylvania xevents.sas.ac.uk for further details concern- University of Leeds The Wizard of Oz and the Western ing listings presented here; additional confer- Perspectives on Musical Improvisation II Cultural Imagination ences are listed at the web site. 21 22 2014 9–12 September 2014 – November To subscribe to email notification regarding University of Oxford University of Brighton musicology conferences, see www.ams-net. Music and War in Europe from the org/announce.php. Early Music Revivals and their Neoclassical Echoes (1870–1970) Napoleonic Era to World War I 28 30 2014 Calls for Papers 11–12 September 2014 – November University of Melbourne Lucca Interdisciplinary Musicology Digital Libraries for Musicology Musicological Society of Australia: CFP deadline: 5 August 2014 12 September 2014 “The Charisma of Dissonance” 29 2 2014 4–6 December 2014 London November– December National Institute for Music Research, Berlin Melbourne Jean-Philippe Rameau The Past, Present, and Future 12–14 September 2014 Hearing Landscape Critically: Music, of Public Musicology University of Oxford Place, and the Spaces of Sound CFP deadline: 1 September 2014 14–16 January 2015 European Music Analysis Conference 30 January–1 February 2015 Harvard University 17–20 September 2014 Westminster Choir College, Rider University Leuven Postmodernity’s Musical Pasts: American Guild of Organists Rediscoveries and Revivals after 1945 Sensation and Sensibility at the CFP deadline: 30 September 2014 26–27 March 2015 Keyboard in the Late Eighteenth 19–23 June 2016 Graduate Center, CUNY Century: Celebrating the Houston Tercentenary of C. P. E. Bach Music and Consciousness 14 17 2015 Society for Christian Scholarship in Music 2–4 October 2014 – April CFP Deadline: 1 October 2014 Cornell University University of Oxford 12–14 February 2015 Ecomusicologies 2014: Dialogues Authority and Materiality in the Italian Emory University, Atlanta 4–5 October 2014 Songbook: From the Medieval Lyric Society for Seventeenth-Century Music University of North Carolina, Asheville to the Early-Modern Madrigal and American Handel Society 1–2 May 2015 The Blues CFP Deadline: 1 October 2014 Binghamton University, SUNY 6–7 October 2014 23–26 April 2015 Delta State University, Cleveland, Miss. Back to the Future: Popular Music University of Iowa, Iowa City and Time (IASPM Conference) Performing Early Music in the Age Mapping the Post-Tridentine 29 June–3 July 2015 of Recordings: National Styles and Motet (ca. 1560–ca. 1610): Text, São Paulo, Brazil Influences in Performance Then and Now Style, and Performance 13–14 October 2014 International Music Analysis Conference CFP Deadline: 10 October 2014 8 10 2015 Tel Aviv – July 17–19 April 2015 Keele University University of Nottingham Voices of Identities: Vocal Music and the De/Con/struction of Communities in the Royal Musical Association Representations of Musicians in the Former Habsburgian Areas 1914–2014 10–12 September Coroplastic Art of the Ancient World 16–19 October 2014 University of Birmingham CFP deadline: 15 November 2014 Alpen-Adria-Universität & Kärntner Landes- 7 March 2015 konservatorium, Klagenfurt New York University Meetings of AMS and Related Italian Musicological Society Over and Over: Exploring Societies 17–19 October 2014 Repetition in Popular Music Conservatorio di musica “Evaristo Felice 2014: CFP deadline: 18 January 2015 Dall’Abaco,” Verona CMS: 29 Oct–2 Nov., St. Louis, Mo. 4–6 June 2015 AMS/SMT: 6–9 Nov., Milwaukee, Wis. Gluck and the Map of University of Liège SEM: 13–16 Nov., Pittsburgh, Pa. Eighteenth-Century Music Conferences 17–19 October 2014 2015: SAM: 4–8 March, Sacramento, Calif. North American British Music Western Illinois University, Macomb CMS: 5–7 Nov., Indianapolis, Ind. Studies Association Jewish Music and Jewish Identity SMT: 29 Oct.–1 Nov., St. Louis, Mo. 31 July–2 August 2014 19–21 October 2014 AMS: 12–15 Nov., Louisville, Ky. University of Nevada, Las Vegas Youngstown State University SEM: 3–6 Dec., Houston, Tx.

August 2014  Obituaries of two printed volumes (texts and chants) and an electronic database. Two decades later, The Society regrets to inform its members of the deaths of the following members: this research yielded his final work, the page proofs of which arrived only weeks before his death: The Becket Offices: Paradigms for Litur- Howard Brofsky, 17 October 2013 Daniel Koury, 21 March 2014 gical Research. Winton Dean, 19 December 2013 Ernest Mead, 13 February 2014 Hughes received his D.Phil. from Oxford in Sven Hansell, 6 March 2014 James Pruett, 26 February 2014 1964, studying with Frank Ll. Harrison, and Donald Johns, 14 July 2013 Norman Smith, 3 March 2014 Joseph Kerman, 17 March 2014 began his teaching career at Queen’s Universi- ty Belfast (1962–64). He immigrated to North America in 1964, teaching at the University Winton Dean (1916–2013) on Handel but embracing a variety of other of Illinois (1964–67), the University of North subjects, particularly French and Italian op- Carolina (1967–69), and finally at the Uni- Winton Dean, a Corresponding Member of era of the early nineteenth century. There was versity of Toronto from 1969 until his retire- the AMS since 1989, died on 19 December even a critical edition of Handel’s Giulio Ce- ment in 2003. Hughes taught and mentored 2013 at the age of 97. He was born in Birken- sare, co-edited with Sarah Fuller (one of his both students and colleagues, writing letters, head, England, son of the theatrical and film former Berkeley students). In all his writing vetting essays, and even producing music producer Basil Dean. At Cambridge, he read Dean displayed a brilliant literary style and a examples to illustrate the publications of his Classics and English but also became a dis- mischievous wit, often applied with devastat- less computer-savvy colleagues. Not surpris- ciple of then Professor of Music Edward Dent ing effect. Whether denouncing a baritone ingly, his pedagogy included the use of video and took part in a staged performance of singing a castrato role, a wrong-headed opera documentaries, some of which grew out of Handel’s Saul, experiences that helped form edition, or a stage director’s transmogrifica- his concern that students of medieval history him as a music critic and scholar. He first tion of a dramatic masterpiece, he could be and literature often ignored the musical nota- made his mark in 1948 with a Master Musi- a formidable adversary. Though except for his tion on the pages they read. Having started in cians biography of Bizet, greatly revised and year as Bloch Professor he never held an aca- music as a violinist, Hughes never abandoned enlarged in 1965, but soon his research came demic post, Winton Dean was greatly valued his interest in performance. Throughout his to focus above all on Handel. as a mentor, advisor, and friend by many col- teaching career he oversaw concerts of me- When Dean began work, Handel was leagues around the world. dieval music, including staged performances known primarily through a few oratorios, fa- —John H. Roberts of liturgical dramas and ceremonies in which vorite arias, anthems, and instrumental col- Andrew Hughes (1937–2013) he served as editor, director, and occasionally lections. Most of his oratorios were performed as performer. He also mentored early music only occasionally, usually in corrupt editions Andrew Hughes, an innovative scholar of groups such as The Toronto Consort and Sine and in a style still clouded by Victorian tradi- medieval music and especially chant, died Nomine. tion; the operas, when not ignored altogeth- in Toronto on 23 December 2013 at the age Hughes’s academic honors included Uni- er, tended to fare even worse. It was Dean, of seventy-six. He will be best remembered versity Professor at Toronto (awarded in more than anyone else, who transformed our for his computer research on the liturgy of 1992), and president of the Medieval Acad- perception of Handel and inspired renewed the late Middle Ages, and specifically on the emy of America (2001–02). His major hobby interest in his oratorios and operas. In his enormous repertory of the rhymed office was tournament croquet, for which he was monumental Handel’s Dramatic Oratorios and (some 50,000 sung poems). His interest in nationally ranked in Canada. Masques (1959) he demonstrated the compel- the latter was prompted by a chance discov- —Timothy McGee and John Haines ling power of works like Saul, Hercules, and ery in 1965 while completing his study of the 1924 2014 Theodora and disentangled the many conflict- Old Hall Manuscript in collaboration with Joseph Kerman ( – ) ing sources, raising Handel scholarship to a Margaret Bent. He was able to identify one Joseph Kerman, AMS Honorary Member, new level. He was then still wary of Handel’s of the previously unidentified tenors as taken professor at the University of California, Italian operas, but before long he saw that from the office of Thomas Becket, a discovery Berkeley, for more than forty years, and one rightly interpreted they too deserved a place that led him inevitably to the vast repertory of the most influential figures in Anglo-Amer- on the modern stage, and he eloquently made for late medieval saints. In the early 1970s ican musicology, died at his home in Berkeley the case in his Bloch lectures at Berkeley in Hughes was one of the first musicologists to on 17 March 2014 after a long illness, weeks 1965–66, published three years later as Handel see the advantage of adopting computers for short of his ninetieth birthday. and the Opera Seria. With more than twice research; he learned to write code so that he Though immersed in the world of mu- as many operas as dramatic oratorios it neces- could adapt existing programs to his needs, a sic from a young age in his native London, sarily took him somewhat longer to complete practice he continued throughout his career. Kerman took his undergraduate degree in his second magnum opus. The first volume Thus he began collecting and organizing an physics at New York University. Only later of Handel’s Operas, written in collaboration enormous quantity of data on the rhymed did he pursue music as an academic study, re- with J. Merrill Knapp, appeared in 1987, the Office, an area of chant that had been almost ceiving in 1950 the first Ph.D. in musicology second volume by Dean alone in 2006, as he completely neglected. It remained his major granted by the Princeton music department. turned 90. research project and resulted in numerous He joined the Berkeley faculty the following Meanwhile he produced countless reviews publications. An introductory study present- year. Kerman also served as Heather Professor of performances, books, scores, and record- ing the raw research material was published of Music at Oxford from 1971 to 1974, and ings, especially for the Musical Times, and as Late Medieval Liturgical Offices: Resources in 1997–98 he held the Charles Eliot Norton many important essays and articles not only for Electronic Research (1994–96), consisting Professorship of Poetry at Harvard.  AMS Newsletter Kerman’s musical interests were unusually the University of North Carolina, Chapel broad and eclectic, and the shape of his pub- Hill, receiving Bachelor’s (1955), Master’s Doctoral Dissertations in lishing career, which included a dozen books (1957), and Ph.D. (1962) degrees there; his Musicology and hundreds of articles, essays, reviews, and dissertation was on “The Hymns of Filippo The DDM database maintained by the liner notes, was remarkably serendipitous. Vitali.” While a student, he met his future AMS is successful and growing. Most His dissertation on the Elizabethan madrigal wife, Lilian Pibernik, from Zagreb, who is members have a direct connection be- arose from a casual suggestion by his advisor also a musicologist. tween their in-progress or completed dis- Oliver Strunk; this research would lead to his From 1961 to 1976, Jim was chief mu- sertation record and their member direc- pioneering studies of the music of William sic librarian at UNC. He was also a faculty tory entry; if yours is missing, send a note Byrd. Kerman’s first book, and still his most member of the Department of Music, teach- to the AMS and we will create it. In June famous, Opera as Drama (1956, revised 1988), ing mostly classes in the renaissance. Particu- 2014, the AMS and the British Library originated as a series of articles he wrote for larly challenging was his “Introduction to agreed to share data, and we will be adding the Hudson Review during the 1950s, inspired Research” class, required of all musicology some three thousand British titles to the by his accidental friendship with his Princ- students. It was equal parts bibliography and database over the next few months. eton neighbor and its founding editor, the problem-solving. (His first assignment to me The database now includes over 16,000 classicist William Arrowsmith. These and was a report on a two-volume encyclopedia records of dissertations dating from the other Hudson Review articles eventually re- of music in Hungarian; no, I do not read late nineteenth century to today. Up- sulted in specialized studies of Beethoven, Hungarian.) He was an ideal dissertation ad- dates can be sent to the AMS office at any Bach, Mozart, Verdi, and other composers. visor, insightful, fast, and a wonderful editor, time. Recently completed dissertations Regardless of his subject matter or his in- often returning chapters the day after they are also added to the AMS New Disserta- tended audience, Kerman sought above all were submitted to him. From 1974 to 1986 he tions RSS feed (www.ams-net.org/feeds/ to write about music in a way that conveyed was Chair of the department. He was offered ddm). Dissertations range broadly across its essential expressive and technical quali- the position of Chief of the Music Division all topics and subdisciplines that pertain ties. He called this activity “criticism,” which at the Library of Congress in 1977, but he to musicology, from all countries and in he spent his entire career practicing as well turned it down for family reasons. In 1987 he all languages—its lacunae occur only be- as preaching. The practice is evident in the was offered the position again, and this time cause authors have not requested an entry. music appreciation textbook Listen (first pub- he accepted, serving in that capacity until Records include references to dissertation- lished 1972), originally co-authored with his 1995. While at LC, he oversaw publications, vendor sites, publications, and online ac- wife Vivian Kerman and now in its seventh acquisitions, public concerts, exhibits, and cess, when this information is available. edition, and in his frequent contributions to the development of new programs, among The DDM database is consistently one the New York Review of Books. But it was the many other things. He wrote that he particu- of the most popular pages of the AMS preaching, in a series of stimulating critiques larly liked “assembling knowledge and art for web site, receiving thousands of visits each of contemporary musical scholarship, that the future without any certainty as to how it month. garnered the most attention and controversy will affect the minds and souls of people to within the academy, especially his 1985 book come.” Upon his retirement, the department Contemplating Music, with its provocative at UNC held a day-long conference in his Policy on Obituaries subtitle Challenges to Musicology. honor, at which many of his former students Kerman was a fluent pianist, but his main presented papers. Somehow, Lilian managed The Society wishes to recognize the instrument was the typewriter, and later the to hide the conference from him and get him accomplishments of members who computer. He was a formidable editor, of not to campus on a Saturday without his know- have died by printing obituaries in the only his own prose but that of his students ing what was to take place. In 1993, he was Newsletter. Obituaries will normally and colleagues. As founding editor of 19th- honored by UNC as a distinguished alum- not exceed 400 words and will focus on Century Music and General Editor of a com- nus. music-related activities such as teaching, plementary University of California Press Jim was active in the AMS and MLA, serv- research, publications, grants, and ser- book series, he was instrumental in establish- ing as president of the latter organization vice to the Society. The Society requests ing that period as worthy of serious study. from 1973 to 1975. He also served as editor of that colleagues, friends, or family of a Kerman was a giant in the field, who in- the association’s journal, Notes, from 1974 to deceased member who wish to see him spired awe but also love and respect from 1977. Jim was editor of Essays in the History, or her recognized by an obituary com- colleagues, students, and friends. He will be Style, and Bibliography of Music in Memory of municate that desire to the editor of the 1969 remembered for the wit and elegance of his Glenn Haydon ( ) and author of Research Newsletter. The editor, in consultation 1985 prose, his passion to provoke and persuade, Guide to Musicology ( ) as well as a num- with the advisory committee named be- and above all, for insisting on the music in ber of articles. low, will select the author of the obitu- musicology. In his honor, UNC has established the ary and edit the text for publication. —Walter Frisch and Ellen Rosand James Pruett Summer Fellowship to the Li- A committee has been appointed to brary of Congress for graduate students, al- oversee and evaluate this policy, to com- James Pruett (1932–2014) lowing them to study major manuscripts and to find dissertation topics, particularly mission or write additional obituaries as James Worrell Pruett, musicologist and mu- in American music. There is also a recently necessary, and to report to the Board of sic librarian, died at his home on 26 February endowed annual James Pruett Lecture by a Directors. The committee comprises the 2014 after a serious illness. He was born in visiting scholar. executive director (chair), the secretary Mount Airy, North Carolina, and attended —William F. Prizer of the Council, and one other member.

August 2014  American Musicological Society Bowdoin College Nonprofit org. 6010 College Station U.S. Postage PAID Brunswick ME 04011-8451 Mattoon, IL Permit No. 217 Address service requested

Changes Proposed to the Society’s By-laws The AMS Council has proposed two amend- arising at Council meetings, but not for elec- AMS Enhanced Directory ments to the Society’s by-laws. Per the by- tions. Student members shall serve overlap- laws, Article XII, a discussion regarding the ping terms... The new AMS online Directory includes fea- proposed amendments will take place at the 2. Article IV.A.3. Currently, terms of ser- tures such as photo and document uploads, AMS Annual Meeting in Milwaukee. The vice on the Council begin at its meeting in research interests, publication citations, and membership will vote on the amendments one year, and end the day before its meeting personal links. Nearly five hundred mem- following the Annual Meeting. The proposed roughly three years later. This schedule does bers have added information in the past few amendments are as follows: not accord well with activities of Council, weeks. If you haven’t updated your Directory 1. Article IV.A.2. This proposed emenda- which often include preparation for the meet- entry yet, please do! Log in at www.ams-net. tion gives student representatives to the AMS ing in late summer and fall. The proposed org and follow the link. Council the right to vote in all matters except emendation rectifies the problem. elections (Council, Honorary, and Corre- The terms of Council members shall begin This issue of the AMS Newsletter is the sponding Membership ballots) each year: with the annual meeting of the Council held sixth and final to be edited by Andrew The student members of the Council shall at the time of the annual meeting of the Soci- H. Weaver be students who have embarked on doctoral ety and extend to the day immediately prior (Catholic University of programs in any field of musical scholarship. to the annual meeting of the Council approx- America). Student members shall be ineligible to par- imately be three years later for regular mem- Next Newsletter Deadline ticipate in voting by the Council. Student bers and two years later for student members. members have voting privileges for matters Terms begin on 1 August and end on 31 July. Items for publication in the next issue of the AMS Newsletter must be submitted 1 Society Election Results Correction by December to the incoming editor: James Parsons The results of the 14 election of AMS In the February 2014 AMS Newsletter, p. 24, AMS Newsletter Editor officers and the Board of Directors: the following paper was omitted from the Pa- Missouri State University cific Southwest Chapter meeting held jointly [email protected] Vice-President: Anne C. Shreffler with the Northern California Chapter, 27–28 Treasurer: James Ladewig April 2013: TheAMS Newsletter (ISSN 0402-012X) Directors-at-Large: Andrea Moore (University of California, is published twice yearly by the Ameri- Georgia J. Cowart Los Angeles), “Neoliberalism and the Entre- can Musicological Society, Inc. and Emma Dillon preneurial Musician” mailed to all members and subscribers. Jeffrey Magee Requests for additional copies of current and back issues of the AMS Newsletter 439 votes were cast (336 electronically, 103 Interested in AMS Committees? should be directed to the AMS office. via paper); 13% of the membership The president would be pleased to hear All back issues of the AMS Newsletter Next Board Meetings from members who wish to volunteer are available at the AMS web site: for assignments to committees. Send www.ams-net.org/newsletter The next meetings of the Board of Direc- your assignment request and CV to Claims for missing issues must be tors will take place 5 November in Milwau- Christopher Reynolds, University of made within 90 days of publication kee, and 28 February 2015 in Louisville. California: [email protected]. (overseas: 180 days).