AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLIV, NUMBER 1 February 2014 ISSN 0402-012X

AMS Milwaukee 2014: Not Just 2013 Annual Beer, Brats, and Cheese Meeting: Pittsburgh

AMS Milwaukee 2014 venues right in the downtown area, includ- The seventy-ninth Annual Meeting of the 6–9 November ing the Marcus Center for the Performing American Musicological Society took place www.ams-net.org/milwaukee Arts, home of the Milwaukee Symphony, the 7–10 November among the bridges, rivers, Florentine Opera, and the Milwaukee Bal- and hills of Pittsburgh’s Golden Triangle. Members of the AMS and the SMT will let. Pabst Theatre and the nearby Riverside The program was packed to the gills, with converge on Milwaukee, Wisconsin, in No- Theatre are home to regular series and the an average of seven concurrent scholarly ses- vember for their annual meetings. Situated Milwaukee Repertory Company. The large sions plus numerous meetings by the Soci- on the west shore of Lake Michigan about Milwaukee Theatre hosts roadshows. The ety’s committees, study groups, and editorial ninety miles north of Chicago, Milwaukee is downtown also boasts two arenas hosting boards, as well as lectures and recitals select- known as the Cream City not because Wis- sporting events and touring acts. The Broad- ed by the Performance Committee. Papers consin is America’s Dairyland, but because way Theatre presents smaller events, includ- and sessions spanned the entire range of the of the ubiquity of cream-colored brick used ing local theater companies and the Skylight field, from the origins of Christian chant to in the city’s oldest buildings. Sure, it is well Musical Theatre series. the recent media technology of television op- known for its place in the history of brewing, Milwaukee is also proud of its public art era and Auto-Tune. Long-standing debates but today Milwaukee is a vibrant metropoli- and architecture. The August 2013 AMS over the interpretation of Renaissance print tan area of over a million, with a thriving arts Newsletter displayed a photo of the lake front collections, eighteenth-century theories of and culture scene. dominated by the Quadracci Pavilion of the rhetoric, the Italian Risorgimento, and the The conference hotel is the historic down- Milwaukee Art Museum, designed by San- politics of Soviet music were reconsidered town Hilton (originally opened as the tiago Calatrava. Just south of the museum with fresh evidence. The program showed Schroeder Hotel in 1927), and sessions will sits Discovery World, part of the Milwaukee notable growth in emergent fields, drawing also take place in the convention center Public Museum, whose main building is on on ecocriticism, film studies, sound stud- across the street. There are a plethora of arts the west side of downtown near the conven- ies, disability studies, and posthumanities. tion center. South along the lake front is also Two full sessions launched compelling new In This Issue… Maier Festival grounds, home of Summer- historical work on music as an element of fest, the world’s largest music festival. Head- international diplomacy. Other alternative- President’s Message ...... 2 ing east on Wisconsin Avenue from the lake, format sessions began enterprising new dis- President-Elect Ellen T. Harris . . . 3 you will pass the Wisconsin Gas building, cussions on the cultural history of musical Textual Scholarship and Musicology . 4 atop of which sits a weather beacon whose instruments and on the interplay of sound, Treasurer’s Message ...... 4 color or flicker gives the forecast. Further music, and affect in modernity. This meeting What I Do in Musicology . . . . .5 100 also debuted the Poster Session, a new type The IMS in Pittsburgh ...... 5 on, East Wisconsin Avenue was built as of presentation that we hope to see more of Awards, Prizes, Honors ...... 6 an invocation of the old Pabst Tower, which Executive Director’s Message . . . 10 used to sit on the site. As you cross the river in the future to facilitate interactive and mul- News from the AMS Board . . . .10 you will notice Mark Di Suvero’s Sunburst timedia-based research (they are solicited in 2014 AMS-Sponsored Lectures . . . . 11 forming an eye through which you can see the Call for Papers). The exceptionally AMS Elections 2014 ...... 12 Calatrava’s brise solei. We hope to arrange a competitive nature of our selection process, Committee & Study Group News . 15 city tour during the meeting for those inter- with an acceptance rate of approximately News Briefs ...... 19 ested in learning more about these artworks. thirty percent, continues to hold the confer- CFPs, Conferences ...... 20 On the west side of downtown sits the ence at its high level of quality, and the many Papers Read at Chapter Meetings . .21 central branch of the Milwaukee Public Li- impressive debuts by advanced students and Legacy Gifts ...... 28 brary, home to a collection of 10,000 items recent PhDs keep pushing the standards ever Obituaries ...... 29 of sheet music dating from 1850. Our host higher. Financial Summary 2013 . . . . .30 continued on page  continued on page  President’s Message: Addressing a National Issue

I want to begin by thanking several people. study by the American Federation of Teachers What can we as a relatively small scholarly First, a very special thanks to the Pittsburgh (March 2010) found that the largest segment society do? Advice and practical suggestions Local Arrangements committee: Matthew (over forty percent) of contingent faculty had have appeared this fall in a pair of blog postings Baumer (chair), Benjamin Binder, James Cas- been employed at the same institution for from Elizabeth Keenan, a recent PhD in eth- saro, Robert Fallon, Rachel Mundy, Anna over ten years, many for over twenty (www. nomusicology from Columbia University (she Nisnevich, Deane Root, Mariana Whitmer, aft.org/pdfs/highered/aa_partimefaculty0310. speaks to tenured departmental colleagues; and Emily Zazulia. You did a fantastic job. pdf). In their measure of job satisfaction, the badcoverversion.wordpress.com/2013/10/30/ Second, many thanks to two who have been outcomes were almost all positive. The scores how-to-be-a-tenured-ally/), and also in a of enormous help to me in my first year of were lowest at public four-year institutions, Chronicle article by James M. Lang, associate presiding: my predecessor, Anne Walters Rob- but even then, fifty percent reported being professor of English at Assumption College ertson, and our long-serving secretary, Pamela very or mainly satisfied with their jobs. Also (chronicle.com/article/The-Loraxs-Dilem- Starr. Getting to work closely with you has noteworthy, the AAUP reported in 2009 that ma/143243/). His three recommendations are: been a great pleasure. I will miss you! two-thirds of contingent faculty don’t want 1) become someone’s ally or mentor; 2) open My topic this time is one of ever-growing full-time employment; there is doubtless over- committee memberships to adjuncts; and 3) importance: how we might better support lap here with the even larger percentage with- offer grants for work-related travel. Currently, our colleagues who are contingent or adjunct out a PhD or similar advanced degree (www. the AMS is already doing the latter two of faculty members. Not a week goes by now aaup.org/article/who-are-part-time-faculty). these, and has been for some time. without multiple articles and opinion pieces A comparable study appeared in 2010 by Among further possible steps, I offer the discussing the dependence of today’s universi- the Coalition on the Academic Workforce following: ties on adjunct instructors, increasingly called (CAW), a group of twenty-seven scholarly Those of us who have tenure or tenure- contingent faculty. It has become one of the societies, higher education associations, and track jobs can become more informed about favorite recurring themes in the pages of the faculty organizations that seeks, among other the conditions of adjunct faculty, not just (or Chronicle of Higher Education (right up there goals, to deal with the problems of all faculty, even primarily) in musicology, at our own with MOOCs). universities; those of us in administrative po- While statistics vary widely according to the How can we support those who are sitions can seek common cause with other source, there is no questioning the extent of administrators. the growth in academic jobs that are not ten- contingent or adjunct faculty? The AMS Committee on Membership ure track. Because the numbers of tenure-track and Professional Development (CMPD) has faculty have remained more or less constant including those “serving full- and part-time begun to consider this issue and will make since the 1970s, the conclusion is inescap- off the tenure track” (academicworkforce.org/ recommendations to the Society. Among able that the huge increase in the numbers of CAW_portrait_2012.pdf ). Along with much possible tasks are 1) to explore how we might students since then has been accommodated data about wages, course loads, years of teach- establish a mentor program, and 2) to review by hiring ever greater numbers of contingent ing, and the like, the findings include the fact the efficacy of our travel grant programs (espe- faculty (www.mindingthecampus.com/origi- that “part-time faculty members represent the cially the one administered by the CMPD) as nals/2009/06/review_of_john_c_cross.html). largest and fastest-growing segment of the it applies to contingent faculty. According to the American Association of postsecondary instructional workforce,” and, The AMS has joined CAW, and I have ap- University Professors (AAUP), academia has unsurprisingly, that “professional support for pointed Kendra Preston Leonard, an indepen- gone from having nearly sixty percent of fac- part-time faculty members’ work outside the dent scholar and CMPD member, as AMS ulty tenured or tenure track and thirty percent classroom and inclusion in academic decision liaison to it. part-time in the 1970s to the reverse, thirty making was minimal.” Finally, we need to survey our membership percent tenured and tenure track and fifty- From the standpoint of a scholarly soci- to determine which percentage of our Society one percent part-time. Adding in full-time ety similar to our own, the American His- has contingent positions, and potentially also, non-tenure-track employees, the total may torical Association just completed a study of how many of us once had such a job, and for reach seventy percent (www.huffingtonpost. its membership over an eleven-year period how long. Such a survey is, in fact, almost com/2013/11/11/adjunct-faculty_n_4255139. (1998–2009). They found that numbers of ready to launch. In the future we hope to col- html). These figures may be either higher or their members employed in adjunct positions lect such data as part of the membership ap- lower depending on what one counts (univer- were significantly lower than the statistics sug- plication and annual renewal process. sities, colleges, and community colleges have gested at the top of this essay, ranging from The last of these steps is a crucial beginning no consistent practice). And much of what the 13.5 percent for those who finished the PhD in point. At the moment we can surmise that our statistics indicate will be shaped by whether or the first four years of the study to 25.6 percent membership is better reflected by the numbers not for-profit institutions like the University of those who finished in 2006–9. Interesting- collected by the American Historical Associa- of Phoenix are included. According to its own ly, the study “found significant disparities by tion than it is by those recorded by the AAUP. records, UP employed 20,000 adjunct faculty history specialty in the likelihood of landing a But we need to know, not surmise, and then in 2009. tenure-track job” (www.insidehighered.com/ proceed accordingly. I encourage anyone who While our main concern is with the potential news/2013/12/02/study-explores-career-paths- would like to participate in this discussion to for exploitation of contingent faculty, we need history-phds). The most popular area for dis- contact me, Bob Judd, or any member of the to acknowledge that not all such positions are sertation research, American history, proved Board. temporary or poorly compensated. A national the most difficult area for such positions. —Christopher Reynolds

 AMS Newsletter President-Elect Ellen T. Harris Ellen T. Harris has been elected President of Award from the AMS, as well as the Louis She also served as musicological advisor to the Society for the term 2015–2016. She has Gottschalk Prize from the American Society the complete recording of Handel’s Italian served the Society on the Board of Directors, for Eighteenth-Century Studies for the out- instrumental cantatas by the group La Riso- as chair of the Howard Mayer Brown Fellow- standing historical or critical study on the nanza and has given joint presentations with ship Committee and Kinkeldey Award Com- eighteenth century during the preceding year. its musical director Fabio Bonizzoni. She has mittee, and twice as a member of the JAMS performed twice with John Williams and the Editorial Board. She was elected Fellow of the Boston Pops. American Academy of Arts and Sciences in Harris received her BA from Brown Uni- 1998 and named an Honorary Member of the versity and her graduate degrees from the AMS in 2012. She has also served as President of the American Handel Society. University of Chicago. Her teaching career Harris has published extensively on the included positions at Columbia Universi- music of George Frideric Handel and Ba- ty; at the University of Chicago, where she roque opera. Her first book, Handel and the chaired the Department of Music; and at the Pastoral Tradition (1980), examined the influ- Massachusetts Institute of Technology, where ence of national styles of pastoral drama on she served as Associate Provost for the Arts Handel’s theatrical and dramatic works. Her and later served as Chair of Music and The- continuing interest in Handel’s texts led to ater Arts. the thirteen-volume facsimile edition, The In June 2012, Harris retired from her posi- Librettos of Handel’s Operas (1989), while her tion at MIT and since then has been trying further exploration of English operatic tradi- out a new form of retirement. She has com- tions resulted in her edition of Purcell’s Dido pleted her book George Frideric Handel: A Life 1987 and Aeneas ( ) and in the monograph with Friends, which will be published by Nor- Henry Purcell’s Dido and Aeneas (1987). ton in the summer of 2014. She is currently Handel’s cantatas have been an important a Phi Beta Kappa Visiting Lecturer and over focus of Harris’s work since her first article, the course of the year will have residencies at “The Italian in Handel” (JAMS, 1980). This nine different college campuses. In February, research culminated in the publication of Ellen T. Harris Handel as Orpheus: Voice and Desire in the she will present the Stanley Sadie Memorial Chamber Cantatas (2001), in which Har- As a musicologist-singer, Harris served as Lecture sponsored by Handel House, Lon- ris examined the influence of homosexual consultant to Renée Fleming on her record- don, and she looks forward to serving the culture on the texts and musical settings of ing of Handel arias and to Santa Fe Opera AMS as its first “pensioned” president. She the cantatas. The book won the Kinkeldey on their production of Mozart’s Mitridate. thinks perhaps it will set a trend.

AMS Milwaukee 2014 Party mayors who built the city’s infrastruc- AMS Pittsburgh 2013 ture. Green spaces within walking distance continued from page   include Zeidler Union Square (three blocks continued from page institution, the University of Wisconsin- from the hotel), Clas Park near the Public Li- Friday and Saturday evening concerts by Milwaukee, the UW System’s urban campus, brary, Pere Marquette Park near the Marcus the Pittsburgh Symphony Orchestra, featur- is five miles north of the conference venue. Center, and of course the lake front parks to ing works by Rimsky-Korsakov, Prokofiev, Some six blocks west of the hotel, strad- the north of the Museum. and Balada, gave confidence in the brilliance dling Wisconsin Avenue is Marquette Uni- Milwaukee will be a welcoming place for and vitality of American orchestras after a versity with its own distinguished Haggerty musicologists and music theorists. Rembert Museum, a significant venue for contem- Weakland, a musicologist and AMS member year of uneasy reports from Minnesota. The porary shows, as well as home to a diverse for over sixty years, is our most noteworthy herculean efforts of the Local Arrangements collection ranging from Italian Renaissance local member; he was, not incidentally, the Committee ensured that everything fell into “petite masters” to American folk artists. In Catholic archbishop of Milwaukee from place, so that attendees could maximize their addition, the Milwaukee metropolitan area 1977 to 2002. Milwaukee looks forward to experience. And Bob Judd steered the ship is graced with more than a dozen smaller pri- hosting the AMS and to sharing its unique expertly around last-minute room changes vate colleges and universities. cultural offerings. And I can’t fail to mention to make sure the maps aligned. I would like Large and small green space has been an that there is still a thriving and outstanding to thank once again the Program Committee important part of Milwaukee’s cityscape. brewing tradition awaiting scholars who en- (Mark Everist, Bob Fink, Marina Frolova- As Milwaukee developed over the twentieth joy beer! Walker, Christine Getz, Diana Hallman, and century, a system of parks was built through- Be sure to keep checking the conference Richard Will, incoming chair) for their dili- out the county, both inland and along the web site (www.ams-net.org/milwaukee/) for gence and insight in shaping a diverse, rich, lake front. The Milwaukee County Park Sys- more information as the meeting approaches. and challenging program. tem is a legacy of half a century of Socialist —Mitchell Brauner —Dana Gooley

February 2014  Textual Scholarship: Opportunities for Musicology Many musicologists have prepared editions of the socialized text, of fluid texts, of biblio- two organizations are committed to interdis- for publication or classroom use, yet it seems graphic coding, and of versioning—theories ciplinary studies and welcome musicologists. that few have had formal training in edito- that have reshaped textual scholarship during For musicologists interested in becoming bet- rial theory and practice, and that fewer still the past three decades—play only a small role ter acquainted with textual scholarship and could be considered members of the text- (if any) in the way most musical editions are the opportunities it offers, this joint meeting critical community. That community con- prepared. poses an excellent opportunity for learning by sists of scholars whose professional activi- Textual scholarship is especially important immersion. For more information, follow the ties—and, often, whose professional identi- for historical musicology because texts are our links provided below. ties—lie in the study of texts, understood as principal means of access to music composed These are the principal Anglophone orga- arrangements of symbols by which works of before the age of electronic recording. Because nizations concerned with textual scholarship: music, drama, and literature are recorded and the relationships between musical works and • The Association for Documentary Edit- circulated. their texts are neither straightforward nor ing (ADE, www.documentaryediting.org, The discipline of textual scholarship boasts consistent, understanding the factors affect- which formerly published the annual Doc- a history going back two millennia, to ancient ing the dynamics of musical texts—the ex- umentary Editing and now publishes the Alexandria and Jerusalem. Today, it draws its pectations with which texts were prepared, online Scholarly Editing). practitioners from literature, drama, music, the conventions by which they were replicat- • The Bibliographical Society of America art history, philosophy, religion, history, and ed, and the ways that they were decoded and (BSA, www.bibsocamer.org, which pub- law. Most textual scholars come to textual realized—is essential to our understanding of lishes both the quarterly Papers and a series studies from other disciplines in which their the works they represent. As musicological of monographs). work has required the ability to deal respon- editions become digital—and therefore inter- • The Bibliographical Society of the Uni- sibly with texts. Textual scholarship thus ben- active—the study of texts will become more versity of Virginia (BSUVA, www.bsuva. efits from the infusion of ideas and methodol- important still. org, which publishes the annual Studies in ogies that these new scholars bring with them. In 2015, the Society for Textual Scholarship Bibliography). The discourse of textual scholarship is, there- (STS) and the Association for Documentary • The European Society for Textual Schol- fore, lively, diverse, and current. As a result, Editing (ADE) will hold a joint meeting at arship (ESTS, www.textualscholarship.eu, it attracts scholars in substantial numbers: the University of Nebraska, Lincoln. These which publishes the annual Variants). in the English-speaking world alone, textual two organizations have traditionally had • The Society for the History of Authorship, scholarship and the closely related discipline different constituencies: STS has been con- Reading and Publishing (SHARP, www. of bibliography support several professional cerned principally with the creative arts, while sharpweb.org, which publishes the annual societies, journals, and monograph series. the membership of ADE has consisted largely Book History). For many musicologists, textual scholarship of historians. Over the years, the differing • The Society for Textual Scholarship (STS, still seems to consist largely of stemmatics, the purposes for which texts are studied by these www.textualsociety.org, which formerly process of reconstituting relationships among two groups have produced lively theoretical published the annual Text and now pub- sources by identifying separative and con- exchanges, and the joint meeting promises to lishes the semi-annual Textual Cultures). junctive variants. The theories of copy text, generate some interesting discussions. These —Ronald Broude Treasurer’s Message

The fiscal year ending 30 June 2013 was a very good year for the endow- emerging-markets stock fund gave us a very small positive return of ment, with an investment return of +10.25% that brought the portfo- 0.8%. Similar to the volatile emerging-markets bond fund, this had lio to a total of $4.94 million. been up 19.2% during the previous calendar year. Our alternative in- Our three largest fixed-income investments did very well, especially vestments (real estate and convertible bonds) did very well, up 9.1% the high-yield bond fund (+6.9%) and the floating-rate bond fund and 22.6%, respectively. (+4.8%), with the short-term investment-grade bond fund performing The portfolio’s overall return of +10.25% for the 2013 fiscal year is just admirably (+1.8%) given that the great majority of bond funds this year 1% away from the median return of all foundations and endowments have posted losses, some as large as -10%. Our mortgage bond fund, (+11.28%), putting us very close to the middle of the entire universe for example, lost 1.9%, its first negative showing since 1994. This fund of our peers. In these messages, I also often compare our endowment’s had for many years been our largest fixed-income investment, but the performance to that of the Ivy League schools. Five years have now Finance Committee became concerned earlier in 2013 and trimmed it passed since the global financial crisis, which offers me the oppor- from 10.0% to 2.8% of the portfolio. Then, after it posted a loss for the tunity for a more long-range comparison. Over these five years we fiscal year we sold out completely. Our emerging-markets bond fund have moved from first place amongst the Ivies in 2009 to last place in lost 0.5%, but this had a negligible effect on the portfolio as it amounts 2013. While this may appear at first to be an unfortunate progression, only to 3% of our holdings, and during the previous calendar year this it is actually a textbook example of how risk affects a portfolio. Our volatile fund had given us a 13.3% gain. (A great many endowment AMS endowment is invested in a very low-risk, balanced portfolio of managers complained in their recent reports that emerging-market in- broadly diversified, low-cost mutual funds. The Ivy League endow- vestments were among their worst performers this year.) ments, on the other hand, are known for their large holdings in high- risk investments such as hedge funds, private equity, and commodities. Our stock investments performed superbly during the fiscal year. Therefore, during bear markets such as the global crisis of five years The domestic funds gained from 19.9% to 25.7%, and our devel- oped-market international funds gained 13.6% and 18.3%. Our continued on page   AMS Newsletter “What I Do in Musicology”: Laurence Libin’s Thoughts from the Field

In our ongoing series of reflections from musi- far little studied compared to pitch, rhythm, custodians of historic church organs) and cologists who have pursued non-tenure-track and other fundamental building blocks. My advocated for their documentation and con- careers, we hear from organologist Laurence path led from conventional schooling in per- servation. Finally, I was entrusted with edit- Libin, the founding chair of the AMS Com- formance (BMus, harpsichord, Northwest- ing the revised Grove Dictionary of Musical mittee on Non-Academic Employment (now ern University, 1966; private study with Paul Instruments. I hope that the dictionary’s new the Committee on Career-Related Issues). If you Maynard and Thurston Dart) and musicol- coverage of such topics as haptics, ergonomic are interested in contributing to this column in ogy (MMus, King’s College, University of design, brain-computer interfaces, and found a future issue, please contact AMS Newsletter London, 1968; ABD, University of Chicago, instruments will encourage interdisciplinary editor Andrew H. Weaver ([email protected]). 1972) to curating musical instruments for learning. The Metropolitan Museum of Art, where I My formal training and hands-on employ- Beyond the immediate gratification music served for thirty-three years. I oversaw acqui- ment with various instruments and situations affords, listeners at all levels of sophistica- sition, conservation, and interpretation, the (early on I tuned pianos, gave lessons, and tion seek deeper understanding of how music last area embracing exhibitions, recital and played organ to pay the rent) led to career op- recording production, public lectures, and works and why it affects us—witness enthu- portunities outside the normal scope of mu- siastic stories of the “Mozart effect” on child other educational programming that explored seum work and classroom teaching. No less development. Research in music cognition instruments from prehistory to the present. valuable early experience, however, was or- is only in its infancy, but popular interest is Concurrently I taught graduate courses and ganizing a tenant union, managing an apart- growing, as shown by the eager reception ac- published papers in which I sought to expli- ment building, and negotiating with hostile corded the insights of Oliver Sacks and other cate the process of innovation and show how landlords on Chicago’s rough South Side— neuroscientists who are also able musicians. the sounds and symbolism of different instru- Modern technologies used in the study of ments affect compositional decisions and lis- useful preparation for work in non-profit in- music perception differ greatly from the tools teners’ reactions, often unconsciously. stitutions and commercial publishing. of conventional music analysis; bridging this After retiring from the Met, as president The existence of close-knit societies for gap between radically contrasting approaches of the Organ Historical Society and honor- music theory, ethnomusicology, music per- challenges the coming generation of musi- ary curator of Steinway & Sons, I was able ception, instrument buffs, and many other cologists, who will need new vocabularies and to reach more specialized audiences through special-interest groups might suggest that we new skills to pursue a dialogue across fields talks and publications outlining how techno- trespass with peril beyond narrowly defined often artificially separated in academe. logical, sociological, economic, and environ- disciplines. But venturesome forays outside Intersecting with cognition, music his- mental forces as well as purely musical ones traditional academic boundaries, armed with tory, ethnomusicology, and engineering, my influence tonal design and expressive capa- critical attitudes and skills gained from “real work as an organologist arose from curiosity bilities, particularly of keyboard instruments. life,” can overcome this fragmentation and about the expressive function of timbre and I also consulted with cultural institutions engage audiences in fresh ways of approach- the nature of our responses to it, aspects thus that preserve rare instruments (including ing music.

The International Musicological Society Visits the AMS in Pittsburgh International Musicological Society (IMS) cultural legacies. In Taipei, for instance, the Groups of the IMS, visit the IMS web site: president Dinko Fabris and vice president 2013 conference of the Regional Association www.ims-online.ch. Malena Kuss met with the AMS Board of for East Asia, “Musics in the Shifting Global In 2015, the IMS will join forces with the Directors in Pittsburgh last November. Their Order,” explored postcolonial interactions be- International Association of Music Librar- visit was intended to strengthen lines of com- tween East Asia and the West. In Vilnius, the ies, Archives, and Documentation Centers munication between the two societies and ex- 2013 meeting of the Regional Association for to celebrate fifty years of RILM in New York. plore initiatives of mutual interest. As profes- Eastern Slavic Countries focused on “Socio- Other forthcoming conferences in 2015 in- sional organizations that have contributed in cultural Crossings and Borders: Musical Mi- clude a meeting of the Regional Association significant ways to shaping the field of mu- crohistories,” critically reviewing transregion- for Eastern Slavic Countries in Russia and the 1927 1934 sicology since (IMS) and (AMS), al cultural interactions from microhistorical third conference of the Regional Association both societies share a commitment to “the ad- perspectives in the Baltic States, Central and for East Asia in Hong Kong. In 2016, the IMS vancement of scholarship in the various fields Eastern Europe, and Russia. The recently cre- will hold an intercongressional symposium of music” at international levels. ated Regional Association for Latin America in Norway, sponsored by the University of In recent years, the IMS has engaged in and the Caribbean will hold its first confer- Stavanger Department of Music and Dance. efforts to bring together musicologists prac- ence in Havana 17–21 March 2014, hosted ticing thriving traditions of scholarship in by Casa de las Américas and in the context Philip Gossett and Elaine Sisman, both regions that, in the past, were largely under- of this institution’s biennial Premio de Mu- AMS past presidents, represent the United represented in IMS congresses and publica- sicología and International Colloquium. Par- States on the IMS Directorium. We invite tions. These objectives have materialized in ticipants from Latin America, the Caribbean, AMS members to join IMS Regional Asso- the creation of Regional Associations whose Europe, and Asia will revisit “Latin America ciations that might be of interest and look research interests differ widely and combine and the Canon” and “Musicology as Locus of forward to developing closer ties between our the deeply rooted presence of Western art Disciplinary Intersections.” For more infor- two societies. music with local fusions of oral and written mation on Regional Associations and Study —Malena Kuss February 2014  Awards, Prizes, and Honors

Honorary Members award-winning teacher, Sarah Fuller is the author of a significant body of scholarly writ- Karol Berger is the Osgood Hooker Profes- ings, which range from studies of Aquitanian sor in Fine Arts at Stanford University, where polyphony of the twelfth century to studies 1982 he has been since . Born in Poland, he of the music of Guillaume de Machaut, and 1968 moved to the United States in . He has Medieval and Renaissance music theory. Her received fellowships from the NEH, the Alex- 1969 dissertation (University of California, ander von Humboldt Foundation, the ACLS, Berkeley) filled three volumes, and her argu- and the Rockefeller Foundation’s Bellagio ment and extensive transcriptions substantial- Study and Conference Center. His many ly shaped views of Aquitanian polyphony that awards include the Otto Kinkeldey Award, are still accepted today. In recognition of her numerous honors from Poland, the Glarean many contributions to the ways in which we Prize from the Swiss Musicological Society, think about musical processes of this period, 2011 12 and in – an appointment as a EURIAS the Journal of Music Theory published a special Senior Fellow at the Institut für die Wissen- issue of essays written in her honor (2008). schaften vom Menschen in Vienna. Alejandro Planchart The questions she has posed and inves- Honorary Member Since his award-winning book on musica ficta (1987), his interests have turned to issues taught for twenty-five years. A scholar of un- of modernism in all of the arts. In A Theory of common erudition, the founding conductor Art (2000) Berger takes a broad question— of the Cappella Cordina, and also a composer, What is a work of art?—and expands upon Planchart received his early musical training it to ask, “What should the function of art in Caracas, Venezuela. His book The Repertory be, if art is to have value for us?” His study is of Tropes at Winchester (1976) won the Gustave as much about the history and interpretation Arlt award in the Humanities from the Coun- of art and literature, about Caravaggio and cil of Graduate Schools in the United States. Goethe, about Brancusi and Nietzsche, and, His interests in Renaissance music, especially indeed, about life, as it is about Beethoven. in the life and music of Guillaume Du Fay, His most recent book Bach’s Cycle, Mozart’s have been a constant in his scholarly life and Arrow (2007) won the 2008 Marjorie Weston have inspired a generation of scholars. Emerson Award of the Mozart Society of He has received many honors and prizes, America. Berger has served as chair of the including a Guggenheim Fellowship, the Board Nominating Committee and also of Howard M. Brown Award for his lifetime the Kinkeldey Award Committee, and as a contributions to the field of early music member-at-large of the Board of Directors. (Early Music America), and the Arion Prize (Cambridge Society for Early Music). In 2013 One of the founding members of the music he was awarded the medal of the city of Tours department at SUNY Stony Brook and an Sarah Fuller and the Centre d’Etudes Superieurs de la Re- Honorary Member naissance, in recognition of his work in the performance and history of French music. tigated encompass such disparate issues as For many, one of the highlights of the annual Hucbald’s modal practices, the definition of meetings has been his enthusiastic questions musical space in Machaut, aural perception and comments after papers. His service to the in the late Middle Ages, and the possibility of Society includes the Alvin H. Johnson AMS gendered semitones in the fourteenth century. 50 Dissertation Fellowship Committee, the Her annotated anthology The European Mu- Board Nominating Committee, the H. Co- sical Heritage: 800–1750 has for years shaped lin Slim Award Committee, and the Board of the way students encounter early music in Directors. courses across the country. Fuller was recently elected to the American Academy of Arts and Sciences. Her extensive service to the Society Craig Wright is Henry L. and Lucy G. Moses includes terms on the Board of Directors, the Professor of Music at Yale University. His sig- Kinkeldey Award Committee, the Publica- nificant and varied body of scholarly writings, tions Committee, and the Alvin H. Johnson which extend from studies of Leoninus to AMS 50 Dissertation Fellowship Committee. Mozart, began with archival research that led to his first book, Music at the Court of Burgun- dy, 1364–1419: A Documentary History (1979). Alejandro Planchart began his musicological Along the way Wright made important dis- 1977 Karol Berger career at Yale. In he moved to the Uni- coveries about Guillaume Du Fay and turned Honorary Member versity of California, Santa Barbara, where he his focus to Notre Dame in Paris, resulting in  AMS Newsletter Craig Wright Neal Zaslaw Agostino Ziino Honorary Member Honorary Member Corresponding Member Music and Ceremony at Notre Dame of Paris, Between 1978 and 1982 he supervised record- in Naples, as well as on such nineteenth-cen- 500–1550 (1989). His fascination with puzzles ings of all of Mozart’s symphonies by Jaap tury figures as Luigi Romanelli and Richard resulted in his third book, The Maze and the Schroeder, Christopher Hogwood, and the Wagner. Warrior: Symbols in Architecture, Theology, Academy of Ancient Music. His leadership Among the many honors his work has and Music (2001), a sweeping interdisciplin- in Mozart research and performance has been already received is the Antonio Feltrinelli ary study of the symbolism of the maze that recognized in various ways: the Austrian gov- Award from the Accademia Nazionale dei allowed him to consider music in a broad ernment decorated him, and he has been ap- Lincei. Ziino was editor of Nuova Rivista Mu- cultural context. His research has been sup- pointed principal editor of the revised Köchel sicale Italiana, and he served as president of ported by fellowships from the NEH and the catalogue. the Fondazione Istituto Italiano per la Storia Guggenheim Foundation. Zaslaw is a member of the American Acad- della Musica e del Centro Studi sull’Ars Nova In recent years Wright has authored a wide- emy of Arts and Sciences and the Akademie Italiana del Trecento (Certaldo) and also as ly used introductory text, Listening to Music, für Mozart-Forschung of the Mozarteum. president of the Italian Musicological Society. and successfully reached thousands of stu- Among the tasks he has taken on for the dents via an online course. Among his many AMS, he has served on the Board of Direc- AMS Awards and Prizes honors are the Alfred Einstein Award and the tors, the Kinkeldey Award Committee, the TheOtto Kinkeldey Award for a book of ex- Otto Kinkeldey Award, and also the Dent Performance Committee, the Program Com- ceptional merit by a scholar beyond the early Medal from the Royal Musical Association. mittee, and for a term as vice president. stages of her or his career was presented to In 2010 he was made a member of the Ameri- Corresponding Member Tamara Levitz (University of California, Los can Academy of Arts and Sciences. His service Angeles) for Modernist Mysteries: Persephone to the Society includes terms on the Board of Born in Palermo in 1937, Agostino Ziino is (Oxford University Press). Directors, the Kinkeldey Award Committee, professor emeritus at the University of Rome and the Teaching Fund Committee. (Tor Vergata), and before that he held posi- tions at the Universities of Messina, Siena, Neal Zaslaw is Herbert Gussman Professor and Naples, as well as a visiting professorship of Music at Cornell University, where he has at the University of California, Los Angeles. taught since 1970. His career has from the be- The Corresponding Membership honors him ginning combined writings about music with for nearly fifty years of research and publica- actual music making. From an early path as a tions in the field of Medieval and Renaissance professional flutist in the American Sympho- Italian and French music, perhaps especially ny under Leopold Stokowski, Zaslaw chose regarding the lauda, but also for his discov- graduate study at Columbia, a background ery of the Turin manuscript T.III.2 at the that led him naturally to questions of perfor- Bibliotecà Nazionale Universitaria along with mance practice, especially as they applied to other important musical manuscripts. Ziino tempo and ornamentation. Among his nu- brilliantly dates fragments of music through merous books are five on Mozart, including a careful combination of archival research Mozart’s Symphonies: Context, Performance and textual analysis. His edition of the Luc- Practice, Reception (1989) and Mozart’s Piano ca Codex (Codice Mancini), co-edited with Concertos: Text, Context, Interpretation (1996). John Nadas, set a new standard for what an Tamara Levitz Zaslaw’s impact on how Mozart and his mu- edition of Renaissance music should be. His Kinkeldey Award Winner sic are understood has been shaped as well scholarship also ranges broadly to important by his contributions in the recording studio. work on the eighteenth-century festa teatrale continued on page  February 2014  Awards, Prizes, Honors continued from page  The Lewis Lockwood Award for an out- standing book by a scholar in the early stages of her or his career was presented to Brigid Cohen (New York University) for Stefan Wol- pe and the Avant-Garde Diaspora (Cambridge University Press).

TheH. Colin Slim Award for an outstanding article by a scholar beyond the early stages of her or his career was presented to Tim Carter (University of North Carolina, Chapel Hill) Brigid Cohen Tim Carter Beth E. Levey for “Monteverdi, Early Opera and a Question Lockwood Award Winner Palisca & Slim Award Winner MACA Award Winner of Genre: The Case of Andromeda (1620),” Journal of the Royal Musical Association. E. Levy (University of California, Davis) for (McGill University) for research in Vienna Frontier Figures: American Music and the My- on Natalie Bauer-Lechner’s relationship with The Alfred Einstein Award for an article of thology of the American West (University of Gustav Mahler. exceptional merit by California Press). a scholar in the early Other Awards, Prizes, and Honors stages of her or his ca- TheNoah Greenberg Award for outstanding reer was given to The- contributions to historically aware perfor- The Philip Brett Award, presented by the odor Dumitrescu mance and the study of historical perform- LGBTQ Study Group of the AMS for excep- (Universiteit Utrecht / ing practices was presented to Julia Dokter tional musicological work in the field of gay, University of Califor- (McGill University) for “Recording of Mat- lesbian, bisexual, and transgender/transsexual nia, Davis) for “Who thias Weckmann’s Free Works for Organ: A studies, was given to Elizabeth L. Wollman was ‘Prioris’? A Royal Practical Application of Tactus and Tempo (Baruch College, CUNY) for her book Hard Composer Recovered,” Research.” Times: The Adult Musical in 1970s New York Theodor Dumitrescu Journal of the American Einstein Award Winner City (Oxford University Press). Musicological Society. The Paul A. Pisk Prize for an outstanding paper presented by a graduate student at the Christina Baade (McMaster University) re- The Claude V. Palisca Award for an out- Annual Meeting was awarded to David Allen ceived the 2013 Diana McVeagh Prize from standing edition or translation was given to Chapman, Jr. (Washington University in St. the North American British Music Studies Tim Carter (University of North Carolina, Louis) for “Improvisation, Watermelons, and Association for Victory through Harmony: The Chapel Hill) for Kurt Weill: Johnny Johnson, Steve Reich’s Piano Phase.” BBC and Popular Music in World War II (Ox- Kurt Weill Edition, series I, vol. 13 (The Kurt ford University Press, 2013). Weill Foundation for Music). The Thomas Hampson Award supporting research and publication in classic song was Richard Benedum (University of Dayton) The Ruth A. Solie Award for a collection of presented to Michael Hix (University of New has been awarded a $159,447 grant from the essays of exceptional merit was presented to Mexico) for his research project “Dessau’s Jal- NEH to direct an interdisciplinary institute John Spitzer (San Francisco Conservatory dati Lieder: The Collaboration of Composer for school teachers, “Mozart’s Worlds: The of Music), ed., for American Orchestras in the Paul Dessau and Singer Lin Jaldati.” Marriage of Figaro and Don Giovanni.” Nineteenth Century (University of Chicago Press). A grant from the Eugene K. Wolf Trav- Jane Bernstein (Tufts University) was hon- el Fund was awarded to Leah Batstone ored with the Festschrift Music in Print and The Robert M. Stevenson Award for out- standing scholarship in Iberian music, includ- ing music composed, performed, created, col- lected, belonging to, or descended from mu- sical cultures of Spain, Portugal, and all Latin American areas in which Spanish and Portu- guese are spoken, was presented to Samuel Llano (University of Cambridge) for Whose Spain? Negotiating “Spanish Music” in Paris, 1908–1929 (Oxford University Press).

The Music in American Culture Award for a book of exceptional merit that both illumi- nates some important aspect of the music of the United States and places that music in a John Spitzer Samuel Llano Julia Dokter rich cultural context was presented to Beth Solie Award Winner Stevenson Award Winner Greenberg Award Winner

 AMS Newsletter Joseph Horowitz (Pacific Symphony) re- ceived a $300,000 grant from the NEH for the project “Music Unwound,” a series of multimedia performances and related sym- posia on the music of Antonin Dvořák and Charles Ives.

Thomas Forrest Kelly (Harvard University) was honored with the Festschrift City, Chant, and the Topography of Early Music, ed. Michael Scott Cuthbert, Sean Gallagher, and Chris- toph Wolff (Harvard University Press, 2013).

David Allen Chapman, Jr. Michael Hix Elizabeth L. Wollman Tova Leigh-Choate (Provo, Utah) received Pisk Award Winner Hampson Award Winner Brett Award Winner an NEH Fellowship for her project “Early Liturgy, History, and the Arts at Saint-Denis Beyond: Hildegard von Bingen to The Beatles, “The Meaning and Importance of Novelty in under Abbot Suger, 1121–1151.” ed. Craig Monson and Roberta Marvin (Uni- Fourteenth-Century European Music.” versity of Rochester Press, 2013). Marie Sumner Lott (Georgia State Univer- Robert Fink (University of California, Los sity) received an ASCAP Deems Taylor Award Catherine Bradley (Stony Brook University) Angeles) received the 2013 Outstanding Pub- for her article “At the Intersection of Public was awarded the 2013 Westrup Prize for her lication Award from the Society for Music and Private Musical Life: Brahms’s Op. 51 article “New Texts for Old Music: Three Early Theory’s Popular Music Interest Group for String Quartets,” Journal of the Royal Musical Thirteenth-Century Latin Motets,” Music & his article “Goal-Directed Soul? Analyzing Association (2012). Letters (2012). Rhythmic Teleology in African American Popular Music,” Journal of the American Mu- Robert Nosow (Jacksonville, North Caro- William Cheng (Harvard University) re- sicological Society (2011). lina) received a research grant from the Music ceived the 2014 William F. Milton Fund to & Letters Foundation for his project “Jacob complete his book Misrule in Meritopia: Mu- David Garcia (University of North Carolina, Hobrecht and the Succentors of the Church sic, Power, Privilege. Chapel Hill) received an NEH Fellowship for of St. Donatian in Bruges, 1485–1507.” his project “Music, Africa, and Race in the Christopher Chowrimootoo (University of Mid-Twentieth Century.” Carol J. Oja (Harvard University) has been Notre Dame) received the 2013 Kurt Weill named the New York Philharmonic’s Leon- Prize for outstanding article for “Bourgeois Barbara Haggh-Huglo (University of Mary- ard Bernstein Scholar-in-Residence for the Opera: Death in Venice and the Aesthetics land, College Park) received an NEH Fellow- 2013–14 Season. Her work will include giving of Sublimation,” Cambridge Opera Journal ship for her project “Of Abbeys and Alder- a public lecture on 7 April 2014, moderating (2010). men: Music in Ghent to 1559.” panels for the orchestra’s “Biennial” of new music, and publishing research from the Phil- Mark Clague (University of Michigan) re- Stephen Hinton (Stanford University) re- harmonic’s Archive. ceived a $200,000 grant from the NEH to de- ceived the 2013 Kurt Weill Book Prize for out- velop an institute for school teachers, “Banner standing scholarship in music theater since Howard Pollack (University of Houston) re- Moments: The National Anthem in American 1900 for Weill’s Musical Theater: Stages of Re- ceived the Nicolas Slonimsky Award for Out- Life.” form (University of California Press, 2012). standing Musical Biography in the concert music field from ASCAP for Marc Blitzstein: Caryl Clark (University of Toronto) received His Life, His Work, His World (Oxford Univer- a three-year Insight Grant from the Social Guidelines for Announcements of sity Press, 2012). Sciences and Humanities Research Council Awards and Prizes of Canada for her project “Haydn and/as Or- Katherine Preston (College of William and pheus: Opera, Mediation, Virtuality.” Awards and honors given by the Society Mary) received an NEH Fellowship for her are announced in the Newsletter. In addi- project “Women Managers of English-Lan- Brigid Cohen (New York University) re- tion, the editor makes every effort to an- guage Opera Companies in Late Nineteenth- ceived an NEH Fellowship for her project nounce widely publicized awards. Other Century America.” “Musical Migration and the Global City: announcements come from individual 1947 1965 New York, – .” submissions. The editor does not include Jesse Rodin (Stanford University) received awards made by the recipient’s home insti- an ASCAP Deems Taylor Award for his book Anthony M. Cummings (Lafayette College) tution or to scholars who are not currently Josquin’s Rome: Hearing and Composing in the received the 2013 John Frederick Lewis Award members of the Society. Awards made to Sistine Chapel (Oxford University Press, 2013). from the American Philosophical Society graduate student members as a result of for Nino Pirrotta: An Intellectual Biography Ellen Rosand (Yale University) was honored national or international competitions (American Philosophical Society, 2013). with the conference “Only the Passions Sing; are also announced. The editor is always the Understanding Can But Speak” at Yale Karen Desmond (University College Cork) grateful to individuals who report honors and awards they have received. received an NEH Fellowship for her project continued on page  February 2014  Executive Director’s Message

A couple of weeks ago I had the opportunity of interdisciplinary historical/musicological status of music and its notation to be a huge to attend the Annual Meeting of the Ameri- work in their respective areas of research; the challenge. On the contrary, it became clear can Historical Association (AHA) as part of a second half was given over to discussion and that basic musical discussion that musicolo- panel organized by William Weber, probably questions from the audience (my role was gists might routinely use was significantly the AMS member most active in the AHA moderator). Participants compiled a short list anxiety-producing for historians without today. He is perhaps best known to musi- of key interdisciplinary books and articles for musical training. The lesson for me is that if cologists for his book Music and the Middle interested attendees (see www.ams-net.org/ I take the AMS public musicology initiatives Class: The Social Structure of Concert Life in newsletter/2014-2-ED-msg-handout.pdf). seriously, I must be careful about this anxiety London, Paris and Vienna between 1830 and The participants were richly stimulated by and its concomitant tendency to put off those 1848 (1975/2003), but he has also served on interdisciplinary research and found the ef- with whom I am attempting to engage. Sec- ond, as we talked about the ways interdisci- the editorial staff of The History Teacher (1975– fort highly rewarding. They also expressed plinary perspectives were brought forward in 2001) and as vice president for the Teaching certain frustrations with problems that are participants’ teaching, it occurred to me that Division of the AHA (2001–04). almost axiomatic with any interdisciplinary a kind of interdisciplinarity was, in effect, a The two-hour panel, “The Challenge of work: keeping up with the literature in two fundamental goal of undergraduate education Studying Music and History Together,” in- or more research areas is difficult, and finding in the liberal arts. (Take for example Bowdoin cluded Celia Applegate, Glenda Goodman, publishing outlets, especially journals, is not College’s “Offer of the college,” prominently Jeffrey H. Jackson, Stanley C. Pelkey, and easy, since often journals shy away from inter- displayed on its home page: “To be at home in Andrew H. Weaver, in addition to Weber. disciplinary work as not central to their goals. all lands and ages . . ., to carry the keys of the One of the things that provided the catalyst I was struck by two topics that came up in world’s library in your pocket.”) If we take se- for the panel was Jackson and Pelkey’s essay discussion. First, my hunch regarding musi- riously lofty ideals of liberal education such as collection Music and History: Bridging the Dis- cal literacy was misguided. I had come to the these, it behooves us to take up research goals ciplines (2005). In the first half of the session, session suspicious of the common assumption that extend to interdisciplinary projects. panelists explored the benefits and challenges that non-musicians found the ontological —Robert Judd

Treasurer’s Message Awards, Prizes, Honors continued from page  continued from page  ago, the AMS will outperform, whereas dur- University, 7–8 September 2013, and with Katharina Uhde (Duke University) re- ing periods of raging bull markets such as the the two-volume Festschrift, Word, Image, and ceived the 2013 Karl Geiringer Scholarship in present, we will lag because of the conserva- Song, ed. Rebecca Cypess, Beth L. Glixon, Brahms Studies from the American Brahms tive nature of our investments. Nonetheless, and Nathan Link (University of Rochester Society for her dissertation “Joseph Joachim, 2013 as with the tortoise and the hare, when the Press, ). Psychologische Musik, and the Search for a race is over an endowment such as ours of- New Music Aesthetic.” ten comes in ahead, as has been the case since Tilden Russell (Southern Connecticut State 2012 2009. Over this entire five-year period, we are University) received a de la Torre Bue- Christoph Wolff (Harvard University) re- in third place (+29.0%) versus the eight Ivies, no Prize Special Citation from the Society of Dance History Scholars for The Compleat ceived an ASCAP Deems Taylor Award for surpassed only by Columbia (+38.7%) and Dancing Master: A Translation of Gottfried his book Mozart at the Gateway to His For- the University of Pennsylvania (+30.8%), with Taubert’s Rechtschaffener Tantzmeister (1717) 1788 1791 the other six ranging from +22.4% to +5.6%. tune: Serving the Emperor, – ( W.W. (Peter Lang, 2011). 2012 An additional advantage of the AMS’s con- Norton, ). servative portfolio is that our lower level of David Trippett (University of Bristol) re- volatility allows your treasurer to sleep better ceived an ASCAP Deems Taylor Award for Emily Zazulia (University of Pittsburgh) at night (though I did lose a few winks in late his article “Bayreuth in Miniature: Wagner received an NEH Fellowship for her project 2008 and early 2009!). and the Melodramatic Voice,” Musical Quar- “Concept and Virtuality in Fifteenth-Centu- —James Ladewig terly (2012). ry Music.”

News from the AMS Board • Met with representatives from the International Musicological So- ciety and discussed ways in which the AMS and the IMS might The AMS Board met in Pittsburgh in November 2013. In addition to collaborate effectively (see p. 5). reviewing reports from the officers and committees of the Society and • Discussed procedures for identifying speakers for the new Presi- reviewing nominations and appointments to committees and Society dent’s Plenary Lecture at the Annual Meeting, and identified the positions, the Board: speaker for 2014 (to be announced in August). • Approved the transfer of $100,000 in surplus funds from its Cur- • Affirmed AMS policy regarding Annual Meeting site selection rent Operations account to its restricted endowment in order (see the AMS Handbook, II.C.1.a: www.ams-net.org/handbook/ to fully vest the Alvin H. Johnson AMS 50 and Howard Mayer handbook-13.php), and agreed to work with local organizations to Brown Fellowships. address attendee concerns that may arise.

 AMS Newsletter AMS / Library of Congress Rock and Roll Hall of Fame Lecture Series and Museum Lecture Series

The next AMS / Library of Congress Lecture will take place in The next AMS / Rock and Roll Hall of Fame and Museum the Coolidge Auditorium at noon on Tuesday 22 April. Nancy (RRHOFM) Lecture will take place this spring in the library Newman (University at Albany, SUNY) will present “‘A program and archives of the RRHOFM, Cleveland, Ohio at 7 p.m. on 26 not greatly to their credit’: Finding New Perspectives on the Ger- March. mania Musical Society through the American Memory Sheet Mu- Christopher Doll (Rutgers University) will present a lecture en- sic Collection.” titled “Nuclear Holocaust, the Kennedy Assassination, and ‘Louie Nancy Newman writes, Louie’: The Unlikely History “The Germania Musical So- of Sixties Rock and Roll.” He ciety forms an important describes his talk as follows: link in the evolving relation- “In narratives of American ship between art and popular popular-music history, the music in nineteenth-century song ‘Louie Louie’ is usually American life. As a touring en- depicted (to the extent it sur- semble, the orchestra offered faces at all) as a minor, and about nine hundred concerts ultimately ephemeral, con- to nearly one million listeners troversy: a song that initially from 1848 to 1854. Long ac- raised eyebrows and lowered knowledged for their frequent standards but that was quickly performances of Beethoven’s forgotten in the wake of Bob symphonies, Mendelssohn’s Dylan, The Beatles, and other overtures, and the introduc- more substantive, ‘classic’ six- tion of Wagner’s music to the ties artists. My talk will reposi- Nancy Newman Christopher Doll U.S., the Germanians’ reper- tion ‘Louie Louie’ as a major tory included lighter genres such as waltzes and polkas, many writ- turning point in the history of Anglo-American popular-music ten by the orchestra members themselves. However, it was virtu- style—a unique combination of past and contemporary practices, ally impossible to gauge the quantity or significance of these pieces one that anticipated some significant formal aspects of the mu- until they were available in online databases such as the Library of sic that would follow. An abundance of musical examples will il- Congress American Memory digital history project. lustrate this talk’s exploration of the relationship between sixties “My presentation will discuss the full range of the Germanians’ socio-political events and youth music, the impact of Latin music programs and their performances with virtuosi such as Jenny Lind, in the United States in the 1950s and 1960s, the history of melodic- Ole Bull, and Alfred Jaëll. Their ‘mixed repertory’ concerts were accompanimental textures since the advent of jazz, and the even- typical of the ‘social orchestras’ that arose during the 1840s on both tual global ubiquity of songs built around short loops of music.” sides of the Atlantic. My analysis of more than 250 programs, culled Christopher Doll’s book Hearing Harmony: Towards a Tonal from broadsides and serials, shows how the Germanians carefully Theory for the Rock Era (University of Michigan Press) will appear calibrated their offerings to emerging local needs and taste in the later this year. towns they visited, with audiences eventually numbering in the The AMS/RRHOFM Lecture Series will continue in the fall of thousands. 2014. Webcasts of the lectures are available at the AMS web site. “Online and on-site sheet music collections reveal about three The AMS is grateful to the RRHOFM’s Jason Hanley, Director of hundred titles associated with the Germanians and published as Education, for helping to organize this series. The Communica- piano arrangements for domestic use. Nearly one-third of these tions Committee is happy to receive proposals from those inter- compositions are held by the LC Music Division. Particular pieces ested in giving a lecture as part of this series; see www.ams-net.org/ illuminate the orchestra’s history, such as conductor Carl Len- RRHOFM-lectures/ for full details. The application deadline is 1 schow’s ‘Betty Polka,’ written for Zachary Taylor’s inauguration, December 2014. and ‘Uncle Ned’ Quickstep, based on Stephen Foster’s minstrel tune. Many pieces by Carl Bergmann (later conductor of the New York Philharmonic) were associated with Newport, Rhode Island, Ladies’ in Nineteenth-Century Concert Life” appeared in the Solie where they spent summers. Far from being a less creditable fea- Award-winning collection American Orchestras in the Nineteenth ture of their programs, the Germanians embraced such ‘modern’ Century (University of Chicago Press, 2012). compositions for their ability to reach a broad public, contribut- The Communications Committee welcomes proposals from ing to the orchestra’s success and the flourishing of public concerts AMS members interested in giving a lecture as part of this distin- generally.” guished series, which is intended to showcase research conducted Nancy Newman’s book Good Music for a Free People: The Ger- using the extraordinary resources of the Library of Congress Music mania Musical Society in Nineteenth-Century America (University Division. All lectures are available as webcasts. Links to the web- of Rochester Press, 2010) received support from the AMS 75 PAYS casts and application information can be found at www.ams-net. Endowment. Her essay “Gender and the Germanians: ‘Art-Loving org/LC-lectures/. The application deadline is 1 December 2014. February 2014  AMS Elections 2014 AMS elections take place in the spring each AMS activities: Director-at-Large, AMS Degrees: PhD, UC Berkeley, 1978; MA, year. This year, two candidates have agreed Board (2013–14); Chair, Communications UC Berkeley, 1973; BM, Northwestern, 1971 to stand for vice president, one for treasur- Committee (2014); Chair, Board Nominating Research interests: Frescobaldi; Italian in- er, and six for member-at-large of the Board Committee (2010); Publications Committee strumental and keyboard music of the 16th of Directors (three are elected). (2005–09, acting chair 2009); writer of AMS and 17th centuries; early keyboard notations You may vote electronically at the web OPUS Campaign NEH Challenge Grant ap- Publications: “The Use of Open Score as site, or by using the paper ballot sent to plication (2006) a Solo Keyboard Notation in Italy, ca. 1530– 1714 members under separate cover; if you lose ,” in A Compendium of American Musicol- Anne C. Shreffler ogy (Northwestern, 2001); ed., 19 vols., Italian it, a replacement may be obtained at the Instrumental Music of the Sixteenth and Early web site. Please follow the instructions James Edward Ditson Professor of Music, Seventeenth Centuries (Garland, 1987–95); found on the ballot carefully. Ballots not Harvard University “Bach and the Prima prattica: The Influence conforming to the instructions are ren- Degrees: PhD, Harvard, 1989; MMus, New England Conservatory, 1981; BMus, New of Frescobaldi on a Fugue from the WTC,” dered invalid. JM (1991); “The Origins of Frescobaldi’s Vari- Detailed descriptions of the three offices England Conservatory, 1979 Research interests: 20th-century modern- ation Canzonas Reappraised,” in Frescobaldi are found in the AMS By-laws, available in 1987 ism; historiography; music and politics; opera Studies (Duke, ); “Luzzaschi as Fresco- the AMS Directory and at the web site. Publications: co-ed., Crosscurrents: Ameri- baldi’s Teacher: A Little-Known Ricercare,” 1981 can and European Music in Interaction, 1900– Studi musicali ( ) 1986 Candidates for the Office 2000 (Boydell, forthcoming); “Musical Can- Awards: ACLS grant ( ); ACLS fellow- ship (1982) of Vice President onization and Decanonization in the Twenti- eth Century,” in Der Kanon der Musik: Theorie Administrative experience: Chair, various und Geschichte. Ein Handbuch (Munich 2013); search committees, Univ. of Rhode Island Graeme M. Boone 1990 2010 co-author and ed., Elliott Carter—A Centen- Department of Music ( – ); Gen- Professor of Music, Ohio State University nial Portrait in Letters and Documents (Boy- eral Editor, Italian Instrumental Music of the 30 Degrees: PhD and MA, Harvard, 1987; dell, 2008); “Berlin Walls: Dahlhaus, Knepler, Sixteenth and Early Seventeenth Centuries ( 1987 95 Premier prix, Conservatoire Nat. Sup. de and Ideologies of Music History,” JM (2003); vols., Garland, – ). Has maintained an Musique, Paris 1979; AB, UC Berkeley, 1976 Webern and the Lyric Impulse: Songs and Frag- interest in the financial world for over twenty- Research interests: late Medieval and early ments on Poems by Georg Trakl (Oxford, 1994) five years; as an active investor monitors the Renaissance music; 20th-century popular Awards: Guggenheim Fellowship (2007– markets on a daily basis. AMS activities: 2000 14 music 08); Alfred Einstein Award (1995); ACLS Treasurer ( – ); Board 2000 14 Publications: “Origins of White Nota- grant (1992); American Philosophical Society of Directors ( – ); Chair, Finance Com- 2000 14 tion,” in Le notazioni della polifonia vocale grant (1990); Paul Sacher Foundation stipend mittee ( – ); Editor, AMS Newsletter 1987 90 II (ETS, forthcoming); “Mandalas and the (1987–88) ( – ); President, New England Chapter 1986 88 Dead,” in The Grateful Dead in Concert, ed. Administrative experience: Harvard Univ.: ( – ) Tuedio and Spector (McFarland, 2009); Graduate Advisor for Historical Musicology “Marking Mensural Time,” MTS (2000); Pat- (2004–07, 2008–09, 2012–13); Chair, Dept. of Candidates for the Office terns in Play: A Text-Setting Model for Dufay’s Music (2008–11, Acting Chair, spring 2012); Early French Songs (Nebraska, 1999); co-ed., Director of Graduate Studies (2005–07); Co- of Members-at-Large, Understanding Rock: Essays in Musical Analysis chair, Opera Seminar, Mahindra Humanities Board of Directors (Oxford, 1997) Center, Harvard (2004–present); Paul Sacher Awards: Ohio State Univ., Arts and Hu- Foundation, Basel: Member of board and Georgia J. Cowart manities Collaborative Research Grant scholarly advisory committee (1996–present) (2009); Medieval and Renaissance Studies AMS activities: Ruth A. Solie Award Com- Professor of Music, Case Western Reserve Research grants (1998–2006); Ohio State mittee (2011–13, Chair, 2012–13); Board Com- University Univ. Distinguished Scholar Award (1999); mittee on the Annual Meeting (2007–09); Degrees: PhD, Rutgers, 1980; MMus, Indi- Harvard Univ., Phi Beta Kappa Award for Program Committee (2004–06, Chair, 2005– ana, 1974; BM, Univ. of Alabama, 1970 Teaching (1995); Leopold Schepp Foundation 06); AHJ AMS 50 Fellowship Committee Research interests: France, 17th and and Villa I Tatti Fellowships (1989) (2000–04); Council (1996–98) 18th centuries; spectacle; arts and politics; Administrative experience: Ohio State aesthetics Univ.: Director, Center for Medieval and Re- Publications: “Sirènes et Muses: De l’éloge naissance Studies (2013–present); conference Candidate for the Office à la satire dans la fête théâtrale, 1654–1703,” organizer, “Music in the Carolingian World” XVIIe siècle (2012); The Triumph of Pleasure: (2011); Senate Committee on Academic Free- of Treasurer Louis XIV and the Politics of Spectacle (Chi- dom and Responsibility (chair, 2004–07); cago, 2008); “Watteau’s Pilgrimage to Cythera and the Subversive Utopia of the Opera-Bal- University Senate, Faculty Council, and James Ladewig Faculty Executive Committee (2003–06); let,” Art Bulletin (2001); “Carnival in Venice School of Music Faculty Committee (chair, Professor Emeritus, University of Rhode or Protest in Paris? Louis XIV and the Poli- 1999–2004) Island tics of Subversion at the Paris Opéra,” JAMS

 AMS Newsletter (2001); ed., French Musical Thought, 1600–1800 of Graduate Studies, Emory Music Dept. forthcoming); “The Castrato Meets the Cy- (UMI Research Press, 1989; Rochester, 1994) (1997–2000) borg,” OQ (2012); “The Secret of the Secret Awards: Stanford Humanities Center Fel- AMS activities: Board Committee on the Chromatic Art,” JM (2011); co-ed., The Cour- lowship (2011–12); NEH Fellowship (2011, Annual Meeting (2011–13); Board of Directors tesan’s Arts (Oxford, 2006); Monteverdi’s Un- 2001–02); Metropolitan Museum of Art Fel- Nominating Committee (2009); Committee ruly Women: The Power of Song in Early Mod- lowship (2007–09); Guest Curator, “Watteau, on Cultural Diversity (2004–07); Chair, Lo- ern Europe (Cambridge, 2004) Music & Theater” (MMA, 2009); ASECS cal Arrangements Committee (2001); Chap- Awards: Ruth A. Solie Award (2007); NEH James Clifford article award (2003) ter Activities Committee (1997–2000; chair, Fellowship (2007–08); AMS Publication Sub- Administrative experience: President, So- 1999–2000) vention (2004); Radcliffe Institute for Ad- ciety for Seventeenth-Century Music (2006– vanced Study (2001–02); Mellon Foundation 09); Chair, Music Department, CWRU, and Emma Dillon Post-doctoral Fellowship (1998–99) Co-Director, Joint Music Program, CWRU Professor of Music, King’s College London Administrative experience: Univ. of Vir- 2011 and Cleveland Institute of Music (2002–07); Degrees: DPhil, Oxford, 1998; BA, Oxford, ginia: Director of Graduate Programs, ( – Area Head, music history, Univ. of South 1992 present); Institute for Humanities and Global 2013 Carolina (1996–2001) Research interests: Medieval music and Culture Advisory Board ( –present); AMS activities: Slim Award Committee manuscripts; history of sound Founder and co-Director, Arts Mentors 2011 14 (2013–present); JAMS Editorial Board (2011– Publications: The Sense of Sound: Musi- Program ( – ); Program Committee, 2013 present); AHJ AMS 50 Committee (1995–98, cal Meaning in France, 1260–1330 (Oxford, Feminist Theory and Music ( ); Editorial 2011 14 Chair, 2006–09); Council (1998–2000); 2012); co-ed., Cantus Scriptus: Technologies of Board, Opera Quarterly ( – ) Chair, Council Nominating Committee Medieval Song (Gorgias Press, 2012); “Manu- AMS activities: Chair, Committee on 2010 14 (2000) scripts,” in Cambridge Companion to Medieval Women and Gender ( – ); Council 2003 06 Music (Cambridge, 2011); Medieval Music- ( – ); Paul Pisk Award Committee 2002 05 2005 Stephen A. Crist Making and the Roman de Fauvel (Cambridge, ( – ; Chair, ) 2002 ) John Koegel Associate Professor of Music History, Emory Awards: Member and visitor, Institute for University Advanced Study (2010; 2003–04); Lindback Professor of Musicology, California State Degrees: PhD, Brandeis, 1988; MMus, Award for Distinguished Teaching, Univ. of University, Fullerton Univ. of South Florida, 1980; BA, Harvard, Pennsylvania (2008); Ira Abrams Memorial Degrees: PhD, Claremont Graduate Univ., 1978 Award for Distinguished Teaching, Univ. of 1994; MPhil, Cambridge, 1991; BA, Califor- Research interests: J. S. Bach and his con- Pennsylvania (2008); Visiting Scholar, Cor- nia State Univ., Northridge, 1979 temporaries; jazz in the 1950s and 1960s; mu- pus Christi College, Oxford (2005); Jerome Research interests: American music; musi- sic and the Reformation Roche Prize, Royal Musical Association cal theater; Mexican and Latino music; music Publications: “Jazz as Democracy? Dave (2003) and immigration; circus music Brubeck and Cold War Politics,” JM (2009); Administrative experience: Chair, Panel Publications: co-author, “Beethoven and “Early Lutheran Hymnals and Other Musical for the Creative and Performing Arts, Lon- Beer: Orchestral Music in German Beer Gar- Sources in the Kessler Reformation Collection don Arts and Humanities Partnership (2013– dens in Nineteenth-Century New York City,” at Emory University,” Notes (2007); “Histori- present); Director of Graduate Studies, King’s in American Orchestras in the Nineteenth Cen- cal Theology and Hymnology as Tools for In- College London (2013–present); Univ. of tury (Chicago, 2012); Music in German Im- terpreting Bach’s Church Cantatas: The Case Pennsylvania: Chair of the Music Depart- migrant Theater: New York City, 1840–1940 of Ich elender Mensch, wer wird mich erlösen, ment (2011–12); Chair, Committee for SAS (Rochester, 2009); “Non-English Language BWV 48,” in Historical Musicology: Sources, Teaching Awards (2010); Member of Execu- Musical Theater in the United States,” in The Methods, Interpretations, ed. Crist and Marvin tive Committee, Faculty Senate (2008–11) Cambridge Companion to the Musical (Cam- (Rochester, 2004); “The Role and Meaning of AMS activities: Chair, Program Commit- bridge, 2008); “Músicos mexicanos y cubanos the Bach Chorale in the Music of Dave Bru- tee and member of steering committee for en Nueva York, c. 1880– 1920,” Historia mexi- beck,” in Bach in America, ed. Crist (Illinois, AMS joint meeting with SEM and SMT cana (2006); “Spanish and French Mission 2003); “The Early Works and the Heritage of (2012); Program Committee (2011); Local Music in Colonial North America,” JRMA the Seventeenth Century,” in The Cambridge Arrangements Committee (2009); Graduate (2001) Companion to Bach (Cambridge, 1997) Education Committee (2008–10) Awards: NEH Fellowship (2013–14); Cat- Awards: Senior Fellow, Bill and Carol Fox edrático, Cátedra Jesús C. Romero, Centro Center for Humanistic Inquiry (2006–07); Bonnie Gordon Nacional de Investigación, Documentación e Distinguished Alumnus Award for Out- Associate Professor, McIntire Department of Información Musical “Carlos Chávez,” Mex- 2013 standing Service to the Arts, Univ. of South Music, University of Virginia ico City ( ); Irving Lowens Book Award, 2011 Florida, College of Fine Arts (2001); William Degrees: PhD, Univ. of Pennsylvania, 1998; Society for American Music ( ); California H. Scheide Research Grant, American Bach BA, Brown, 1990 State Univ., Fullerton Outstanding Teaching 2005 Society (1998); NEH Fellowship (1993–94); Research interests: Monteverdi; castrati; Award ( ); Mellon Research Fellowship, 2000 DAAD Fellowship (1982–83) music and machines in early modern Europe; Huntington Library ( ) Administrative experience: President, soundscapes of Thomas Jefferson’s America; Administrative experience: Member at Society for Christian Scholarship in Music gender Large, Board of Directors, Society for Ameri- 2013 (2013–present); President, American Bach Publications: “The Sounds Mr. Jeffer- can Music ( –present); Contributing Ed., 2 Society (2012–present); Chair, Emory Mu- son Bought: Echoes of the Haitian Revolu- Grove Dictionary of American Music, nd sic Dept. (2003–06, 2007–10); Director tion,” in Changing the Subject (Cambridge, continued on page  February 2014  AMS Elections 2014 Degrees: PhD, Univ. of Michigan, 1992; Merit for Excellence in Recorded Sound Re- MA, UC Berkeley, 1986; BM and BA, Ober- search, ARSC (2007); NEH Fellowship, “We continued from page  lin, 1983 the People” Project (2005); NEH Summer 2013 ed. ( ); Board Member for Musicology, Research interests: Musical culture of the Stipend (2001) College Music Society (2011–13); Book Re- United States; jazz; musical theater; popular Administrative experience: Director, view Editor, Journal of the Society for Ameri- can Music (2010–14); Coordinator of Music song; black-Jewish intersections School of Music, Univ. of Illinois, Urbana- History, California State Univ., Fullerton Publications: Irving Berlin’s American Champaign (2013–present; interim 2012–13); (2004–present) Musical Theater (Oxford, 2012); “Kinds of founder and series co-editor, Profiles in Popu- AMS activities: Music in American Culture Blue: Miles Davis, Afro-Modernism, and the lar Music, Indiana Univ. Press (2001–present); Award Committee (2013–present); Council Blues,” Jazz Perspectives (2007); “‘Everybody Editorial Board member, Jazz Perspectives (2009–11); Robert Stevenson Award Commit- 2006 10 tee (2004–06); Local Arrangements Commit- Step’: Irving Berlin, Jazz, and Broadway in the ( – ); Editorial Board member, Journal tee (1999); Performance Committee (1999) 1920s,” JAMS (2006); The Uncrowned King of of Musicology (2001–06); Executive Editor, Swing: Fletcher Henderson and Big Band Jazz MUSA (1993–97) Jeffrey Magee (Oxford, 2005); “Revisiting Fletcher Hender- AMS activities: Publications Committee 1995 2013 2010 Professor of Music, Director of the son’s ‘Copenhagen,’” JAMS ( ) ( –present); JAMS Editorial Board ( – School of Music, University of Illinois, Awards: Irving Lowens Book Award, Soci- present); AHJ AMS 50 Fellowship Commit- Urbana-Champaign ety for American Music (2007); Certificate of tee (2007–11); Council (2003–05)

AMS Fellowships, Awards, and Prizes

Descriptions and detailed guidelines for all Eugene K. Wolf Fund MPD Travel Fund AMS awards appear in the AMS Directory and for European research to attend the Annual Meeting on the AMS web site. Deadline: 1 April Deadline: 16 May Publication subventions are drawn from the Alfred Einstein Award AMS 75 PAYS, Anthony, Brook, Bukofzer, Eileen Svvouthern Travel Fund for an outstanding article by a scholar in the Daverio, Hanson, Hibberd, Jackson, Ker- to attend the Annual Meeting early stages of her or his career man, Picker, Plamenac, and Reese Funds. 25 1 Deadline: June Application deadlines are mid-February and Deadline: May mid-August each year. Otto Kinkeldey Award Philip Brett Award of the LGBTQ Janet Levy Travel and Research Fund for an outstanding book by a scholar beyond Study Group for outstanding work in gay, the early stages of her or his career for independent scholars lesbian, bisexual, and transsexual/transgender Deadline: 1 May Deadline: 3 March studies Deadline: 1 July Teaching Fund Lewis Lockwood Award for innovative teaching projects for an outstanding book by a scholar in the Noah Greenberg Award Deadline: 3 March early stages of her or his career Deadline: 1 May for outstanding projects in historically-aware M. Elizabeth C. Bartlet Fund performance for research in France Music in American Culture Award Deadline: 15 August Deadline: 1 April for outstanding scholarship in music of the United States Virginia and George Bozarth Fund Thomas Hampson Fund for research and Deadline: 1 May for research in Austria publication in classic song Deadline: 1 April Claude V. Palisca Award Deadline: 15 August William Holmes / Frank D’Accone Fund for an outstanding edition or translation Deadline: 1 May for travel and research in the history of opera Paul A. Pisk Prize for an outstanding paper Deadline: 1 April H. Colin Slim Award presented by a graduate student at the Annual Meeting Jan LaRue Fund for an outstanding article by a scholar beyond Deadline: 1 October for European research the early stages of her or his career 1 Deadline: 1 April Deadline: May Howard Mayer Brown Fellowship for mi- Ruth A. Solie Award Harold Powers World Travel Fund nority graduate study in musicology for an outstanding edited collection of essays for research anywhere Deadline: 15 December Deadline: 1 April Deadline: 1 May Ora Frishberg Saloman Fund Robert M. Stevenson Award Alvin H. Johnson AMS 50 Dissertation- for European research for outstanding scholarship in Iberian music year Fellowships Deadline: 1 April Deadline: 1 May Deadline: 15 December  AMS Newsletter Committee News philosophies and classroom methodologies; for this purpose), better advertising of the and a panel on book publishing. All four ses- award’s availability, and the possibility of Committee on the Annual Meeting sions were packed, the question-and-answer raising the individual amounts given for the periods were lively, and we received much award (to $500 for international applicants The AMS Board has asked the Committee enthusiastic feedback, particularly from and $350 for domestic applicants). on the Annual Meeting (CAM) to lead an graduate students and early-career faculty, The Committee also discussed how the effort to re-launch the AMS Ball in a new who all stressed the need to continue offer- various AMS committees for which the incarnation at the 2014 meeting in Milwau- ing such panels alongside traditional schol- CMPD acts as an umbrella group interact kee. Our goal is to provide the membership arly paper sessions. and/or intersect. Many of these constituent with an opportunity for socializing, dancing, Of course, CCRI plans to do exactly that committees address issues of difference and and informal music making in several differ- at the next Annual Meeting in Milwaukee. otherness, and the need for equity among the ent styles. We will be working with the Lo- We are working particularly hard this year various panels sponsored by these commit- cal Arrangements Committee to identify an to present a diverse program, so we can of- tees were the focus of our talks. Better adver- appropriate venue near the conference hotel; fer something useful to each of the different tising of these panels was also suggested, as we are also seeking input on the format from types of attendees at our sessions, including well as having abstracts for all these sessions the Popular Music and Music and Dance graduate students, early- and more advanced- in the Annual Meeting program. The broad- Study Groups. We would be grateful to the career faculty, non-tenure-track faculty, and er question of what is professional develop- membership for suggestions on how to make musicologists pursuing alternative careers. ment in this day and age was also discussed. this a fun and successful event. Among the subjects we are considering are a Presenting more workshops—both onsite Thinking further down the road to future Master Teacher session dedicated to creating and online—and mounting video record- meetings, the Board has also asked CAM to and teaching introductory courses, such as ings of these workshops on the AMS web investigate the possibility of expanding the “Introduction to Music” and “Introduction site was suggested, as well as defining the key Annual Meeting to Thursday morning in or- to Musicology”; a panel on self-advocacy for elements in professional development once der to provide more spaces in the program adjunct/contingent faculty; and a session the PhD is finished in order to support the for papers and alternative-format sessions. tentatively titled “What They Didn’t Teach work of young scholars. Mentoring, specifi- We have reached the limit in the number of Us in Grad School” that would address those cally those who serve as adjunct faculty, was parallel sessions that will fit in the size of ho- myriads of responsibilities that tend to con- another area identified to be prioritized. The tels and conference centers we have been us- sume faculty life, yet do not fit neatly into suggestion of an online job list, where hiring ing. While there are many factors to consid- the categories of research and teaching. We institutions could enter advertisements of er, including the added expense and inconve- hope to see many of you there! faculty positions, and which, once archived, nience necessitated by a Wednesday evening —Olga Haldey would provide useful statistics on the mar- arrival, a Thursday morning session could ket, was strongly supported. The Committee allow more than thirty additional papers to Committee on Membership and is happy to receive questions and concerns be programmed. CAM would be grateful for Professional Development about how it can best serve the membership. your thoughts on this possibility as we look The Committee on Membership and Profes- Your suggestions and comments are always into the positive and negative ramifications sional Development (CMPD) is happy to welcome: [email protected]. of such a change; we will also be considering announce that it was able to offer forty-two —James P. Cassaro the experiences of other academic societies Professional Development Travel Grants in that meet all day on Thursday. Committee on Women and Gender 2013. The implementation of a flat-fee model In addition to your thoughts on these two ($300 awarded to qualified international ap- The Committee on Women and Gender issues, we would welcome any other com- plicants [non-U.S. and Canada], and $200 (CWG) organized two well-attended alter- ments or suggestions pertaining to the An- for domestic applicants [U.S. and Canada]) native-format sessions at the Annual Meet- nual Meeting: [email protected]. helped to streamline the process and resulted ing in Pittsburgh: “What’s the Difference?”, —Joseph Auner in an increase of awards granted from the which marked the twentieth anniversary of Ruth Solie’s ground-breaking edited volume Committee on Career-Related Issues previous year. These grants were awarded to graduate students, part-time faculty, inde- Musicology and Difference, as well as “The The AMS Committee on Career-Related Is- pendent scholars, adjunct faculty, and ses- Gendered Soundscape,” which included sues (CCRI) is proud to report that its show- sion chairs to attend the Annual Meeting in the long-distance participation of composer ing at the Pittsburgh meeting last November Pittsburgh. Please consult the Committee’s Pauline Oliveras. CWG is currently work- was one of the best in recent memory. Our web page (www.ams-net.org/committees/ ing with SMT’s Committee on the Status of Buddy Program continues to expand, as was mpd) for this year’s procedures and applica- Women to plan a joint session for the Mil- evident at the opening meet-and-greet recep- tion form; the application deadline for travel waukee meeting. Additional projects for the tion, and as we have come to expect, the c.v./ grants to the 2014 Annual Meeting in Mil- coming year include 1) the expansion of ped- cover letter workshop yet again had a wait- waukee is Friday 16 May 2014. agogical resources offered through our web ing list. The committee presented four pan- While the flat-fee model has streamlined site and 2) reevaluation of CWG’s mission. els: a work-life balance session titled “Surviv- the travel grant award process, the Commit- All AMS members are welcome to share their ing the Guilt”; a session dedicated to the job tee also discussed other aspects of the travel thoughts on the latter with CWG; please market, “Search Committee, What Do You grant program. These range from the need to send them to [email protected]. Want from Me?”; a Master Teacher round- have more funds for adjunct faculty (perhaps —Honey Meconi table devoted to examining new teaching reserving a percentage of the funds available continued on page  February 2014  Committee News technology in teaching and in the job search, Culture (Oxford University Press); supported and predictions about how Big Data could by the AMS 75 PAYS Endowment continued from page  change music scholarship. A lively question Silvio J. dos Santos, Narratives of Identity Chapter Activities Committee period focused on ways graduate programs in Alban Berg’s “Lulu” (University of Roch- can better prepare students for the new digi- ester Press); supported by the AMS 75 PAYS The Chapter Activities Committee would tally inflected landscape of teaching and re- Endowment like to remind members of the opportunities search, without shortchanging other areas of Martha Feldman, The Castrato: Reflections that the Society offers for academic and pro- instruction. on Natures and Kinds (University of Califor- fessional development through the Chapter For Milwaukee 2014 the GEC has pro- nia Press); supported by the Gustave Reese Fund. These include financing half the cost posed two sessions: one on changing curri- Endowment of the trip to the Annual Meeting for stu- cula in graduate musicology programs and Jennifer Fleeger, Mismatched Women: The dent representatives (airfare only) and up to one on the current state of disciplinarity Voice Meets the Machine $200 for special events occurring as part of a (Oxford Univer- and interdisciplinarity in graduate educa- sity Press); supported by the AMS 75 PAYS chapter’s meeting (e.g., guest speakers, guest tion. Those with an interest in these or other performers, special workshops). For more in- Endowment topics related to graduate education should Peter Franklin, Reclaiming Late-Romantic formation visit www.ams-net.org/chapters/ contact GEC co-chairs Mary Ann Smart and chapterfund.php or email Jesús A. Ramos- Music: Singing Devils and Distant Sounds David Grayson. (University of California Press); supported Kittrell (chair) at [email protected]. —David Grayson and Mary Ann Smart —Jesús A. Ramos-Kittrell by the John Daverio Endowment Publications Committee Nalini Ghuman, Resonances of the Raj: In- Graduate Education Committee dia in the English Musical Imagination, 1897– In Fall 2013, the Publications Committee At the Annual Meeting in Pittsburgh, the 1947 (Oxford University Press); supported by awarded subventions to thirty books for a the AMS 75 PAYS Endowment Graduate Education Committee (GEC) total of $61,000. They include the following: once again hosted a reception for prospective Catherine Grant, Music Endangerment: Michael Alan Anderson, St. Anne in Re- How Language Maintenance Can Help (Ox- graduate students and directors of graduate naissance Music: Devotion and Politics (Cam- studies. We were delighted to have about ford University Press); supported by the bridge University Press); supported by the AMS 75 PAYS Endowment thirty graduate advisors in attendance at the Martin Picker Endowment Friday evening reception, along with at least Roger Mathew Grant, Beating Time and Lawrence Bennett, ed., Denkmäler der the same number of prospective students. Measuring Music in the Early Modern Era Tonkunst in Österreich (DTÖ) Ignaz Holz- This year the GEC also sponsored an eve- (Oxford University Press); supported by the bauer: Hypermnestra (ADEVA); supported ning session on “Graduate Education in AMS 75 PAYS Endowment by the Margarita M. Hanson Endowment the Digital Age.” The session, which was Nadine Hubbs, Rednecks, Queers, and Mark Evan Bonds, Absolute Music: The His- attended by about sixty people, featured Country Music (University of California tory of an Idea (Oxford University Press); sup- presentations by graduate students Zach- Press); supported by the Manfred Bukofzer ported by the Joseph Kerman Endowment ary Wallmark and Lee Veeraraghavan and Endowment Julia Byl, Antiphonal Histories: Resonant professors Michael Scott Cuthbert, Drew Lauren McGuire Jennings, Senza Vesti- Pasts in the Toba Batak Musical Present (Wes- Massey, and Don Randel, who recently menta: The Literary Tradition of Trecento Song leyan University Press); supported by the stepped down as president of the Andrew (Ashgate Publishing); supported by the AMS AMS 75 PAYS Endowment W. Mellon Foundation. The brief talks ad- 75 PAYS Endowment Maureen A. Carr, After the Rite: Stravinsky’s dressed such issues as the challenges and lim- Robert Marovich, Shout Troubles Over: The Path to Neoclassicism (1914–1925) (Oxford itations of MOOCs, best practices for using Birth of Gospel Music in Chicago (University University Press); supported by the Otto

Kinkeldey Endowment of Illinois Press); supported by the AMS 75 Interested in AMS James Revell Carr, Hawaiian Music in Mo- PAYS Endowment Committees? tion: Mariners, Missionaries, and Minstrels Seth Monahan, Mahler’s Musical Novels: (University of Illinois Press); supported by Tradition, Teleology, and Narrative in the The president would be pleased to hear the AMS 75 PAYS Endowment Symphonic Sonata Forms (Oxford Univer- from members of the Society who wish William Cheng, Soundplay: Video Games sity Press); supported by the AMS 75 PAYS to volunteer for assignments to com- and the Musical Imagination (Oxford Univer- Endowment mittees. Those interested should write sity Press); supported by the AMS 75 PAYS Carol J. Oja, Bernstein Meets Broadway: Art, Race, and Progressive Politics during Christopher Reynolds, and are asked to Endowment World War II (Oxford University Press); sup- enclose a curriculum vitae and identify Mark Clague, The Star-Spangled Banner ported by the Dragan Plamenac Endowment their area(s) of interest. Songbook (Star-Spangled Music Founda- tion); supported by the Manfred Bukofzer David M. Powers, From Plantation to Para- Christopher Reynolds Endowment dise? Cultural Politics and Musical Theatre in University of California, Davis Nicholas Cook, Beyond the Score: Music as French Slave Colonies, 1764–1789 (Michigan Dept. of Music Performance (Oxford University Press); sup- State University Press); supported by the Lloyd Hibberd Endowment 1 Shields Ave. ported by the Donna Cardamone Jackson Catherine Saucier, A Paradise of Priests: Davis, CA 95616-5270 Endowment Adrian Daub, Four-Handed Monsters: Four- Singing the Civic and Episcopal Hagiography [email protected] Hand Piano Playing and Nineteenth-Century of Medieval Liège (University of Rochester  AMS Newsletter Press); supported by the AMS 75 PAYS The CWMSG also assisted the AMS Society for Ethnomusicology Ecomusicolo- Endowment Board in arranging a special lunchtime ses- gy Special Interest Group, we are organizing David Schwarz and Richard Cohn, Da- sion at the Annual Meeting that featured Ecomusicologies 2014, which will be hosted vid Lewin’s “Morgengruss” (Oxford Univer- presentations by two visiting scholars from by the University of North Carolina, Ashe- sity Press); supported by the Joseph Kerman East-Central Europe: Professor Liudmila ville; information will be posted on the con- Endowment Kovnatskaya (St. Petersburg Conservatory) ference web site (www.ecomusicologies.org) Timothy Shephard, Echoing Helicon: Mu- and Dr. Lóránt Péteri (The Liszt Academy as it becomes available. All are welcome to sic, Art and Identity in the Este Studioli, 1440– of Music). Chaired by Anna Nisnevich, this attend ESG events. Visit our web site (www. 1530 (Oxford University Press); supported by session was a fascinating exploration of mu- ams-esg.org) to join our email list, consult the AMS 75 PAYS Endowment sicology in Russia and Hungary during the resources (such as the dynamic Ecomusicol- Jean E. Snyder, Bringing in the Harlem Re- Cold War. Kovnatskaya’s and Péteri’s visits ogy Bibliography), explore news of interest naissance: The Life and Work of Harry T. Bur- were sponsored by the AMS, as part of an (such as recent CFPs from Music and Politics leigh (University of Illinois Press); supported outreach initiative to enable international and the Indiana University Press series, “Mu- by the Lloyd Hibberd Endowment scholars to attend the Annual Meeting. sic, Culture, Nature”), view our current issue Katherine Syer, Wagner’s Visions: Poetry, The CWMSG recently migrated its email of the Ecomusicology Newsletter (October Politics, and the Psyche in the Operas through list, and I would like to acknowledge the 2013), and view archives of our activities. “Die Walküre” (University of Rochester efforts of Kevin Bartig (CWMSG web- —Kate Galloway and Rachel Mundy Press); supported by the Otto Kinkeldey master), Leah Goldman (CWMSG mem- Endowment ber-at-large), and Martha Sprigge (former Joshua Walden, Sounding Authentic: The CWMSG member-at-large) in easing the Ibero-American Music Study Group Rural Miniature and Musical Modernism transition. (Oxford University Press); supported by the We welcome new members. If you would At the Pittsburgh Annual Meeting, the Ibe- Claire and Barry Brook Endowment like to join the CWMSG, subscribe to the ro-American Music Study Group (IAMSG) John Wriggle, Blue Rhythm Fantasy: Big CWMSG email list, or learn more about our met to celebrate the life, scholarly contri- Band Jazz Arranging in the Swing Era (Uni- activities, please visit our web site: www.ams- butions, and prodigious mentoring of the versity of Illinois Press); supported by the net.org/cwmsg. late Robert Murrell Stevenson (1916–2013). AMS 75 PAYS Endowment —Lisa Jakelski The panelists provided an illuminating and In accordance with the Society’s proce- poign­ant reflection on the impact of Steven- dures, these awards were recommended by Ecocriticism Study Group son’s work on the field of Latin American the Publications Committee and approved and Iberian Studies and the legacy represent- At the 2013 business meeting of the Ecocriti- by the Board of Directors. Funding for AMS cism Study Group (ESG), the membership ed by the many students whom he taught subventions is provided through the Nation- elected two new co-chairs, Kate Galloway and mentored, and who continue to shape al Endowment for the Humanities, the An- and Rachel Mundy; a new program com- the field. drew W. Mellon Foundation, and the gener- mittee chair, Tyler Kinnear; and a new chair In the business portion of the meeting, ous support of AMS members and friends. of the electronic communications commit- Walter Clark, Study Group chair for the Those interested in applying for AMS publi- tee, Erin Scheffer. Prior to our evening and past six years, announced that he would step cation subventions are encouraged to do so. daytime sessions, AMS members partici- down as chair. During his tenure, the study See the program descriptions for full details pated in an outing to Phipps Conservatory, group has grown in strength, breadth, and (www.ams-net.org/pubs/subvention.php). which featured talks by sound artist Abby vitality. Offering panel discussions on top- Next deadlines: 15 February 2014, 15 August Aresty and composer Ali Momeni. The ics as diverse as Latin Jazz, Latin American 2014. ESG’s evening panel, “From Landscapes to musicologies, race and ethnicity in Brazilian —Judith Peraino Cityscapes: Shaping the Sonic Geography music, and tradition and liturgy in Mexican of Place,” explored the connections between sacred music, the IAMSG has become an im- music, place, and ecomusicology as they re- portant site of communication and collabo- Study Group News late to natural and built environments. The ration for Latin American and Iberian music panel detailed how we document, express, scholars who represent a variety of meth- Cold War and Music Study Group and experience the inextricable connections odological approaches and topical interests. between sonic geography and past and pres- Susan Thomas succeeds Clark as IAMSG During the Annual Meeting in Pittsburgh, ent histories, ideologies, and social concerns. Chair. The group’s web site (iamsg.ucr.edu), the Cold War and Music Study Group The ESG’s daytime panel, “The Nightin- designed and maintained by Rogério Bu- (CWMSG) sponsored an alternative-format gale,” explored the limits of traditional “hu- dasz, will continue to be a key location for daytime session entitled “Cross-Border En- manist” scholarship by asking presenters to the dissemination of information related to counters in the Global South: A New Look respond to a recording of nightingale song. Ibero-American musicology. 2014 looks to be at Cold War Cultural Diplomacy.” This ses- Following these successful initiatives by an exciting year for the IAMSG, with Jesús sion brought together a diverse panel of mu- the ESG in Pittsburgh, we are eagerly plan- Ramos organizing an exploration of musical 2014 sicologists and ethnomusicologists to discuss ning for , with linked sessions on bor- mexicanidad for the meeting in Milwaukee. cultural exchange and other forms of musical ders, boundaries, and demarcations; panel- —Susan Thomas interaction in Africa, Asia, and Latin Ameri- ists will explore the categorical divisions that ca. Thank you to all who participated in this pertain to their respective areas of work. In highly stimulating session. collaboration with the membership of the continued on page  February 2014  Study Group News engaged in a lively debate on the relative MDSG has officially begun our Mentoring merits of inter/disciplinary identity (espe- and Support Network via the groups’ shared continued from page  cially for younger scholars on the market), web site. Mentors and mentees are paired Jewish Studies and Music Study movement-based research and epistemology by the chairs of the project, with the goal of Group (i.e., “how important is it that musicologists providing mutual support and guidance for actually dance themselves?”), and the extent scholars who are dealing with some aspect of The Jewish Studies and Music Study Group to which consideration of dancing bodies disability in their own lives or as a caregiver (JSMSG) enjoyed a stimulating panel ses- moves musicology beyond hermeneutics. to a family member. Additional informa- sion at the Pittsburgh Annual Meeting, with The MDSG offers its sincere thanks to all tion may be found at musicdisabilitystudies. papers on the theme “Commemoration and who participated and attended. wordpress.com/support-networks/. Revival.” The board and chair are thankful to We are already planning and looking for- —Blake Howe and Stephanie Jensen-Moulton all involved, especially Tina Frühauf, Thomas ward to the MDSG’s 2014 meeting and eve- Kernan, Yael Sela-Teichler, Richard Taruskin, ning session in Milwaukee. We will send a Music and Philosophy Study Group Amy Wlodarski, and Lillian Wohl. The busi- call for evening-session papers this summer. At this year’s Annual Meeting in Pittsburgh, ness meeting that followed focused on the If you have a potential topic for our 2014 eve- the Music and Philosophy Study Group upcoming election of new board members ning session, or if you are interested in serv- (MPSG) held two events, both entitled “Mu- and a chair—to be announced soon—as well ing on the selection committee that will read sic, Sound, Affect.” Our evening session was as next year’s meeting in Milwaukee. Col- submitted abstracts, please contact Dan- chaired by Tamara Levitz and included pa- laboration with members of SMT was also iel Callahan ([email protected]). pers from Christina Baade, Andrew Berish, explored as a priority for next year. With that If you would like to add your name to the Murray Dineen, Roger Grant, and Charles discussion in mind, JSMSG plans to select, Study Group’s online membership list—or, if Kronengold. Our daytime business meet- after a general call for proposals, either a you are a current member and do not wish to ing was chaired by Stephen D. Smith and complete panel of four to five papers or an appear in the online membership list—please included papers from Andrew Burgard, alternative-format session. In an effort to be inform Sam Dorf ([email protected]) and Christopher Culp, Clara Latham, and David as inclusive as possible, the group is open to our webmaster Matilda Butkas-Ertz (matil- McCarthy. panels or alternative formats on any theme. [email protected]). Information about The MPSG is very excited about our first Selection will be based on the cohesion of the conferences, cross-society contact, and ideas conference collaboration, which will be panel/session, originality, rigor of intellectu- for future events—including reinstating a held at Stony Brook University 18–19 April al thought, as well as evidence of nuanced new version of the bygone AMS Ball or hold- 2014. This event, entitled “Sound and Af- thinking about the given subject matter. For ing a dance event/class at the Annual Meet- fect: Voice, Music, World,” will be closely more information on future events as well as ing—should be sent to the MDSG president, related to the theme of our events at AMS. past activities, contact information for mem- Sarah Gutsche-Miller (sarah.gutsche.miller@ It has been co-organized by Stony Brook’s bers, or news in the field, please see our web utoronto.ca). Department of Music and Department of site: www.jewishstudiesandmusic.org. —Daniel Callahan Philosophy, in consultation with the MPSG, —Lily E. Hirsch Music and Disability Study Group and in collaboration with the MPSG of the Royal Musical Association. Judging from Music and Dance Study Group The Music and Disability Study Group early interest in the event, we expect papers The AMS Music and Dance Study Group (MDSG) has launched several new from scholars working across a broad inter- (MDSG) held its inaugural business meet- and exciting features on its web site disciplinary spectrum, including musicol- ing and evening session in Pittsburgh this (musicdisabilitystudies.wordpress.com). Our ogy, music theory, and ethnomusicology, as year. We are pleased to report that the room webmaster, Samantha Bassler, is curating a well as philosophy, film, media studies, lit- was packed for both meeting and panel—no series of blog posts by guest authors; recent erature, art history, psychology, and perfor- small feat, considering that most conference entries have included studies of song sign- mance studies. Keynote speakers will include goers’ dance cards are rather full on Friday ing by Jeannette Jones and Anabel Maler Lydia Goehr, Robin James, Tamara Levitz, evening. The MDSG By-Laws were ap- and a report on conference accessibility by and Gary Tomlinson. The conference will be proved at the business meeting, where it was Kendra Leonard. Additionally, Blake Howe free and open to the public. For further in- also decided that a list of MDSG members has created an online database of musical formation, please contact Stephen D. Smith and their research interests would be posted representation of disability, to which us- ([email protected]). to the Study Group’s web site (ams-mdsg. ers may easily submit additional entries. This spring will also see the fourth annual wix.com/ams-mdsg) and that the MDSG The Study Group’s Ad Hoc Committee on conference of the RMA MPSG, which will would request non-mandatory dues from its Accessibility held its first meeting at the take place 27–28 June 2014 at King’s College, membership to enable future events. AMS Annual Meeting in Pittsburgh. This London. The call for papers for this event Our inaugural evening session brought year, members will be reviewing accessibil- will be open until 7 February 2014. Keynote six distinguished scholars to the dais. Each ity guidelines of the AMS and other simi- speakers include Carolyn Abbate, Philip panelist spoke about working at the intersec- lar organizations, as well as polling and Kitcher, and Dmitri Tymoczko. For more in- tion of dance and music studies, and topics interviewing scholars about their accom- formation, visit www.musicandphilosophy. spanned seventeenth-century French op- modational needs. If you have a concern ac.uk or contact Tom McAuley (tmcauley@ era, Romantic ballet, Miley Cyrus’s twerk- related to conference accessibility, please indiana.edu). ing, and Japanese classical dance. Following contact committee chair Kendra Leonard. The AMS MPSG continues to work to de- their statements, the panelists and audience Together with the SMT Interest Group, the velop its communications and web presence.

 AMS Newsletter If you are interested in joining the MPSG about methods and techniques for teaching been expanded into a two-day event that will email list, please contact Stephen D. Smith. film music courses, Mary Natvig and Steven feature traditional presentations, panel dis- We also encourage you to visit our tumblr Cornelius spoke on teaching music apprecia- cussions, lightning talks, and an afternoon- at musicandphilosophy.tumblr.com. Our tion in a social context, Carol Hess addressed long seminar-like “unconference.” members are invited to contribute to this teaching writing in music history courses, —Colin Roust page; for information on how to do this, con- and Jessica Sternfeld presented on approach- tact Ted Gordon ([email protected]). es to teaching courses about musical theater. Popular Music Study Group —Stephen Decatur Smith The Journal of Music History Pedagogy has The past few months have been eventful for now entered its fourth volume. The Fall 2013 Pedagogy Study Group the Popular Music Study Group (PMSG). In issue features practical reports on student Pittsburgh, the Study Group incorporated a At the Annual Meeting in Pittsburgh, the writing assignments from Kimberly Francis pedagogy roundtable into its business meet- Pedagogy Study Group (PSG) sponsored a and Travis Stimeling, Erinn E. Knyt, and ing, a discussion of David Blake’s working session on various models for teaching mu- Sara Haefeli. Jimmy Maiello contributed an paper “Technologies and Periodicities: To- sic history to undergraduates. James Bris- article on a praxial approach to teaching mu- wards a Critical 2010s Popular Music Survey coe spoke about helping students cultivate sic history, paralleling recent developments Course,” with Loren Kajikawa and Justin their own personal syntheses of music with in music education; this is accompanied by a Burton serving as respondents. The PMSG the other arts, as well as gender, racial, and thoughtful response from Thomas Regelski. also had a very successful evening session on other social fields. Matthew Baumer reported In addition, there are two roundtable discus- “Popular Music of the Rust Belt.” In addi- on a survey of learning objectives for under- sions, one on music appreciation textbooks tion to activities at the Annual Meeting, the graduate music history curricula, and Kevin and the other on music library instruction. PMSG is undertaking two important initia- Burke argued that music history courses can Stephen Meyer is the journal’s new editor, tives. First, it will begin commissioning two be an ideal place to model the meaningful and Jessie Fillerup is the new reviews editor. to three bibliographic essays per year for its cross-disciplinary connections that today’s Two exciting opportunities for those in- web site, each introducing literature on a spe- students are encouraged to make. terested in pedagogical issues are approach- cific topic. If you are interested in contribut- At the 2013 College Music Society National ing. On 1–5 June, James Briscoe will lead a ing to this series, please email Anna Stephan- Conference in Cambridge, Massachusetts (31 study tour to Paris, where participants will Robinson (anna.stephanrobinson@westlib- October–2 November), PSG and the CMS explore recent pedagogical developments at erty.edu). Second, the Study Group will host Musicology Advisory Committee sponsored the Conservatoire. The program is limited a junior faculty symposium that will include a pre-conference workshop on “Teaching to twenty-five participants, and registration reading sessions, discussions of the tenure Music History and Allied Courses for Non- closes 3 March; see the College Music Soci- and promotion process, and pedagogy work- Specialists and Graduate Students.” John ety web site (www.music.org) for details. On shops at the University of Richmond, 18–20 Koegel and Sandra Yang organized the event, 13–14 June, the ninth Teaching Music His- June 2014. The Call for Papers for this sym- with Todd Sullivan serving as moderator. tory Conference will take place at Roosevelt posium will be posted shortly. Nathan Platte and Colin Roust presented University in Chicago. The conference has —Eric Hung

News Briefs available to the public through a collaboration complex searches across multiple categories or between the Library of Congress and WGBH simple browsing within any single category, Boston. Details: americanarchive.org. such as genre, composer, librettist, premiere The North American British Music Studies date, country, oratorio subject, or theater. De- Association announces the creation of the tails: operadata.stanford.edu. Byron Adams Student Travel Grants, which will offset travel, lodging, and registration ex- Internet Resources penses for doctoral-level students who deliver News TheR IPM e-Library of Music Periodicals is papers at the society’s biennial conference. a collection of rare full-text music journals not Details: www.nabmsa.org. available in any library. It serves as a supple- The Complete Theoretical Works of Jo- ment to the RIPM Retrospective Index and hannes Tinctoris: A New Digital Edition The Rare Book & Manuscript Library at is now open for public use. The edition current- the RIPM Online Archive. Recently launched, Columbia University recently received a the first installment contains 150,000 pages of collection of music manuscripts, letters, and ly comprises two of Tinctoris’s twelve treatises, with more editions coming soon. Each edi- twenty-five searchable, full-text music jour- other items belonging to Sergei Prokofiev. nals. Details: ripm.org/elibrary_about.php. Details: library.columbia.edu/news/libraries/ tion contains the Latin text, English transla- 2013/2013-10-17_RBML_Acquires_Prokofiev_ tion, transcriptions of each source, and inter- Details: Collection.html. pretive material. earlymusictheory. Stanford University Libraries has provided org/Tinctoris/. digital access to large portions of the Musical The American Archive of Public Broadcast- Acoustics Research Library (MARL), mak- ing is an unprecedented and historic collec- Opening Night! Opera & Oratorio Pre- ing available important research papers from tion of American public radio and television mieres is a cross-index of data for over 38,000 some of the most eminent acousticians of the content, dating back through the 1950s, that opera and oratorio premieres. Launched twentieth century. Details: ccrma.stanford. will be permanently preserved and made by Stanford University Libraries, it allows edu/marl/.

February 2014  CFPs and Conferences Medieval and Renaissance Studies Music, Marxism, and the Frankfurt School 6–9 March 2014 2–4 July 2014 The AMS lists conferences and CFPs at musi- New College of Florida, Sarasota University College, Dublin cologyconferences.xevents.sas.ac.uk. A selec- African-American Music in World Culture: Medieval and Renaissance Music tion of listings appear below; over 140 CFPs Art as Refuge and Strength in the Struggle 3–6 July 2014 and conferences with dates after 1 March are for Freedom University of Birmingham currently listed at the web site. 18–22 March 2014 Baroque Music To receive email notifications of musicology Boston University conferences, subscribe to AMS-Announce. 9–13 July 2014 See www.ams-net.org/announce.php for Cipriano de Rore at the Crossroads Salzburg 20–21 March 2014 details. North American British Music Studies Munich Association Calls for Papers Montpellier 8 31 July–3 August 2014 Gluck and the Map of Eighteenth-Century 20–21 March 2014 University of Nevada, Las Vegas St Hugh’s College, Oxford Music The Music of War: 1914–1918 1 2014 CFP Deadline: March Society for Seventeenth-Century Music 30–31 August 2014 17 19 2014 – October 3–6 April 2014 British Library, London Western Illinois University, Macomb Trinity University, San Antonio Royal Musical Association Jewish Music and Jewish Identity Sound and Affect: Voice, Music, World 4–6 September 2014 CFP Deadline: 1 March 2014 18–19 April 2014 Leeds 19–21 October 2014 Stony Brook University Youngstown State University Perspectives on Musical Improvisation Bone Flute to Auto-Tune: A Conference on 9 12 2014 The Wizard of Oz and the Western – September Music & Technology in History, Theory Cultural Imagination University of Oxford and Practice CFP Deadline: 1 March 2014 European Music Analysis Conference 24–26 April 2014 November 21–22, 2014 17–21 September 2014 University of California, Berkeley University of Brighton Leuven Jean-Philippe Rameau American Bach Society 1 4 2014 CFP Deadline: 9 March 2014 – May 12–14 September 2014 Kenyon College, Gambier, Oh. RILM News University of Oxford Medieval Studies The Governing Board of RILM-US, rep- Musicological Society of Australia: “The 8–11 May 2014 resenting the various constituent organi- Charisma of Dissonance” Kalamazoo zations that contribute to the support of RILM-US activities, including the AMS, CFP Deadline: 10 March 2014 Restaging the Song: Adapting Broadway met during the Annual Meeting in Pitts- 29 November–2 December 2014 for the Silver Screen burgh. The RILM Board welcomed the Melbourne 14–16 May 2014 excellent news from the AMS Board that University of Sheffield Early Music Revivals and their the Lenore Coral Fund, which is dedi- Neoclassical Echoes (1870–1970) Canadian University Music Society cated to the support of RILM, received 31 2014 CFP Deadline: March 28–30 May 2014 more contributions than any other AMS 11 12 2014 – September Brock University fund in the previous fiscal year. We hope University of Melbourne that AMS members will continue to ad- Music and the Moving Image Postmodernity’s Musical Pasts: vocate for and support the Coral Fund. 30 May–1 June 2014 Rediscoveries and Revivals after 1945 The members of the RILM Board are New York University CFP Deadline: 31 May 2014 now sending letters to the editors of 26–27 March 2015 Society for Musicology in Ireland scholarly journals that publish our work City University of New York 6–8 June 2014 and do not yet automatically create ab- University College, Dublin stracts of their articles and send them Italian Musicological Society to the RILM-US office. It is our hope CFP Deadline: 15 June 2014 Teaching Music History Conference (and the many individual authors of essays, 17–19 October 2014 Unconference) book chapters, reviews, and editions will Conservatorio di musica “Evaristo Felice 13–14 June 2014 create abstracts of their scholarly work Dall’Abaco,” Verona Roosevelt University, Chicago and encourage their editors to send the Nineteenth-Century Music abstracts to RILM-US, or submit them Conferences 18–21 June 2014 themselves. This will lighten the work- University of Toronto load of the diligent workers at the RILM Society for Eighteenth-Century Music / office, and it will help with financial sup- Haydn Society of North America Music and Philosophy port as well. 28 2 2014 27 28 2014 February– March – June —Pamela F. Starr Moravian College, Bethlehem, Pa. King’s College London  AMS Newsletter Papers Read at Chapter Meetings, 2012–13

Allegheny Chapter Theodore Albrecht (Kent State University), Caitlin Brown (University of Maryland, “Richard Wagner’s Anti-Semitism in a College Park), “Singing Beyond the Class- 6 October 2012 New Context: The ‘Jewish’ Influences on room, Church, and Home: George Fred- West Virginia University His Early Compositions” erick Root’s The Haymakers” Grant William Cook III (University of William B. Hannam (Kent State Univer- Joseph A. Mann (Catholic University of Mount Union), “‘I went back to America sity), “The Garden of Fand is the Sea” America), “Both Scholars and Practi- (Spring of 1856), as my Berlin friends be- Terry Dean (Indiana State University), tioners: The Pedagogy of Ethical Music lieved—to die!’; The Final American Resi- “Shostakovich’s Symphony no. 6 in B mi- Scholarship in Thomas Morley’s Plaine and dency of Beethoven’s Biographer Alexan- nor and the Pathos of Tragedy” Easie Introduction to Practicall Musicke” der Wheelock Thayer: April 1856 through Julia O’Toole (Boston University), “Wom- June 1857” Christopher Capizzi (University of Pitts- burgh), “Liturgy for a ‘Jazz’ Christ: ‘Pitts- en Composers of Oratorio in the Eight­ Adam Gustafson (Pennsylvania State Uni- burgh Mass’ by Mary Lou Williams” eenth Century: Comparing Oratorios versity Harrisburg), “Topsy and Eva in Shared and Set by Both Genders” the Concert Hall: Projections of Race and Christopher Wilkinson (West Virginia University), “The Fox, the Hedgehog, and Bonny Miller (Bethesda, Md.), “Exoti- Gender during the Careers of Elizabeth cism in the Parlor: Augusta Browne’s 1847 Taylor Greenfield and Jenny Lind” the Divided Self: Reflections on a Musico- logical Career” Grande Marche Arabique” Brooks Toliver (University of Akron), “The Stephen Thursby (Peabody Conservato- Influence of Karl Henckell on Richard ry), “‘Steht alles in der Partitur’: Gustav Strauss’s Alpensinfonie” Capital Chapter Mahler’s Aesthetics of Operatic Produc- James S. Mackay (Loyola University, New tion and His Work with Alfred Roller and 13 October 2012 Orleans), “Beethoven’s Super-Sonata: In- Anna von Mildenburg in Vienna” James Madison University ter- and Intra-Compositional Tonal Links in his Final Three Piano Sonatas, Opus Kate Doyle (University of Maryland, Col- Greater New York Chapter 109, 110, and 111” lege Park), “‘Vergeltung’: The Depiction 13 October 2012 Josh Ottum (Ohio University), “Out of the of Women in Alban Berg’s Lulu and the Hofstra University Game: A Bookended View of Rufus Wain- Legacy of the Operatic Female Character” wright’s Performance of Gay Identity” Laurie McManus (Shenandoah Conserva- Jane Schatkin Hettrick (Hofstra Univer- Ross Fenimore (Davidson College), “Con- tory), “Wagnerian ‘Progress’ and Sexual sity), “‘Requiem per me’: Antonio Salieri’s testing the Love Song in the 1980s: Ma- Rhetoric in Aesthetics of Leopold von Plans for His Funeral” donna Sings ‘Like a Virgin’” Sacher-Masoch” Jessica Chisholm (Rutgers University), “A Laura Brown (Pennsylvania State Univer- R. Todd Rober (Kutztown University of Sixteenth-Century Cambridge Manu- sity), “The Little Russian: Tchaikovsky’s Pennsylvania), “Creating an Online Music script and Evidence for the Continuation Second Symphony in a Divided Russian History Sequence: Can Course Integrity of a Fifteenth-Century English Composi- Music Scene” be Maintained?” tional Practice” William E. Grim (Strayer University), Therese Ellsworth (Washington, D.C.), Robert F. Waters (Seton Hall University), “How We Got into Critical Theory and “Jan Ladislav Dussek: ‘A Musical Jane “Power and Politics in Paris: Regional- How to Get Out” Austen’?” ism and Nationalist Identity at the Schola Cantorum” Lars Helgert (Georgetown University), 13 April 2013 “Lukas Foss’s American Cantata: A ‘Lover’s Anna Knecht (New York University), University of Akron Quarrel’ with America” “Beckmesser in a New Light: Die Mei­ stersinger in Gustav Mahler’s Seventh Lisa Lombardo (Brooklyn College, John E. Crotty (West Virginia Univer- Symphony” sity), “Beethoven’s Last Three Piano So- CUNY), “The Lady and the Tramp: David Hurwitz (Classicstoday.com), “The natas as Artistic Precursors of the Ninth Blackface Minstrelsy’s Identity Crisis in Audible Influence of Verdi and the Italian Symphony” Victorian America” School on Mahler’s Musical Idiom” Matt Kickasola (Geneva College), “Gran- Benjamin Bierman (John Jay College of ville Bantock’s Redefinition of the Choral 13 April 2013 Criminal Justice, CUNY), “John Benson Symphony” Peabody Conservatory Brooks and Harold Courlander’s Negro Sara Gulgas (University of Pittsburgh), Douglas Buchanan (Peabody Conserva- Songs from Alabama” “‘Summertime’: Pluralism, Appropriation, tory), “Rhetoric Rethought: Affektenlehre and Signifying in Janis Joplin’s Lullaby” in Context” continued on page 

February 2014  Papers read at Chapter Meetings Lawrence Ferrara (New York University), John Stine (University of Cincinnati), “Music and Copyright Law” “Symphonies Fit for an Empress: The continued from page  Sylvia Kahan (Graduate Center and Col- Symphonies of Paul Wranitzky Composed lege of Staten Island, CUNY), “‘La mu- and Performed at the Court of Empress Sarah Hoover (Hofstra University), “A sique faite femme’: Poulenc, Vilmorin, Marie Thérèse” ‘Scanty’ Song? Brigida Banti and the Polignac, and the Gendered Mélodie” 1795 Premiere of Joseph Haydn’s Scena di Marian Wilson Kimber (University of Berenice” Robert F. Waters (Seton Hall University), Iowa), “Food of the Spirit: The Music of “Music and Politics: Nationalism and An- American Choral Speaking” 16 February 2013 ti-Semitism in American Music Societies, Jane Harrison (Ohio State University), Metropolitan Opera Guild’s 1918–39” Opera Learning Center “André Caplet and Henri Rabaud, Two Different Debussystes” Barbara Hanning (Graduate Center, Midwest Chapter Leah G. Weinberg (University of Michi- CUNY), “Powerless Spirit: Echo on the 29–30 September 2012 gan), “Silencing La belle: Philip Glass’s Musical Stage of the Late Renaissance” Butler University Film-Opera through the Critic’s Lens” Michele Cabrini (Hunter College, CUNY), Lisa Cooper Vest (Indiana University), “‘A “‘We Gotta Get out of This Place’: Dra- Peter S. Poulos (University of Cincinnati), Survey about the Work of Igor Stravinsky’ matic Pacing and Trapped Characters in “Simone Molinaro’s Madrigali a cinque 1957 Gluck’s Telemaco” voci: Musical Patronage and Cultural ( ): Stravinsky Reception and Polish Victoria Aschheim (Princeton University), Exchange” Cultural Confidence at the Beginning of the ‘Thaw’” “A Poet Writing Music in ‘Richard Wag- Michael Siletti (University of Illinois), ner and Tannhäuser in Paris’” “‘One thing you must cut out’: Construct- Joshua Groffman (Indiana University), Ji Yeon Lee (CUNY), “Critical Reflections ing Musical Biography and the Case of “One Set of Ears Will Not Suffice: Form on Robert Lepage’s Staging of Wagner’s Ethelbert Nevin” and Temporality in Kaija Saariaho’s . . . à Ring Cycle at the Metropolitan Opera” la Fumée” Kristy Johns Swift (University of Cincin- Jennifer C. H. J. Wilson (CUNY), “The nati), “Donald Jay Grout and ‘The Luna- Elizabeth Hopkins (University of Chica- New Tenor in the New World: Opera tic Fringe’” go), “Phantom Simulacra: Echoes and the Glasses, Ear Trumpets, and ‘la voix de Postmodern Sublime in Late Twentieth- poitrine’” James Briscoe (Butler University), “De- Century American Music” Robert F. Waters (Seton Hall University), bussy in American Post-Modernism” Emily Wuchner (University of Illi- “Envoicing the Other in Indianist Opera: Brian Hart (Northern Illinois University), nois), “Entrances and Afterthoughts: Separation and Assimilation in Victor “Competing Cultural Identifications for Schumann’s Compositional Process in the Herbert’s Natoma” the Symphony in Debussy’s France” Robert Butts (Montclair State University/ Waldszenen, op. 82” David M. Hertz (Indiana University), “De- College of Saint Elizabeth), “Rigoletto bussy, Symbolism, and the Attack on the and Otello: The Anguish and Tragedy in 6 April 2013 the Self-Belief in Being Different” Sequence” University of Iowa Catherine Ludlow (Western Illinois Uni- Dan Blim (University of Michigan), “Trau- versity), “The Imp, the Harem, and Du- ma, Absence, Identity: The ‘Ethical Re- Alexandra Kieffer (Yale University), “The 9 11 kas’s Barbe-bleue” sponsibility’ of Memorializing / in John Scandal of the Neuvième: Harmonic Stasis 27 April 2013 Adams’s On the Transmigration of Souls” and Sonic Realism in Debussysme” Columbia University Lucy Liu (Indiana University), “Significa- Nicholas Johnson (Ohio State University), tion by Dying Away: Mahler’s Allegorical Catherine Ludlow (Western Illinois Uni- “The Changing Role of Music Theory in Treatment of the Funeral March Topic in versity), “Melodrama in Schumann’s Man- the Astronomical Writings of Johannes ‘Der Abschied’” fred, Amplifying the ‘Most Bright Intelli- Kepler” gence’ Central to Byron’s Play” Brian MacGilvray (Case Western Reserve Jeremy Zima (University of Wisconsin- University), “Shaping the Memento Mori: Tina Frühauf (Répertoire International de Madison), “Strauss’s Intermezzo: A New Froberger’s Meditation faite sur ma mort Littérature Musicale/Columbia Univer- Look at the German ‘Artist Opera’” sity), “Exploring New Territory during future and Seventeenth-Century Vanitas the Cold War Era: Jewish Music Studies in Art” Steve Wilson (University of Illinois), “The Arcanum of Creativity: Coming to Terms Postwar Germany” Melanie Batoff (University of Michigan), with John Zorn’s Astronome” Nicholas Chong (Columbia University), “The Visitatio sepulchri at the Twelfth- “Beethoven’s Favorite Theologian? Johann Century Salzburg Cathedral: The Role Shersten Johnson (University of St. Thom- Michael Sailer, the Missa Solemnis, and the of Musical Performance in Strengthening as), “Extraordinary Bodies and Voices: Pe- Question of Beethoven’s Faith” Community” titgirard’s The Elephant Man”

 AMS Newsletter Aaron Ziegel (University of Illinois), “‘Pa- 2 February 2013 Kimberly White (McGill University), triotic Plaudits and German Boos’: Arthur Tufts University “From the Salon to the Stage: Commer- Nevin’s Poia and the Politics of Interna- cial Sheet Music and the Construction of tional Opera Production” Louis Epstein (Harvard University), “Tri- Celebrity in Nineteenth-Century France” David Rugger (University of Indiana), ple Threat: Ida Rubinstein as Patron, Im- Jess Tyre (University at Potsdam, SUNY), “Vaughan Williams, ‘Vaughan Williams,’ presario, and Director” “The Conquest of Beethoven in Fin-de- and the Historiography of Englishness” Basil Considine (Boston University), “Mu- Siecle France: Conductors and Critics on Tempo and Gesture in the Symphonies” Jesse Jordan (Northern Illinois University), sic and the Pirates of Madagascar” “Conceptions and Stereotypes of Middle Matthew Mugmon (Harvard University), Patrick Nickleson (University of Toronto), Eastern Culture Heard at the Columbian “Copland, Mahler, and the American “Occupy Satyagraha: Minimalism, Oc- Exposition” Sound” cupy Wall Street, and Political-Aesthetic Representation” Thomas Kernan (University of Cincinnati), Brent Wetters (Providence, R.I.), “Cho- “Setting Gettysburg: Jewish-American reographic Notation: Richard Barrett’s Ne Dawn Stevenson (independent scholar), “Representing the World Town: Track- Identity in Jacob Weinberg’s Lincoln songe plus à fuir” Commemorations” ing Strategic Essentialism in the Music of Max DeCurtins (Boston, Mass.), “‘Com- M.I.A.” Heather Platt (Ball State University), puter, Please Replicate One Viola’: The John Higney (Carleton University), “‘That “Brahms’s Female Fans and His volkstüm- Reanimation of Classical Music in the Manly Fire’: Henry Purcell, Foreign ‘Ef- liche Lieder” Future” feminacy,’ and English Masculinity in Ear- Jenna Harmon (Northwestern University), Hannah Lewis (Harvard University), “Mi- ly Eighteenth-Century English Letters” “Raging Passion: Sexual Violence in Le Pa- chael Gordon’s Decaying Orchestra: Deca- rangon des Chansons (1540)” Jon-Tomas Godin (Université de Montreal/ sia as Audiovisual Elegy” University of Ottawa), “A Quest for Self- Reinterpreting Don Giovanni ” New England Chapter 20 April 2013 Northeastern University Amanda Lalonde (Cornell University), 29 September 2012 “The Music of the Living-Dead” College of the Holy Cross Canceled due to Marathon bombings. Leah Batstone (McGill University), “Mahler’s Fourth as Satyr Play” Erin Jerome (Brandeis University), September Russell (University of Toronto), “Haydn’s L’incontro improvviso: Deceitful New York State–St. Lawrence Dervishes, Greedy Servants, and the Me- “Longing for a Return to Childhood: Chapter 1877 ta-Performance of Alla Turca Style” Brahms’s Second Symphony ( )” 27–28 April 2013 Julia Doe (Yale University), “How Opéra- University of Ottawa Comique Became French, or, Untangling Northern California Chapter the Origins of Revolutionary Opera” Kathryn Fenton (University of Western 16 February 2013 Daniel DiCenso (College of the Holy Ontario), “Imagined Locations and the University of California, Davis Cross), “More Roman than Gregorian, Rhetoric of Place: The Case of La fanciulla More Frankish than Old Roman: What a del West” Matthew Linder (National University), Newly Rediscovered Italian Source Reveals “Ratio Theologica contra Ratio Humana Meaghan Parker (McGill University), “A about the Roman and Frankish Character in J. S. Bach’s Cantata 178” Tone Parallel to Avon: Ellington and of Chant Transmission in the Mid-Ninth Robert Pearson (University of North Tex- Strayhorn’s Such Sweet Thunder ” Century” as), “The Critical Reception of Beethoven’s Edward Wright (University of Toronto), 1806 Daniel Libin (Rutgers University), Fidelio and his Revisions to ‘O na- “Schubert’s Gretchen Songs and the Eter- “Nicholas Jaar’s Essential Mix and the Aes- menlose Freude’” nal Feminine” thetics of the Esoteric in Electronic Dance Philip Nauman (Somerville, Mass.), “Dra- Music” Caroline Kita (College of the Holy Cross), matic Vocalization in the Works of Ralph “Myth and Meta-Drama: Mahler’s Eighth Stephen Meyer (Syracuse University), “Su- Vaughan Williams” Symphony” oni nuovi/Suoni antiche: Mario Nascim- Jay Arms (University of California, Santa bene’s Biblical Epic Film Scores” Erinn Knyt (University of Massachusetts Cruz), “‘Sound as a Physical Reality’: Mal- Amherst), “Ferruccio Busoni and the New Kimberly Francis (University of Guelph), com Goldstein with the Judson Dance England Conservatory: Pedagogue in the “Nadia Boulanger and the Roots of Theater” Making” Stravinskian Octatonicism” Daniela Levy (Stanford University), “High Culture on the Lower East Side: Opera in Brian Levy (New England Conservatory), Christopher Moore (University of Ottawa), Yiddish in New York circa 1900” “Form, Interaction, and Implication in “Mickey-Mousing Debussy: Emile Vuill- the Classic Quartet of John Coltrane” ermoz’s Children’s Corner” continued on page  February 2014  Papers read at Chapter Meetings Alexander Carpenter (University of Alber- 23 February 2013 ta), “Psychoanalysis, Atonality, Symbol- California State University, Long Beach continued from page  ism, and ‘Formless sorrow’: On Arnold William Weber (California State Universi- 20 Schoenberg’s Herzgewächse, op. ” ty, Long Beach), “New Music Versus Old Giacomo Fiore (University of California, Mark Janzer (University of Puget Sound), in the Fragmented State of Concert Pro- Santa Cruz), “‘Still Now and Hear My “Uncharted Progress: A Musical Analysis gramming in Germany in the Year 1910” Singing’: Songs and Texts in the Music of of the Elements and Evolution of Rap” Angeles Sancho-Velázquez (California State Larry Polansky” Marianna Ritchey (Lewis & Clark Col- University, Fullerton), “A Double Blow lege), “Cycle, Arrow, Web: Contempo- to Improvisation: Anti-Romanticism, 27–28 April 2013 rary American Art Music and the New Positivism, and the End of Impromptu University of California, Los Angeles History” Performance” Joint with Pacific Southwest Chapter Leann Wheless Martin (University of Philip D. Nauman (Somerville, Mass.), Washington), “Hearers of the Word: Lis- “Debussy’s ‘Sirènes’ and Les Apaches” See Pacific Southwest Chapter for listing of tening as Participation in the Ordo Ysaac papers. Albert Diaz (University of California, Los et Rebecca” Angeles), “Exploitation or Collaboration? Guy Obrecht (Mt. Royal University), “In- Socialist Slave Narrative and Hans Werner Henze’s El Cimarrón (1969–70)” Pacific Northwest Chapter ner Calm: An Empirical Approach to Mu- sical Performance and Experience” Alejandro Enrique Planchart (University 13–14 April 2013 of California, Santa Barbara), “Texture, University of Oregon Pacific Southwest Chapter Instrumentation, and Dramatic Form in 6 October 2012 Monteverdi’s L’Orfeo” Zachary Millman (independent scholar), Occidental College “The Opera Erkel Should Have Written: Lindsey Strand-Polyak (University of Cali- fornia, Los Angeles), “Virtù e Virtuoso: Revisionist History in Bánk bán” Lauren McGuire Jennings (University of Giuseppe Colombi, Private Spectacle, and Southern California), “Popolare or Colto ? Briawna Anderson (University of Utah), Social Standing at the Este Court” “The Robin Woman: A New Narrative of Hybrid Identity and Intersections between Femininity for the American West” Oral and Written Traditions in Florence, Edmond Johnson (Occidental College), Biblioteca Nazionale Centrale, Magliabe- “Arnold Dolmetsch and the Musical Arts Juliana Madrone (University of Colorado), chiano VII 1078” and Crafts” “Utile Dulci: Constructing a Swedish Adam Knight Gilbert (University of South- Identity” Eric J. Wang (University of California, Los Angeles), “Kuhnau’s Continuo: Virtue, ern California), “Fifteenth-Century Im- Mary Terey-Smith (Western Washington Virtuosity, and Pedagogy at the Keyboard” provisation: A Cookbook” University), “An Italian-born Singer and Composer in Late Eighteenth-Century Laura Stanfield Prichard (University of 27–28 April 2013 England: Venanzio Rauzzini (1746–1810)” Massachusetts Lowell), “The Bolero in University of California, Los Angeles Russia” Joint with Northern California Chapter Graeme Fullerton (University of British Columbia), “Dangerously Ditzy: Mrs. Linda Shaver-Gleason (University of Cali- Lauren Jennings (University of South- Lovett and the Grotesque in Sondheim’s fornia, Santa Barbara), “Foreign Admirer ern California), “Defining ‘Italianness’ Sweeney Todd ” or Alien Influence? Felix Mendelssohn in through Song: The Role of Music in Mod- British Music Histories of the Mid-to-Late Stephen Rumph (University of Washing- ern Conceptions of the Medieval Italian Nineteenth Century” ton), “Theatricality and Artifice in Fauré’s Lyric Tradition” Settings of Gautier’s La Comédie de la Nicole Grimes (University of Califor- Lindsay Johnson (University of California, Mort ” nia, Irvine), “Brahms’s Ascending Circle: Los Angeles), “Listening and Voice in the Hölderlin, Schicksalslied, and the Process Michael Weinstein-Reinman (University Early Modern Convent” of Recollection” of Oregon), “Young Man’s Fancy: How Benjamin Court (University of California, the Free Musical Fantasia Came to Be As- Roland Jackson (Claremont Graduate Uni- Los Angeles), “Imagining the Future: New sociated with the Conceptualization of versity), “Simultaneous Chords, and To- Left Politics and Psychedelic Music in Femininity” nality, in Later Schoenberg” Post-’68 Germany” Hedy Law (University of British Colum- Alison Maggart (University of Southern Andrea Moore (University of California, bia), “The Body Unbridled: Rameau’s California), “Saving Face and Construct- Los Angeles), “Neoliberalism and the En- Pantomime and the Idea of Liberty” ing Images: Helene and the Manufacture trepreneurial Musician” of Alban Berg” Wing Lau (University of Oregon), “Schna- Anthony Barone (University of Nevada, bel, Schoenberg, and Schenker: Revisiting Kate McQuiston (University of Hawai‘i at Las Vegas), “Der Jugend muntre Spiele? an Analysis-Performance Dichotomy of Mānoa), “Germanic Yearnings and Musi- Richard Wagner’s Seven Compositions for the Early Twentieth Century” cal Dreams: Rehearing Stanley Kubrick” Goethe’s Faust”

 AMS Newsletter Vincent Rone (University of California, Frank Lehman (Harvard University), Joseph Finkel (Arizona State University), Santa Barbara), “‘Do not ask me to aban- “Theorizing Semitonal Modulations in “John Cage’s Contribution to the United don or forsake you!’: Maurice Duruflé and Schubert’s Four-Hand Piano Works” States Bicentennial Renga with Apartment Jean Langlais Respond to the Second Vati- House 1776 – a Patriotic Composition?” Chase Peeler (University of Colorado Boul- can Council of the Catholic Church” der), “Ill-Fated Opera: Puccini’s La Fanci- South-Central Chapter Joseph Schubert (Claremont Graduate ulla del West in the Age of the Wild West University), “The Solo Organ Works of Show” 1–2 March 2013 Jean-Jacques Grünenwald: A Spectrum of Georgia State University Lisa Cook (Metropolitan State Univer- Color and a Continuum of Consonance Amy C. Hepworth (Utah State University), sity of Denver), “When the Wind Blows: and Dissonance” “The DSCH Motive in String Quartet Marc Blitzstein’s Cradle Will Rock Comes no. 8, op. 110, by Dmitry Shostakovich: A John Koegel (California State University, Full Circle” Fullerton), “Robert Murrell Stevenson Study of Motive and Meaning” Caleb Boyd (Arizona State University), (1916–2012)” Robert Hill (Hochschule für Musik, “Dancing With the Devil: Hanns Eisler’s Freiburg), “Daniel Gottlieb Türk and the Walter Aaron Clark (University of Califor- Unsettling Score for the Standard Oil Film Imitation of Improvisation” nia, Riverside), “Robert Stevenson’s Inter- Pete Roleum and His Cousins” American Music Review: Thirty Years of David Haas (University of Georgia), “The Landmark Publishing” Michael Harris (University of Colorado Shards of Tradition in Schoenberg’s Piano Boulder), “A Score Full of Grief: Fumio Craig B. Parker (Kansas State University), Piece, op. 11/3 (1909)” Hayasaka’s Music for Sanshō the Bailiff ” “Robert Stevenson as Teacher, Mentor, continued on page  and Friend” S. Anthony Amstutz (University of Ari- Gillian Gower (University of California, zona), “Love Letters, Mystic Visions, and AMS Chapter News Los Angeles), “On Earth as It Is in Heav- Religious Sensuality in the Music of Hil- en: Musical Representations of English degard of Bingen” The Greater New York Chapter held a panel discussion on “Using Music to Queenship in the Fifteenth Century” Michael Schumacher (University of Ari- Teach Shakespeare; Using Shakespeare Valerio Morucci (University of California, zona), “Influence of Italian Culture on the to Teach Music” at their Fall Meeting Davis), “Secular Patronage at the Orsini Motets of Loyset Compère” on 26 October 2013 at the Metropolitan Court: Music, Poetry, and the Rhetoric of Amy Holbrook (Arizona State University), Opera Guild. The discussion made clear Early Monody” “Motto Technique in Mozart’s Sacred Vo- the bi-directional nature of the interaction between music and Shakespeare’s plays in Natalia Bieletto (University of California, cal Music” college-level pedagogy. Details: ams-gny- Los Angeles), “Las Carpas de Barriada Garrett Johnson (Arizona State University), meetings.blogspot.com/2013/12/summa- and the Struggle for the Control of Sonic “Dramatizing Nietzsche and Wagner: ry-of-panel-discussion-using-music.html. Space in Mexico City in the Early Twenti- Wolfgang Rihm’s Opera Dionysos” eth Century” Jason Rosenholtz-Witt (Colorado State Upcoming Chapter Rocky Mountain Chapter University), “The Impassable Gulf: Wag- Meetings ner and Brahms in Schoenberg’s Verklärte See www.ams-net.org/chapters/ for links 5–6 April 2013 Nacht” Northern Arizona University to all Chapter web sites and more details. Joint with Rocky Mountain Society Christopher Sheer (Utah State Univer- • 1 February: Northern California for Music Theory and Society for sity), “Aesthetic Discordance in the Post- • 7–8 February: Southern Ethnomusicology, Southwest Chapter War Dialogue of Gustav Holst and Ralph • 15 February: Pacific Southwest Vaughan Williams” • 23 February: Southeast Heeseung Lee (University of Northern Dan Nelson (University of Utah), “Rhythm • 8 March: New England Colorado), “Beethoven’s ‘Pastoral’ and 21 22 and Pedagogy: West-African Contribu- • – March: South-Central ‘Heroic’ Styles in the Finale of the Violin 29 30 tions to American Music” • – March: Pacific Northwest Concerto in G major, op. 96” • 4–5 April: Rocky Mountain Melanie Shaffer (University of Colorado Ryan Sargent (University of Colorado • 5 April: Allegheny 5 Boulder), “Mad, Sad, or Bad: Interpreting Boulder), “When a Mistake Isn’t a Mis- • April: Mid-Atlantic 5 ‘Gretchen am Spinnrade’” take: Making Sense of Miles Davis’s Im- • April: Southwest provisational Style” • 12 April: Midwest Bettie Jo Basinger (University of Utah), • 26 April: Capital “‘Crux fidelis’: Religion and Metaphor in Sue Neimoyer (University of Utah), “Per- • 26 April: Greater New York Liszt’s Hunnenschlact ” formance Art? Text Setting and Program in • 26–27 April: New York State–St. the Experimental Songs of Joni Mitchell” Cassidy Grunninger (University of Colo- Lawrence 26 27 rado Boulder), “Countess Greffulhe: Kristen Dye (University of Northern Colo- • – April: Pacific Southwest/North- ern California Feminism and the Salon Culture in Third- rado), “Greek Influences in André Jolivet’s • 3 May: New England Republic France” Chant de Linos” February 2014  Papers read at Chapter Meetings Samuel Brannon (University of North Car- Stephen Pysnik (Duke University), “From olina, Chapel Hill), “‘Full of a Thousand Broadway to Hollywood: Precursors of the continued from page  Beautiful and Graceful Inventions’: The ‘MGM Sound’ in Hooray for What! ” 1545 Compilation of Gardano’s Willaert Alexandra Lee (Converse College), “Rhe- John Latartara (University of Mississippi), Motet Print” torical Synthesis in the First Movement of “Classical Recordings, Musical Analysis, Stewart Carter (Wake Forest University) Mendelssohn’s Organ Sonata no. 1” and the Manufacturing of Performance” “From Zwingli to Sultzberger: Music in Catherine Williams (Florida State Univer- Philip D. Nauman (Boston University), Canton Bern in the Wake of the Swiss sity), “Maud Powell: ‘Violin Queen’” “Debussy’s ‘Sirènes’ and Les Apaches” Reformation” Kenneth Dale Disney (University of Ten- James A. Grymes (University of North Car- nessee), “The Militancy of St. George in olina, Charlotte), “Violins of Hope” Southern Chapter Fifteenth-Century English Liturgy” Siegwart Reichwald (Converse College), 10–11 February 2012 Jennifer Tullmann (University of Ken- “An Emerging Credo of Absolute Music— University of Alabama, Early College tucky), “Questions of Identity: The Ever- The Evolution of Mendelssohn’s op. 49” Shifting Lulu” Kunio Hara (University of South Caro- Ryan Ross (Mississippi State University), Ya-Hui Cheng (Fort Valley State Universi- lina), “Nostalgia in the Conclusion of La “‘Ye Shall Have a Song’: Sacred Harp ty), “Music in Migration: Puccini’s Exoti- fanciulla del West” Singing as an Ideological and Organiza- tional Principle in Randall Thompson’s cism in Turandot” Molly Barnes (University of North Caro- The Peaceable Kingdom” Sarah Dietsche-Ford (University of Mem- lina, Chapel Hill), “A New Audience for phis), “F the President: Reactions to New Music: Copland’s ‘Imposed Simplic- Toni Casamassina (Florida State Universi- George W. Bush in Popular Music” ity’ and the American Middlebrow” ty), “Poetry, Art, and Music: Lied Sources in Mid-Nineteenth-Century Düsseldorf” Francisco Javier Albo (Georgia State Uni- Oren Vinogradov (University of North versity), “Images of Chopin in the New Carolina, Chapel Hill), “A Total Work of Megan Murph (Louisiana State Univer- World: Performances of Chopin’s Music Misunderstanding: Competing Defini- sity), “Max Neuhaus and the Musical in New York City, 1839–1876” tions of the Wagnerian Gesamtkunstwerk” Avant-Garde” Todd Jones (University of Kentucky), “The David Vanderhamm (University of North Joseph Sargent (University of Montevallo), Reception History of Lowell Mason: A Carolina, Chapel Hill), “The Commodi- “The ‘Expressive’ English Magnificat” History of American Musicology” fied Comprehensible: Schoenberg’s String Trio and the ‘Contemporary Classic’ Bryan Proksch (McNeese State University), Vanessa Tome Diehl (University of Geor- Recording” “Croatian Tunes and Slavic Paradigms: gia), “The Western Pennsylvania Exposi- Forging the Anglophone Haydn” tion (1889–1916): Music as a Reflection of the Changing Socio-cultural Landscape of 7 April 2013 Sarah Gilbert (Florida State University), the Steel City” North Carolina State University “Real and Imagined Identities in an ‘Im- provisation’ on J. S. Bach’s Concerto for Norbert Dubowy (Goethe Universität, Lindsay Canting (Carrboro, N.C.), “‘A Two Violins” Frankfurt am Main), “Paer’s Leonora: from roaring, epic, rag-time tune’: Vachel Lind- Dresden to Paris” say’s Sung-Poetry and Interpreting ‘The April Prince (Loyola University, New Or- Congo’” leans), “‘Stirring Quite a Peculiar Feel- Melanie Lowe (Vanderbilt University), ing’: Ciphers in the Portraits of Clara Erin K. Maher (University of North Caroli- “Topics of Consumer Identity in the Schumann” 1780s: Pleyel’s op. 1 and Mozart’s op. 10 na, Chapel Hill), “Redefining Ballet: Race String Quartets” and Genre in the Reception of Agnes de Megan MacDonald (Florida State Univer- Mille’s Black Ritual ” sity), “Radie Britain and the Process of Marie Sumner-Lott (Georgia State Univer- Renaming” sity), “Musical Style as Commercial Strat- Daniel Guberman (East Carolina Uni- egy in Nineteenth-Century String Cham- versity), “Elliot Carter as Cold War Tim Saeed (Louisiana State University), ber Music” Entrepreneur” “Gesualdo’s Madrigal ‘Moro, lasso’: An Annegret Fauser (University of North Car- Intervallic Germ Cell Analysis” Southeast Chapter olina, Chapel Hill), “Cosmopolitan Na- Jan Herlinger (Louisiana State Univer- tionalism: Foreigners in Paris in the Long sity/University of Alabama), “Nico- 22 September 2012 Nineteenth Century” laus de Capua and the Prehistory of the Appalachian State University Benjamin Thorburn (Bluefield College), Coniuncta” “Recomposing Monteverdi: Luigi Dal- Edward Hafer (University of Southern Robert Nosow (Jacksonville, N.C.), “Jacob lapiccola’s Adaptation of Il ritorno d’Ulisse Mississippi), “Defining Negro Music in Hobrecht and the Fall of Bruges, 1490–91” in patria” the Third Reich”

 AMS Newsletter Timothy Storhoff (Florida State Univer- Michael Squilla (Texas State University), Elizabeth Dyer (Our Lady of the Lake Uni- sity), “The Politics of Programming in the “Motivic Formal Function: A Formal versity), “The Surprising Preservation of National Symphony Orchestra of Cuba’s Analysis of ‘Canope’” Pagan Chimera in the Belgian Daphnis First Tour of the United States” Kevin McClarney (Texas State University), Music-Dramas” Joe Gennaro (University of Central Flori- “A Cambridge Mass by Ralph Vaughan Kevin Salfen (University of the Incarnate da), “The Genesis of Robert Schumann’s Williams: The Doctoral Music Examina- Word), “Slater v. Britten: Trying the War- Kerner Liederreihe, op. 35” tion Composition That Was Forgotten” time Left in Peter Grimes” Warren Kimball (Louisiana State Univer- Sara Outhier (Southern Methodist Univer- Johanna Frances Yunker (Lamar Univer- sity), “Ives’s Early Seasonal Songs” sity), “Music Special Collections at South- sity), “Father or Criminal: Ruth Zechlin’s Kathryn Etheridge (Florida State Uni- ern Methodist University” Post-Reunification Opera Die Reise” versity), “Musical Modernism in Inter- Michelle Hahn (Southern Methodist Uni- Jose M. Garza, Jr. (Texas State University), war Japan: Yamada Kosaku, Kindai and versity), “Exposing Institutional Content: “This is Our Time: A Bibliographic Essay Modanisuto” SMU’s Efforts Toward Access to Recital on the Rhythmic and Metric Analysis of Andreas Giger (Louisiana State University), and Concert Recordings of the Meadows Modern Metal Music” “Setting Verdi’s Un ballo in maschera in School of the Arts” Stockholm” Sheryl K. Murphy-Manley (Sam Houston Elissa Harbert (Northwestern University), State University), “Towards a Thematic “History, Memory, and the Music of Catalog of the Works of Newton D. Southwest Chapter HBO’s John Adams” Strandberg (1921–2001)” 5–6 October 2012 Alfredo Colman (Baylor University), “Per- Nico Schüler (Texas State University), “The Texas State University sonal Transformation in Florentín Gimé- Harlan Trio (1930–1933) and Its Contribu- Joint with Texas Music Library nez’s Symphony No. 1 / Concertante para tions to the Foundation of Historical Per- Association and Texas Chapter piano en Re menor ‘Metamorfosis’” formance Practice” of the National Association J. Drew Stephen (University of Texas at San of Composers / USA Antonio), “Haydn and the Horn” Joseph Vecchio (Texas State University), “Dialogue Sampling in the Music of Skin- Katie Buehner (University of Houston), George T. Marie (University of Utah), ny Puppy” “Video Instruction and Blackboard Learn” “Harmonic Dualism and Generalized Musical Spaces” Ruth Vecchio (Texas State University), “In- Matthew Stock (University of Oklahoma), dustrial Music of the 1990s: Common Ele- “Lost in Liège: Belgian Trumpet Contest Elizabeth Dyer (Our Lady of the Lake Uni- ments and a Brief Analysis” Pieces, 1889–1959” versity), “An Examination of the Role of Jesuit Theatre in the Emergence of the Devin Charles Wolf (Texas State Univer- Maristella Feustle (University of North Oratorio” sity), “Modulation: The Key to Sonata Texas), “‘In Case of Sudden Death, Burn Form” This’: The Simon Bucharoff Collection at Gregory Camp (Oxford University), “Pop- the University of North Texas” pea in Space: The Influence of Theatre Ar- Allison Wente (University of Texas at Aus- chitecture on Productions of Monteverdi’s tin), “Performing the Uncanny: The Play- Laura Houle (Texas Tech University), “A L’incoronazione di Poppea” er Piano and the Specter of Performance” Musical Analysis of Developments in Tex- as Contest-Style Fiddling” Jessica Bedol (University of Texas at Aus- Eric Hogrefe (University of Texas at Aus- tin), “‘Go on you Jews’: Evidence of Anti- tin), “Freud’s Uncanny as Topic in Film Mark Brill (University of Texas at San An- Judaism in the Music and Poetry of Fif- Music” tonio), “Music of the Ancient Maya: New teenth-Century Spain” Avenues of Research” Bree Guerra (University of Texas–Pan American), “Social Metaphor in Frederic Gregory Straughn (Abilene Christian Uni- 8–9 March 2013 Rzewski’s ‘Down by the Riverside’” versity), “Making it Big at the Met: Reper- Our Lady of the Lake University toire Trends from 1883 to the Present” Peter Mondelli (University of North Texas), Felipe Garcia (Texas State University), Barbara Barry (Lynn University), “Nietzsche, “Véron, Schlesinger, and the Commodifi- “Immigration to Texas: Who Came and Mahler, and the Modeling of Mortality” cation of French Grand Opera” Where They Settled” Lizeth Dominguez (Our Lady of the Lake Eric Schneeman (University of Southern Justin R. Glosson (Texas State University), University), “Emergence of the Modern California), “The Berlin Performances of “Initiatory Harmony: Music of Masonic Cumbia c. 1970” Christoph Gluck’s Alceste during the 1848 Music Manuals” Lee Chambers (Texas Tech University), Revolution” Nico Schüler (Texas State University), “Re/Presenting Orpheus: African Pres- Ian B. Aipperspach (Texas Tech University “Multicultural Curriculum Transforma- ence, the Operatic Voice, and the Western / South Plains College), “When the World tion of ‘Music Theory Pedagogy’” Musical Canon” Came to Town”

February 2014  AMS Legacy Gifts: Howard Mayer Brown (1930–1993) Howard Mayer Brown was a remarkable person in many ways. His for the fellowship. In November 1992, at the Society’s Pittsburgh scholarship in Renaissance music and performance impacted un- Annual Meeting, the initiative was publicly announced. The an- told numbers of students and colleagues. nouncement was intended to be published in the February 1993 His studies (BA, MA, and PhD, 1959) were completed at Har- AMS Newsletter, but was inadvertently omitted (to the consterna- vard University, and his first JAMS article appeared in 1959. In 1960 tion of Libin and other organizers). he accepted a post at the University of Chicago, where he remained Events overtook plans. Howard Brown died of a heart attack in (with the exception of a short period at King’s College, London, Venice on 20 February 1993. News of his death spread quickly, and and visiting professorships around the world) until his untimely many responded with contributions to the fellowship, now a me- death. morial instead of a His scholarly writ- birthday celebration. ings, editions, re- But Brown himself cordings, activities, provided the larg- and honors are too est single contribu- numerous to list tion: he must have here, but it may be received the instruc- noted that in addi- tions he asked about, tion to completing because he left in his dozens of articles, will $75,000 for the several books, and fellowship, which recordings of the the AMS received in contents of the His- November 1993. torical Anthology of Due to other Music, he served events, however, the as editor of Re- bequest has not been naissance Music in publicly acknowl- Facsimile (30 vols., edged until now. In 1977–82, with Frank May 1993 AMS ex- D’Accone and Jessie ecutive director Al- Ann Owens), as gen- Jacqueline Morreau, Portrait of Howard Mayer Brown, 1975. Courtesy The Newberry Library, Chicago vin Johnson suffered eral editor of Recent a stroke and was no Researches in Music of the Renaissance (1977–82, with James Haar), longer able to monitor and manage the office. Although the Board and as editor of Monuments of Renaissance Music (1977–93). and office staff continued valiantly, and the Society’s activities con- Howard Brown was active in the AMS, serving the Society in tinued with almost no visible disruption, one thing that slipped many capacities, including president (1979–80). In the early 1990s, through a crack was the Brown bequest, which, although it was several of his friends, wishing to honor him on his sixty-fifth birth- safely received and invested, was not reported on the annual AMS day, began the quiet phase of a campaign to establish an AMS fel- financial statement for that fiscal year. Nor was it announced in lowship in his honor, dedicated to supporting underrepresented subsequent newsletters. minorities wishing to enter the discipline of musicology. Brown The Howard Mayer Brown endowment soon achieved its fund- himself soon learned of the initiative, and in September 1992 he ing goals, and the first fellowship was awarded in 1995. The value wrote to Laurence Libin, chair of the fundraising committee, ask- of the endowment is now over $400,000, and it will continue to ing for instructions for amending his will to include a bequest supply funds for the annual fellowship in perpetuity.

Ongoing Grants and Fellowships • Delmas Foundation • Deutscher Akademischer Austauschdienst Grants and fellowships that recur on annual cycles are listed at • Fulbright U.S. Scholar Program the AMS web site. Granting agencies include the following: • Guggenheim Memorial Foundation Fellowships • American Academy in Berlin • Humboldt Foundation Fellowships • American Academy in Rome • Institute for Advanced Study, School of Historical Studies • American Academy of Arts & Sciences • International Research & Exchanges Board • American Antiquarian Society • Kurt Weill Foundation for Music • American Brahms Society • Liguria Study Center for the Arts and Humanities • American Council of Learned Societies • National Endowment for the Humanities • American Handel Society • National Humanities Center Fellowships • Berlin Program for Advanced German and European Studies • Newberry Library Fellowships • Camargo Foundation Details: www.ams-net.org/grants.php

 AMS Newsletter Obituaries and Spirituals: Black Folk Music to the Civil War (1977, reissued 2003). The importance The Society regrets to inform its members of the deaths of the following members: of her findings for musicologists, cultural historians, and black string bands cannot Martin Chusid, 11 December 2013 1 2013 Elizabeth Keitel, August be overstated; she overturned prevailing Dena Epstein, 14 November 2013 Kenneth Levy, 15 August 2013 myths and prejudices about the origins, Alice Hanson, 11 October 2013 Paula Morgan, 22 January 2014 functions, and meanings of song and in- Andrew Hughes, 23 December 2013 Rulan Chao Pian, 30 November 2013 strumental music in slave life, establishing, for example, that the banjo was brought Martin Chusid (1925–2013) The Quintessential Italian Melodrama (2012) to the Americas by enslaved West Africans and Schubert’s Dances: For Family, Friends, before the nineteenth century. The book Martin Chusid, professor emeritus of mu- and Posterity (2013). He attended most of continues to influence new generations of sic at New York University and founding the bicentennial Verdi conference at NYU musicians and scholars, as warmly dem- director of the American Institute for Verdi last October. At the time of his death he was onstrated in the 2013 documentary film Studies, passed away at his home in Kent, working on a Verdi reader, a monograph on The Librarian and the Banjo, which closes Connecticut, on 11 December 2013. Rigoletto and La traviata, and revising for with a tribute from the Carolina Chocolate He was born in Brooklyn, New York, on publication a paper he had given in 2011 in Drops at the Old Town School of Folk Mu- 19 August 1925. His father Jacob, a chemist, Maynooth, Ireland. sic in Chicago. came from Odessa, while his mother, Flor- —Francesco Izzo When Dena was president of the Music ence Bakst, a seamstress, had been smug- Library Association (1977–79), she told gled out of Belarus in a hay cart at age six- Dena Epstein (1916–2013) friends gleefully that her husband Mort teen. During the depths of the Depression, had taken to calling her “prexy.” Together Florence bought a baby grand piano and A path-breaking independent scholar who they established a research fellowship with scraped together fifty dollars per month for also served as Assistant Music Librarian at the MLA for the study of American music, piano lessons for young Martin and his two the University of Chicago (1964–86), Dena and in 2005 she was honored with a Life- older sisters. That piano is still in the family. Julia Polachek Epstein applied her rigorous time Achievement Award from the Society Chusid attended City College at age fif- training in cataloging and bibliography to for American Music. Her research papers teen as a pre-med student. As soon as he nineteenth-century American popular mu- from 1947 onward are at the Center for could, however, he enlisted in the U.S. sic in general and to the musical practices Black Music Research, Columbia College Army and went to France to fight in World and instruments of African Americans in Chicago (chicagocollectionsconsortium. War II. He started off laying mines, but particular, producing studies of consider- org/node/3722). ended up loading an upright piano on the able influence in musicology, librarianship, —Deane Root back of a truck and driving around the American studies, and black history. countryside with a small music ensemble, She earned a BA in music at the Uni- Kenneth Levy (1927–2013) playing for troops. versity of Chicago and Master’s in library Kenneth Jay Levy, a distinguished member After the war he enrolled as a music stu- science at the University of Illinois before of the “greatest generation” of musicologists dent at the University of California, Berke- working at the Newark Public Library and and a storied medievalist, died on 15 August ley. After teaching at the University of Library of Congress. Her 1943 Master’s the- 2013 at the age of 86. Born on 27 February Southern California (1959–1963), he joined sis, published in part by Notes before she 1927, serving in the U.S. Navy before com- the faculty at New York University, where revised it as a book, Music Publishing in 1947 he taught until his retirement in 2007, Chicago before 1871: The Firm of Root and pleting his BA at Queens College in , he took the PhD at Princeton in 1955 with serving at various points as chair and act- Cady 1858–1871 (1969), helped spur biblio- a dissertation on the chansons of Claude Le ing chair of the Department of Music and graphical access to and the scholarly study Jeune. But well before that year, he pub- as associate dean of the Graduate School of of American sheet music. She donated the lished his first article (JAMS, 1951), deliv- Arts and Science. In 1976 he helped found study’s papers to the Newberry Library ered his first paper at the Eighteenth Annu- the American Institute for Verdi Studies, (mms.newberry.org/html/Epstein.html). al Meeting of the AMS (1952), and received which he directed until 2007. After she and her husband, Dr. Morton plaudits after the latter was published in the Known primarily for his work on Epstein, began a family in 1948, her search first issue of Annales musicologiques (1954). Schubert and Verdi, Chusid authored for intellectual stimulation as a stay-at- By 1956, Alexander Ringer could refer to A Catalog of Verdi’s Operas (1974), pre- home mother led her to the Civil War diary Levy’s “by now well-known brilliant man- pared ground-breaking critical editions of of William Francis Allen and to genealo- ner.” For the next fifty-two years, Ken pub- Schubert’s Symphony in B minor (1971) gies, court records, and newspapers to doc- lished a long series of remarkable studies and Verdi’s Rigoletto (1983), edited Verdi’s ument his co-compilers of Slave Songs of the on chant, including eight articles in JAMS, Middle Period (1997) and other collections United States (1867). She began painstaking some of them republished in his book Gre- of essays, and published a wealth of articles. research to uncover the history of music in gorian Chant and the Carolingians (1998). Vital, jovial, and passionate until the very the daily lives of slaves in the United States Ken was elected an AMS Honorary Mem- end, he recently used to say, “I am doing and the Caribbean, producing articles ber in 2002, after serving two terms on the my best work yet!” In the last two years he along the way, and resulting three decades published two books: Verdi’s “Il trovatore”: later in her monumental study, Sinful Tunes continued on page 

February 2014  75 Years Ago: 1938–39 American Musicological Society, Inc. Statement of Activities for the Fiscal Year Ending • The Philadelphia Chapter, the Society’s June 30, 2013 fifth, was formed. Endowment: • The Musical Quarterly (unofficial Soci- Fellowships, ety journal prior to 1948) marked the Current Awards, sixtieth birthday of Otto Kinkeldey, Revenue operations Publications Undesignated TOTALS founding Society president, with a Dues & subscriptions $ 345,819 $ 345,819 number of articles dedicated in his Annual meeting $ 494,774 $ 494,774 honor. Sales/Royalties $ 24,865 $ 4,356 $ 29,221 • The AMS continued to meet jointly Government grants $ 51,599 $ 51,599 with the Music Teachers’ National As- Contributions $ 12,413 $ 40,959 $ 53,372 sociation (29–30 December). Investment income $ 3,651 $ 90,364 $ 111,500 $ 205,515 Unrealized gain in investment $ 89,015 $ 200,514 $ 289,529 • Preparations for the September 1939 New York International Musicologi- Total revenue $ 869,109 $ 247,747 $ 352,973 $ 1,469,829 cal Congress engaged many Society members. Expenses Salaries & benefits $ 189,537 $ 47,685 $ 237,222 50 Years Ago: 1963–64 Subventions, Fellowships $ 87,270 $ 80,000 $ 167,270 Dues & subscriptions $ 3,619 $ 3,619 • The South-Central Chapter, the So- Publications $ 53,490 $ 11,286 $ 64,776 ciety’s fifteenth and most recent, was Professional fees $ 47,177 $ 47,177 formed (April 1963). Annual meeting $ 362,769 $ 32,500 $ 395,269 • At the Annual Meeting in Seattle (27– Chapters $ 7,215 $ 7,215 29 December 1963), fifteen papers and Office expense $ 55,022 $ 18,012 $ 73,034 one panel discussion were presented. Total expenses $ 718,829 $ 164,253 $ 112,500 $ 995,582 • The ACLS and the Martha Baird Rock- efeller foundation provided the AMS Change in Net Assets $ 150,280 $ 83,494 240,473$ 474,247 with $8,000 for musicologists’ travel to the Salzburg meeting of the IMS (Sep- tember 1964). Statement of Financial Position 25 Years Ago: 1988–89 June 30, 2013 Endowment: • The Board agreed to give the So- Fellowships, ciety Archives to the University of Current Awards, Assets Operations Publications Undesignated TOTALS Pennsylvania. • 1,700 attended the AMS/SMT Balti- Cash $ 360,088 $ 360,088 more Annual Meeting; over 150 papers Accounts receivable $ 2,621 $ 2,621 Investments $ 1,514,779 $ 3,412,170 $ 4,926,949 and panels were presented. Equipment $ 17,543 $ 17,543 • The AMS 50 capital campaign surpassed Funds held in trust $ 20,272 $ 11,512 $ 31,784 its fundraising goal and drew to a close. • Executive Director and Treasurer Al- Total assets $ 382,981 $ 1,532,322 $ 3,423,682 $ 5,338,985 vin H. Johnson was formally presented with a preliminary copy of a Festschrift, Liabilities Essays in Musicology. Accounts payable $ 5,292 $ 5,292 • The Committee on Career Options Deferred Income $ 4,495 $ 4,495 published the results of its first sur- Funds held in trust $ 20,272 $ 11,512 $ 31,784 vey (AMS Newsletter, Feb. 1989, p. 4); one of its conclusions was that “many Total Liabilities $ 30,059 $ 11,512 $ 41,571 musicologists seem to be teaching who would rather not, for reasons not Net assets $ 352,922 $ 1,532,322 $ 3,412,170 $ 5,297,414 surveyed.” Total Liabilities & Net Assets $ 382,981 $ 1,532,322 $ 3,423,682 $ 5,338,985

Total Liabilities & Net Assets, June 30, 2012: $ 4,864,676 Enhanced Member Directory Have you edited your AMS “Enhanced 2014 Meetings of AMS and Related Next AMS Board Meetings Directory” page yet? You can include a Societies photo, lists of publications and works in The next meetings of the Board SAM: 5–9 Mar., Lancaster, Pa. progress, resarch interests, documents, of Directors will take place in CMS: 30 Oct.–1 Nov., St. Louis, Mo. and web links. Log in at www.ams-net.org Milwaukee on 1–2 March and AMS/SMT: 6–9 Nov., Milwaukee, Wisc. to explore the new directory. 5–6 November. SEM: 13–16 Nov., Pittsburgh, Pa.  AMS Newsletter Obituaries diagrams (“Levygrams”), and his irreplace- first taught Chinese language, then Chi- able textbook, Music: A Listener’s Introduc- nese music and ethnomusicology, retiring continued from page  tion (1982). Ken spoke on music-historical in 1991. pedagogy at AMS meetings in the 1980s Pian’s lively mind, warm personality, and Board of Directors (1968–69, 1992–93) (published in the CMS Symposium), and generous disposition nurtured many young and a term on the Kinkeldey Committee Princeton honored him with teaching scholars. To students who worked with her (1984–85, chair 1986). He was elected to the awards in 1983 and 1995. As Powers summa- closely, she set an example of how to be a American Philosophical Society in 1988 and rized it, his defining characteristic was “loy- scholar and teacher. Her personal library the Medieval Academy of America in 1994, alty to the highest standards of humanistic was always available to them, and her home and he won a senior Fulbright award and scholarship, and loyalty to the endless but was theirs. Indeed, her house in Cambridge an ASCAP-Deems Taylor Award in 1988. joyful duty of enkindling in others his own was often filled with students, friends, and He began his teaching career at Brandeis af- love for music as human art.” colleagues, with countless hours of discus- ter a 1954 Guggenheim, joined the Prince- —Elaine Sisman sion in her study, around the fireplace, or 1966, over food at the dining-room table, of- ton faculty in and retired as Scheide Rulan Chao Pian (1922–2013) Professor in 1995. ten extending into the wee hours of the In the words of Peter Jeffery, “he is the Rulan Chao Pian, an eminent scholar of morning. only scholar of his generation who has Chinese music, mentor, and influential Pian’s influence extended to scholars in made equally important contributions Chinese language teacher, died peacefully China, where she lectured regularly and to the study of both the Latin West and on 30 November 2013 at the age of 91 in her frequently after her first visit in 1974. She the Byzantine and Slavonic East,” with Cambridge home. introduced contemporary Western theo- a comparative approach that is “the most Much respected and dearly beloved, Pian ries and research methods in musicology distinctive feature” of his chant research. shaped many academic careers and lives and ethnomusicology, recent scholarship in That this approach has borne rich fruit is and expanded the intellectual scope of Chinese music outside of China, and her attested not only in his own work but also Chinese music studies. These she achieved own work. She brought gifts of books and by the work of several generations of schol- through her path-breaking publications, recordings, as well as the most advanced ars in his Festschrift, The Study of Medieval including her Kinkeldey award-winning electronic equipment. Through Pian, a Chant: Paths and Bridges East and West, book on Chinese music history (Sonq Dy- generation of Chinese scholars gained a ed. Jeffery (2001). Two understated enco- nasty Musical Sources and Their Interpreta- broader perspective on musical scholarship mia—Ken’s “preference for staying close to tion, 1967; reprinted 2003) and her articles than would otherwise have been available the evidence” (Jeffery) and his “jumping to on Chinese operas and narrative songs; to them. no conclusions until a safe bridge has been through her public lectures in Asia and —Bell Yung, Robert Provine, Joseph S. C. built across inevitable gaps in documenta- North America; through her many decades Lam, Amy Stillman, and Siu Wah Yu tion” (Harold Powers)—make Ken’s most of Chinese language teaching that laid the celebrated hypothesis, the “early archetype” foundation for a generation of Sinologists; theory of chant transmission in the West, and through her mentorship at Harvard Policy on Obituaries all the more transformational. University, where she taught from 1947 The Society wishes to recognize the Ken taught his students to respect the through 1992. She was a charter member of accomplishments of members who sources, yet also to learn to recognize when and moving force behind two pioneering have died by printing obituaries in the they were in a position to create new knowl- organizations: Conference on Chinese Oral Newsletter. Obituaries will normally edge. He undertook to focus students’—I and Performing Literature (CHINOPERL) not exceed 400 words and will focus on mean my—attention on the importance of and the Association for Chinese Music Re- music-related activities such as teaching, written communication, not with “bronze search (ACMR). Honors bestowed on her research, publications, grants, and ser- statues in libraries,” but with human read- included Fellow of the Academia Sinica vice to the Society. The Society requests ers. After several devastating aperçus, Ken’s (Taiwan, 1994) and Honorary Member of that colleagues, friends, or family of a advice that I read Bertrand Russell’s His- the Society for Ethnomusicology (2004), as deceased member who wish to see him tory of Western Philosophy as such a model well as numerous honorary professorships or her recognized by an obituary com- turned out to be slow-working mentorship and fellowships in China, Taiwan, and municate that desire to the editor of the at its best. And Ken’s hard-won approval Hong Kong. Newsletter. The editor, in consultation turned students into colleagues. Pian was born on 20 April 1922 in Cam- with the Committee on Obituaries, se- Ken’s effect on his students extended be- bridge, Massachusetts, eldest daughter of lects the author of the obituary and edits yond scholarly training to the pedagogical linguist and composer Yuen Ren Chao. She the text for publication. The committee modeling they received as teaching assis- spent her early childhood in several cities is comprised of the executive director tants in his introductory lecture course, in China, Paris, and the U.S., finally set- (chair), the AMS Council secretary, and the legendary Music 103. Generations of tling in Cambridge, where her life-long as- one other member. Its charge is to over- graduate students learned to teach, and sociation with Harvard included BA (1944) see and evaluate this policy, and to com- generations of undergraduates learned and MA (1946) degrees in Western music mission or write additional obituaries as to understand and love music, from his history, and a PhD (1960) from both the necessary. scintillating lectures, his superb listening Music and East Asian Departments. She

February 2014  American Musicological Society Bowdoin College Nonprofit org. 6010 College Station U.S. Postage Brunswick ME 04011-8452 PAID Mattoon, IL 217 Address service requested Permit No.

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