AMS_2010_full.pdf 1 9/11/2010 5:08:41 PM ASHGATE New Music Titles from Ashgate Publishing… Adrian Willaert and the Theory Music, Sound, and Silence of Interval Affect in Buffy the Vampire Slayer The Musica nova Madrigals and the Edited by Paul Attinello, Janet K. Halfyard Novel Theories of Zarlino and Vicentino and Vanessa Knights Timothy R. McKinney Ashgate Popular and Folk Music Series Includes 69 music examples Includes 20 b&w illustrations Aug 2010. 336 pgs. Hbk. 978-0-7546-6509-0 Feb 2010. 304 pgs. Pbk. 978-0-7546-6042-2 Changing the System: The Musical Ear: The Music of Christian Wolff Oral Tradition in the USA Edited by Stephen Chase and Philip Thomas Anne Dhu McLucas Includes 1 b&w illustration and 49 musical examples SEMPRE Studies in The Psychology of Music Aug 2010. 284 pgs. Hbk. 978-0-7546-6680-6 Includes 1 b&w illustration, 2 music examples and a CD Mar 2010. 218 pgs. Hbk. 978-0-7546-6396-6 Shostakovich in Dialogue Form, Imagery and Ideas in Quartets 1–7 Music and the Modern Judith Kuhn Condition: Investigating Includes 32 b&w illustrations and 99 musical examples Feb 2010. 314 pgs. Hbk. 978-0-7546-6406-2 the Boundaries Ljubica Ilic Harrison Birtwistle: Oct 2010. 140 pgs. Hbk. 978-1-4094-0761-4 C The Mask of Orpheus New Perspectives M Jonathan Cross Landmarks in Music Since 1950 on Marc-Antoine Charpentier Includes 10 b&w illustrations and 12 music examples Edited by Shirley Thompson Y Dec 2009. 196 pgs. Hbk. 978-0-7546-5383-7 Includes 2 color and 20 b&w illustrations and 37 music examples Apr 2010. 414 pgs. Hbk. 978-0-7546-6579-3 CM Sociology and Music Education Edited by Ruth Wright MY She’s So Fine: SEMPRE Studies in The Psychology of Music Includes 13 b&w figures and 8 tables Reflections on Whiteness, CY Sep 2010. 322 pgs. Hbk. 978-0-7546-6801-5 Femininity, Adolescence and Class in 1960s Music CMY Leonard Bernstein: Edited by Laurie Stras West Side Story Ashgate Popular and Folk Music Series K Nigel Simeone Includes 17 b&w illustrations and 7 music examples Includes 3 b&w illustrations, Aug 2010. 284 pgs. Hbk. 978-1-4094-0051-6 22 music examples and a CD Dec 2009. 192 pgs. Hbk. 978-0-7546-6484-0 Understanding Music Messiaen the Theologian The Nature and Limits of Musical Cognition Edited by Andrew Shenton Includes 12 b&w illustrations and 21 musical examples Hans Heinrich Eggebrecht Apr 2010. 312 pgs. Hbk. 978-0-7546-6640-0 Translated by Richard Evans Includes 4 musical examples Dec 2009. 170 pgs. Hbk. 978-0-7546-6612-7 The Ashgate Research Companion First Edition in English to Popular Musicology Edited by Derek B. Scott Jean Cras, Polymath Includes 13 b&w illustrations and 14 musical examples Dec 2009. 576 pgs. Hbk. 978-0-7546-6476-5 of Music and Letters Paul-André Bempéchat Includes 10 color and 33 b&w illustrations Where Music Helps: and 187 music examples Community Music Therapy Nov 2009. 608 pgs. Hbk. 978-0-7546-0683-3 in Action and Reflection Brynjulf Stige, Gary Ansdell, Understanding Mozart’s Cochavit Elefant and Mercédès Pavlicevic Piano Sonatas Ashgate Popular and Folk Music Series John Irving Includes 23 b&w illustrations Includes 12 musical examples and 1 line drawing Jun 2010. 364 pgs. Pbk. 978-1-4094-1010-2 Oct 2010. 176 pgs. Hbk. 978-0-7546-6769-8 Come visit our booth in the book exhibit www.ashgate.com/ams2010 Ashgate Publishing | 101 Cherry Street, Suite 420 | Burlington, VT 05401 | (800) 535-9544 g Program and Abstracts of Papers Read at the American Musicological Society Seventy-sixth Annual Meeting and the Society for Music Theory Thirty-third Annual Meeting 4–7 November 1 Marriott and Westin Hotels Indianapolis, Indiana g AMS/SMT 2010 Annual Meeting Edited by Hali Fieldman and Michael Long Chairs, 1 SMT and AMS Program Committees Local Arrangements Committee James Briscoe, Chair, Sarah Eyerly, Roberta Lindsey Performance Committee David Schulenberg, Chair, Jeffery Kite-Powell, 2011 Chair, Ross Duffin, James Briscoe Program Committees AMS: Michael Long, Chair, Caryl Clark, 2011 Chair, Beth Glixon, Roger Parker, Peter Schmelz, Larry Starr SMT: Hali Fieldman, Chair, Byron Almén, Jonathan Dunsby, Morwaread Far- bood, Joti Rockwell, Lynne Rogers, ex officio, Frank Samaratto The AMS would like to thank the following people and organizations for their generous support: Center for Black Music Research Christ Church Cathedral Indianapolis Symphony Orchestra Indianapolis Symphonic Choir Buselli-Wallarab Jazz Orchestra Program and Abstracts of Papers Read (ISSN -1) is published annually for the Annual Meeting of the American Musicological Society and the Society for Music Theory, where one copy is distributed to attendees free of charge. Additional copies may be purchased from the American Musicological Society for $1. per copy plus $. U.S. shipping and handling (add $. shipping for each additional copy). For international orders, please contact the American Musicological Society for shipping prices: AMS, 61 College Station, Brunswick ME 411-41 (e-mail [email protected]). Copyright © 1 by the American Musicological Society, Inc. All rights reserved. Cover design: Gabriel Sim-Laramee Contents Thursday afternoon, 4 November 40 American Experimentalism 43 Beyond Pianism 46 Close Reading 49 The Composer’s Hand 51 Film music 54 Fin-de-siècle France 57 Haydn and Mozart 60 In Search of Rhythm 62 Jazz 65 Knets and Cubes 65 Mahler’s Middle Symphonies 66 Meaning in Mass and Motet 69 Music Informatics: Research, Representations, and Tools 73 Saariaho 74 Schoenberg Early and Late Thursday evening, 4 November 76 A Changing Climate: Ecomusicology and the Crisis of Global Warming 77 Addressing Ethnic and Racial Diversity in Music Theory 79 Musicology and the Documentary Film: Three Test Cases 80 Perception in the flesh: What Can Merleau-Ponty Contribute to Music? 82 Robert Schumann at Two Hundred: New Paths 83 Teaching Counterpoint in the Twenty-First Century Friday morning, 5 November 86 Analyzing the Music of Twentieth-Century Women Composers 88 Duke Ellington’s Late, Extended Works: Some New Critical Perspectives 91 Exoticism in Shifting Contexts, 1840 to Today 95 Fin-de-siècle Germany 98 Making Musical Communities 101 Mapping Music iv AMS/SMT Indianapolis 2010 103 Means of (Musical) Production 105 Modes of Listening 108 Musical Experiencers: Composer, Performer, Listener 110 Musicologies 113 Schumann, Liszt, Brahms 116 The Significance of Terms 117 Special Voices 120 Vocal Music in Eighteenth-Century France Friday noontime, 5 November 122 The Music of Messiaen and his Students 123 Black Experience and Song: Art Songs by David N. Baker and Mark Fax Friday afternoon, 5 November 125 Beyond the Book 128 Constructing “Japan” in Japanese Music: A Hundred-Year Analytical Survey 130 Dylan’s Voice 131 Early Nineteenth-Century Music 133 Europe and Politics in the Mid-Twentieth Century 135 Extracurricular Activities: Two Pedagogues 137 Improvisation 138 Italian Baroque Opera 141 Music and Text 144 Performance Studies 147 The Politics of Race in America 150 Process and Metaphor in Twentieth-Century Music 152 Querelles des philosophes 154 Reassessing the Nineteenth Century 157 Transformation and (de)Coding, Sound and Music Friday evening, 5 November 160 The Cold War Sensorium: ound,S Affect, and Politics 161 The Emerging Scholarship of Pedagogy 162 Rethinking Race and Ethnicity in Brazilian Music 164 Sound Studies 165 Tenure and the Musical Scholar: Philosophical and Practical Issues Saturday morning, 6 November 167 Cadence and Form 169 Choreographies Contents v 172 Cognition and History 174 Commonality and Otherness 177 Eastern Europe Since 1980 180 French Opera from Rameau to Gluck 183 In the Company of Wagner 185 Italian Modernism, 1930–1950 188 The Long Nineteenth Century 191 Marian topics 192 Race, Politics, American Music 194 Selling Music 197 Twentieth-Century American Works 199 Visual Impairment in the Music Theory Classroom: Policies and Practicalities Saturday noontime, 6 November 200 Accompanying Metropolis and Jerry Springer: Syncing Sound and Motion Through a Multimedia Performance of Chamber Music by Louis Andriessen and Jacob TV 201 Ornamentation and subjective feeling in the ML Lutebook Saturday afternoon, 6 November 202 Debussy 205 Heroines and Others 208 Liturgical Music 210 Musicology and Biography: The Case of H. H. Eggebrecht 212 Musicology and Place 214 Opera Studies 217 Out of the Roots 220 Reality, Illusion, and the Fantastic Saturday evening, 6 November 223 Analytic Pathways to Successful Performance Strategies for Works by Chopin and Schumann 225 (Per)Form in(g) Rock 227 Schumann’s Lieder as the Refuge of Memory 229 Vladimir Jankélévitch’s Philosophy of Music Sunday morning, 7 November 231 Arrangements 234 Bodies and Machines vi AMS/SMT Indianapolis 2010 237 Cooperative Multiplicities 239 Music and Fascism 240 Poulenc and Ravel 243 Pre-Tonal Theories and racticesP 246 Private Musics 249 Real Women 252 Rethinking Classrooms, Homework, and Learning: New Models for Teaching Music History in the Online Age 253 States of Mind 256 Tracing the Paths of Ideas 258 Visualizing Music 319 Index of Participants 325 Maps Abstracts Thursday afternoon, 4 November AMERICAN EXPERIMENTALISM (Ams) Denise Von Glahn, Florida State University, Chair Opening THE SOUND FIELD: PAULINE Oliveros AND THE “AESTHETIC OF Spontaneity,” 1957–1966 David W. Bernstein Mills College “I like to wander about in my work writing so rapidly that I might overlook manipulations and design; the poetic experience advancing as far as one can (as far as one dares) toward an adventure,” wrote Robert Duncan, a leading poet in the San Francisco Renaissance. Duncan emphasized spontaneity in his writing and, like fellow Black Mountain poet Charles Olson, was an advocate of “open form.” Duncan became Pauline Oliveros’ friend and mentor in 1957, and introduced her to the community of gay poets in the San Francisco Bay Area.