AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLI, NUMBER 2 August 2011 ISSN 0402-012X “The Suburb across the Bay” AMS San Francisco 2011 10–13 November www.ams-net.org/sanfrancisco “From its very beginnings Oakland has suf- fered by comparison with its more illustri- ous suburb across the bay,” quipped the Local Co-Chairs in this Newsletter when the San Francisco Convention & Visitors Bureau photo Society last came to the Bay Area twenty- one years ago . They also went on to point out that the previous season, the Athletics had won in four straight games over the San Francisco Giants… But don’t worry—that isn’t true anymore; the Giants beat every- body last year (though this Italian still has no idea how that game works) . You will have a swell time in the “suburb across the bay,” the thirteenth most populous city in the U S. . and home to the current World Series champions, the San Francisco Giants . settled by Ohlone Native Americans prob- of alternative and local events . There are The San ranciscoF Bay, protected by the ably around eight thousand years ago, the museums for all tastes, and restaurants for two land “fingers” called the Golden Gate protected bay being a perfect setting for a all pockets . It may well be the most open (hence the name of the red bridge), was port for trade as well as warfare activities . city in the country, accepting everyone and The surrounding natural resources provided everything as an integral part of its mission . In This Issue… fertile ground for agriculture and ample op- It is not a place devoid of problems, but it President’s Message ...... 2 portunity for hunting . The pull of adven- is a city where the idea of fighting for social JAMS News ...... 4 ture and exploration was also significant, justice is ingrained into most of the popula- AMS Lectures ...... 4 and well before the forty-niners and the gold tion . Studies Editor Jann Pasler ...... 5 rush . In 1579, Sir Francis Drake described Whether you want to explore the city’s Awards, Prizes, Honors ...... 6 and mapped the region; he was followed in sporting activities, concerts, nightlife, parks, Musicology and Documentaries . . . 8. 1786 by French explorer Jacques-François de galleries, restaurants, panoramic stairs, or National Humanities Alliance . . . 10 Galaup, Comte de la Pérouse . The firstu E - most anything… there is an app for that . Executive Director’s Message . . . . 10 ropeans to settle in the area were the Span- Really . Some notable examples include the Ingalls Wilder Family Songbook . . . 11 iards, in the eighteenth century, who started SFArts org. one, the SF Weekly app, or the Inaugural AMS Teaching Award . . . 11 various missions to convert the Ohlone, meta-app called SwamiCity San Francisco San Francisco Performances . . . . 12 eventually driving them away altogether . that lists all sorts of places and events . There San Francisco Preliminary Program . . 13 San Francisco is a peculiar city, with a are quite a few about restaurants, including News from the AMS Board . . . . 23 feeling that is unlike any other place in this one that features specifically Chinatown res- AMS/SEM/SMT New Orleans 2012 . 24 large and multifaceted country . There are taurants . So get those walking shoes on your Committee & Study Group News . .26 dirt-poor and filthy-rich neighborhoods, feet and your smartphone in your pocket News Briefs ...... 28 housing projects and ocean-side villas that and off you go . Speaking of walking, be Conferences ...... 28 sell for millions, as well as pretty much ev- sure to check elsewhere in this Newsletter for Obituaries ...... 30 erything in between . Its artistic offerings events organized by the Ecocriticism Study Legacy Gifts ...... 31 range the entire spectrum, from the world- Group (see p . 27) . President-Elect Reynolds . . . . . 32 renowned opera and symphony to all kinds continued on page  President’s Message: Forward Thinking / Moving Forward

In my last column, I began to reflect on will certainly maintain these functions as thought . How can we strengthen our core what the AMS might do in the coming we move ahead . mission “to advance research in the various years to continue achieving its aims . Here But I hope that the Society will also con- fields of music as a branch of learning and I would like to focus on the ways in which sider questions that call for strategic think- scholarship?” Are we serving all our con- forward thinking can benefit the Society ing . In certain instances, being proactive stituencies, particularly our graduate stu- as we begin to assess the current state of might entail something as straightforward dents and our younger, emeritus, minor- the AMS in terms of its relationship to its as streamlining some of our committees . ity, and independent scholars, as well as we members and the broader world, and its Our current procedure for weighing appli- can? Does the time-honored format of the role in academic and cultural life . cations for travel awards from the Bartlet, annual meeting work as it should? What Any self-study of the Society should LaRue, Powers, and Wolf Funds offers a administrative bodies do we need to estab- begin by acknowledging that the AMS case in point . Each of these named award lish, restructure, or eliminate? Is the role of finds itself in an enviable position in many funds was set up with a separate commit- teaching properly recognized in the AMS? ways . It enjoys both longevity and stabil- tee of three at its inception during the What plans for ongoing, post-campaign ity, having marked its seventy-fifth anni- OPUS Campaign . Over time, it has be- development might we consider? Should versary and completed a highly successful come clear that the activities of the four JAMS become a quarterly publication? campaign . Our OPUS Campaign, more- committees, staffed by a total of twelve Should the Society institute a second, on- over, had a galvanizing effect: for almost a AMS members, overlap to a great extent . line journal? How can we effectively share decade—from the first announcement of To maximize their chances for success, the fruits of our research with wider audi- the idea in 2002 until the mailing of the students currently submit virtually identi- ences through print, broadcast, and digital final report to donors in 2011—we worked cal, yet separate, proposals for awards with media? What particular forms of com- together and accomplished important similar missions (e g. . LaRue and Wolf, munication—ones similar, for instance, things . The hustle and bustle was invigo- both providing support for research in to our podcast initiative and our lecture rating and effective in part because it was Europe) . Recommenders write letters for series at the Library of Congress and the out of the ordinary . Remaining in cam- each application; duplication and triplica- Rock and Roll Hall of Fame—might fur- paign mode, however, is neither desirable ther help the work of our members reach nor feasible . Day-in and day-out, societies We are at our best when the public? What new technologies can function in more mundane ways . benefit the Society to these ends? How can And yet, I think we should try to pre- we are proactive the AMS position itself to serve as a more serve one invaluable by-product of OPUS: prominent voice in American academic the forward thinking that this endeavor tion of effort are common . Beginning in and cultural life, as a go-to advisory body has fostered . Campaign or no campaign, 2012, the Board will establish a five-person for policy makers in the arts and humani- we are at our best when we are proactive . Committee on Travel Grants that will read ties? What directions should the AMS take applications for all four funds . Under the In order to help us engage in the kind over the next two decades, as we approach new procedure, applicants will write a of dedicated forward thinking that these our centenary? What’s working, and what single proposal describing the work to be questions call for, the Board has approved needs fixing? undertaken, and recommenders will write plans for a retreat, to be held in conjunc- To be sure, the Society already has struc- a single letter in support . It will be left to tion with its meeting in March 2012 . Prep- tures in place to help us move forward the committee to decide which fund best arations for this event are now underway . as well as operate on a daily basis in the suits which project . Not only do we an- Your guidance and counsel will be an es- post-OPUS era . Our governing bodies and ticipate that this means of vetting travel sential and welcome part of our delibera- committees carry out activities that range proposals will work more efficiently, but it tions; we are considering how we can in- from selecting winners for fellowships, will reduce the number of AMS members volve the membership formally and infor- grants, awards, and publication projects; administering these awards from twelve to mally in the process . As always, I encour- to planning the annual meeting; to reach- five, making it possible for some to focus age you to discuss these matters amongst ing out to other scholarly organizations; their efforts on equally important work yourselves and on AMS-L—at least two of to communicating both within and out- that is currently languishing in other areas the questions I mentioned above were al- side our ranks through print (e g. . JAMS, of the Society . ready being debated there as I was polish- AMS Studies, the Newsletter) and word Reviewing the organization of our travel ing my own thoughts in May and June— (AMS-L); to sustaining our administrative fund committees is an obvious way of ad- or to communicate your thoughts directly structure; to monitoring the status of the dressing a perceived problem . Other is- to me (awrx@uchicago .edu) . various categories of our membership . We sues, however, will require more sustained —Anne Walters Robertson

 AMS Newsletter AMS San Francisco 2011 on C . P . E . Bach, jazz and gender, Boym from the high 50s to the low 60s, with a and nostalgia, and Broadway, in addition very slight chance of rain . continued from page 1 to panels by AMS Committees and Study Ancillary Meetings. Organizations with Groups . Browse the Preliminary Program ties to the AMS continue to participate As the membership is well aware, as I (pp . 13–22) to see the delights that await enthusiastically during the Annual Meet- write (early June) there is a labor dispute you! ing . This ear,y the American Bach Society, between the Hyatt and its workers . Many of Special Performances. As anticipated in American Beethoven Society, American you have signed a petition urging the AMS the February issue of the Newsletter, we are Brahms Society, American Handel Soci- to consider the issue of crossing picket lines lucky to have the meeting in San Francisco ety, American Institute for Verdi Studies, as well as the possibility of relocating, but coincide with the Centennial Celebration Early Music America, Forum on Music and as AMS President Anne Walters Robertson of the San Francisco Symphony . We will Christian Scholarship, Lyrica Society, Mo- has communicated, since there is no escape have a block of tickets to an all-Schubert zart Society of America, North American clause for labor disputes in our contract, we concert conducted by Michael Tilson British Music Studies Association, Society cannot afford the penalty for cancellation . Thomas (www sfsymphony. org). . There for Eighteenth-Century Music, and Society It is everyone’s hope that the dispute will will also be a special event for us, a pre- for Seventeenth-Century Music will hold be resolved by the time we meet there, and concert roundtable discussion on Friday public meetings or receptions . Addition- some of us are looking for means to show evening about the role of a musicologist at ally, the standard array of receptions and support for the workers in other ways, a performing organization (“The View from parties will take place over the course of without filling the Hyatt’s coffers with our Backstage: Musicologists on Staff at the San the weekend . Details can be found in the cancellation money or penalty fees for un- Francisco Symphony”) . The anS Francisco occupied rooms . Please check the AMS web Preliminary Program, and announcements Opera is also offering us discounted tickets from the membership about meeting events site for updates and for the Society’s official for three fabulous productions (www sfop. - position (www ams-net. org/sanfrancisco/. can be found at the meeting web site . era com). . First, on Thursday, there is Mo- Interviews. union php). . A limited number of rooms at zart’s Don Giovanni with Lucas Meachem the conference hotel will be available for job San Francisco can be reached easily in the title role, in a new SFO production through all major and most not-so-major interviews during the meeting . To reserve a by Gabriele Lavia, conducted by SFO con- room, please consult the web site or contact airlines . The anS Francisco International ductor Nicola Luisotti . On Friday they of- Airport (SFO) is located about ten miles the AMS office . Job candidates can sign up fer Handel’s Serse, with Susan Graham in via the web or (if spots are still available) at south of the city . Sometimes people find the title role and countertenor David Dan- cheaper flights to the Oakland Internation- the interview desk in the hotel . AMS policy iels as Arsamenes, led by Patrick Summers, prohibits interviews in private rooms with- al Airport (OAK) across the bay, a major in the visually stunning, Olivier Award- out appropriate sitting areas . hub for Southwest Airlines . From there a winning staging for the English National Registration. Conference registration fees: quick ride on the subway (BART), accessed Opera by Nicholas Hytner . Finally, on Early (till 5 p m. . ET 30 September): $105 through a shuttle (AirBART), takes the Saturday, there is Bizet’s Carmen, with Kate ($45, student/retired); Regular (1 to 31 Oc- traveler to the city (see p . 22 for travel in- Aldrich in the title role, in a classic SFO tober): $135 ($75, student/retired); Late/ formation) . production by Jean-Pierre Ponnelle, led by Onsite: $155 ($85, student/retired) . AMS The rogram.P This year’s meeting will in- Nicola Luisotti . There will also be a special members receive a conference registration clude fifty-six sessions . As usual, the topics AMS-sponsored performance by the ac- form via U S. . mail; a PDF version, as well form a very broad array, from chant and claimed early music ensemble the American as online registration, is available at the web medieval song to hip hop and “Maps, Paths, Bach Soloists (www americanbach. org),. led site . and Temporalities: Music in the Twentieth by Jeffrey Thomas, who will present both Child Care. If a sufficient number wish to and Twenty-first Centuries ”. “Mad, Bad, well-known and somewhat rare works by J . arrange child care, the AMS office will assist and Lewd on the Seventeenth-Century Ital- S . Bach, Buxtehude, and Weckmann . For in coordinating it . Please contact the AMS ian Stage” may be found in the program, as those interested in jazz, there are quite a few well as sessions on theosophy, Marx (Karl), jazz clubs in the city, and during the meet- office if this is of interest . Scheduling. Weber (Gottfried) and Riemann, the la- ing the San Francisco Jazz Festival (www . Please contact the AMS of- bor movement, and “Music and the Law ”. sfjazz org). will be in full swing (schedule fice to reserve rooms for private parties, There are nine sessions directly related to not announced yet) . receptions, or reunions . Space is limited, operatic topics, including an “alternative Weather. San Francisco is a paradise— so please communicate your needs as soon format” session on recent opera production never cold and never hot . November is the as possible . The anS Francisco meeting web and performance . All in all, the rich and tail end of the best season—the fall, with its site provides further information . varied selection will present attendees with blue skies and balmy temperatures . In mid- Student Assistants. The AMS seeks stu- delightfully difficult choices . November one is likely to need a sweatshirt dents to help during the conference in re- Attendees may also choose from three or light jacket, though it will not be as cold turn for free registration and $11 per hour daytime lecture-recitals: songs from the or foggy as in the summer . As Mark Twain (six hours minimum) . If this is of interest, German Democratic Republic, the organ unfortunately is supposed not to have re- please see the web site or contact the AMS works of Alain and Liszt (at nearby Grace marked, “the coldest winter I lived was a office . Cathedral), and French Romantic guitar summer in San Francisco ”. He should have —Alexandra Amati-Camperi music . Evening Panels include sessions said it… Daytime temperatures will range Local Arrangements Chair August 2011  JAMS News AMS / Rock and Roll Hall of Scholars who plan to submit an article to JAMS will note a change Fame and Museum Lecture Series in the “Directions to Contributors” that addresses a long-debated aspect of the Journal: the length and number of articles in each is- The AMS and the Rock and Roll Hall of sue . With the support of the AMS Board of Directors, the Editorial Fame and Museum (RRHOFM) in Cleve- Board has approved the following guideline: land, Ohio, are collaborating on a new The Journal encourages submission of articles and essays up to lecture series that brings scholarly work to 15,000 words in length, including notes and appendices . Stud- a broader audience and showcases the mu- ies exceeding this length will be considered at the discretion of sicological work of the top scholars in the the Editor and the Editorial Board . field . Albin J . Zak III, Professor of Musicology The new guideline responds to deliberations over the past years at the State University of New York, Alba- Albin J . Zak III by the AMS Council and other committees, and to informal dis- ny, will give the inaugural lecture, “‘A Thoroughly Bad Record’: cussions on the AMS listserv . We wish to encourage a broader pool Elvis Presley’s ‘Hound Dog’ as Rock and Roll Manifesto,” on of submissions to the Journal and publish a greater number of Wednesday, 5 October at 7:00 p m. . in the Rock and Roll Hall of articles per issue with more diverse content, while not excluding Fame and Museum . Zak describes his lecture as follows: “The pop longer contributions . music upheavals of the 1950s were fraught with crosscurrents and JAMS is committed to the highest standards of scholarship . The paradoxes . As fundamental changes in musical sound and lan- way we receive and select articles for publication will not change . guage accrued rapidly, their significance was masked by a veneer Discussions on the AMS listserv have expressed concern that issues organized by theme or other criteria might displace articles submit- of trivia . It was impossible for anyone at the time to imagine the ted in the normal way . In the eyes of the Editorial Board, any such long-range implications of what was happening . In retrospect, change of policy would be unacceptable . however, we can recognize defining moments of crystallization . The postings on the AMS listserv and elsewhere have also raised This talk examines the implications of the market success of El- the question of editorials . Their ole,r as we perceive them, is to vis Presley’s ‘Hound Dog,’ which claimed the number-one spot provide an overview of the content of a given JAMS issue, also with on the Pop, Country, and R&B charts in the summer of 1956 . an eye to matters of broader interest to the field . Feedback suggests The ecordr was widely scorned by music industry veterans and high-pop aficionados, yet in its rude enthusiasm it represents an that readers welcome the opportunity to preview the contents of emphatic assertion of aesthetic principle at the dawn of rock and the Journal in ways that encourage engagement beyond their own roll ”. specialist interests . To add to a diversity of perspectives, each Edito- The AMS/RRHOFM Lecture eriesS will continue in Spring rial will have a different author . 2012 with a lecture by David Brackett (McGill University) en- JAMS will continue to publish colloquies on topics of current in- titled “Fox-Trots, Hillbillies, and the Classic Blues: Categorizing terest, with short contributions by five or six scholars (one past ex- Popular Music in the 1920s ”. ample is the colloquy “Finishing Mozart’s Requiem,” from Spring Webcasts of the lectures will be available on the AMS web 2008) . We welcome suggestions on topics from the membership . site . Special thanks to Jason Hanley, Director of Education at Neither of these initiatives—the editorials nor the colloquies— RRHOFM, for helping to organize and coordinate this series . detracts from the number of pages available in the Journal for the The Communications Committee would be happy to eceiver scholarly articles and reviews that are central to its mission . The proposals from AMS members interested in giving a lecture as part of this series; see the web site, www .ams-net .org/RRHOFM- AMS and the University of California Press do not impose limits lectures/, for full details . on the number of pages available per issue or per volume—within —Anna Maria Busse Berger reason—and these articles and reviews will continue to be its chief focus . We regularly review all aspects of the Journal, and we welcome constructive feedback from AMS members as we further the Jour- nal’s goal of serving the Society and the discipline at large . —Annegret Fauser and the JAMS Editorial Board

AMS San Francisco 2011: Conservation Notes In response to many members’ requests to be more conservation- minded at the Annual Meeting, the AMS office plans to undertake the following: 1) tote bags will be available for those who request them while registering; those who do not wish to receive a tote bag may decline . 2) The Program and Abstracts Book will be made avail- able as a download or on a thumb drive upon request . 3) Paper materials formerly given in the tote bag will be available on display tables in the registration area . See the meeting web site for further The Rock and Roll Hall of Fame and Museum details: www .ams-net .org/sanfrancisco/ . Cleveland, Ohio

 AMS Newsletter AMS / Library of Congress Lecture Series

The AMS / Library of Congress Lecture Series will continue this fall . new version would not be the same as the first version . Deconstructing The Communications Committee welcomes proposals from AMS the work’s creation forces us to re-interpret what we argue Beethoven members interested in giving a lecture as part of this distinguished wished to express . The point of such an intellectual and musical ven- series, which is intended to showcase research conducted using the ture is not to turn musicology into music pathology, but to see that extraordinary resources of the Library of Congress Music Division . All sketch and autograph studies are most informative for what they tell lectures are available as webcasts . us about meaning and thus interpretation ”. The next lecture will take place in the Coolidge uditoriumA at noon Meredith continues: “This talk and performance focus on two ele- on 10 September . William Mere- ments of the creative process visible dith, Director of the Ira F . Brilliant in this autograph, one abstract, the Center for Beethoven Studies and other practical . The act of captur‘ - Professor of Music at San Jose State ing’ a work on paper that had been University, and pianist Malcolm created both while improvising Bilson will team up to give a lec- at the piano and writing sketches ture-recital entitled “What the Au- sometimes entailed the regulariza- tograph Can Tell Us: Beethoven’s tion of any element outside the Sonata in E Major, Opus 109 . ” norm . On occasion, that normal- Meredith describes the lecture as ization probably diminished our follows: “One of the treasures of understanding of what Beethoven the autograph collection of the Li- wished to express in this complex brary of Congress is the manuscript late-period work . These studies are of Beethoven’s late piano sonata in also eminently practical . While it E Major, Opus 109 . Setting aside is true that a carefully proofed first its status as a treasure, however, the edition must be seen as authorita- manuscript is worth careful inves- William Meredith tive in many instances, the auto- tigation for the record of its com- AMS / Library of Congress Lecturer graphs often reveal performance positional history embedded on its details about things Beethoven pages . More, perhaps, than any other composer, Beethoven is famous does not want the pianist to do . For instance, he originally wrote that for his notoriously illegible manuscripts . As musicians and scholars, the pianist should immediately attack the second movement upon we should be grateful for that illegibility, not because it seems to re- the peaceful completion of the first . That “attaca” mark is vigorously cord the heat of composition, but rather because it demonstrates that crossed out in the autograph; nothing appears in the first edition to tell Beethoven often prematurely began writing out what often became the player how to connect the two movements temporally ”. the final score . The number of compositional decisions made when Links to the webcasts and application information can be found at the single-staff sketches of piano music erew fleshed out to two staves www ams-net. org/L. C-lectures . The application deadline for the Fall can be astonishing to observe at times . Indeed, as he once noted, if a 2012–Spring 2013 series is 1 December 2011 . manuscript of a work were lost and he had to write it out again, the —Anna Maria Busse Berger

Jann Pasler Appointed Editor of AMS Studies in Music

Jann Pasler has been appointed the new Women and Music, and as a member of the Editor of AMS Studies in Music, begin- Advisory or Editorial Boards of 19th-Centu- ning November 2011 . A musicologist, pia- ry Music, Music Humana (Korea), Journal nist, and documentary filmmaker, Pasler of Musicological Research, and Transpositions has published widely on contemporary (Paris) . Pasler was the first scholar to receive American and French music, modernism the AMS H . Colin Slim Award (2005), and and postmodernism, interdisciplinarity, in- she has served on numerous AMS commit- tercultural transfer, and especially cultural tees, most notably as Chair of the Annual life in France and the French colonies in the 2003 nineteenth and twentieth centuries . Her Meeting Program Committee ( ) . She most recent book, Composing the Citizen: is Professor of Music at the University of Music as Public Utility in Third Republic California, San Diego . France (University of California Press), was Jann Pasler will take the opportunity to published in 2009 . She has served as found- discuss her vision for AMS Studies in the ing member of the Editorial Board for February 2012 issue of the AMS Newsletter .

Jann Pasler AMS Studies Editor August 2011  Awards, Prizes, and Honors

AMS Awards and Prizes 2011 Dancing, and Rejoicing in the Round: Latin Sacred Songs with Refrains in Musical, Ritu- Six doctoral candidates in musicology re- al, and Liturgical Perspective, ca . 1000–1582 ”. ceived Alvin H. Johnson AMS 50 Disserta- tion Fellowship Awards for 2011–12: Andrea The 2011 Jan LaRue Travel Grant was Bohlman (Harvard University), “Music and awarded to Martha Sprigge (University of Activism in Poland, 1978–1990”; Sean Cur- Chicago) to conduct research in Berlin on the ran (University of California, Berkeley), project “Abilities to Mourn: Musical Com- “Vernacular Piety, Polytextual Polyphony, memoration in the German Democratic Re- and the Motets of the ‘La Clayette’ Manu- public (1945–1989) ”. script”; Chantal Frankenbach (University The 2010 Jan LaRue Travel Grant was of California, Davis), “Disdain for Dance, awarded to Matthew Mugmon (Harvard Disdain for France: Choreophobia in Musi- University) to conduct research in Europe on cal Modernism”; Jessica Schwartz (New York the project “Mahler and American Modern- University), “Resonances of the Atomic Age: ism, 1920 to 1960 ”. Hearing the Nuclear Legacy in the United States and the Marshall Islands, 1945–2010”; The Janet Levy Fund for Independent Scholars supports travel and research ex- Andrea Bohlman Beverly Wilcox (University of California, AHJ AMS 50 Fellow Davis), “The Music Libraries of the Concert penses for independent scholars . In late 2010, Spirituel: Canons, Repertoires, and Bricolage Janie Cole received a Levy Grant to travel to Faith and Authority: The Modes in Italian in Eighteenth-Century Paris”; and Emily Za- South Africa to work on the project “Music Baroque Music ”. zulia (University of Pennsylvania), “Verbal and Anti-Apartheid in South Africa: Nelson Mandela and Robben Island”; and Claudia Karol Berger (Stanford University) is the Canons and Notational Complexity in Fif- 2011 Jensen received a Levy Grant to purchase recipient of the Glarean Award for mu- teenth-Century Music ”. Three of the ecipir - sical research, presented by the Swiss Musi- ents accepted the award on an honorary basis . microfilms of sources of late seventeenth- century Russian music and theater . In early cological Society . Howard Mayer Brown Fellowship The is 2011, Kara Gardner received a Levy Grant Alexander Bonus (Duke University) re- presented by the Society to promising mi- for travel to Washington D .C . to work on the ceived an ACLS New Faculty Fellowship for nority graduate students pursuing a doctoral project “Agnes de Mille on Broadway ”. the project “The Metronomic Performance degree in music . The 2011–12 fellowship re- Practice: A History of Rhythm, Metronomes, cipient is Harald Kisiedu (Columbia Uni- A grant from the Harold Powers World and the Mechanization of Musicality ”. versity) . Travel Fund was awarded to Hannah Lewis (Harvard University) for research on her dis- Benjamin Brand (University of North Tex- A grant from the M. Elizabeth C. Bartlet sertation, “The Changing Soundtrack: Mu- as) received a 2011-12 Rome Prize from the Fund for Research in France was awarded sic’s Role in Early Sound Film in the U .S . and American Academy in Rome for the proj- to Mary Channen Caldwell (University of France, 1926–1934 ”. ect “The Historiae Sanctorum of Medieval Chicago) for research on the project “Singing, Grants from the Eugene K. Wolf Travel Rome ”. Fund were awarded to Monica L. Roundy (Cornell University) for work on her disserta- tion, “Investigating the Manuscript Sources for Thirteenth-Century Motets in England,” and to Alexandra Apolloni (University of California, Los Angeles) for work toward her dissertation on American popular music in post-war Britain .

Other Awards, Prizes, and Honors

Aaron Allen (University of North Carolina, Greensboro) received a 2011-12 Rome Prize from the American Academy in Rome for the project “Fidelio in Italy: Reception, His- toriography and the Crisis of Nineteenth- Century Opera ”. Gregory Barnett (Rice University) received a Fellowship from the ACLS and a Residency from the Rockefeller Foundation Bellagio Emily Zazulia Sean Curran AHJ AMS 50 Fellow Center to work on the project “Emblems of AHJ AMS 50 Fellow  AMS Newsletter ect “Dedications and the Reception of the Musical Score, 1785-1850 ”. Mark Kroll (Boston University) received a Franklin Research Grant from the American Philosophical Society, which will support re- search for a biography of Ignaz Moscheles to be published by Boydell & Brewer . Margaret Notley (University of North Tex- as) received a Franklin Research Grant from the American Philosophical Society for a project entitled “Understanding Berg’s Li- bretto for ‘Lulu’ and the Contexts for It ”. J. Griffithollefson R (University of Califor- nia, Berkeley) received an ACLS New Faculty Fellowship for the project “Musical (African) Americanization in the New Europe: Hip Hop, Race, and the Cultural Politics of Post- coloniality in Paris, Berlin, and London ”.

Harald Kisiedu Arman Schwartz (Columbia University) re- Howard Mayer Brown Fellow ceived an ACLS New Faculty Fellowship for Thomas Christensen (University of Chi- the project “Modernity Sings: Rethinking Jessica Schwartz AHJ AMS 50 Fellow cago) was awarded a Fellowship by the Wis- Realism in Italian Opera ”. senschaftskolleg in Berlin for a yearlong Jessica Schwartz (New York University) re- residency starting this fall . He will work on Correction ceived an Andrew W . Mellon Foundation/ a monograph on the historiography of tonal- ACLS Early Career Fellowship Program In the paper version of the February 2011 AMS ity . Dissertation Completion Fellowship for the Newsletter, Tilden Russell (Southern Con- Richard Freedman (Haverford College) was dissertation “Resonances of the Atomic Age: necticut State University) was listed as having awarded a 2011–12 Digital Innovation Fel- Hearing the Nuclear Legacy in the United received an NEH Summer Stipend . Russell lowship from the ACLS for the project “Re- States and the Marshall Islands, 1945-2010 ”. received an NEH Fellowship to complete his covering Lost Voices: A Digital Workshop book The Compleat Dancing Master: A Trans- W. Anthony Sheppard (Williams College) for the Restoration of Renaissance Polypho- lation of Gottfried Taubert’s Rechtschaffener was offered membership for 2011-12 at the In- ny ” F. or more information, see p . 28 (under Tantzmeister (1717). Introduction, Translation, stitute for Advanced Study, Princeton, where Internet Resources News) . and Annotations (Peter Lang; forthcoming) . he will launch a new research project titled Emily Green (Yale University) received an “The Performer’s Voice: Timbre and Expres- Detailed guidelines for awards announce- ACLS New Faculty Fellowship for the proj- sion in Twentieth-Century Vocal Music ”. ments may be found at www ams-net. org/. Peter Wright (University of Nottingham) newsletter/ . was awarded a British Academy/Leverhulme Trust Senior Research Fellowship for his proj- ect “The Aosta Codex: An Early Fifteenth- Century Source of Sacred Polyphony ”. David G. Yearsley (Cornell University) received an ACLS Fellowship for the proj- ect “Anna Magdalena Bach and the Musical Lives of a Lutheran Woman ”. Emily C. Zazulia (University of Pennsylva- nia) received an Andrew W . Mellon Founda- tion/ACLS Early Career Fellowship Program Dissertation Completion Fellowship for the dissertation “Verbal Canons and Notational Complexity in Fifteenth-Century Music ”. Carla Zecher (Center for Renaissance Stud- ies, The Newberry Library) received an NEH Fellowship at the Huntington Library for 2011–12 for the project “Things Heard in Dis- tant Lands: Descriptions of Music in French Beverly Wilcox and English Travel Accounts, 1550–1700 ”. Chantal Frankenbach AHJ AMS 50 Fellow AHJ AMS 50 Fellow August 2011  Musicology and the Documentary Film: Reflections from the Field Even twenty years ago the idea that mak- features a critique of the film by ethnomusi- how a particular song migrated west from ing a documentary film could really be cologist Mellonee Burnim; she also helped us Slovakia, or speaking with Zuzana Ruzickova an “act of musicology” might have been a shape the history lesson in this film . I don’t see about her studies with Klein in Terezin, this stretch . Where, after all, were the footnotes? how strong documentary work can be done was an eye-opening experience for me . The How could a “fair and balanced” reading of alone . No one knows enough; it is always go- challenges of working with collaborators are history emerge with the seduction of visual ing to be a group project, and I like that . there too . At times my cinematographer and images getting in the way? Doesn’t the col- Beckerman: For me the most exciting thing co-director Pavel Kolouch wanted to go in the laborative nature of film making itself detract was the collaboration and the challenge . My direction of “docu-drama,” and I just could from the introspective scholarship necessary film tries to bring together scholars, perform- not bring myself to do it . to create painstaking, accurate, and memo- ers of all kinds, and former prisoners in Ter- Bloxam: Collaborators from outside musi- rable views of the past? Three scholar-doc- ezin to explore a range of questions about cology bring different priorities to a project . umentarians—Michael Beckerman (New music, expression, historical York University), M . Jennifer Bloxam (Wil- formulations, and ethics . We Michael Beckerman’s forthcoming film Gideon Klein’s liams College), and Margot Fassler (Univer- began this project by asking Terezin Requiem is an exploration of Klein’s final compo- sity of Notre Dame)—have answered these what it is that we do not know sition, a string trio, finished just a week and a half before and other questions in a variety of ways, and about these questions and how the composer was transported to Auschwitz, where he presented some of their views in an evening might we move in the direction died in one of the satellite camps . It is important both panel at last year’s Annual Meeting in India- of some possible solutions . In to embrace the work’s dire context and to reclaim the napolis . They believe that the “sources”—in the end we learned that much Trio from some well-worn paths of “Holocaust filmmak- the form of other scholars, interview subjects, of what we had thought about ing ” I. t is almost certain that Klein was using the work and documents—are right there on the screen Terezin and music was in need as an artistic and personal statement, but also as a way of where you can see them; that written schol- of revision; so it was an exciting sending out coded messages about what was really going arship has its own seductions that can some- process . I also feel that working on in the camp . Thus using discussions with perform- times be avoided on film; and that powerful with film allows us to do more ers, scholars and survivors we ask: what are the limits of visions of the past, using both traditional and successful “close readings” of musical expression? innovative approaches, emerge from thought- musical compositions than we ful documentaries . AMS Newsletter editor can do on the printed page . And M. Jennifer Bloxam collaborated with Stratton Bull, Marica Tacconi interviewed Beckerman, we can give more points of view Artistic Director of the Dutch ensemble Cappella Pra- Bloxam, and Fassler to learn more about their as well about the issues, either tensis, on a commercial DVD that situates Jacob Ob- experience working on some recent documen- by using “talking heads” to give recht’s Mass for St . Donatian—a commemorative mass tary projects . viewpoints, or having perform- for a Bruges fur merchant composed in 1487—within its Tacconi: Each of you recently created docu- ers demonstrate them . ritual and historical landscape . A re-creation of the Mass mentary films that enabled you to expand your Tacconi: In the process of creat- service in which Obrecht’s polyphony was first heard is scholarly and pedagogical work in new direc- ing the films, you worked closely followed by on-location interviews between Bloxam and tions. What did you find most rewarding about with colleagues outside of musicol- Bull about the inner workings of the Mass, aspects of the experience? ogy. What are the rewards and the performance practice, the people involved, the church Bloxam: The close collaboration with Strat- challenges of working collabora- and chapel, and documents key to the re-creation . (Ja- ton Bull and the singers of Cappella Pratensis tively with such partners? cob Obrecht: Missa de Sancto Donatiano (Bruges 1487), was more illuminating, stimulating, and grati- Fassler: Most of my docu- FineLine Classical, FL72414, 2009 . Available on Ama- fying than I could have imagined . We worked mentaries have been made with zon .com .) Bloxam and Bull reflect on their process in an together on our film from initial concept to Jacqueline Richard, who was my article in the Journal of the Alamire Foundation (vol . 2, final product to promotion; for me it was student at Yale, a theologically 2010, pp . 111–25), and Bloxam has developed a web site the “applied musicology” dream come true . trained documentarian . Now we focused on the Mass of St . Donatian that incorporates Working with Stratton to re-create a particu- learn from each other, and we segments of the film with annotated and animated scores lar occasion and its music in film sparked my have an honesty that is crucial (www .ObrechtMass .com) . historical imagination and truly re-energized for the work . We can fight to Margot Fassler has worked on four documentary films, and re-oriented my scholarship . Ultimately, the death over some footage and three of which are being distributed at present (the first this project profoundly changed the way I then come back to the studio the two are available on Amazon com):. Work and Pray: Liv- hear and think about this music . next day and be friends . ing the Psalms with the Nuns of Regina Laudis ( W . W . Fassler: Beckerman: It has been challenging and exhila- I learned so much Norton); Performing the Passion: J. S. Bach and the Gospel rating to move from a purely historical realm from my collaborators . Whether According to John (with Jacqueline Richard; W . W . Nor- into that of contemporary practice . There it was listening to the cellist Jan ton) and You Can’t Sing It for Them: Change, Continuity, are things about music that only the practice Vogler as he went through the and a Church Musician (with Jacqueline Richard; Ntime- of music can teach, especially in regard to original manuscript of the Gid­ music .com) . Fassler and Richard are now finishing Where memory and the oral tradition, and about the eon Klein Trio while we were in the Hudson Meets the Nile: Coptic Chant and Liturgy in ways that music works as the glue that sus- Terezin, instantly spotting twen- Jersey City. Fassler has written on the processes of making tains community life . I have relied heavily on ty differences between the man- these films, with an article in Religion Compass on Work the expertise of performers, other musicolo- uscript and the published score, and Pray and another piece for the Society of Oriental gists, and ethnomusicologists, then worked or hearing the well-known eth- Liturgy on the Coptic cantors film . to visualize their words and actions . You Can’t nographer Dušan Holý explain  AMS Newsletter Cappella Pratensis was keen to make a film matic significance of the Sanctus “movement” with commercial appeal that would showcase than seeing and hearing how it frames the ac- their expertise and commitment to historical- tion of the Elevation—a film can accomplish ly-informed performance, and I was keen to this . Film can also capture a lively sense of the make an educational film that would show- sleuthing that we do, the intriguing kinds of case a piece of music in its ritual context and evidence that come into play, and the inter- explore its historical background . To satisfy section of scholarship and practice . Docu- Photo credit: Peter Jeffery both aims was the challenge; the reward was mentary film can show musicology in action discovering how complementary our priori- in meaningful and even moving ways . ties were . Tacconi: What are the special challenges you Tacconi: The documentary film can be a great faced and what do you wish you had known be- teaching tool. What are the advantages and dis- fore embarking on your project? Documentarians Margot Fassler and Jacqueline Richard advantages of using documentary film for educa- Beckerman: Oy, can we talk! Never trust discuss a shot at St . Mark’s Coptic Orthodox Church, Jersey City, with Deacon David Labib tional purposes? a billionaire who promises he’ll support your Beckerman: The advantages are obvious, film to the death . Less than two months after leading public television channel in Mexico as I have tried to outline above . But the dan- a meeting in which the film’s main financial City; You Can’t Sing It for Them has been cho- ger is that people think there is an automatic supporter said, “This is a riveting and impor- sen for several film festivals this year, and if connection between “documentary” and tant film . I will support it completely,” the we had the time and money to promote it, I “truth ” And. of course, like all media, those same person could not remember anything think it would have been in more . in search of truth need to have their skeptical about the meeting . So I wish I had been less Bloxam: Documentaries can function as antennae up at all times . Often the somewhat naïve and more hardheaded about budgets . another kind of research method, allowing easy pace and voice of authority presented by And a few things about rights and permis- different kinds of insights and connections to a documentary make its conclusions seem in- sions… emerge that might be difficult or even impos- evitable . In my film I tried to introduce mul- Fassler: I didn’t understand that it takes a sible through more conventional methods . tiple points of view . Sometimes I was more long time to make a good documentary, espe- Building context around an historical rem- successful than others . cially if one works with communities of song, nant (in the case of my project, a Mass Or- Fassler: Disembodied music makes me as I do . You learn patience and you must learn dinary setting from fifteenth-century Bruges) increasingly uncomfortable; I want to see to think in new ways about scholarship and through a “re-creative” process enabled me to and hear all at once . I hope documentaries ideas; I was too “wordy” at first . It is expen- understand, for example, how ritual context can encourage greater attendance at musical sive, so you must have strong institutional and the lived experience of the composer and events and concerts . If there is a downside, it support and you have to go after grant mon- the singers as clerics determined the shape, is that film can make research look easy . Our ey . But I didn’t realize that the most difficult content, and meaning of the music . The pro- students have to get into the library, too, and thing is getting work distributed . The next cess of making the film allowed me to close look at editions themselves, and do the kind most difficult thing is permissions, especially the gap that can sometimes persist between of work it takes to make a strong documen- if one works on any repertory of contempo- the study of context and the study of the ob- tary . Now I’m routinely making shorts with rary music . ject . students as part of our class work . Bloxam: The purely practical constraints of Beckerman: This is a remarkable time for Bloxam: Sometimes, in the classroom, top- working with a professional film crew were music scholarship . A range of new technolo- ics are simply too distant, too foreign, too most challenging—I gained a new apprecia- gies, from digital sound recorders to iPads, “other”—it’s difficult to find a point of entry . tion for the expression “time is money,” both gives us fresh ways of communicating with a Thefilm medium fires students’ imaginations, in the production and post-production phases larger public . In the past, art historians could which is the crucial first step to historical un- of the project . I hadn’t realized how time- write about a painting and have the image derstanding and appreciation . In the case of consuming the editing process would be; the available on the same page, while we were the polyphonic Mass of the Middle Ages and intensive decision-making didn’t end with the stuck either trying to describe a passage or Renaissance, for example, we are hard-pressed conclusion of filming—indeed, many of the offer a musical example, which most people as teachers to communicate the function of most critical decisions, in terms of the effec- can’t read . The documentary film combines this music to students who often have little tiveness of the final product, were made post- the ability to make immediate points about or no experience of the power of ritual . There production . Knowing more about what was music with the potential for powerful visual is no more effective way of capturing the dra- involved in post-production would certainly images . have helped us make better use of the produc- tion time . Tacconi: In what ways can the documentary film relate to and even reshape the discipline of musicology? Fassler: There has been a conversation in recent weeks on the AMS-L about reaching a wider audience . Only musicologists can make the kinds of well-informed teaching films we need . But some of our documentaries could also walk out of the classroom and onto the Dušan Holý, noted singer and ethnographer, and Michael screen, bringing our work to larger audiences . Beckerman singing “The Kneždub Tower,” the song at the The Cappella Pratensis on location in Bruges Performing the Passion was screened on the heart of Gideon Klein’s Trio August 2011  National Humanities Alliance Annual Meeting and Humanities Advocacy Day 2011 The National Humanities Alliance (NHA) National Science Foundation (NSF) . While and military did not understand—or even Annual Meeting and Humanities Advocacy the NEH budget peaked at about 17% of seek to understand—the countries or cultures Day took place on 7–8 March 2011 in Wash- the NSF budget in the past, it is now merely we were dealing with” (Robert M . Gates, Sec- ington, D C. . The event is a meeting ground 2 .5%—arguably representing a shift in the retary of Defense); “When military leaders for members of the Alliance—such as the value placed on the humanities in American talk of winning the hearts and minds of the AMS—and others interested in humanities society . populace in another country, they are talking policy and advocacy, including higher edu- One of the aims of the Humanities Advo- about understanding language, culture, val- cation leaders, college and university faculty, cacy Day is to introduce humanities scholars ues, religion and history… Just as surely, the teachers, students, museum professionals, li- and practitioners to Members of Congress, State Department, Department of Homeland brarians, and independent scholars . and to petition them directly to sign a Dear Security, and the intelligence agencies will The main goal of the umanitiesH Advocacy Colleague letter supporting the preservation only be as effective as their analysts are edu- Day is to preserve, and if possible increase, the or increase of the current NEH budget . Given cated in the humanities” (David J . Skorton, budget of the NEH, which supports AMS’s the current economic situation, it was NHA’s President of Cornell University) . Music of the United States (MUSA) publica- strategic plan not to request an increase this Along with other Virginian academics, I tion series and OPUS projects, as well as in- year . met two congressional staffers and two sena- dependent musicological research activities . The first day of the event is devoted to an tors’ staffers . I was honored to meet Congress- The NHA strongly opposes the $21 million overview of the activities of NEH and to de- man Gerry Connolly (Virginia, 11th district) (13%) cut proposed by the Obama adminis- veloping arguments to be used the next day last year and his staffers this year, and to learn tration for NEH programs in the fiscal year on the Hill . As NHA meeting participants that he is an avid reader of biographies and an (FY) 2011 budget, and NHA urges Congress were reminded, the U S. ,. unlike other coun- active advocate for the humanities . Since we to secure the $167 .5 million in program funds tries, does not have a Department of Cul- AMS members are beneficiaries of NEH sup- for NEH, the same as in FY 2010 . Because ture, and the NEH is the only federal agency port, I strongly encourage us all to meet with of the severe reduction of NEH budgets since tasked with advancing U S. . achievement policy makers and underscore the value of the 1979—when it was $429 .2 million in con- in the entire range of academic fields in the Endowment’s work at every opportunity . stant dollar values (based on the 2010 annual humanities . Two complementing quotations For more information on the NHA and consumer price index)—NEH supports only capture the urgent relevance of humanities Humanities Advocacy Day, please visit www . 16 .6% of peer-reviewed project proposals, in our time: “Too many mistakes have been nhalliance .org . compared to about a third reported by the made over the years because our government —Ronit Seter

Executive Director’s Message

My messages usually touch upon what’s cur- (Both are also available at the web site .) These of energy and thoughtfulness they invested in rently happening at the AMS office, often fo- two print publications, in addition to all the the campaign was phenomenal, and clearly it cusing on the Annual Meeting (which forms other usual things I have to do, made for a reaped significant rewards for the Society . But a large part of what I spend time doing for hectic six months . I worked on Celebrating I think most often about the people memori- the AMS) . But this time, I’d like instead to the AMS with Jane Bernstein, who invested alized through the OPUS Campaign, many of look back over the past nine years, quite a bit countless hours on the project . Much of my whom were friends and acquaintances . I was of which was spent working for our OPUS job was making sure the look and layout of privileged to work with Wendy Allanbrook, Campaign . I was present when Jessie Ann the booklet were satisfactory . In the Report to Owens planned the March 2002 Board retreat Donors, I prepared the layout, the list of do- Beth Bartlet, and John Daverio on the Board that led to the campaign . At the retreat, so nors, and the numbers behind the financial of Directors; with Martin Picker, who served many ideas and goals surfaced that it became statement . That too was a significant, once- for a time as Executive Director; with Janet clear to everyone that our endowment needed in-a-lifetime activity . But now, more than Levy, on the Publications Committee; with a major boost, and the 2009 target date (the nine years later, the campaign is a thing of the Howard Brown and Harry Powers, both of Society’s seventy-fifth anniversary) was natu- past . I’d like to indulge in a brief reflection . whom generously read my scholarly work; ral . Therewere many fun aspects to the cam- with Gene Wolf, a gracious friend at Penn; Jump to Spring 2011: I was busier than usual paign, a very large amount of small details to and with my predecessor Alvin Johnson, who with Annual Meeting work earlier this year, tend to and sums to add up (I was once called often phoned the office . It’s extremely gratify- 15 what with a % increase in proposal submis- “the Herbert L . Clark of Excel spreadsheets” ing and humbling to work with their unseen, sions compared to 2010, but I also had two by a fellow-trumpeter!), emails to write, web but deeply felt, memorials surrounding me . quite significant OPUS-related tasks . The first pages to update, and so on . And working OPUS was a very special project, one that will was finalizing the commemorative booklet with Society Presidents Jessie Ann Owens, Celebrating the American Musicological Society Peter Burkholder, Elaine Sisman, Chuck At- remain and grow with the AMS as long as we at Seventy-Five, which should now be in all kinson, Jane Bernstein, and Campaign Co- are a society . The unlimited”“ in the acronym members’ hands . The second was theOPUS Chairs Kern Holoman and Anne Walters was very well chosen . Report to Donors, likewise sent to all members . Robertson was truly inspiring: the amount —Robert Judd

 AMS Newsletter Cockrell’s The Ingalls Wilder Family Songbook: Inaugural AMS Teaching Award Scholarship and Outreach The AMS Teaching Fund was established in 2009 as part of the OPUS Campaign to sup- folk songs) and oth- port and encourage innovative teaching prac- ers from published tices in the music history and appreciation sources (concert and classroom . The first AMSTeaching Award has theater songs, hymns been given to Alice V . Clark (Loyola Universi- and Sunday school ty New Orleans) to help develop a web-based songs, parlor songs, pedagogical module focusing on Guillaume de Machaut . She writes: “By combining pri- Scottish and Irish mary sources with explanatory materials, this songs, singing school site will be used to underpin classes in mu- music, and patriotic songs) . Tracing each sic history and medieval studies, as well as to song to its origins or increase the knowledge of Machaut and his earliest known print- work among the general public . I hope it also ing, and finding a inspires the creation of more modules of this characteristic version sort, facilitating a broader conversation about of each to preserve in how we teach undergraduates ”. The review print, he assembled committee (Craig Wright, Chair, Carol Hess, Dale Cockrell with a Murfreesboro, Tenn ., after-school program and Stephen C . Meyer) received fifteen appli- enjoying music from the Ingalls Wilder Family Songbook the musical part of the edition, adding cations for the award . Dale Cockrell’s edition The Ingalls Wilder critical commentary for each example, to- Family Songbook was published in early 2011 gether with a note about its context . Then he as volume 22 in the Music of the United added an essay about the Wilders and their States of America (MUSA) series . In the musical life, and the story of his own latter- making for almost a decade, the project had day involvement with that life . 22 its origins at the editor’s family fireside . As As MUSA volume , Cockrell’s edition is a dad who was also a professor of musicol- now making its way into the marketplace for ogy at Vanderbilt University, in Nashville, such scholarly projects . But the editor, hav- Tennessee, Cockrell noticed, while reading ing tapped into a vein of American culture inviting wider distribution, has also discov- Laura Ingalls Wilder’s Little House books to ered interested parties in the Nashville mu- his young son, that music played a substan- sic industry, founding a recording firm, Pa’s tial role in the stories . Wilder named and Fiddle Recordings (www pasfiddle. com),. quoted many of the songs the family sang which has issued three CDs of the music . and danced to, and she often described their Twelve thousand copies of these recordings performances . have been sold thus far . Cockrell realized that Wilder’s books con- Cockrell has also been a prime mover in stituted a map for a songbook representing organizing a concert devoted to music from the Upper Midwest in the latter 1800s, with The Ingalls Wilder Family Songbook that is contents chosen not by a modern editor scheduled for November 2011 at the Tennes- Alice V . Clark but the members of an American family for see Performing Arts Complex in Nashville, AMS Teaching Award Recipient whom the music was an essential element featuring nationally known performers . If all of life . One illustration of this claim con- goes according to plan, it will be recorded publisher, to produce smaller songbooks cerns the Civil War song “When Johnny and broadcast by PBS television stations from the content of the parent volume . The Comes Marching Home ”. Cockrell writes: throughout the country as a special “pledge- result will be songbooks for amateur music “After the grasshopper swarms destroyed drive” concert program in spring 2012 . Thus makers that are both affordable and reliably the Ingalls’ crops, Pa went east to find work . the project is leading to a second and broad- edited . Weeks later, after he had returned, Pa turned er outcome . It will give rise to a concert de- In a fourth endeavor, Cockrell is working to his fiddle and ‘tuned it lovingly ’. ‘I have signed to educate viewers on the role and with an educator who is classroom testing a missed this,’ he said, looking around at them function of music on the nineteenth-centu- set of lesson plans to integrate the music into all . Then he began to play . Tellingly, his first ry American frontier; to entertain audiences third- to fifth-grade music, reading, and so- song was this anthem of return ”. with music from a great American literary cial studies curricula . Thus the AMS-spon- Replacing his parental hat for a schol- legacy performed in compelling present-day sored MUSA project has helped to inspire arly one, Cockrell set to work constructing performances; and to help provide financial research in education involving schoolchil- the edition, supported in part by a fellow- support for local non-profit public broad- dren for whom performing the music will ship from the National Endowment for the casting stations . be explored as a way to show connections Humanities . First he identified 127 pieces Efforts to extend the eachr of The Ingalls among subjects such as reading, social stud- named by Wilder . Some were from oral Wilder Family Songbook also include Cock- ies, and music . tradition (children’s songs, fiddle tunes, rell’s working with A-R Editions, MUSA’s —Richard Crawford August 2011  AMS Fellowships, Awards, and Prizes Descriptions and detailed guidelines for all Alfred Einstein Award Philip Brett Award AMS awards appear in the AMS Directory for an outstanding article by a scholar in the of the LGBTQ Study Group for outstand- and on the AMS web site . early stages of her or his career ing work in gay, lesbian, bisexual, and trans- Publication subventions are drawn from Deadline: 1 May sexual/transgender studies the AMS 75 PAYS, Anthony, Brook, Bu- Deadline: 1 July kofzer, Hanson, Hibberd, Jackson, Kerman, Otto Kinkeldey Award Picker, Plamenac, and Reese Funds . Appli- for an outstanding book by a scholar be- MPD Travel Fund cation deadlines are mid-February and mid- yond the early stages of her or his career to attend the Annual Meeting August each year . Deadline: 1 May Deadline: 25 July

Janet Levy Travel and Research Fund Lewis Lockwood Award Thomas Hampson Fund for independent scholars for an outstanding book by a scholar in the for research and publication in classic song Deadlines: 25 January, 25 July early stages of her or his career Deadline: 15 August M. Elizabeth C. Bartlet Fund Deadline: 1 May Noah Greenberg Award for research in France Music in American Culture Award for outstanding performance projects Deadline: 1 March for outstanding scholarship in music of the Deadline: 15 August Jan LaRue Travel Fund United States for European research Deadline: 1 May Eileen Southern Travel Fund Deadline: 1 March Claude V. Palisca Award to attend the Annual Meeting Deadline: 26 September Harold Powers World Travel Fund for an outstanding edition or translation Deadline: 1 May for research anywhere Paul A. Pisk Prize Deadline: 1 March H. Colin Slim Award for an outstanding paper presented by a graduate student at the Annual Meeting Teaching Fund for an outstanding article by a scholar be- 3 for innovative teaching projects yond the early stages of her or his career Deadline: October 1 Deadline: 1 May Deadline: March Howard Mayer Brown Fellowship Eugene K. Wolf Travel Fund Ruth A. Solie Award for minority graduate study in musicology for European research for an outstanding collection of essays Deadline: 15 December 1 Deadline: 1 March Deadline: May Alvin H. Johnson AMS 50 AMS Publication Subventions Robert M. Stevenson Award for outstanding scholarship in Iberian music Dissertation-year Fellowships Deadlines: 15 March, 15 September 15 Deadline: 1 May Deadline: December Noontime Performances in San Francisco The AMS San Francisco 2011 Performance (Seattle Opera) will present a lecture-recital formance Practice in France between 1800 Committee, in conjunction with the Lo- of songs by Hanns Eisler and Paul Dessau . and 1830.” Guitaromanie is the word coined cal Arrangements committee, has selected Eisler and Dessau were friends who actively by author Charles de Marescot in the early three particularly interesting programs . Two composed Socialist agitpropaganda music nineteenth century to describe the rise in will take place at noon Friday and Saturday, in pre-World War II Berlin and who spent popularity of guitar music in Paris during and one will take place Friday at 1:30 p .m . at the majority of the war in the United States . this period . Virtuosos came from all over Grace Cathedral, a short distance from the This lecture-recital explores the Lieder they Europe to meet amateurs’ ever-growing de- conference hotel . composed after returning to East Germa- mand for guitar music, but native French On Friday at Grace Cathedral, 1:30 p m. ,. ny . Both composers embraced an art form composers and performers were also very Phillip Kloeckner will present a recital of or- fraught with cultural and political tensions; active . This concert presents music by Louis- gan music by Jehan Alain and Franz Liszt, the emergent songs reflect both an enthusi- Ange Carpentras, Prosper Bigot, and Victor observing the centennial and bicentennial of asm for the young country and ambivalence Magnien, together with a discussion of their their births . The program will include Alain’s about how to navigate uncharted musico- music and performing style . Trois Danses and Liszt’s Fantasy and Fugue cultural terrain . The lecture-recital also ex- Pascal Valois was until recently a postdoc- on “Ad nos, ad salutarem undam ”. Kloeck- amines the dynamic relationship between toral fellow at Schola Cantorum Basiliensis . ner is on the faculty of the Shepherd School politics and compositional aesthetics, cen- He coordinates the publication of music of Music, Rice University, where he teaches sorship, musical propaganda, and reception scores for French guitar for the Palazetto Bru applied organ, music theory, ear training, history abroad in the East German post-War continuo, keyboard skills, and topics in era . Zane and the Centre de Musique Baroque de church music . On Saturday, 12 November at 2:00 p m. ,. Versailles . He studied romantic guitar under On Saturday, 11 November at 12:15 p m. ,. Pascal Valois will present a program on pe- Hopkinson Smith . Margaret Jackson (Troy University), Michael riod French romantic guitar entitled “Gui- —Jeffery Kite-Powell Hix (Troy University), and Allen Perriello taromanie and Interpretation: Guitar Per- Performance Committee Chair  AMS Newsletter AMS ANNUAL MEETING San Francisco, 10–13 November 2011 Preliminary Program

WEDNESDAY 9 November French Echoes Katharine Ellis (Royal Holloway, University of London), Chair 9:30–12:00 Grove Music Editorial Board Rebekah Ahrendt (Tufts University), “‘Qui veut ouir, qui veut scavoir’: 12:30–5:00 Grove Music Editorial Board Society and Tradition in the chanson à danser” and Advisory Panel Steven Zohn (Temple University), “Aesthetic and Stylistic Mediation in 2:00–8:00 AMS Board of Directors Meeting Telemann’s VI Ouvertures à 4 ou 6 ” Erin Brooks (East Central College), “‘Pourquoi ajouter à qui n’a besoin de rien?’: Debating Tradition and Innovation through Massenet and Saint- THURSDAY 10 November Saëns’s Music for Racine” 7:30–9:00 Meeting Worker Orientation Bruce Alan Brown (University of Southern California), “Weiß und Rosen- farb: The End of Noverrian Ballet in Vienna and the Beginnings of the 8:00–12:00 AMS Board of Directors Meeting Wienerischer Musenalmanach” 9:00–7:00 Registration Institutionalizing Music 11:00–12:30 Howard Mayer Brown Award Karen Ahlquist (George Washington University), Chair Committee Meeting Leta Miller (University of California, Santa Cruz), “Ernest Bloch at the 11:00–1:30 Society for Seventeenth-Century Music, San Francisco Conservatory, 1924–30” Governing Board Meeting Michael Mauskapf (University of Michigan), “New York Goes Corporate: 12:00–2:00 Membership and Professional Development The Philharmonic’s Shift to a Nonprofit Operating Model” Committee Meeting Michael Joiner (University of California, Santa Barbara), “‘This Most Re- fining and Humanizing of the Arts’: Music, the American University, and 1:00–6:00 Exhibits the Tenets of Liberal Culture” Edward Jurkowski (University of Lethbridge), “Koevat Auki! The ‘Ears THURSDAY AFTERNOON SESSIONS Open!’ Society and its Role in Late Twentieth-Century Finnish Musical 2:00–5:00 Culture” Americans in Opera Keyboards Around the World Katherine K . Preston (College of William and Mary), Chair James Parakilas (Bates College), Chair Hyun Kyong Chang (University of California, Los Angeles), “The Mean- Katherine Graber (Worthington, Ohio), “From Festivals to Organ Grind- ing of Piano in Colonial Korea: Womanhood and Nationalism in Yi ers: Race and Opera in Nineteenth-Century Chicago” Kwangsu’s Fiction” Esmeralda Rocha (University of Western Australia), “‘Upon the Yellow Jessica Wood (Durham, North Carolina), “An Old World Instrument for Brick Road’: Opera on the Gold Rush Circuit (San Francisco to Mel- Cold War Diplomacy: The Touring Harpsichord in 1950s Asia” bourne, 1851–1861)” Ivan Raykoff (New School), “Play It Again, Franz: The Recital as John Graziano (Graduate Center, CUNY), “The Rise and Fall of German Technology” Opera in 1860s New York” Kathryn Libin (Vassar College), “Daily Practice, Musical Accomplish- Hannah Chan-Hartley (University of Illinois at Urbana-Champaign), ment, and the Music Collection of Jane Austen and Her Family” “Americans at Bayreuth: ‘Pilgrims’ at the 1876 Festival and the Responses of the American Press” Revisiting History from Hip Hop to Honkey Tonk Constructions of Devotion in the Sixteenth Century David Ake (University of Nevada, Reno), Chair Marica Tacconi (Pennsylvania State University), Chair Stephanie Vander Wel (University at Buffalo), “Voices of Angels: Kitty Wells and the Emergence of Women’s Honky-Tonk Music” David Crook (University of Wisconsin-Madison), “The Exegetical Motet” Dana C . Gorzelany-Mostak (McGill University), “‘Beautiful Girl’ or ‘big Jane Hatter (McGill University), “Constructed Tenor, Constructing the strong tower’? Hillary Clinton’s Sonic Identity and Feminist Destiny” Composer, ca . 1500” Loren Kajikawa (University of Oregon), “‘Bring That Beat Back!’: Sound- Frank D’Accone (University of California, Los Angeles), “Liturgy, Polyph- ing Race in Hip Hop and Rap Songs” ony and Tradition: An Episcopal Entrance into Florence in 1567” Ken McLeod (University of Toronto), “Afro-Samurai: Hybridity and Helena Kopchick Spencer (University of Oregon), “The Coronation of Two Marys in William Mundy’s Maria Virgo Sanctissima” Techno-Orientalism in Hip Hop”

August 2011  Sensible Number: Geometry, Mathematics, and 7:30 San Francisco Opera: Don Giovanni Sound in the History of Musical Thought 8:00 San Francisco Symphony: “Project San Ryan McClelland (University of Toronto), Chair Francisco: Joshua Bell in Recital” Elizabeth Mellon (University of Pennsylvania), “The Picture of Sound: 8:00–9:30 Alvin H. Johnson AMS 50 Open Forum Mathematics and Visual Listening in the Diagrams of Boethius’s De in- 8:00–10:00 M.I.T. Alumni, Applicants, stitutione musica” and Friends Reception Alexander Ness (New York University), “The Ethics of Approximation in Italian Renaissance Tuning Theory” 9:30–11:00 Student Reception Jairo Moreno (University of Pennsylvania), “Rameau’s Last Music Treatise and Spinoza’s Ethics of Affect” THURSDAY EVENING SESSIONS Roger Mathew Grant (University of Michigan), “On Harmonic ‘Progres- 8:00–11:00 sions’ and Infinite Quantities in the Music Theory of Leonhard Euler” The Beginnings of a Composer: The Early Works of Carl Philipp Emanuel Bach THURSDAY AFTERNOON SHORT SESSIONS Jason B . Grant (Packard Humanities Institute), Chair 2:00–3:30 Christoph Wolff (Harvard University), Peter Wollny (Bach-Archiv Creating Opera and Ballet Leipzig), Darrell M . Berg (Washington University in St . Louis), Laura Francesco Izzo (University of Southampton), Chair Buch (Packard Humanities Institute) Performers: Robert D . Levin (Harvard University), Steven D . Zohn Andreas Giger (Louisiana State University), “A New Partially Autograph (Temple University), Julie Andrijeski (Case Western Reserve University) Source of I due Foscari and Its Significance for Verdi’s Early Career” Laura Watson (National University of Ireland, Maynooth), “Paul Dukas’ Respondents: Paul Corneilson (Packard Humanities Institute), Mark W . Le sang de Méduse: The Rediscovery of a ‘Lost’ Scenario” Knoll (Packard Humanities Institute) Theosophy and Music Composing Ecology: The Art of Soundscape and the Science of Field Recording Sander van Maas (University of Utrecht), Chair Sponsored by the Ecocriticism Study Group Rachel Cowgill (Liverpool Hope University), “Filling the Void: Theoso- phy, Modernity, and the Rituals of Armistice Day in the Reception of Aaron Allen (University of North Carolina, Greensboro), Tyler Kinnear John Foulds’s A World Requiem” (University of British Columbia), Naomi Perley (Graduate Center, CUNY), Rachel Mundy (Columbia University), Aaron Ximm (San Anna Gawboy (Ohio State University), “What does Theosophy Tell Us Francisco, Calif .) about Scriabin’s Prometheus, Poem of Fire?” 3:30–5:00 The Ethics of Musical Labor Echoes of Marx Sponsored by the AMS Music and Philosophy Study Group in collaboration with the Royal Music Association Music Philosophy Study Jamie Currie (University at Buffalo), Chair Group P . Murray Dineen (University of Ottawa), “Hans Wind (Kurt Blaukopf), Die Endkrise der bürgerlichen Musik, Schoenberg, and Marxist Musical “If You’re Going to San Francisco”: Historiography” Popular Music and the Bay Area Kailan Rubinoff (University of North Carolina, Greensboro), “A Passion Sponsored by the Popular Music Study Group According to St . Marx? Andriessen’s Mattheus Passie (1976), Historical Performance and Bach Reception in the Netherlands” Jessica A . Schwartz (New York University), “Listening Beyond Myth: The San Francisco Bay Area Punk Scene (1978–Present)” The ‘Livre d’or’ of Charlotte de Rothschild and Lincoln Ballard (University of Puget Sound), “Preservation or Profiteer- Nineteenth-Century Autograph Albums ing? The Fillmore, from Bill Graham to Live Nation” Philip Gossett (University of Chicago / University of Rome “La Michael T . Spencer (Michigan State University), “At Night We Wail: West Sapienza”), speaker, piano Coast Jazz and the Challenge of Jazz (FM) Radio” Francesco Izzo (University of Southampton), piano Charlotte de Rothschild (Southampton, England), soprano Interpreting Terezín: Works, Contexts, Sources Sponsored by the Jewish Studies and Music Study Group 4:30–5:30 Development Committee Meeting Michael Beckerman (New York University), opening remarks 5:00–7:00 Mozart Society of America Board Meeting Wayne Alpern (Mannes College), “Images of the Broader World” 5:15–6:15 Committee on Career-Related Issues Works: Klára Móricz (Amherst College), Chair Conference Buddy Meeting Candace Aippersbach (Texas Tech University),“Brundibar: An Afterlife” 5:30–8:00 Opening Reception Peter Laki (Bard College), “Le petit macabre: The Personification of Death in Ullmann’s Kaiser von Atlantis and Ligeti’s Le grand macabre” 6:00–7:30 Journal of Musicology Board Meeting Sivan Etedgee (Boston, Mass ),. “Viktor Ullmann’s ‘Variations and Fugue 6:00–8:00 Journal of Seventeenth-Century Music, on a Hebrew Folksong’ as a Means of Resistance” Editorial Board

 AMS Newsletter Contexts and Sources: Ronit Seter (Hebrew University), Chair Chant across the Ages Amy Lynn Wlodarski (Dickinson College), “Musical Memories of Ter- Luisa Nardini (University of Texas), Chair ezín: A Trans-traumatic Approach” David Fligg (Leeds College of Music), “Searching for Gideon” Calvin Bower (University of Notre Dame), “Notker and Neumes” Emile Wennekes (Utrecht, Netherlands), “Musicians in Exchange for Lorenzo Candelaria (University of Texas), “Bernardino de Sahagún’s Medicines: The Terezín Red Cross List” Psalmodia Christiana: A Christian Songbook from Sixteenth-Century New Spain” Judah Matras (Hebrew University), “Note on Israeli Sources and Data Concerning Music in Terezín/Theresienstadt” Deborah Kauffman (University of Northern Colorado), “Guillaume-Ga- briel Nivers’s plain-chant musical Motets in the Repertory of the Maison Musicological Conformities royale de Saint-Louis at Saint-Cyr” Sponsored by the Committee on Women and Gender Lori Kruckenberg (University of Oregon), “The New Sequence, Nova Jane A . Bernstein (Tufts University), Chair Cantica and the Relationship to the Festal Offices” Craig Monson (Washington University in St . Louis), “‘How Do You Solve Cold War Conflicts a Problem Like Maria?’—’They Would Claw Each Other’s Flesh if They Joy Calico (Vanderbilt University), Chair Could’: Conflicting Conformities in Convent Music” Emily Wilbourne “Queens College / Graduate Center, CUNY), “Same old Elaine Kelly (Edinburgh University), “Late Beethoven and Late Socialism story: Women artists and the persistence of biographical reductionism” in the German Democratic Republic” Sindhumathi Revuluri (Harvard University), “Civilizing Harmonies: Peter Schmelz (Washington University in St . Louis), “Cycles of Kitsch: Folksong Collection in Fin-de-siècle France” Valentin Silvestrov’s Conflicted Soundscapes” Melanie Marshall (University College Cork), “The Sound of Whiteness: Lisa Jakelski (Eastman School of Music, University of Rochester), “New 1960 Early Music Vocal Performance Practice in Britain” Sounds, New Ears: Listening at the Warsaw Autumn in the Early s” Andrea F . Bohlman (Harvard University), “Reviving the Popular: Sacred Song and the Polish Opposition” FRIDAY 11 November Highbrow/Nobrow 7:00–8:45 Chapter Officers’eeting M Robert Fink (University of California, Los Angeles), Chair 7:00–8:45 Committee on Career-Related John Howland (Rutgers University Newark), “Nobrow Pop in the New Issues Meeting Millennium? Nico Muhly and Post–2000 Chamber Pop” 7:00–8:45 Committee on Communications Meeting Andre Mount (SUNY Potsdam), “Happenings, Freak Outs, and Radi- cal Reflexivity: Avant-garde and Countercultural Overlap in 1960s Los 7:00–8:45 History of the Society Committee Meeting Angeles” 7:30–8:45 Alvin H. Johnson AMS 50 Dissertation Sarah F . Williams (University of South Carolina), “From Marketplace Fellowship Committee Meeting Tabloid to Operatic Entertainment: Musical Notation and the Broadside Ballad in Late Seventeenth-Century London” 7:30–8:45 Graduate Education Committee Meeting Tes Slominski (Northampton, Mass .), “Following ‘The High Road to Gal- 7:30–8:45 Program Committees for the 2011 and 2012 way’: Class, Gender, and Style in Early Twentieth-Century Irish Music Annual Meeting Competitions” 7:30–8:45 Student Representatives to AMS Masculinities Council Meeting Suzanne G . Cusick (New York University), Chair 7:30–9:00 American Brahms Society Board Meeting Alexandra Wilson (Oxford Brookes University), “Becoming a Modern 8:00–10:00 Oxford University Press Breakfast Milo: Opera Propaganda, Imperialism and Masculinity in 1920s Britain” 8:30–6:00 Registration Mark Seto (Connecticut College), “Wagnerism and the Aesthetic of Viril- ity in Augusta Holmès’s Les Argonautes” 8:30–6:00 Exhibits Corbett Bazler (University of Rochester), “Reforming Handel: The Failed Heroics of Imeneo (1740) and Deidamia (1741)” FRIDAY MORNING SESSIONS Paula Higgins (University of Nottingham), “Josquin and the Dormouse: 9:00–12:00 Aesthetic Excess, Masculinity, and Homoeroticism in the Reception of Planxit autem David” Cage and Friends Mourning and Purging in the Renaissance Michelle Fillion (University of Victoria) and Gordon Mumma (University of California, Santa Cruz), Chairs Cristle Collins Judd (Bowdoin College), Chair Fors seulement l’attente que je Brett Boutwell (Louisiana State University), “Morton Feldman’s Projec- Vincenzo Borghetti (University of Verona), “ meure: tions: Origins, Development, and Spin” Ockeghem’s Rondeau and the Gendered Rhetoric of Grief” In Epitaphiis Gasparis Othmari: You Nakai (New York University), “To Imitate Their Manner of Opera- Sean Hallowell (Columbia University), “ A Déplorations tion: John Cage’s Use of Technological Media as Metaphorical Models in Memorial Volume of from the German Renaissance” the 1950s and ’60s” Randall Goldberg (Youngstown State University), “Purging Heretics Sopplimenti musicali Richard Brown (University of Southern California), “‘Hearing Through, through Music Theory: Gioseffo Zarlino and the ” Seeing Through’: John Cage, Richard Lippold, and Open Sculpture” Katelijne Schiltz (Ludwig-Maximilians-Universität, Munich), “Deep Tres lectiones pro Philip Gentry (University of Delaware), “Writing Silence” Mourning in Cinquecento Venice: Gioseffo Zarlino’s mortuis” August 2011  Nature and Science Matthew Mugmon (Harvard University), “Annotating Mahler: Bou- langer’s Take on the Fourth Symphony” Julian Rushton (University of Leeds), Chair Julianne Lindberg (University of California, Los Angeles), “Satie’s Looking Jonathan Gibson (James Madison University), “The Rhetoric of Roland: Glass World: Pedagogy, Play, and the Future of France” L’Artifice and Le Naturel in Lully’s France” Jann Pasler (University of California, San Diego), “Performing French- Stephen Groves (University of Southampton), “The Picturesque Glee: ness: A View from the Colonial Edge” New Horizons in Late-Eighteenth Century English Vocal Music” The Idea of Opera Chien-Chang Yang (National Taiwan University), “Music as Abstract En- ergy: On the Genealogies of Music Aesthetics 1770–1830” Ryan Minor (Stony Brook University), Chair Emily Dolan (University of Pennsylvania), “Charles Burney’s Natural His- Emanuele Senici (University of Rome “La Sapienza”), “Memory, Textual- tory: A Musical Empiricist Enters the Laboratory” ization, and the Early Reception of Rossini’s Self-Borrowing” Simply Brahms Douglas L . Ipson (Southern Utah University), “‘Leagued with Despera- does’: The Risorgimento Romance of Brigandage in Verdi’s Ernani and David Brodbeck (University of California, Irvine), Chair I masnadieri” Matthew Werley (University of Cambridge), “Von Salonkleinigkeiten bis Martin Harlow (Royal Northern College of Music), “Wordless Theatre: Moderne: Toward a History of the Gavotte in Late Nineteenth-Century Harmoniemusik Arrangements and the Reception of Opera and Ballet in Germany” Early Nineteenth-Century Vienna” Roger Moseley (Cornell University), “Technologies of Symmetry in Matthew D . Blackmar (California State University, Long Beach), “Piano- Brahms’s ‘Double’ Concerto” forte Students of Wagner: The Ring Domesticated, Wagner Democra- Paul Berry (Yale University), “Gestures of Effacement in Johannes Brahms’s tized” Intermezzo, Op . 118/6” Interrogating Swing Christopher Reynolds (University of California, Davis), “Brahms’s Forlorn Bridal Song: The Alto Rhapsody as Wedding Cento” Scott DeVeaux (University of Virginia), Chair Thinking Through Performance: C . Matthew Balensuela (DePauw University), “Conflicting Strategies of Operatic Production since 1960 Management and Memory at the Indiana Roof Ballroom in the Early 1930s” Emanuele Senici (University of Rome “La Sapienza”), Chair Matthew Butterfield (Franklin and Marshall College), “Swing as the Mary Ann Smart (University of California, Berkeley), Ryan Minor (Stony Rhythmic Essence of Jazz: A History of Its Meaning” Brook University), Richard Will (University of Virginia), Nancy Guy Laura Risk (McGill University), “‘The Bronze Gypsy and Her Violin’: (University of California San Diego), Heather Wiebe (University of Vir- Writing a Biography of Ginger Smock” ginia), David Levin (University of Chicago) Rika Asai (Indiana University), “Music, Advertising, and Radio: The Na- tional Biscuit Company and Let’s Dance” 12:00–1:30 Committee on Cultural Diversity: Reception Late Twentieth-Century Avant-garde and Theory for Travel Fund Recipients, Associates, and Alliance Representatives Anne Shreffler (Harvard University), Chair 12:15–1:15 Committee on Career-Related Issues, Session Adalyat Issiyeva (McGill University), “‘Connected by the Ties of Blood’: I: Master Teacher Session Russian Music Theory and the Quest for the Asian/Aryan Identity” Marcus Zagorski (Bowling Green State University), “Stockhausen’s Theory 12 15 1 45 : – : AMS Music and Philosophy Study Group of Experimentation and Dahlhaus’ Writing of History” Business Meeting Jennifer Iverson (University of Iowa), “Stockhausen, Boulez, and the 12:15–1:45 JAMS Editorial Board Meeting Shared Concept of Statistical Form” 12:15–1:45 Mozart Society of America Meeting Holly Watkins (Eastman School of Music, University of Rochester), “The Economics of Musical Space” 12:15–1:45 SSCM Business Meeting Local Musics and Global Perspectives: Reimagining 12:30–1:30 Internship Possibilities in The Library of Eastern Europe in Post-Cold-War Musicology Congress Collections Sponsored by the Cold War and Music Study Group 12:30–2:00 Friends of Stony Brook Reception Kevin Bartig (Michigan State University), Michael Beckerman (New York 1:30–2:30 Recital: “Organ Works of Jehan Alain and University), Andrea F . Bohlman (Harvard University), Lynn Hooker (In- Franz Liszt” Phillip Kloeckner, organist diana University), Lisa Jakelski (Eastman School of Music, University of Grace Cathedral Rochester), Kevin C . Karnes (Emory University) Mad, Bad, and Lewd on the Seventeenth-Century Italian Stage FRIDAY AFTERNOON SESSIONS Wendy Heller (Princeton University), Chair 2:00–5:00 Francesco Dalla Vecchia (University of Iowa), “Sopranos Gone Wild: Fin-de-siècle France Flashing in Seventeenth-Century Venetian Opera” Thomas Lin (Harvard University), “Giasone’s Transformations: Narrative Jane Fulcher (University of Michigan), Chair and Action in a Forty-Year Journey” David Kasunic (Occidental College), “Beethoven in the Background: Mu- Maria Anne Purciello (University of Delaware), “Madness, Myth, and sic and Fine Dining in Nineteenth-Century France” Identity in L’Egisto (1643)”  AMS Newsletter Emily Wilbourne (Queens College and the Graduate Center, CUNY), 5:30–6:30 Singing from Renaissance Notation, directed “Reviving Arianna (1608): Claudio Monteverdi, Virginia Andreini, and by Valerie Horst and hosted by Early Music the Popularization of Opera” America New Paradigms of Medieval Song 5:30–7:30 University of North Carolina at Chapel Hill Alumni Reception Anne Stone (Queens College, CUNY), Chair 6:00–7:30 Popular Music Study Group Mark Everist (University of Southampton), “Organum and Heresy” Business Meeting Jeremy Llewellyn (Schola Cantorum Basiliensis), “Paradigms of Secular Monophony from the Middle Ages: Workers’ Songs” 6:00–7:30 W. W. Norton Reception Jennifer Saltzstein (University of Oklahoma), “Vernacular Hermeneutics 6:00–8:00 Boston University Alumni Reception and the Thirteenth-Century Motet: The Case of Ceste quadruble/Vos n’i 6:00–8:00 Florida State Universtity College of Music dormires/Biaus cuers/Fiat ” Alumni Reception Anna Zayaruznaya (Princeton University), “‘Severing Speech to Bind It in Silence’: Hockets as Compositional and Scribal Practice in the Ars nova 6:30–8:00 Oxford University Press and Grove Music Motet” Reception

Twentieth-Century Nationalisms 6:45–7:45 Committee on Career-Related Issues, Session III: Grant Writing for Music Faculty II Beth Levy (University of California, Davis), Chair Donald Polzella (University of Dayton) Jennifer Sheppard (London, England), “Muscle Tone: Music, Sports, and 7:00–9:00 A-R Editions Online Music Anthology the Modern Olympic Games” Reception Louis Epstein (Harvard University), “Music in the Service of the Nation: The Fêtes de la Lumière at the 1937 Paris Expo” 7:30 San Francisco Opera: Xerxes Sheryl Kaskowitz (Harvard University), “‘God Bless America’ in War and 8:00 San Francisco Symphony: “Michael Tilson Peace: Irving Berlin, Kate Smith, and the Evolution of an Interventionist Thomas Conducts Schubert” Anthem, 1918–1940” 9:00–11:00 Eastman School of Music Alumni Reception Michael Ethen (McGill University), “The American Revolution: Live Pop- ular Music in the Bicentennial Era” 9:00–12:00 University of Chicago Alumni Reception 9:00–12:00 University of Pittsburgh Alumni and Friends Reception FRIDAY AFTERNOON SHORT SESSIONS 10:00–12:00 LGBTQ Study Group Party

2:00–3:30 10:00–12:00 Columbia University Department of Music Reception Confraternity and Carnival in France and Florence, ca. 1500 10:00–12:00 Harvard Music Reception Laurie Stras (University of Southampton), Chair 10:00–12:00 Reception, Forum on Music and Sarah Long (Katholieke Universiteit Leuven), “Plague, Popular Devotions, Christian Scholarship and the French Realm: Musical and Textual Imagery in Monophonic Votive Masses from a Late Fifteenth-Century Parisian Confraternity FRIDAY EVENING SESSIONS Manuscript” Patrick Macey (Eastman School of Music, University of Rochester), “Hen- 7:00–9:00 ricus Isaac and Carnival Songs on Texts by Lorenzo de’ Medici” Lyrica Society Paper Session 3:30–5:00 Paul-André Bempéchat (Lyrica Society/Harvard University), Sounds of Early Modern Germany Chair Mary Frandsen (University of Notre Dame), Chair 8:00–9:30 Alexander Fisher (University of British Columbia), “The Uses of Bells in Trans/gendering the Voice: Julia Serano in Counter-Reformation Bavaria” Conversation with Stephan Pennington. LGBTQ Esther Criscuola de Laix (University of California, Berkeley), “‘Hört man Study Group Program and Business Meeting die Bergleut singen’: The Bergreihen as Early Modern Work Song” Julia Serano (University of California, Berkeley; Oakland-based 3:30–5:00 AMS/MLA Joint RISM Committee Meeting trans activist, musician, and writer) and Stephan Pennington 5:00–6:30 Graduate Education Committee Open (Tufts University) Session 8:00–11:00 5:00–6:30 Rice University Alumni Reception Challenges in Latin American Music Research and Pedagogy 5:15–6:15 Committee on Career-Related Issues, Session II: Grant Writing for Music Faculty I Sponsored by the Ibero-American Music Study Group Richard Benedum (University of Dayton) Carol Hess (Michigan State University), Chair August 2011  Susan Thomas (University of Georgia), “Lost in Translation: Navigating 7:00–9:00 Web Library of Seventeenth-Century Music Cuban Musicologies” Editorial Board Luiz Fernando Lopes (Indiana University), “Indiana University’s Latin 7:30–8:45 Committee on Cultural Diversity Business American Music Center at Fifty (1961–2011): Past Challenges and Future Meeting Plans” Leonora Saavedra (University of California, Riverside), “One More 7:30–9:00 Alexander Street Press Breakfast Reception Time: Musical Identities, the Western Canon and Speech about Music, 7:30–9:00 Society for Eighteenth-Century Music Board Revisited” of Directors Meeting Examining the Legacy of Nationalism and 7:30–9:30 Journal of Musicological Research Editorial Area Studies in Recent Research on Music and Board Meeting Musicians in Bohemia and Moravia Michael Beckerman (New York University), Chair 7:45–8:45 American Bach Society Editorial Board Meeting Andrew Burgard (New York University), Scott Edwards (University of California, Berkeley), Erika Honisch (University of 8:30–5:00 Registration Chicago), Jennifer Sheppard (London, England), Clare Thornley 8:30–6:00 Exhibits (New York University) 9:00–12:00 Committee on Career-Related Issues, C.V. Jazz and Gender: The Melba Liston Research Collective and Cover Letter Workshop Sherrie Tucker (University of Kansas), Chair SATURDAY MORNING SESSIONS Tracy McMullen (University of California, Berkeley), Respondent Tammy Kernodle (Miami University), Lisa Barg (McGill 9:00–12:00 University), Dee Spencer (San Francisco State University), Beethoven Monica Hairston (Center for Black Music Research) Daniel Chua (University of Hong Kong), Chair Music and the Future of Nostalgia Patrick Burke (Washington University in St . Louis), Chair Martin Nedbal (University of Arkansas), “Enlightenment Censorship in Vienna as a Source of Creative Inspiration: Fidelio and Franz Karl Häge- Alejandro L . Madrid (University of Illinois-Chicago), Ruth lin’s Notes on the Tasks of Theatrical Censors” Rosenberg (University of Illinois-Chicago), Peter Schmelz Mark Ferraguto (Cornell University), “Beethoven à la moujik: Russianness (Washington University in St . Louis), Gabriel Solis (University of and Learned Style in the ‘Razumovsky’ String Quartets” Illinois at Urbana-Champaign) Peter Tregear and Michael Christoforidis (Monash University), “Athenian Pedagogy Study Group Business Meeting and Program: Ruins, Austrian Despots, and the Turkish Music in Beethoven’s Ninth” Reconsidering Narrative in the Music History Survey Nicholas Mathew (University of California, Berkeley), “Joining In and Joining Up: Military Attention, Active Listening, and Beethoven’s Public Travis Stimeling (Millikin University), Chair Music” Michael Puri (University of Virginia), “Memory as Master Trope? Strate- Bounding Music of the Americas gies for Integrating Memory Studies into the Pedagogy of Music History” Ilana Schroeder (University of Wisconsin-Madison), “Virtuosity as an Al- Carol Oja (Harvard University), Chair ternative Narrative of the Twentieth Century” Sarah Gerk (University of Michigan), “Irish? American? Rethinking Irish- Christopher Wilkinson (West Virginia University), “Reinventing the Sur- ness in Amy Beach’s Gaelic Symphony” vey Course” Christine Fena (Stony Brook University), “The ‘Sensational’ Ballet Mé- Researching Broadway Legacies canique: the General Public and American Musical Modernism in the Geoffrey Block (University of Puget Sound), Chair 1920s” Matthew McDonald (Northeastern University), “Cumulative Composi- Todd Decker (Washington University in St . Louis), Kara Gardner tion: The Apotheosis of Ives’s ‘Emerson’” (University of San Francisco), Jeffrey Magee (University of Carol A . Hess (Michigan State University), “Revisiting Rosenfeld: Carlos Illinois), Carol Oja (Harvard University) Chávez and the Boundaries of American Music” Italian Traditions SATURDAY 12 November Roger Parker (Kings College London), Chair Margaret Butler (University of Florida), “‘Non bisogna tutto d’un colpo 7:00–8:30 Haydn Society of North America Business introdurre un gusto straniero’: Traetta’s Reform Operas for Parma and du Meeting Tillot’s ‘French Project’” 7:00–8:45 Committee on Women and Gender Meeting Nicholas Baragwanath (University of Nottingham), “Methods and For- mulas for Composing Opera in Nineteenth-Century Italy” 7:00–8:45 Publications Committee Meeting Stefano Mengozzi (University of Michigan), “Between Church and State: 7:00–9:00 A-R Recent Researches Series Editors’ The Inauguration of Guido’s Monument in Arezzo (1882) and the Birth Breakfast Meeting of Modern Musicological Research in Italy” 7:00–9:00 Journal of Music History Pedagogy Editorial Laura Protano-Biggs (University of California, Berkeley), “Conducting Board Teatro alla Scala: Before Toscanini”  AMS Newsletter Pedagogies Mass Cultural Appropriations David Gramit (University of Alberta), Chair Stephen Hinton (Stanford University), Chair Stuart Cheney (Texas Christian University), “French Choirboys and the Christopher Williams (University of Toledo), “Bach in the Shop Window: Viol, ca . 1580 to 1700” Weill’s Mahagonny and the Commodification of Musical Style” Guido Olivieri (University of Texas), “At the Origins of Music Education: Joanna Love-Tulloch (University of California, Los Angeles), “When Soda New Sources for the History of the Early Conservatories” Met Pop: Re-presenting Michael Jackson and His Music in Pepsi’s 1984 Amanda Eubanks-Winkler (Syracuse University), “High School Musicals: Campaign” Understanding Seventeenth-Century English Pedagogical Masques” The Myth of Venice Revisited Gabriel Ferraz (University of Florida), “Heitor Villa-Lobos and Getúlio Vargas: Indoctrinating Children through Music Education” David Kidger (Oakland University), Chair Text Settings and Adaptations Jamie Greenberg Reuland (Princeton University), “Voicing the Doge’s Sa- cred Image” Susan Youens (University of Notre Dame), Chair Masataka Yoshioka (Frisco, Texas), “Cultural Dialogue and Political Power Sarah Day-O’Connell (Knox College), “Origins and Journeys of Haydn’s of Singing: The Mass of Andrea Gabrieli at the 1585 Visit of the Japanese English Canzonetta ‘The Wanderer’” Delegation” Daniel Donnelly (McGill University), “Endless Falling: Musical Glossing Workers Unite! in Parallel Settings of ‘Ma di che debbo lamentarmi’” Amy Beal (University of California, Santa Cruz), Chair Melina Esse (Eastman School of Music, University of Rochester), “Saffo’s Lyre: Improvisation and Neoclassicism in Nineteenth-Century Italian Andrew Burgard (New York University), “Janáček’s ‘Svatopluk’ Choir and Opera” the Making of the Czech Working Class in Late-Habsburg Brno” Andrew Shryock (Boston University), “Scene Unseen: The Sublime Role Jane Ferencz (University of Wisconsin-Whitewater), “How Long, Brethren? of the Oratorio Messenger” Geneviève Pitot’s Music for the WPA’s Federal Dance Project”

SATURDAY MORNING SHORT SESSIONS 12:00–2:00 American Bach Society Advisory Board, 9:00–10:30 Luncheon Meeting Acoustic Imagination and Film 12:00–2:00 American Handel Society, Board Meeting Sherry Lee (University of Toronto), Chair 12:00–5:00 Committee on the Publication of American James Deaville (Carleton University), “Seeing and Hearing Is Believing: Music, Luncheon Meeting The Role of Music and Sound in the First ‘Talking’ Newsreels” 12:15–1:45 Committee on Career-Related Issues, Heather Wiebe (University of Virginia), “Humphrey Jennings and the Session IV: “How to Secure a Tenure Track Auditory Nation” Position,” joint with Committee on Cultural Imaging New Sounds: The Invention of Electronic Instruments Diversity and Committee on Women and Friedemann Sallis (University of Calgary), Chair Gender Thomas Patteson (University of Pennsylvania), “Electric Music of the 12:15–1:45 AMS Council Meeting Spheres: Jörg Mager’s Technologies of Enchantment” 12:15–1:45 Early Music America Open Session for Early Emily C . Hoyler (Northwestern University), “Bridging the Gap Between Music Directors Music and Machine: Cyril N . Hoyler’s Lecture Demonstration of the RCA Mark II Synthesizer ca . 1958” 12:15–1:45 Haydn Society of North America General Meeting Music and the Law 12:15–1:45 North American British Music Studies Jennifer Shaw (University of New England), Chair Association Meeting Lily Hirsch (Cleveland State University), “Music and Criminal Law: Rap 12:15–1:45 Lecture-Recital: “Songs of a New German Lyrics as Evidence of Crime” Democratic Republic: The Post-War Songs Derek Miller (Stanford University), “Copyright Law’s Absolute Music and 1898 1962 the Impossibility of Absolute Musicology” of Hanns Eisler ( – ) and Paul Dessau (1894–1979) Workshop: Sixteenth-Century Solmization in Practice: Margaret Jackson, soprano, Michael Hix, What Use Does It Have in the Twenty-first Century? baritone, Allen Periello, piano Anne Smith (Schola Cantorum Basiliensis) 12:15–1:45 Presentations and Reception in Honor of 10:30–12:00 Richard Crocker Also Sprach Weber und Riemann Richard Taruskin (University of California, Berkeley), Anna Maria Busse Berger (University Brian Hyer (University of Wisconsin-Madison), Chair of California, Davis), James Grier (University of Western Ontario), Sean Curran (University Kathy Fry (King’s College London ), “Theories of Rhythm: Nietzsche and of California, Berkeley), and Lori Kruckenberg Riemann” (University of Oregon) Suzannah Clark (Harvard University), “Dichterliebe as Schumann’s Cri- tique of Gottfried Weber’s Music Theory” August 2011  2:00–3:00 Lecture-Recital: Guitaromanie and delssohn (Bartholdy): Reconsidering Jewish Participation in German Interpretation: Guitar Performance Practice Musical Culture in Late Eighteenth-Century Berlin” in France between 1800 and 1830 Carol Baron (Stony Brook University), “The Reality Veiled in the Night- Pascal Valois, guitar mare Scenarios of Schoenberg’s Early Opera Librettos” Elizabeth Wells (Mount Allison University), “The Jewish West Side Story” SATURDAY AFTERNOON SESSIONS Katherine Baber (University of Redlands), “Repositioning Bernstein’s Symphony no . 2: The Age of Anxiety” 2:00–5:00 Music and Philosophy Early Twentieth-Century Genealogies Leo Treitler (Graduate Center, CUNY), Chair Michael Puri (University of Virginia), Chair Amy Cimini (New York University), “Thomas Hobbes and the Unlikely Timothy Cochran (Rutgers, State University of New Jersey), “‘The Stone in Sonorous Subject of Seventeenth-Century Political Philosophy” the Water’: Debussy, Messiaen, and the Meaning of Rhythmic Contrast” Tomas McAuley (King’s College London), “Kant’s Transcendental Ideal- Jessie Fillerup (University of Richmond), “Ravel and Robert-Houdin, Ma- ism and the Doctrine of the Affects” gicians” Stephen Decatur Smith (New York University), “Nature Opens Its Eyes: Joseph Auner (Tufts University), “Weighing, Measuring, Embalming Adorno, Music and Non-Human Nature” Tonality” Eric Drott (University of Texas), “Re-reading Jacques Attali’s Bruits” Daniel Guberman (University of North Carolina, Chapel Hill), “Elliott Carter’s Cello Sonata: Mediating Schoenberg and Stravinsky in Post-War Pre-modern Materialities America” Susan Boynton (Columbia University), Chair Exoticism Revisited Mitchell Brauner (University of Wisconsin-Milwaukee), “Scribal Publica- W . Anthony Sheppard (Williams College), Chair tion and the Sixteenth-Century Italian Madrigal” Lauren McGuire Jennings (University of Pennsylvania), “Words without Ralph P . Locke (Eastman School of Music, University of Rochester), “Mu- Song: Genova, Biblioteca Universitaria A IX. 28. and Intersections be- sical Exoticism 1500–1750: Some Methodological Considerations and tween the Notated and Un-notated Transmission of Trecento ‘Poesia per Case Studies” Musica’” Kirsten Sullivan (University of Washington), “Puccini’s La fanciulla del Eva M . Maschke (Universität Hamburg and University of Southamp- West and the ‘Eastern’ Western” ton), “Material Culture and Music: Thirteenth-Century Conductus and Zarah Ersoff (University of California, Los Angeles), “‘Succumbing Sigillography” to the Orient’: Homoerotic Orientalism and the Arabesque in Ravel’s Emily Zazulia (University of Pennsylvania), “Tinctoris the Reader” Shéhérazade” David Kjar (Boston University), “Wanda, Sting, and ‘Other Performance’: Twenty-First-Century Methodologies for Teaching Perceptions of Exoticism in the Early Music Movement” Music History: A Roundtable Discussion Histories of Mediation Colin Roust (Chicago College of Performing Arts, Roosevelt University), Chair; James Briscoe (Butler University), Steven Mark Katz (University of North Carolina, Chapel Hill), Chair Cornelius (Boston University), Mary Natvig (Bowling Green Mauro Calcagno (Stony Brook University), “Negotiating Text and History State University) in Recent Multimedia Productions of Early Baroque Works” Beau Bothwell (Columbia University), “Sounding American: Radio Sawa’s Musical Diplomacy in the Middle Eastern Radioscape” SATURDAY AFTERNOON SHORT SESSIONS Lynda Paul (Yale University), “Liveness Reconsidered: Sound and Con- cealment in Cirque du Soleil” 2:00–3:30 Sarah Carsman (University of California, Berkeley), “The YouTube Sym- Opera and Oratory in Seventeenth-Century Rome phony: Orchestrating an Image of Inclusion On and Offline” Anne MacNeil (University of North Carolina, Chapel Hill), Instruments as Social Forces Chair John Spitzer (San Francisco Conservatory of Music), Chair Ayana Smith (Indiana University), “Deceiving the Eye and Pleasing the Ear in Alessandro Scarlatti’s La Statira (Rome, 1690)” Christina Bashford (University of Illinois at Urbana-Champaign), “Art, Commerce and Artisanship: Violin Culture in Late Nineteenth-Century Virginia Christy Lamothe (Belmont University), “The Cardinal-Patron as Britain” Saint: Opera and the Oratory in Seventeenth-Century Rome” Marcelo Campos Hazan (Columbia University), “Nabucco’s Band” 3:30–5:00 Anna-Lise Santella (University of Chicago), “The Orchestra Metaphor: German Opera: Future/Past Music as a Social Force in America” Bryan Gilliam (Duke University), Chair Craig B . Parker (Kansas State University), “Sousa’s Band in the South Pacific” Daniel Sheridan (Carleton University), “‘The Sovereign Art of the Pres- The Jewish Connection ent’: The Lohengrin Premiere, Franz Brendel, and the ‘War’ for German Music” Klára Móricz (Amherst College), Chair Jason Geary (University of Michigan), “Strauss’s Elektra and the Modern- Yael Sela (Hebrew University of Jerusalem), “From Mendelssohn to Men- ist Assault on Antiquity”

 AMS Newsletter 5:30–7:00 AMS Business Meeting and Awards SUNDAY MORNING SESSIONS Presentation 9:00–12:00 7:00–9:00 University of Illinois Reception for Alumni and Friends 1811/1911 7:30–9:30 North American British Music Studies Dana Gooley (Brown University), Chair Association Reception and Musicale David Cannata (Temple University), “Liszt: Organist, Lector, Acolyte & 7:30 San Francisco Opera: Carmen Rubrician” Rena Mueller (New York University), “‘Form aus jeder Note’: Liszt’s In- 8:00 American Bach Soloists tentions—The Devil’s in the Details” St . Mark’s Lutheran Church, San Francisco Timothy David Freeze (Indiana University), “The Topicality of Nostal- 8:00 San Francisco Symphony: “Michael Tilson gia: Multiplicity of Reference in the Posthorn Solos of Mahler’s Third Thomas Conducts Schubert” Symphony” 8:00–10:00 University of Texas at Austin Reception Julian Johnson (Royal Holloway, University of London), “Mahler and the Breaking of the Musical Voice” 9 00 11 00 AMS Dessert Reception : – : African American Migrations 9:00–11:00 Indiana University Reception Charles Carson (University of Texas), Chair 9:00–12:00 Brandeis University Alumni Reception Michelle Boyd (Acadia nUniversity), “Border Crossings: The Anti-Slavery 10:00–1:00 Cornell Reception Movement and the Entrepreneurship of Señor Louis Casseres, a Spanish- 10:00–1:00 Duke University Alumni Reception African Pianist in Nova Scotia and Massachusetts, 1851–1862” Christina Gier (University of Alberta), “‘On Patrol in No Man’s Land’: 10:00–1:00 McGill University Reception Black Soldiers and Sheet Music during World War I” 10:00–1:00 Princeton University Department of Music Nita Karpf (Case Western Reserve University), “Playing Eastern, Enacting Reception Afro-Orientalism: The Hampton Singers and William Bradbury’s Esther, the Beautiful Queen” 10:00–1:00 Stanford University Reception Felicia Miyakawa (Middle Tennessee State University), “‘Many Are the 10:00–1:00 University of California–Berkeley, Davis, Roads Which Lead to Hampton’: The Curious Case of the Institutional Irvine, Los Angeles, Riverside, and Santa History of ‘Sometimes I Feel Like a Motherless Child’” Barbara Reception Composition and Theory in the Fifteenth Century 10:00–1:00 University of North Texas Alumni Reception Jessie Ann Owens (University of California, Davis), Chair 10:00–1:00 University of Pennsylvania Party Linda Cummins (University of Alabama), “The Coniuncta in Fifteenth- 10:00–1:00 Yale Party Century Italian Music Theory” Julie Cumming (McGill University), “From Two-Part Framework to Mov- SATURDAY EVENING SESSIONS able Module: Changing Compositional Process in the Fifteenth Century” Jesse Rodin (Stanford University), “Pacing as Form in Fifteenth-Century 7:30–9:30 Music: A Tale of Two Tracts” Jennifer Thomas (University of Florida), “Motivic Organization in Jos- American Beethoven Society Panel: Future quin’s Core-Repertory Motets: Innovation and Convention” Directions in Beethoven Studies Couperin’s Quiet Hand, Rameau’s Terrifying Orchestra Joanna Biermann (University of Alabama, Tuscaloosa), “Current Research Downing Thomas (University of Iowa), Chair On and Around Beethoven in Europe” Norbert Gertsch (Henle) and Julia Ronge (Beethoven-Archiv, Bonn), Eric J . Wang (University of California, Los Angeles), “The Quiet Hand: “The New Beethoven Catalog: What’s to Be Expected” Aesthetics of Bodily Decorum in the Keyboard Music of François William Kinderman (University of Illinois), “Creative Process Studies on Couperin” Beethoven” Byron Sartain (Stanford University), “‘Unpardonable Negligence’: Aes- David Levy (Wake Forest University), “How Recent Editions Have Af- thetic Contingency and the Manuscript Dissemination of François Cou- fected Performances of Beethoven” perin’s Pièces de clavecin” William Meredith (Ira F . Brilliant Center for Beethoven Studies), “Foren- Olivia Bloechl (University of California, Los Angeles), “The Tormenting sic Beethoven: The Conflicting Results on Lead Testing” Orchestra” David A . Wells (Stockton, Calif ),. “The Case of Rameau’s Parques: Cross Casting in Hippolyte et Aricie” SUNDAY 13 November Genre, Code, and Tradition in Film Music 7:00–8:45 AMS Board of Directors Meeting Jim Buhler (University of Texas), Chair 7:00–8:45 Performance Committee Meeting Kevin Clifton (Sam Houston State University), “Unraveling Music in Hitchcock’s Rope” 8:30–12:00 Registration Andy Fry (King’s College London), “Paris Blues: History by Hollywood” 8:30–12:00 Exhibits August 2011  Cormac Newark (University of Ulster), “The Phantom on Film” The Operatic Voice in the Age of Mechanical Reproduction Raymond Knapp (University of California, Los Angeles), “Getting off the Hilary Poriss (Northeastern University), Chair Trolley: Musicals contra Cinematic Reality” Ellen Lockhart (Cornell University), “Giuditta Pasta and the History of Instruments from the Inside Out Musical Electrification” Elisabeth Le Guin (University of California, Los Angeles), Chair Roger Freitas (Eastman School of Music, University of Rochester), “The Graham Freeman (University of Toronto), “‘Writing, not about the body, Art of Artlessness, or, Adelina Patti Teaches Us How to Be Natural” but the body itself’: Lute Manuscripts and the Resistance to Print in Kunio Hara (University of South Carolina), “‘Recollections of Puccini’: Early Modern England” Tamaki Miura’s Final Recording of Madama Butterfly” Aaron Allen (University of North Carolina, Greensboro), “‘Fatto di Karen Henson (Columbia University), “Rough Tunes: Enrico Caruso and Fiemme’: Forests, Stradivari, Music, and Sustainability” the Emergence of the Operatic Recording Artist” Joshua Walden (Johns Hopkins University), “‘The Hora Staccato in Seeing the Body Swing!’: Jascha Heifetz and Musical Eclecticism” Susan McClary (Case Western Reserve University), Chair Kira Alvarez (Stanford University), “The Politics of Music: Bronislaw Hu- berman’s Musical Internationalism” Louise K . Stein (University of Michigan), “Siface (Giovanni Francesco Grossi), a Castrato, Voice and Virility” Maps, Paths, and Temporalities: Music in the Twentieth and Twenty-first Centuries Berta Joncus (Goldsmiths College, University of London), “Listening to Portraits: Music and the Eighteenth-Century Opera Celebrity” Seth Brodsky (Yale University), Chair Kira Thurman (University of Rochester), “‘She is neither Cleopatra nor William Kinderman (University of Illinois at Urbana-Champaign), “The the Queen of Sheba, neither Aida nor L’Africaine’: The Black Female Elusive Path: The Genesis of Kurtág’s Kafka Fragments and Its Paradoxes” Other in Postwar German Opera Productions” Caroline O’Meara (University of Texas), “Musical Mappings: The Culture Silvio dos Santos (University of Florida), “Feminine, Masculine, and ‘In- of Late Twentieth-Century New Music in New York City” Between’: Geschwitz as neue Frau in Berg’s Lulu” Robert Lintott (University of Maryland, College Park), “‘No more min- utes, no more seconds!’: The Manipulation of Time in Act II of John Hotel and Travel Information Adams’ Doctor Atomic” A block of rooms has been reserved at the Hyatt Regency San Arman Schwartz (Columbia University), “Germany Year 38,969,364,735: Francisco; rates are $195 for a single or double (taxes addition- Operatic Remediation and Contemporary Art” al) . Reservations may be made via the web site or by telephone: (888) 421-1442 (ask for “American Musicological Society Meet- ing”) . See www .ams-net .org/sanfrancisco/ . San Francisco Program Selection The Program Committee for the San Fran- a ten-week period during the busy winter (was he ever really gone?) as are other nine- cisco Annual Meeting had the happy task of term, we evaluated over 700 individual pro- teenth-century favorites (this is a Liszt and following through on the procedural chang- posals (a 13% increase over last year), cul- Mahler anniversary year), along with inves- es implemented the preceding year for the minating in a marathon meeting in early tigations into mass media and mediation, Indianapolis meeting by the AMS Board April in Philadelphia that stretched across and instruments as social forces . We have and the Committee on the Annual Meet- two-and-a-half days (an additional half-day programmed a number of half sessions, ing . The task included ettingv 350-word over past years) . From the start, our work pairing complementary papers in stand- (rather than 500-word) abstracts alongside was ably facilitated by Bob Judd . alone sessions for greater visibility—and proposals for Formal Sessions (a thematic TheAMS/SMT Indianapolis post- additional chairing opportunities . There panel of four papers in a three-hour session conference survey indicated that a large per- are also six evening panels, three each for or two papers in a ninety-minute session), centage of respondents were in favor of the Thursday and Friday, leaving attendees free Alternative Format Sessions for non-tradi- increase from seven to nine simultaneous to program their own Saturday evening in tional daytime presentations, and Evening sessions . As a result, more members found San Francisco . Inevitably, the diverse range Panels of a more informal or investigative their way onto the program, and everyone of repertories, disciplinary approaches, and nature . It is worth noting that Alternative has a greater range and variety of presenta- topic areas contained in this year’s program Format proposals were up threefold over last tions from which to choose at the Annual are but a representative sample of the bur- year, suggesting that members of the AMS Meeting . This eary we observed a continu- geoning research projects of the AMS mem- are exploring research partnerships and em- ation in the trend towards greater inclusion bership at large . As in the past, proposals bracing more flexible modes of scholarly in- of avant-garde and contemporary music, selected for inclusion on the program were quiry and exploration . and music of the Americas and beyond . In- those that communicated most effectively I had the privilege of working alongside terdisciplinary dialogues with film, visual to the Committee the thoughtfulness of the a wonderfully supportive, industrious, and arts, philosophy, politics, and post-colonial scholarly endeavor as well as the significance congenial Committee consisting of David studies continue unabated, as do investiga- and broader relevance of the research or cre- Brackett, Andrew Dell’Antonio, Emma tions into historical soundscapes, musical ative/pedagogical inquiry . Dillon (2012 Chair), Judy Lochhead, Mi- technologies and materialities, and lives on —Caryl Clark chael Marissen, and Roberta Marvin . Over and off the operatic stage . Beethoven is back Chair, Program Committee

 AMS Newsletter ACLS Annual Meeting 2011 funded for a second year by the Andrew W . News from the AMS Board Mellon Foundation; last year it placed fifty The annual meeting of the American Coun- recent Ph D. s. in two-year positions, while The AMS Board met in New York City in cil of Learned Societies (ACLS) took place in this year it placed another sixty-four, four in March 2011 . In addition to reviewing re- Washington, D .C . on 5–7 May 2011; over 250 musicology . Intended to cover serious gaps in ports from the officers and committees of people attended, 113 of them delegates and what has been called the “jobless market,” the the Society and reviewing nominations and program will not be renewed in 2011–12, as chief administrative officers from the seventy- appointments to committees and Society ACLS continues to ponder “the most effective one constituent societies . AMS members were positions, the Board: regime for postdoctoral appointments in the well represented: not only is Richard Leppert • Approved a proposal from the Editorial a member of the ACLS Board, but delegates humanities ”. Two final highlights of the meeting: CLSA Board and Editor-in-Chief of JAMS re- from SMT (Cristle Collins Judd) and SAM garding the length of articles that appear (John Graziano) are AMS members, and in president Pauline Yu’s characteristically elo- in JAMS [see p . 4] . their roles as humanities administrators Beth quent report noted the crisis in public fund- Levy and Jeffrey Kallberg attended as well . ing and the historic difficulty of defending the • Considered the Society’s options regard- One theme of the meeting that emerged in humanities . For example, drawing upon Moby ing its hotel negotiation processes, and several sessions was the paradox that American Dick, the sympathetic Rockefeller Founda- its specific obligations and alternatives liberal-arts education is under attack at home tion report of 1980 used Captain Ahab’s gold- with regard to the 2011 Annual Meeting . while passionately desired abroad . At a well- doubloon reward as an image for the humani- • Agreed to schedule a Board retreat in attended session entitled “The Consequences ties because its interpretable markings “mirror Spring 2012 . of Financial Turbulence in the Academy,” our image of the world ”. The metaphor drew • Agreed to consolidate the Bartlet, LaRue, Srinivas Aravamudan, President of the Con- this tart rejoinder from Yu: “the reward of a Powers, and Wolf travel award commit- sortium of Humanities Centers and Institutes vengeful obsessive to a ship of doomed men tees into one Travel Grant committee for (and humanities dean and English professor is hardly a salubrious image for the humani- the 2012 round of applications . ties ”. Yet the panel “Global Perspectives on at Duke), suggested that we counteract the • Agreed to restore funding for the U S. . U .S . Higher Education” seemed optimistic, as problems of hard times by sticking together RILM office to its 2009 level ($7,500 per John Sexton, president of NYU, emphasized as humanists while cultivating heterogeneous year) . scholarly priorities and vocabularies and a ro- the “worldwide celebration of the importance of thought” in higher education . • Appointed an ad hoc committee to re- bust internationalism . David Marshall, Dean view various aspects of the Society’s of Humanities and Fine Arts at the University —Elaine Sisman Study Groups . of California at Santa Barbara, urged us to re- sist the siren song of pre-professional students RILM News • Agreed to provide an annual honorari- and parents . um to the Treasurer in recognition of the The Governing Board of the U S. -RILM. Of- In his talk “Defending the Liberal Arts,” service he provides the Society . fice is exploring waysto increase author par- frequent ACLS luncheon speaker Jim Leach, • Received reports regarding the conclu- ticipation and would like to hear from AMS Chairman of the NEH, argued that “the hu- sion of the OPUS Campaign, and af- members with suggestions as to how this manities are America’s stock in trade,” and firmed the publication of a formal “Re- might best be accomplished . Please send your that professors disseminating ideas are just as port to Donors” within three months . ideas to Sarah Adams, chair of the Governing 2012 “infrastructural” as workers building roads . Board, at sjadams@fas har. vard edu. . Author- • Agreed upon a dues increase in the Leach warned that although the NEH is submitted abstracts facilitate the professional calendar year . fighting to keep the federal government in- bibliographic work of the RILM office, and • Agreed to increase the Society’s fellow- volved in humanities research, it is a “forgot- AMS members are encouraged to visit www . ship stipends by $500 to $19,500 per year . ten institution” in Washington . rilm org/submissions. and follow the link • Agreed to incremental increases in travel As AMS delegate, I was pleased to be elect- for “submissions by individuals” to begin awards that reflect the increased value of ed to the Executive Committee of the ACLS the simple process of updating their entries . the respective endowments . Council, which develops topics for the annual RILM records are viewed 184,000 times per meeting sessions and nominates speakers for week around the world; keeping your entries the prestigious Charles Homer Haskins lec- current is one of the best ways to ensure that AMS Musicology Podcasts ture, “A Life of Learning,” only one of whom your scholarship reaches the broadest possible has been in music (Milton Babbitt, 1991) . audience . Phil Ford is organizing the Communica- This eary the lecture was delivered by Henry The work of U S. -RILM. receives much- tions Committee podcast initiative an- Glassie, emeritus professor of folklore at In- appreciated support from the AMS’s Lenore 2011 AMS News- diana University, who reflected about what nounced in the February Coral Fund, created in honor of the founder letter . Brief videos (three to five minutes drew him to the study of material culture and and first director of the U S. -RILM. office at ethnography in Ireland, Turkey, Bangladesh, long) will feature a broad array of scholars Cornell University . Those who would like to speaking informally on the topic “What and the U .S . contribute to this fund can easily do so online In the 2010–11 competition, the ACLS gave I Do in Musicology ”. Winners of AMS at www ams-net. org/endo. wments/coral php. , awards have been invited to participate, $14 .2 million in fellowships to 294 domes- or simply write a check to the American Mu- tic scholars (ten of them musicologists); see but anyone may send suitable podcasts sicological Society, stipulate that it is for the for consideration . Our target release date www acls. org. . Remarkably, the fiscal year just Coral Fund, and send it to the AMS office . is 20 October 2011 . Contact Phil Ford ending has shown a 15% increase in net as- All contributions to the Lenore Coral Fund (fordp@indiana edu). for additional in- sets, with a 13 .9% increase in investment in- are tax-deductible . formation . come . The New Faculty Fellows program was —Honey Meconi August 2011  Annual Meeting, New Orleans, Louisiana 1–4 November 2012

Call for Papers Evening panel discussions. Evening panel Joint sessions. For this special meeting discussions are intended to accommodate the Program Committees of the three societ- Deadline: 5 p.m. EST, proposals that are amenable to a more in- ies enthusiastically invite proposals for joint 17 January 2012 formal exchange of ideas in a public forum sessions, bringing together participants from than in paper sessions . These can cover a wide across the societies . These may take the form The2012 Annual Meeting of the AMS will be range of topics: they may examine a central of a joint session paper panel or a joint session held jointly with the Society for Ethnomusi- body of scholarly work, a methodology or of alternative format . Guidelines for both are cology (SEM) and Society for Music Theory critical approach, or lay the groundwork for set out below . (SMT) in New Orleans, Louisiana, from a new research direction . Such panels should A joint session paper panel is a session that Thursday, 1 November, to Sunday, 4 Novem- comprise participants’ brief position state- includes a balance of participants from two ber . The rogramP Committee welcomes pro- ments, followed by general discussion among or three societies and in which multiple ap- posals for individual papers, formal sessions, panelists and audience . Panel discussions will proaches, methodologies, or framing dis- evening panel discussions, sessions using al- be scheduled for the same duration of time courses are presented . Joint session proposals ternative formats in all areas of scholarship as full or half sessions of papers . For this pro- will be considered as a unit by the relevant on music, and joint sessions with SEM and posal, organizers should outline the rationale program committees for AMS, SEM and SMT . Please read the guidelines carefully: and issues behind the proposal, describe the SMT, and will be programmed only if ac- proposals that do not conform will not be activities envisioned, and explain why each cepted by those committees . Proposals must considered . panelist has been chosen . Evening panel dis- include (1) a session rationale, (2) abstracts Proposals will be accepted according to the cussions will be considered only as a whole . for each paper on the session, and (3) a list following five categories: Maximum length: 500 words. of equipment needed for the papers . The ses- Individual proposals. Proposals should Daytime sessions using alternative for- sion rationale must identify the home society represent the talk as fully as possible . A suc- mats. Members are encouraged to submit of each participant . Paper abstracts included cessful proposal typically articulates the main proposals for sessions utilizing alternative in a joint session proposal are components of aspects of the argument or research findings formats . Both three-hour and ninety-minute the session proposal as a whole, and will not clearly, positions the author’s contribution sessions may be proposed . Examples of al- be considered for individual presentation . All with respect to earlier work, and suggests the ternative formats include, but are not lim- proposals will be evaluated anonymously and paper’s significance for the AMS community . ited to, sessions combining performance and should contain no direct or indirect signal of Authors will be invited to revise their propos- scholarship, sessions discussing an important authorship . als for the Program and Abstracts, distributed publication, sessions featuring debate on a Maximum length: 350 words for the ra- at the meeting; the version read by the Pro- controversial issue, and sessions devoted to tionale, and 350 words for each constituent gram Committee may remain confidential . discussion of papers posted online before the paper. All proposals will be evaluated anonymously meeting . Sessions may be proposed by an in- Papers will be allocated thirty minutes each, and should contain no direct or indirect sig- dividual or group of individuals, by a Study twenty minutes for the paper and ten minutes nal of authorship . Maximum length: 350 Group, by a smaller society that has tradition- for discussion . Proposals may be for sessions words. ally met during the Annual Meeting, or by of ninety minutes or two hours . Proposals Formal sessions. An organizer representing an AMS committee wishing to explore schol- may also be for a session of three hours, which several individuals may propose a Formal Ses- arly issues . Submissions that reflect the joint in addition to a maximum of four paper pro- sion, either a full session of four papers, or a nature of the 2012 meeting are also warmly posals may include one or two respondents . half session of two papers . For this proposal, encouraged, and may be submitted under Joint sessions of alternative format, that is, organizers should prepare a rationale, explain- the rubric outlined for Joint Sessions (see be- other than paper panels, are also encouraged . ing the importance of the topic and the pro- low) . Proposals for alternative format sessions In AMS terms these are “alternative formats” posed constituent papers . As with the indi- should outline the intellectual content of the including, but not limited to, sessions com- vidual proposals (see above), all submissions session, the individuals who will take part, bining performance and scholarship, sessions should be anonymous and should contain no and the structure of the session . Maximum discussing an important publication, sessions direct or indirect signal of authorship . The length: 500 words. featuring debate on a controversial issue, and organizer should also include a proposal for Length of presentations: With the excep- sessions devoted to discussion of papers post- each paper, which conforms to the guidelines tion of papers in the joint sessions, forty-five ed online before the meeting; in SEM terms, for individual proposals (see above) . Formal minutes are allotted for each individual pro- these are roundtables, workshops, and film/ Session proposals will be considered as a unit, posal and constituent formal session propos- videos; and in SMT terms, these are special and accepted or rejected as a whole . Paper ab- al . The length of presentations is limited to sessions and events of unusual format . Pro- stracts included in a formal session proposal thirty minutes in order to allow ample time posals for alternative format joint sessions are components of the session proposal as a for discussion . Formal sessions must observe should outline the intellectual content of the whole, and will not be considered for indi- the forty-five-minute slots for paper presenta- session, the individuals who will take part and vidual presentation . Maximum length: 350 tion and discussion . Position papers delivered their home society, and the structure of the words for the rationale, and 350 words for as part of evening panel discussions should be session . As with the joint session paper pan- each constituent proposal. no more than ten minutes long . els, joint sessions of alternative format should

 AMS Newsletter include a balance of participants from two or Application restrictions. No one may In order to avoid technical problems with three societies . Proposals will be considered appear on the New Orleans program more submission of a proposal, it is strongly sug- as a unit by the relevant program committees than twice . An individual may deliver a pa- gested that proposals be submitted at least for AMS, SEM and SMT, and will be pro- per and appear one other time on the pro- twenty-four hours before the deadline . Due grammed only if accepted by those commit- gram, whether participating in an evening to the volume of proposals received, proposals tees . Proposals may be for sessions of ninety panel discussion or alternative format session, received after the deadline cannot be consid- minutes, two, or three hours . Maximum functioning as a chair-organizer of a formal ered . A FAQ on the proposal submission pro- length: 500 words. session or joint session, or serving as a respon- cess will be available at the web site, and those Proposals for joint session paper panels dent, but may not deliver a lecture-recital or planning to submit proposals are encouraged and joint sessions of alternative format will concert . Participation in extra-programmatic to review the information provided . be submitted via a shared web site, to be an- offerings such as interest-group meetings or Proposals may also be mailed to the AMS nounced closer to the submission deadline . standing committee presentations (e g. ,. the New Orleans Program Committee, attn: AMS presenters please note: the “two-year Committee on Career-Related Issues) does Robert Judd, American Musicological Soci- rule” (see below) will be waived for joint ses- not count as an appearance for this purpose . ety, Bowdoin College, 6010 College Station, sions, and therefore anyone may submit a Only one submission per author will be ac- Brunswick ME 04011-8451, to be received by paper proposal for a joint session in 2012, in- cepted . With the exception of authors of con- Tuesday, 17 January 2012 . If mailed, propos- cluding those who presented at the AMS An- tributions to joint sessions, authors who pre- als must be printed in 10- or 12-point single- nual Meeting in 2011 . sented papers at the 2011 AMS meeting may spaced typeface on one 8 .5 x 11-inch or A4 Program Committee procedures. The not submit proposals for the AMS portion of page . Proposals sent by regular mail must in- Program Committee will evaluate and dis- the 2012 meeting . Organizers of evening panel clude (on a separate page): the author’s name, cuss individual paper proposals and papers discussions or alternative format sessions may institutional affiliation or city of residence, for formal sessions and joint sessions observ- not also present a formal paper in the same audiovisual requirements, and full return ad- ing the paper format anonymously (i e. ,. with year or in the preceding one, but participants dress, including e-mail address whenever pos- no knowledge of authorship) . After an initial may do so . Authors may not submit the same sible . Receipts will be sent to all who submit selection of approximately four fifths of the proposal to more than one of the three pro- proposals . Those who submit proposals via final program, including those in the formal gram committees . If an author submits dif- mail should provide either an e-mail address sessions, the authors of all proposals will be ferent proposals to the AMS, SEM, or SMT, or self-addressed stamped postcard for this revealed, and additional papers will be select- and more than one is accepted, only one of purpose . Receipts will be sent by the begin- ed from the remaining proposals . No paper the papers may be presented . ning of February 2012 . accepted during the first round of discussion Submission procedure. Proposals must be Organized, ongoing affiliated societies. will be eliminated in the second round . Al- received by 5 p m. ,. EST, Tuesday, 17 January Such groups should contact Robert Judd at ternative format sessions and evening panel 2012 . No proposals will be accepted after this the AMS office about scheduling a room for discussions are reviewed separately from in- deadline . Electronic proposal submission is their meetings rather than applying through dividual proposals and formal sessions . Joint encouraged . A link to online submission will program committee procedures . session proposals will be evaluated anony- be provided at the AMS web site by mid-De- —Emma Dillon mously by members of the AMS, SEM and cember . Please note that electronic proposal Program Committee Chair SMT program committees . submission ceases precisely at the deadline .

Call for Performances tions include lunch hours, afternoons, and An individual may not present both a paper Thursday evening, 1 November 2012 . and a performance (or lecture-recital) at the Deadline: 17 January 2012 Required application materials include: (1) meeting . If an individual submits proposals The AMS Performance Committee invites an application cover sheet (available from to both the Program Committee and the Per- proposals for concerts, lecture-recitals, and the AMS office or at www ams-net. org/. formance Committee and both are selected, other performances and performance-related neworleans); (2) a proposed program, list- s/he will be given an early opportunity to de- events during the 2012 New Orleans Annual ing repertory, performer(s), and the duration cide which invitation to accept and which to Meeting, held jointly with the annual meet- of each work; (3) a list of audio-visual and decline . The AMS can sometimes offer mod- ings of SEM and SMT . The committee en- performance needs; (4) a short (100-word) est financial support for performance-related courages proposals that demonstrate the Soci- biography of each participant named in the expenses . Please see the Application Cover ety’s diversity of interests, range of approach- proposal; (5) for concerts, a one-page expla- Sheet for proposal submission details . Mate- es, and geographic and chronological breadth . nation of the significance of the program or rials must arrive at the AMS office no later We welcome performances that are inspired manner of performance; for lecture-recitals, a than 5 p m. . EST, 17 January 2012 . Due to the by or complement new musicological finds, description (two pages maximum) explaining high volume of applications, exceptions can- that develop a point of view, or that offer a the significance of the program or manner of not be made to this deadline, so plan accord- programmatic focus . Performances related to performance, and a summary of the lecture ingly . Receipts will be sent to those who have the meeting’s venue are especially encouraged . component, including information about submitted proposals by the deadline, and the Freelance artists as well as performers and the underlying research, its methodology, committee will communicate its decisions by ensembles affiliated with colleges, universi- and conclusions; (6) audio or visual materi- 15 April . ties, or conservatories are encouraged to sub- als (twenty minutes maximum) that are rep- —Steve Swayne mit proposals . Available times for presenta- resentative of the program and performers . Performance Committee Chair

August 2011  based or CD-ROM resources, and music dat- Kok (roe-min kok@mcgill. ca). and Leonora Committee News ing from 1600 to 1800 in the RISM database . Saavedra (leonora .saavedra@ucr .edu) . AMS-Music Library Association (Where manuscripts dating 1551–1599 fall into —Roe-Min Kok and Leonora Saavedra Joint RISM Committee this tangle of sources remains unclear ). Ide- ally, scholars would enjoy convenient access Committee on the Publication of to this data from a network of interconnected American Music The new Frankfurt RISM web site is up at online resources—but such a luxury seems a www rism. info,. with links to the new RISM The Committee on the Publication of Ameri- long way off . Nevertheless, some early steps in online public access catalog (OPAC) at opac . can Music (COPAM) is pleased to announce this direction are under way . rism info,. which now includes incipit search- the publication of two new volumes of Music —Darwin F. Scott ing . Scholars now have free access to the in- of the United States of America (MUSA) in ternational content of the RISM A/II data- Chapter Activities Committee 2011 . base (music manuscripts ca . 1600–1800, plus Volume 22, The Ingalls Wilder Family Song- more) and no longer must rely on institution- The Chapter Activities Committee encour- book, edited by Dale Cockrell, is a collection al subscriptions . ages chapter officers to consider the funding of the 127 songs and musical numbers men- At the 2010 Committee meeting in India- available through AMS for unusual expenses tioned in the eight Little House books by napolis, Sarah Adams (Director of the U S. . incurred for chapter meetings or other chap- Laura Ingalls Wilder . It constructs an imagi- RISM Office)eported r on the successful ter activities . As described on the AMS web nary songbook documenting the musical life completion of the two-year project funded site, such expenses may include the fees or of a farm family in the upper Midwest during by the Andrew W . Mellon Foundation to other expenses of guest speakers or performers the late 1800s (see p . 11) . Volume 23, Symphony catalog targeted music manuscripts from Yale at chapter meetings, or the costs of duplicat- no. 2 in D Minor, Op. 24 (“Jullien”) by George University and the Juilliard School for inclu- ing abstracts of papers read at such meetings . Frederick Bristow, edited by Katherine K . sion in RISM A/II . The RISM office and joint The AMS, with approval of the Chapter Ac- Preston, is a four movement work from 1853, AMS-MLA committee now plan to pursue tivities Committee, offers to fund one-half of composed by a Brooklyn-born composer and further grant funding to catalog the many such expenses up to $200 . dedicated to the famous French conductor music manuscripts still absent from the data- —Amy Holbrook Louis Jullien, who visited the United States in 1850 base that are held by U .S . institutions such as Committee on Cultural Diversity the early s . In an extensive introductory Princeton University, the Morgan Library, the essay, Preston explains how anti-American Lilly Library (Indiana University), St . Vincent The Committee on Cultural Diversity invites prejudice denied Bristow’s symphony the life College in Latrobe, PA (the Boniface Wim- applications for the 2011 Eileen Southern in performance that a work of its artistic qual- mer Music Collection), Yale’s Royal Hanover Travel Fund Award (ESTF) . The ESTF helps ity would seem to have deserved . Music Archive (Beinecke Library), and the minority undergraduate students and termi- MUSA is sponsored by the AMS, funded in Library of Congress (with numerous manu- nal master’s degree candidates to attend the part by the National Endowment for the Hu- scripts beyond the ca . 4,500 already reported) . AMS annual meeting and partner up with a manities and the American Music Institute of To provide as complete a picture as possible of mentor during the conference . We encour- the University of Michigan, and published by U S. . holdings in RISM A/II, a survey will go age all AMS members to identify promising A-R Editions . Anyone contemplating an edi- out soon to libraries requesting information students who have shown interest in doctoral torial project in the field of American music on unreported manuscripts (while clarifying work in the field of musicology, and to advise is encouraged to contact me, Executive Editor the end date of “pre-1801”), corrections and them to submit an application to the ESTF . of MUSA, musa-info@umich edu. . For addi- updates to records already in the catalog, and Details about the ESTF can be found at the tional information, please visit MUSA’s web URLs for digital images of catalogued manu- AMS web site . The deadline is 15 September site: www .umich .edu/~musausa . scripts now available online . and the application form will be available in —Dorothea Gail The Committee hopes to announce a sim- August . plified process for libraries to report their The Committeewould like to remind all Graduate Education Committee many unrecorded holdings of music imprints representatives of the universities and colleges The Graduate Education Committee will published before 1801 for inclusion in the belonging to the Alliance for Minority Par- host a reception for prospective graduate RISM A/I catalog . Later this year Bärenreiter ticipation in Musicology that you are invited students at the Annual Meeting in San Fran- (who has rights to the published data) intends to meet the ESTF recipients at the luncheon cisco . This event, which will replace the tradi- to issue a CD-ROM of the updated RISM in their honor on Friday afternoon at the An- tional open breakfast meeting, will provide an A/I catalog, to be sent to all subscribers . Even- nual Meeting (see the Preliminary Program opportunity for prospective students to meet tually Bärenreiter will release this information for details) . The ESTF recipients are promis- faculty and students from the schools they are for inclusion in a greatly expanded online ing young professionals who are enthusiastic considering and become familiar with gradu- RISM database . about attending a major conference, and you ate programs across the country . Directors of At the RISM Committee meeting, mem- will certainly want to meet them . For a list graduate programs in musicology will also bers commented on the awkward gulfs be- of institutions that belong to the Alliance, see have an opportunity to introduce themselves tween manuscript catalogs of Renaissance the AMS web site (www ams-net. org/com. - to each other and get to know each other . The music, described (but without full analysis of mittees/ccd/alliance .php) . reception will take place on Friday, 11 No- contents) in the print-only Census-Catalogue Finally, we would like to encourage former vember at 5:00 p .m . (location TBA) . Thetwo of Manuscript Sources of Polyphonic Music, recipients of the ESTF to contact the Com- co-chairs of the committee will contact insti- 1400–1550 (American Institute of Musicology, mittee and become mentors or conference tutions with graduate programs in August to 1979–1988), medieval music in printed RISM buddies of the newest generation of ESTF make arrangements for the event . (and other) volumes and specialized web- awardees . Please contact co-chairs Roe-Min —Giuseppe Gerbino and Tamara Levitz

 AMS Newsletter Publications Committee and Self-Expression from the Troubadours to Ecocriticism Study Group Guillaume de Machaut (Oxford University 2011 2011 In Spring , the Publications Committee Press); supported by the Hanson Endowment At the Annual Meeting in San Francisco, $36,000 awarded subventions totaling over Giorgio Sanguinetti, The Art of Partimento: the Ecocriticism Study Group (ESG) will for eighteen books and two scholarly articles: History, Theory and Practice in Naples(Oxford sponsor a social outing and an evening discus- Naomi André, Karen Bryan, and Eric Say- University Press); supported by the AMS 75 sion session . The ESG invites meeting attend- lor, eds ,. Blackness in Opera (University of PAYS Endowment ees to join us Thursday morning when we Illinois Press); supported by the Kinkeldey David Schiff, The Ellington Century (Uni- visit San Francisco’s Lands End in the Golden Endowment versity of California Press); supported by the Gate National Recreation Area . Lands End is Christine Baade, Victory through Harmony: Bukofzer Endowment a windswept bluff on the westernmost corner The BBC and Popular Music in World War II Bettina Varwig, Histories of Heinrich Schütz of San Francisco . This ockyr seascape is per- (Oxford University Press); supported by the (Cambridge University Press); supported by haps more suited to a Friedrich painting than AMS 75 PAYS Endowment the AMS 75 PAYS Endowment to a major metropolitan area, and the remains Susan Boynton, Silent Music: Medieval Song Andrew Weaver, Sacred Music as Public of three shipwrecks bear testament to its repu- and the Construction of History in Eighteenth- Image for Holy Roman Emperor Ferdinand III tation as San Francisco’s wildest coast . Lands Century Spain (Oxford University Press); sup- (Ashgate Press); supported by the AMS 75 End’s cypress-shaded trails are wheelchair- ported by the Hanson Endowment PAYS Endowment accessible and of easy to moderate difficulty, Maria Cizmic, Performing Pain: Music and Jessica Wood, “Pained Expression: Meta- with spectacular views of the ocean and sur- Trauma in Eastern Europe (Oxford University phors of Sickness and Signs of ‘Authenticity’ rounding areas . Other attractions include the Press); supported by the AMS 75 PAYS En- in Kurt Cobain’s Journals ” (article in Popular Legion of Honor fine arts museum, ruins of dowment Music); supported by the Reese Endowment the Sutro Baths, the Cliff House, and Mile 8:00 Eric Drott, Music and the Elusive Revolu- Funding for AMS subventions is provided Rock Beach . We will depart the Hyatt at tion: Cultural Politics and Political Culture in through the National Endowment for the a m. . and, after lunch, will return in time for 1968 1981 2:00 $20 France, – (University of California Humanities, the Andrew W . Mellon Founda- p .m . sessions . The cost is /person (de- Press); supported by the Kinkeldey Endow- tion, and the generous support of AMS mem- pending on enrollment, that fee will include ment bers and friends . Those interested in applying transportation and subsidize lunch); sign up Lydia Goehr, “‘—wie ihn uns Meister Dür- for AMS publication subventions are encour- for the trip during conference registration . er gemalt!’ On Prophets, Painters, Musicians, aged to do so . See the program descriptions Our evening discussion is entitled “Com- and Mastersingers” (article in JAMS); sup- for full details (www ams-net. org/pubs/sub. - posing Ecology: The Art of Soundscape and ported by the Brook Endowment vention .php) . Next deadlines: 15 August 2011, the Science of Field Recording ”. Combining Rufus Hallmark, Robert Schumann. Frauen- 15 February 2012 . elements of a traditional panel with an open 42 liebe und Leben (Op. ): Context, Composi- —Susan Youens discussion, this session will consider three re- tion, and Interpretation (Cambridge Univer- cordings of local interest accessible in advance sity Press); supported by the Daverio Endow- through the ESG web page: Aaron Ximm’s ment hydrophone study of the Grand Canyon’s Barbara Heyman, Comprehensive Thematic Study Group News Ribbon Falls; Bill Fontana’s sound sculpture Catalogue of the Works of Samuel Barber (Ox- “Spiraling Echoes” for the rotunda of San ford University Press); supported by the Jack- Cold War Music Study Group Francisco’s City Hall; and University of Cali- son Endowment The Cold War Music Study Group (CWMSG) fornia biologist Peter Marler’s field record- Stephen Hinton, Weill’s Musical Theater: is proud to sponsor a daytime, alternative- ings of white-crowned sparrows . After short Stages of Reform (University of California format session at the San Francisco meeting introductions by scholars or the composers Press); supported by the Hibberd Endow- entitled “What Was ‘Eastern Europe’? Recon- themselves, we will have a general discussion ment figuring Cold-War Studies in the Twenty-First on how recorded sound offers a productive Tamara Levitz, Modernist Mysteries: Persé- Century,” which will investigate the roles of medium through which to reimagine objec- phone (Oxford University Press); supported music-making in creating and challenging tive inquiry about the environment . by the Kerman Endowment Cold-War conceptions of “Eastern Europe ”. —Aaron S. Allen Jeffrey Magee, Irving Berlin’s American Mu- With case studies drawn from Latvia, Poland, Jewish Studies and Music Study sical Theatre (Oxford University Press); sup- and Yugoslavia, panelists reassert the impor- ported by the Reese Endowment tance of area studies as a basis for finely tex- Group Leta Miller, Music and Politics in San Fran- tured comparative scholarship within a global Our inaugural meeting took place at the 2010 cisco (University of California Press); support- context . Kevin Bartig, Andrea Bohlman, Lisa Annual Meeting in Indianapolis, where we fo- ed by the Plamenac Endowment Jakelski, and Kevin Karnes will make short cused on an array of introductory topics: from Carol Muller, Musical Echoes: South African presentations, Michael Beckerman will re- Benedetto Marcello’s Orientalism to Schoen- Women Thinking in Jazz (Duke University spond, and Lynn Hooker will moderate the berg and the Viennese-Jewish experience, Press); supported by the Hibberd Endow- open discussion periods . Please join us! In Jewishness in nineteenth-century Polish mu- ment addition to preparing the AMS session, the sic and German anti-Semitism, Jewish exiles Kristina Muxfeldt, Vanishing Sensibilities: CWMSG has also discussed appropriate re- in China and the Orthodox Jewish Diaspora . Essays in Reception and Historical Restora- sponses to the labor dispute at the San Fran- Our panelists included Steven Cahn, Rebecca tion: Schubert, Beethoven, Schumann (Oxford cisco Hyatt Regency, and members-at-large Cypess, Halina Goldberg, Jeremy Leong, Flo- University Press); supported by the AMS 75 have undertaken a study of the practices and rian Scheding, Eleanor Selfridge-Field, and PAYS Endowment operations of other AMS study groups . Judith Peraino, Giving Voice to Love: Song —Joy H. Calico continued on page  August 2011  News Briefs Researchers can search or browse materi- Study Group News als, access bibliographic information about continued from page  The Institute of Jazz Studies’ new open-access each item, and view images of the treasure . Details: www .loc .gov/musictreasures/ journal, the Journal of Jazz Studies ( JJS ), is finally British musicologist Alexander Knapp, now available online . JJS is a continuation of Theodor Dumitrescu and Marnix van Ber- who discussed fundamental dilemmas in the the print journal Annual Review of Jazz Stud- chum (Computerized Mensural Music Ed- research of Jewish art music . Our respondents ies, now defunct . iting Project / Universiteit Utrecht) have were Judah Cohen and Ralph Locke . JJS is dedicated to the entire range of jazz been awarded a grant from SURFfounda- Our upcoming session at the Annual Meet- studies—from technical analyses to oral his- tion (Netherlands) for the project The Other ing in San Francisco (Thursday, 10 Novem- tory to cultural interpretation . Josquin: A Dynamic Edition of Music Ex- ber, 8:00 p m. ). will revolve around music in Details: jjs .libraries .rutgers .edu cluded from the New Josquin Edition. The Terezin . Michael Beckerman, who crafted The Universal Music Group (UMG) has project was conducted in collaboration with our call for papers and organized the session, donated more than 200,000 historic master Jesse Rodin’s Josquin Research Project at posed central questions: What is the relation- recordings—many long out of print or never Stanford University . It includes critical edi- ship between ethnicity, religion, gender, poli- released—to the Library of Congress’s Re- tions of compositions attributed to Josquin tics, and musical expression in Terezin? En- corded Sound Section . that are not included in the composer’s “opera titled “Interpreting Terezín: Works, Contexts, Included in the recordings are never-re- omnia” due to doubts over their authenticity . Sources,” panelists include Candace Aippers- leased versions of recordings by Louis Arm- The project provides materials both necessary bach, Sivan Etedgee, David Fligg, Peter Laki, strong, Bing Crosby, Tommy Dorsey, Billie for the evaluation of the Josquin “canon” and Judah Matras, Emile Wennekes, and Amy Holiday, the Andrews Sisters, Connee Bos­ aesthetically valuable in their own right . The Lynn Wlodarski . See more details about this 2011 well, Jimmy Dorsey, the Mills Brothers, Ella editions began to appear in May and will session in the Preliminary Program and on Fitzgerald, Fred Waring, Judy Garland, and continue . our web site: www ams-net. org/studygr. oups/ many others . Details: www .cmme .org jsmsg . Details: www .loc .gov/today/pr/2011/11-003 .html Oxford University Press has re-launched its —Klára Móricz and Ronit Seter AMS partnership webstore, which features Internet Resources News hundreds of OUP music titles, including new Music and Philosophy Study Group releases, at discounts exclusive to AMS mem- bers . At the 2010 Annual Meeting in Indianapolis, Thomas Holme Hansen has prepared an on- Details: www .oup .com/us/ams/ the Music and Philosophy Study Group held line catalogue of Knud Jeppesen’s scholarly two events . First, at our business meeting, works, compositions, and editions. we conducted a rich discussion of selections Details: www .kb .dk/da/publikationer/ from Adriana Cavarero’s For More than One online/fund_og_forskning/ Conferences Voice (Stanford, 2005) . Second, we held an download/kjkatalog .pdf evening panel discussion devoted to Vladi- This is a highly selective listing; comprehensive Les Livres de Chansons nouvelles de Nico- mir Jankélévitch’s philosophy of music . The and up-to-date listings of conferences in mu­ las Du Chemin makes available an unprec- papers from this session will be published as sic­ology are posted online . See the link on edented range of modern editions, facsimiles, a colloquy in a forthcoming issue of JAMS . the AMS web site (www ams-net. org). for full critical commentaries, and practical editorial The Annual eetingM also included an evening details . tools . It focuses on secular polyphonic songs session devoted to the philosophy of Maurice from mid-sixteenth-century Paris . Recon- Merleau-Ponty, sponsored by the SMT Music Music in Divided Germany and Philosophy Interest Group . Looking into structions of the last five sets of Du Chemin’s 9 11 2011 – September the future, we are in the process of developing series, for which only two of the original four University of California, Berkeley voice parts survive, are provided . This project a collaboration with the Music and Philoso- list .bowdoin .edu/pipermail/ams-announce/ phy Study Group of the Royal Music Asso- is a permanent part of the Centre d’études su- 2010-December/002454 .html périeures de la Renaissance (Tours, France), ciation . Anyone interested in learning more and its program Ricercar. The oundtrackS of Conflict: The Role about our group should contact me (SDeca- Details: ricercar .cesr .univ-tours .fr/3- of Music in Radio Broadcasting in turSmith@gmail .com) . programmes/EMN/Duchemin/ Wartime and in Conflict Situations —Stephen Decatur Smith The Library of Congress has launched a 15–17 September 2011 Music Consortium Treasures web site that University of Göttingen The Musical Tour in the gives online access to some of the world’s www .uni-goettingen .de/en/195842 .html Nineteenth Century most valued music manuscript and print 30 September–2 October 2011 International Alliance for Women in Music materials from six esteemed institutions, in- Briosco, Italy 15–18 September 2011 cluding the Juilliard School’s Lila Acheson www .luigiboccherini .org/europeansound html. Northern Arizona University Wallace Library, the British Library, the Eda www .cal .nau .edu/iawm/ Kuhn Loeb Music Library at Harvard Uni- Cultural Counterpoints: U.S. versity, the Morgan Library and Museum, Feminist Theory & Music and Latin America and the New York Public Library . The music 22–25 September 2011 19–23 October 2011 of J . S . Bach, Mozart, Wagner, Debussy, Bi- Arizona State University Indiana University, Bloomington zet, Schoenberg, and Stravinsky is included . music .asu .edu/ftm11 music .indiana .edu/lamc/conference/

 AMS Newsletter Mozart Society of America The Art of Record Production Nineteenth-Century Music 20–22 October 2011 2–4 December 2011 CFP Deadline: 1 November 2011 Minneapolis-St . Paul San Francisco State University Edinburgh, Scotland www .mozartsocietyofamerica .org www .artofrecordproduction .com/ 27–30 June 2012 content/view/243/1/ sites .ace .ed .ac .uk/c19music/ Società Italiana di Musicologia 21–23 October 2011 Women and the Nineteenth-Century Lied Bach and the Organ Genoa, Italy 9–10 December 2011 CFP deadline: 15 January 2012 www .sidm .it National University of Ireland, Maynooth Eastman School of Music list .bowdoin .edu/pipermail/ams-announce/ 27–30 September 2012 Counterpoints: Nineteenth- 2011-January/002535 .html www .americanbachsociety .org/meetings .html Century Literature and Music 22 October 2011 After the End of Music History North American British Music Fordham University 10–12 February 2012 Studies Association ucpressjournals .com/journal .asp?j=ncm Princeton University CFP Deadline: 1 February 2012 Tango: Creation, Identification, list .bowdoin .edu/pipermail/ams- University of Illinois at Urbana-Champaign 2011 002607 25 28 2012 Circulation announce/ -February/ .html – July 27 28 2011 www .nabmsa .org – October Brahms in the New Century Paris, France 21–24 March 2012 50 Years Ago: 1961 list .bowdoin .edu/pipermail/ams-announce/ Graduate Center, City University 2011 002637 -March/ .html of New York • The AMS was feverishly preparing for the eighth Congress of the IMS, which Re-creation: Musical Reception brahms .unh .edu/news .html met in New York, Washington, and of Classical Antiquity Renaissance Society of America New Haven in September . Some 450 University of Iowa 22–24 March 2012 attendees participated in the week-long 27–29 October 2011 Washington, D .C . meeting . Although an undoubted suc- www .uiowa .edu/~classics/events/ www .rsa .org/?page=Washington2012 cess, the meeting ran a deficit, leading music_classics_conf .html the Board to institute an Annual Meet- Music in the Carolingian World: Music in Goethe’s Faust: ing registration fee ($5 in 1962) . Witnesses to a Metadiscipline Goethe’s Faust in Music • TheBoard created an ad hoc commit- 28–30 October 2011 20–22 April 2012 tee on Music Education in the Second- Ohio State University National University of Ireland, Maynooth ary Schools (Arthur Mendel, Chair) . music .osu .edu/atkinsonconference/ music .nuim .ie/newsevents/conferences/ • The Society’s annual dues were raised goethesfaustinmusic to $8 . Luigi Boccherini and the • JAMS Editor-in-Chief David G . Love to Death: Transforming Opera Music of His Time Hughes began planning a new section 31 May–3 June 2012 2–4 November 2011 of the journal entitled “Studies and Ab- Cardiff, Wales Madrid, Spain stracts,” “designed to accommodate pa- www .rma .ac .uk/conferences/event .asp?id=413 www .luigi-boccherini .org/conference/php/ pers shorter than the articles that usu- ally appear in the Journal . Such papers Brahms in the Home International Musicological Society may be either independent works or 4–6 November 2011 1–7 July 2012 abridgements of papers read at Chapter Royal College of Music Rome, Italy or National meetings ”. www .rcm .ac .uk/brahms www .ims2012 .net 25 Years Ago: 1986 The othicG Revolution: Music in Western Europe, 1100–1300 • A benefit cabaret for the AMS 50 Capi- 4–6 November 2011 Calls for Papers tal Campaign was held at the Annual Princeton University Meeting in Cleveland . It was described music .princeton .edu/~rwegman/ in the next issue of the AMS Newslet- gothicrevolution .htm Conference on Interdisciplinary ter as “a Fellinian romp through Cleve- Musicology land’s version of Arcadia ”. Power of Music CFP Deadline: 30 September 2011 • Early Music America was founded, its 30 November–3 December 2011 Göttingen, Germany goal “to promote historically-informed University of Western Australia 4–5 September 2012 performance by American musicians by www .music .uwa .edu .au/research/ gfm2012 .uni-goettingen .de/cim12 advocacy, education, and the dissemi- power-of-music/icme nation of information ”. Historic Brass Society Symposium: • Vol . 3 of the Complete Works of William Luigi Boccherini (1743–1805) Repertoire, Performance, and Culture Billings was published . 1–3 December 2011 CFP Deadline: 1 October 2011 • The Board charged the ublicationsP Lucca, Italy New York Committee to explore the feasibility of www .luigiboccherini .org/ 12–15 July 2012 publishing a monograph series . boccherinilucca .html www .historicbrass .org August 2011  Obituaries chronology – now over a half-century old – was radical, sensational and, in almost The Society regrets to inform its members of the deaths of the following members: all of its innumerable particulars, right . It Raymond Haggh, 13 March 2011 Michael Collins, 12 May 2011 immediately displaced the chronology pro- pounded by Philipp Spitta, which had been Alfred Dürr, 7 April 2011 Frederick Steiner, 23 June 2011 the accepted conventional wisdom for some Michael Collins (1930–2011) Baroque performance course was legendary three-quarters of a century . Most tellingly, given that it allowed him to put into prac- Dürr and von Dadelsen demonstrated that most of Bach’s Leipzig cantatas were written Michael Collins died on 12 May 2011 . Born tice his dedication to Baroque court dances between 1723 and 1727 at the astonishing rate on 26 July 1930 in Turlock, California, he learned from Wendy Hilton . I will never of about one per week, rather than over the earned a B A. ,. M A. ,. and Ph D. ,. the latter forget Collins breaking into a sarabande in twenty-seven years of the composer’s tenure in musicology, at Stanford University; his Versailles’s Hall of Mirrors . as Thomaskantor . Exploring the implications principal teachers were Putnam Aldrich and As with music, Collins savored life . A vir- of this new “conventional” wisdom for our Leonard Ratner . During the Korean War, tuoso host, his dinner parties and superb understanding of Bach’s artistic development Collins interrupted his academic study with command of French and Italian cuisine re- has occupied succeeding generations of Bach military enlistment and enrollment at the main in the memory of his many grateful scholars ever since . Army Language School in Monterey, Cali- friends and students . Dürr is also the author of monographs on fornia, where he acquired native fluency in —James Parsons the Bach cantatas, the St. John Passion, the Russian . Shortly thereafter he was deployed Alfred Dürr (1918–2011) Well-Tempered Clavier, and numerous spe- to West Germany for Iron-Curtain duty . cialized articles . The ecipientr of honorary Almost fifty years after defending it, his Alfred Dürr, arguably the most significant degrees from Berlin, Oxford, and Baldwin- 1963 dissertation, The Performance of Color- J . S . Bach scholar of the twentieth century, Wallace College, he was elected a Corre- ation, Sesquialtera, and Hemiola (1450-1750), died on 7 April 2011 in Göttingen at the age sponding Member of the AMS in 1988 . continues to impress for its chronological of 93 . Dürr’s brilliance was matched by his un- sweep and engaging, lucid prose . As Col- Born in Berlin-Charlottenburg on 3 March affected modesty and gentle demeanor, his lins himself observed in the introduction, 1918, Dürr spent his entire professional life generosity of spirit and, not least, his delight- he sought “to assemble, insofar as possible, in Göttingen . After returning from military ful wit . Our debt to him is enormous . all information concerning the notation service in 1945, he studied classical philology —Robert L. Marshall and performance of triplets between the ap- and (with Rudolf Gerber) musicology at the proximate dates 1450 and 1750 ”. Thestudy university, receiving his doctorate in 1950 Raymond Herbert Haggh (1920- documents Collins’s love of music, desire to for his dissertation on Bach’s early cantatas . 2011) engage with performers, thorough under- From 1951 he was at the Johann-Sebastian- standing of musical notation, passion for ar- Bach-Institut, serving as its director from Raymond Haggh—scholar, musician, and chival research, and enviable affinity for lan- 1962 until his retirement in 1983 . teacher extraordinaire—died in Fort Worth, guages (Latin, Italian, French, Spanish, and As the indefatigable principal editor of the Texas, on 13 March 2011 . Trained as a pianist Portuguese)—all of which were his lifelong Neue Bach-Ausgabe, Dürr himself was re- and organist, he served in the U S. . Armed concerns . sponsible for 21 of its 102 volumes, among Forces during World War II, then, supported In the decade after his dissertation, Collins them the Magnificat, St. Matthew Passion, by fellowships, earned a Ph .D . in musicology published three major essays on Baroque per- Christmas Oratorio, the English Suites, the from Indiana University . His distinguished formance practice in JAMS and one in Mu- French Suites, the Well-Tempered Clavier, and translations of two eighteenth-century Ger- sic & Letters . Painstakingly researched, these thirteen volumes of cantatas . His editorial man classics, Hugo Riemann’s History of Mu- and a number of smaller studies at times standards, both in his own volumes and in sic Theory, and Daniel Gottlob Türk’s School engendered controversy . Thus it was with a his role as guiding spirit for the entire enter- of Clavier Playing, remain fundamental read- certain liberation that he took up the more prise, were uncompromising and established ing for historians of theory and of Baroque amiable consideration of opera, including the model for the numerous complete works performance practice, and for performers on those by Alessandro Scarlatti, Vivaldi, Mo- editions of the post-war period . early keyboard instruments . zart, Rossini, and Bellini . Here he produced Apart from his editorial work, Dürr’s ac- In addition to his scholarly publications, critical editions of Scarlatti’s Tigrane (Har- complishments and contributions to Bach Haggh’s enduring legacy will be as a superb vard University Press) and Rossini’s Otello research are legendary – especially his estab- teacher . In his nearly thirty years as Profes- (Fondazione Rossini), and the 1984 co-edited lishment, together with Georg von Dadelsen, sor of Music History and Theory at the Uni- book Opera and Vivaldi (University of Texas of a precise chronology of the vast majority versity of Nebraska-Lincoln, he established a Press) . Collins served as chair of the Local of Bach’s vocal music . Dürr’s chronology of standard for teaching that has been frequent- Arrangements Committee for the 1972 AMS the Leipzig vocal music was published in ly emulated, and never surpassed . On gradu- Annual Meeting in Dallas, Texas . the Bach-Jahrbuch 1957 . The sophisticated ation or receipt of their graduate degrees, his Following three years at the Eastman empirical methods Dürr and von Dadelsen students found that they had mastered the ar- cana of part-writing with augmented sixths, School of Music, Collins joined the Uni- employed in this enterprise, especially their of the counterpoint of Webern or Pérotin, of versity of North Texas musicology faculty, imaginative use of paper and handwriting the perfect bibliographic entry and footnote, teaching there from 1968 until 2001 . In ad- analysis, have long since benefited research- while discovering a vital world of musical rep- dition to advanced seminars, including one ers throughout our discipline . devoted to Beethoven’s string quartets, his When it was published, the “new” Bach continued on page   AMS Newsletter Obituaries AMS Legacy Gifts continued from page  Dragan Plamenac (1895–1983) ertoire offered up with humor and affection by their professor . Countless students credit their later achievements in performance and Dragan Plamenac attended the 1939 New scholarship to the inspiration of Haggh’s high York Congress of the International Musico- standards and gentle encouragement . logical Society as representative of Yugoslavia, As Steinhardt Distinguished Professor, Di- where he held a musicology appointment at rector of the School of Music, and Associate the University of Zagreb . Like a number of at- Dean of the College of Arts and Sciences, tendees, his life was upended by the outbreak Haggh worked continually to enhance the of the European war that coincided with the academic curriculum, and especially to raise Congress, and he remained in the United the profile of musicology at the university . States . He quickly found a music position His favorite paraphrase of Goethe, “who- in St . Louis, but went to work for the U S. . ever—striving—makes an effort, becomes Office ofWar Information in 1943 . In 1954 tired,” was prominently inscribed in his ad- he joined the faculty of the University of Il- ministrative notebooks . But it was his work linois, Urbana-Champaign, and taught there as long-time chair of the Library Committee until his retirement in 1963 . His prodigious that was his greatest contribution to the uni- scholarly accomplishments are well-attested versity . On his watch, the music library was in the musicological literature; in addition, transformed from an adequate undergradu- he served on the Society’s Board of Directors Dragan Plamenac ate collection housed away from the School in 1953, 1956–57 (as Vice President), 1960, entire career (it formed part of his doctoral of Music into a first-rate research and per- and 1966 . He was named Honorary Member studies at the University of Vienna, 1925), formance collection, which it remains to this in 1971 . But his most enduring association and the edition remains an enduring legacy . day . His portrait in the reading room named with the AMS was the three-volume edition Dragan Plamenac left $25,000 to the So- for him oversees the daily acts of teaching of the complete works of Johannes Ockeg- ciety at his death . His bequest, now valued and learning that were his greatest commit- hem that the Society published in 1947, 1959, at about $60,000, provides the Society with ment and gift . and (completed by Richard Wexler) 1992 . funds to support publication activities in per- —Pamela F. Starr Plamenac’s work on Ockeghem spanned his petuity .

Society Election Results Interested in AMS Committees? The results of the 11 election of AMS The president would be pleased to hear from Next Newsletter Deadline members who wish to volunteer for assign- officers and the Board of Directors: ments to committees . Send your assignment Items for publication in the next President: Christopher Reynolds request and C V. . to Anne Walters Robertson, issue of the AMS Newsletter must be Secretary: Pamela F . Starr University of Chicago: awrx@uchicago .edu . submitted by 1 December to: Directors-at-Large: Ongoing Grants and Fellowships Marica Tacconi Andrew Dell’Antonio AMS Newsletter Editor Grants and fellowships that recur on an- Lois Rosow Pennsylvania State University W . Anthony Sheppard nual cycles are listed at the AMS web site: 4 www.ams-net.org/grants.php mst @psu .edu Meetings of AMS and Related Next Board Meetings The AMS Newsletter (ISSN 0402- Societies 012X) is published twice yearly by the The next meetings of the Board of Directors 2011: American Musicological Society, Inc . will take place on 9 November 2011 in San CMS: 20–23 Oct ., Richmond, Va . and mailed to all members and sub- Francisco, and in early March 2012 in New SMT: 27-30 Oct ., Minneapolis, Minn . scribers . Requests for additional cop- Orleans (date TBA) . AMS: 10–13 Nov ., San Francisco, Calif . ies of current and back issues of the SEM: 17–20 Nov ., Philadelphia, Pa . Call for Nominations: AMS Newsletter should be directed to 2012: the AMS office . Session Chairs, AMS/SEM/SMT All back issues of the AMS Newsletter AMS/SEM/SMT: 1–4 Nov ., New New Orleans, 1–4 November 2012 Orleans, La . are available at the AMS web site: CMS: 15–18 Nov ., San Diego, Calif . Please send nominations via mail, fax, or www.ams-net.org e-mail to the office of the AMS, including 2013 : name, contact information, and area of Claims for missing issues must be 7 10 AMS: – Nov ., Pittsburgh, Pa . expertise . Self-nominations are welcome . made within 90 days of publication SEM: Dates TBA, Indianapolis, In . 180 Deadline: 12 March 2012 . (overseas: days) . August 2011  American Musicological Society Nonprofit org . Bowdoin College U .S . Postage 6010 College Station PAID Brunswick ME 04011-8451 Mattoon, IL Permit No . 217 Address service requested

President-Elect Christopher Reynolds Christopher Reynolds has been elected 1513, was supported by fellowships from the President of the Society for the term 2013– NEH (twice) and two residencies at Villa 14 . He is currently Editor of AMS Studies I Tatti in Florence . His second book, Mo- in Music . In the past he has been chair of tives for Allusion: Context and Content in the Program Committee and of the Paul A . Nineteenth-Century Music, was aided by a Pisk Committee, a member of the Com- fellowship from the Alexander von Hum- mittee on the Publication of American Mu- boldt Foundation and a year at the Univer- sic, a member of the Board of Directors, sity of Heidelberg . Motives for Allusion was and President of the Northern California a finalist for the Kinkeldey Award from the Chapter . Society . Reynolds received his B .A . from the Uni- Throughout his career, Reynolds has in- versity of California, Riverside, and his vestigated the ways in which composers graduate degrees from Princeton Univer- have derived musical ideas from each other . sity . His teaching career has included posi- His interest in questions of allusion and tions at the University of Illinois at Urbana- compositional response has been a con- Champaign, and McGill University . Since stant in his work, whether the repertoire 1985 he has been a member of the faculty at is fifteenth-century chansons and Masses, the University of California, Davis, where sixteenth-century madrigals, eighteenth- he is currently serving his second term as and nineteenth-century vocal and instru- chair of the Music Department . Among mental music, or twentieth-century opera, President-Elect Christopher Reynolds other administrative posts, he was for two film music, and, most recently, rock songs by women between about 1800 and 1950 . years Director of the University of Califor- of the 1960s and ’70s . His article “Porgy Since then this collection has grown to nia’s education abroad program in Germa- and Bess: An ‘American Wozzeck,’” marshals approximately 4,000 songs, books, and ny . He was a founding editor of the journal both musical and biographical arguments letters, more than half of which are now Beethoven Forum and a co-editor of I Tatti to explain the extent of Gershwin’s indebt- housed in Special Collections at the Uni- Studies, volumes devoted to studies of Re- edness to Berg . It won both the H . Colin versity Library of UC Davis . naissance culture . Slim Award from the Society and the Kurt Reynolds has held visiting professorships From the beginning of his career, Rey­ Weill Prize from the Kurt Weill Foundation at several institutions, including Yale, Stan- nolds has published in three areas: Renais- for best article on musical theater published ford, and UC Berkeley, and in Germany at sance music, musical allusion and influence, during the preceding two years . the University of Göttingen . He received and American music . His first book, Papal Early in the 1990s Reynolds began to the UC Davis Distinguished Teaching Patronage and the Music of St. Peter’s, 1380- collect sheet music of songs composed Award in 2000–01 .