AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLVI, NUMBER 1 February 2016 ISSN 0402-012X Breathtaking Vancouver: AMS/SMT 2016 AMS Louisville 2015 There are two events I long will associate with the Louisville eighty-first Annual Meeting 3–6 November Sheraton Vancouver Wall Centre’s floor-to- of the American Musicological Society. The www.ams-net.org/vancouver ceiling, wall-to-wall windows will offer spec- first was the presence in the Galt House Ho- tacular views of the city and its surroundings. tel of dozens of professional or highly prac- Vancouver is awesome: a bustling, ethnically The hotel is located within walking distance ticed bodybuilders, members of the group diverse city with a thriving arts scene and of the Orpheum Theatre, home of the Van- Kentucky Muscle, who were attending a marvelous cuisine, where the glass of sky- couver Symphony Orchestra, the Vancouver competition in the hotel concurrent with scrapers reflects the natural splendor of the Art Gallery with its famous Emily Carr col- our gathering. In stark and sobering contrast coastal mountains, the rainforest, and the lection, and the restaurants and boutiques of were the terrorist attacks that took place in Salish Sea. This year, the AMS invites you to Robson Street and Yaletown. Departing every Paris, France on Friday, 13 November. With the heart of this beautiful city for the Society’s ten minutes, the C23 shuttle runs from the so many of our members having connections Annual Meeting to be held jointly with the hotel to Yaletown and on to historic China- to Paris, professional and/or personal, I was Society for Music Theory from 3 to 6 Novem- town, the location of the Dr. Sun Yat-Sen gratified to see that for the rest of the meeting ber. As you plan your trip, I encourage you Classical Chinese Garden, named World Top people noticeably took time to contemplate to visit the award-winning local blog vancou- City Garden by National Geographic. The how the world had changed, including several verisawesome.com for the latest news about Wall Centre is a mere 1.2 miles from Stanley sessions that began with a moment of silence. attractions, great food, and craft beer. Now, it Park with its seawall walkway and 1,000 acres I want to thank the members of the Pro- is my pleasure to introduce you to some Van- of rainforest, and an inexpensive Aquabus gram Committee—Albin Zak, Anne Stone, couver tourism and event highlights. trip from the artisan workshops, comedy im- Jonathan Bellman, Holly Watkins, Daniel As you take in the conference proceedings prov theatre, and public market on Granville Melamed, Roger Freitas—for participating planned by the Program Committee, chaired Island. every step of the way in the process of as- by Anne Stone (Graduate Center, CUNY), Local arts groups are planning extraordi- sembling the Louisville program. The Local and the Performance Committee, chaired nary performances for the weekend of the Arrangements Committee, chaired by Seow- by Steven Zohn (Temple University), the AMS/SMT meeting. Early Music Vancou- Chin Ong and with the great help of Caro- ver will present renowned cornettist Bruce line Ehman, organized a wonderful array of In This Issue… Dickey and Czech soprano Hana Blažíková activities, both in the hotel and in and around along with early music stars from the Pacific President’s Message ...... 2 the city, all topped off with the fortuitous Northwest including Monica Huggett and JAMS News ...... 3 occurrence of the New Music Festival simul- Roland Jackson Award ...... 3 Stephen Stubbs in “Breathtaking,” a program taneously taking place on the University of AMS Public Lectures ...... 5 exploring the cornetto’s ability to imitate the Louisville campus! And as usual, Bob Judd, Al Recent Board Actions ...... 5 human voice. The concert will take place just Hipkins, and their team made sure that every- Awards, Prizes, Honors . . . . . 6 three blocks from the Wall Centre at Christ thing went off with few hitches—and those What I Do in Musicology . . . . 11 Church Cathedral, Vancouver’s oldest surviv- that arose were deftly dispatched. According What is the AMS Council? . . . . 11 ing church. Music on Main, an organization to long-time attendees, graduate students, Career / Life Intersections . . . . 12 that has attracted international attention for first-timers, editors, and sales folk in the Ex- Treasurer’s Message ...... 12 its innovative programming, will present its hibit Hall—and just about everyone else I Elections 2016 ...... 13 Modulus Festival. A multi-format celebra- spoke with—the meeting was a great success. Louisville Post-Conference Survey . 15 tion of music composed during the last fifty A wide range of program sessions and paper News Briefs ...... 16 years, the Modulus Festival features a variety topics offered something for just about every Grants, Fellowships ...... 17 of informal and intimate musical experiences. taste or interest, whether the side-by-side dis- Committee News ...... 18 Past festivals have included collaborations cussions on Cole Porter and Ernst Bloch (Fri- Study Group News ...... 20 with dancers, choreographers, world music day evening) or a single time slot that includ- CFPs, Conferences ...... 22 performers, and the DOXA Documentary ed sessions on nationalism, twentieth-century Papers Read at Chapter Meetings . 23 Film Festival. The festival’s main venue, the avant-garde music, performance practice, Financial Statement ...... 29 Yaletown Roundhouse Community Arts early modern Italy, and a half-dozen others Obituaries ...... 30 continued on page  continued on page  President’s Message Sitting down to write on New Year’s Eve, as I in Louisville, therefore, it had a basis in an of excellence now do, emphasizes my sense of endings and unusually strong the tradition of new music in musicology beginnings. Of course, this moment for most in the city. Through a stroke of serendipity without regard scholars represents the precise middle of the unanticipated five years ago when Louisville to subject or ap- year with a “New Year’s Day” not on 1 Janu- was chosen as our meeting site, the 2015 New proach speaks to ary, but rather on 1 July. The AMS observes Music Festival at the University of Louisville, the importance that “academic” calendar for its financial ac- celebrating the thirtieth anniversary of the of diversity and counting and other business matters, but in Grawemeyer Award and featuring the 2003 inclusiveness in terms of our scholarly programs, a different Grawemeyer Award Winner Kaija Saariaho, our exploration cycle obtains in which our “New Year’s Eve” ran concurrently with our meeting. of music and un- occurs at the annual Business Meeting when Clearly this was an opportunity not to be derscores the role Ellen T. Harris we celebrate that year’s prizes and awards. It is missed. Not only was the AMS able to pro- music plays in human society. also at the conclusion of the Business Meeting vide a shuttle bus to major events at the New As we move into 2016, we have specific that all committee and elected positions begin Music Festival, but the Program Committee, things to which we can look forward. Primary and end. And to a larger extent, the Annual given the opportunity for the first time to cre- among these is the move of the AMS Office Meeting concludes a year of preparation and ate a session of its own making, chose to high- to New York University. Our current arrange- publication that starts again with the submis- light the Festival with a panel entitled “Wom- ment at Bowdoin College ends officially on sion of paper abstracts and prize nominations en Composing Modern Opera.” Among the 30 June 2016, but we hope to have made our for the following year. With this moveable composers whose work was to be discussed, transition ahead of that other “New Year” on “AMS calendar” now poised between 2015 Saariaho took pride of place. It seemed natu- 1 July. We now know that we will be housed at and 2016, I find myself reflecting on the state ral, therefore, for the AMS to extend an invi- 194 Mercer Street, just off Washington Square of AMS at the end of the old year and on the tation to Saariaho to attend and participate in in the center of the NYU campus. The AMS enormous changes that will occur in the new. was organized and founded in New York City, The Annual Meeting in Louisville served as If you’re interested in how music growing out of the disbanded New York Mu- a terrific conclusion to the Society’s 2015 pro- sicological Society, and incorporated in the grammatic year. One of the ironies of being works or the work music does, then State of New York. Gustave Reese, one of its President is that the crush of duties makes it you are welcome in the AMS founding members, its first Secretary, and the difficult to attend as many papers as I would person who wrote to Otto Kinkeldey at Cor- like. Those I did manage to hear were first- the panel, and we were thrilled with her ac- nell to inform him that he had been elected rate, and the many comments I heard during ceptance, which helped to underscore the im- in absentia as the first President of the Society the meeting reinforced my sense that the Pro- portant relationship between musicology and (!), was a member of the NYU music faculty gram Committee (Daniel Goldmark, Chair; contemporary composition and performance. throughout his career. In some ways we are Jonathan Bellman, Roger Freitas, Daniel So much of interest and importance oc- coming home. One of the exciting, new pro- Melamed, Anne Stone, Holly Watkins, Albin curred at the Annual Meeting in Louisville grams that will grow out of this affiliation is Zak) and Performance Committee (David that it is clearly impossible for me to refer to the addition of an AMS-NYU Lecture to the Dolata, Chair; Catherine Gordon, Seow Chin all of it, but one more session must be men- already established lectures at the Library of Ong, Stephen Zohn) did a truly fine job. As tioned. The Committee on the History of the Congress and the Rock and Roll Hall of Fame I look through the program, I am once again Society held an evening panel entitled “Mak- and Museum. impressed by its richness and diversity; many ing History: An AMS Oral History Panel” at But all new beginnings involve some leave- thanks to the hard-working committees and which the panelists were asked to speak infor- taking. Bowdoin College has been a wonder- committee chairs for such a successful and mally (without notes) on “AMS Milestones.” ful host, and we leave its beautiful campus substantive program. Many great moments were recalled (the Low- with a sense of deep gratitude for the gen- Louisville itself put out a great welcome, insky-Kerman debate on “What is Musicol- erosity and hospitality we received over the and I was pleased that we were able to honor ogy” more than once), but some recollections, decade we were in residence. We also are say- the city with lunchtime programs about mu- I have to acknowledge, were not to the credit ing goodbye to two wonderful and talented sic in Louisville. On Friday Michael Becker- of AMS. Nevertheless, what I took away was staff members who have chosen not to move man detailed the Louisville origin of Mildred a sense of how important the Society has been to New York. Melissa Kapocius, Office Assis- Hill’s “Happy Birthday” and its genesis stem- to its members (a question to the panelists to tant, has already moved on. Al Hipkins, Of- ming from her research on Louisville street name a paper at an AMS meeting that changed fice Manager, who has worked hand-in-hand vendors’ sales cries, and on Saturday the AMS their thinking brought fascinating responses) with Bob Judd for seven years, is still holding paid homage to the city and its orchestra and how much the Society has changed over down the Brunswick office as I write, but our with a presentation by Teddy Abrams, the the last few decades to become more welcom- parting will only come too soon. I want to conductor of the Louisville Orchestra, on its ing and inclusive. This last is very important express my deepest thanks to both Al and Me- new web-based series, “Music Makes a City,” to me. As it strives to support and maintain lissa for extraordinary service to the Society. whose title pays homage to the extraordi- excellence in musicological research and in In our next Newsletter, we will be celebrating nary Commissioning Project of the Orches- all its societal activities, the AMS needs no our new digs and introducing new staff, but tra in the late 1940s and 1950s that led to as other blinders. Let me paraphrase here what for now, “We’ll tak’ a cup o’ kindness yet / For many as fifty-two new compositions a season. I said in Louisville: If you’re interested in how auld lang syne!” When the H. Charles Grawemeyer Award in music works or the work music does, then —Ellen T. Harris music composition was established in 1985 you are welcome in the AMS. This pursuit [email protected]  AMS Newsletter JAMS News interdisciplinary study of music and cultur- al politics in the Cold War, twentieth- and Joy H. Calico, Editor-in-Chief twenty-first-century opera, opera stagings, and historical sound studies. She is the author The AMS is pleased to announce the appoint- of two monographs, both from the University ment of Joy H. Calico as Editor-in-Chief of of California Press: Brecht at the Opera (2008) JAMS for a three-year term beginning with and Arnold Schoenberg’s A Survivor from 70 2017 volume ( ). Warsaw in Postwar Europe (2014). Calico’s Joy H. Calico is Professor of Musicology research has been supported by grants from and Director of the Max Kade Center for the ACLS, the American Academy in Berlin, European and German Studies at Vander- the Berlin Program for Advanced German bilt University, where she teaches courses in and European Studies, the DAAD, the How- twentieth- and twenty-first century art music, ard Foundation, and the NEH. She currently opera of all periods, and European Studies. is writing a book about the history of opera She earned her B.Mus. in Vocal Performance since Salome. Calico has served the AMS as from Baylor University, her M.Mus. in Musi- cology from the University of Illinois at Ur- a member of the Council Nominating Com- bana-Champaign, and her Ph.D. from Duke mittee, the Board Nominating Committee, University. Her research interests include the continued on page  Joy H. Calico

Roland Jackson Award Established all the candidates. The winner will receive a monetary prize and a certificate, conferred Thanks to a generous bequest by long-time To inaugurate the award in 2016, articles at the Annual Business Meeting and Awards AMS member Roland Jackson, the Ameri- on music from 1800 to the present that were Presentation of the Society by the chair of the can Musicological Society has instituted the published in 2014 and 2015 are eligible. In the committee. Roland Jackson Award. It will recognize an second year of the award (2017), articles on Anyone may sub- article in the English language of exceptional music from 1600 to 1800 published in 2014, mit a nomination. merit in the field of music analysis by a schol- 2015, and 2016 will be eligible. In the third Nominations, in- ar who is a member of the AMS or a citizen or year of the award (2018), articles on music be- cluding self-nom- permanent resident of Canada or the United fore 1600 published in 2014, 2015, 2016, and inations, must be States. 2017 will be eligible. submitted by 1 May. The award will be made according to three After the inaugural three-year period, the To nominate work, separate subject categories, in successive years, award will be made in each subject category visit www.ams-net. as follows: once every three years, and articles published org/awards/jack- Roland Jackson • music from 1800 to the present during the previous three years will be eligible. son.php. • music from 1600 to 1800 The committee, consisting of five schol- • music before 1600. ars, will choose a single winner from among

AMS Vancouver 2016 AMS Louisville 2015 within easy walking distance of the hotel, and continued from page 1 continued from page 1 I enjoyed seeing AMS members wandering the streets of downtown Louisville seeking and Recreation Centre, was built in 1888 as (Friday afternoon). One particular highlight out BBQ, bourbon, or breakfast (or possi- a service facility for steam-engines. It houses of the weekend was the “Women Compos- bly all three). And the extended lounge/bar 374 Engine , the first passenger train to enter ing Modern Opera” session which featured that bridged the two hotel towers was really Vancouver. five talks from very different and stimulating a unique part of the experience; I spent more Passenger trains and buses still regularly ar- points of view, as well as the participation of than a few relaxing minutes watching people rive in Vancouver from destinations along the composer Kaija Saariaho, who stayed for the hurry on their way to or from sessions, or hav- West Coast, and the Vancouver International entire session and was extraordinarily forth- ing a drink with friends. Airport offers daily non-stop flights to and coming and candid in her comments to the I give my heartfelt thanks again to everyone from destinations all over North America, panelists and audience members who asked who planned, took part in, and attended the Europe and Asia. The SkyTrain will take you questions. meeting, and to all who helped make it such a from the airport to City Centre Station a few And then there were the culinary pursuits. success. On to Vancouver! blocks from the Hotel. I don’t know how many people chose to eat —Daniel Goldmark Welcome to Vancouver! Be sure to monitor in the restaurant at the top of the convention the conference web site for more information hotel’s Rivue Tower, but it had extraordinary Call for Vancouver Session Chairs as the meeting approaches, and don’t forget to views of the city and Ohio River, in addi- Interested in chairing a session at the pack an umbrella. Vancouver’s gentle rain is tion to being a very slowly revolving room. (I AMS/SMT meeting? Visit www.ams-net. best experienced from beneath one. personally only took a quick look and then org/vancouver to volunteer. —Christina Hutten left, for fear of getting . . . roomsick?) For- Deadline: 1 April Local Arrangements Chair tunately, there were a wide variety of options February 2016  JAMS News dialogue two movements that are often disso- A Message from Joy H. Calico ciated from each another: German Romanti- continued from page  cism and French Modernism. It is a great honor to serve as the Editor of JAMS. As I begin this work I am reminded the Einstein Committee, and the Program Debra Lacoste, Digital and once again of the truly collaborative nature Committee; as Chair of the Cold War and of our musicological enterprise. Many thanks Music Study Group; and as a member of the Multimedia Editor are due to the outgoing editorial team of W. JAMS editorial board for two terms. In 2016 The AMS is pleased to announce the appoint- Anthony Sheppard, Suzannah Clark, and she will complete her service as a member of ment of Debra Lacoste as JAMS Digital and Richard Freedman for the work they have the Executive Board of the German Studies Multimedia Editor for a three-year term be- done over the past three years and for their Association and as cofounder and co-director ginning with volume 70 (2017). wise counsel during the transition period. I of that organization’s Music and Sound Stud- Project Manager and Principal Researcher am also grateful that Michael Puri, Review ies Network. of Cantus: A Editor, Debra Lacoste, Digital and Multime- Michael J. Puri, Review Editor Database for dia Editor, and the members of the Editorial Latin Ecclesias- Board have agreed to serve with me. Like our The AMS istical Chant, an predecessors, we aim to publish engaging pleased to an- online digital articles based on new, solid, and ambitious nounce the ap- archive of medi- research, and to review scholarship that is pointment of eval manuscript representative of the scope of the discipline Michael J. Puri indices, Lacoste and of broad interest to the membership. The as JAMS Re- has been associ- commitment of the Editorial Board, the dedi- view Editor for ated with Cantus cation of numerous anonymous readers in the a three-year since 1997. In refereeing process, and Laura Davey’s unpar- term beginning spring 2011, she Deborah Lacoste alleled skills as Managing Editor will ensure with volume 70 was successful in bringing the database to the that JAMS remains the flagship journal in our (2017). University of Waterloo, funded by the Schol- discipline. Michael J. Puri Puri is Associ- arly Communications and Information Tech- The Journal welcomes the submission of ar- ate Professor and Director of Graduate Pro- nology Program of the Andrew W. Mellon ticles up to 20,000 words in length. Submis- grams in the McIntire Department of Music Foundation. At Waterloo, Cantus is part of a sions exceeding this length will be considered at the University of Virginia. He received his multidisciplinary digital humanities research at the discretion of the Editor-in-Chief. In ad- B.A. from Harvard, M.Phil. and Ph.D. from cluster under the auspices of Moyen Age et dition to articles and book reviews, the Jour- Yale, and undergraduate and graduate diplo- Renaissance: Groupe de recherche-Ordina- nal will continue publishing Colloquies and mas in piano performance from the Music teurs et Textes. reviews of Digital and Multimedia scholar- Academy of Basel in Switzerland. He has In April 2013, Cantus was awarded an In- ship. Colloquy convenors should submit pro- been awarded research grants from various sight Grant from the Social Sciences and posals (a two-page overview and a list of four foundations, including Javits, Mellon, Ford, Humanities Research Council of Canada to six committed authors who will present Whiting, the American Philosophical Society, (SSHRCC) for another five years. A year later, multiple expert perspectives to be introduced and the DAAD. He received the 2008 Alfred Lacoste was a co-applicant for the successful by the convenor) to the Editor-in-Chief. Pro- Einstein Award, and, during the 2013–14 aca- SSHRCC Insight Grant based at McGill Uni- posals will be considered by the Editor and demic year, was a fellow at the National Hu- versity, Cantus Ultimus: Building the Ideal by members of the Editorial Board, and fi- manities Center. Online Plainchant Research Environment nal submissions must then be approved by In his scholarly work he seeks to develop (Ichiro Fujinaga, principal investigator). In the Editorial Board prior to publication. The new approaches to musical analysis and in- addition to teaching duties at Conrad Grebel Digital and Multimedia Scholarship section terpretation. His research interests range from University College at the University of Water- offers reviews and reports of such scholarly the music of Ravel, Debussy, and Wagner loo, she is an active member of the Advisory work as documentary films, recordings, ana- to the thought of Adorno, Jankélévitch, and Board of “Cantus Planus,” a Study Group of lytical software, interactive web sites, and da- Gadamer. His monograph Ravel the Decadent the International Musicological Society, and tabases that are direct products of musicologi- (2011) situates Ravel’s music in the Decadent previously worked as a research assistant at cal research. We continue to work with the movement by reconceiving some of the lat- the University of Oxford’s NEUMES project. University of California Press to bolster the ter’s hallmark concepts as specifically musi- A widely-published scholar, Lacoste’s most digital enhancements and functionality avail- cal phenomena—memory and dandyism, in recent large project was coediting with Bar- able on HighWire, the Press’s e-publishing particular. His essays have appeared in edited bara Haggh-Huglo the three-volume Papers platform. We are committed to providing a collections and scholarly journals, includ- Read at the 15th Meeting of the IMS Study digital environment in which authors can in- ing JAMS, Music Analysis, Cambridge Opera Group Cantus Planus (2013). She has pre- tegrate media that supports their arguments Journal, and 19th-Century Music. He is cur- sented numerous papers throughout North and enhances the listening reader’s engage- rently writing a monograph that brings into America and Europe. ment with the scholarship.

Coming soon in JAMS: JAMS 69/1 (Spring 2016) will be published in May. It will contain articles by Tim Carter on Monteverdi, Marino, and the Sixth Book of Madrigals; Peter Bennett on politics and prayer in Louis XIII’s reign; Massimo Ossi on Vivaldi and musical representation; and Robert Adlington on Nono’s Voci destroying muros. Reviews include Evan MacCarthy on Shephard, Echoing Helicon; Nathan Link on Aspden, The Rival Sirens; Kailan Rubinoff on Burgess,Well-Tempered Woodwinds; Judy Tsou on the Sheet Music Consortium; Jason Hooper on Schenker Documents Online; and Tim Crawford and Richard Lewis on the Music Encoding Initiative.

 AMS Newsletter R. Larry Todd to Present AMS / Jacqueline Warwick to Present Library of Congress Lecture AMS / Rock and Roll Hall of The next AMS/Library of Con- Fame and Museum Lecture gress Lecture will take place in Washington D.C., in the library’s The next AMS/Rock and Roll Madison Building, Montpelier Hall of Fame and Museum Room at 7 p.m. on Thursday, 19 (RRHOFM) Lecture will take place in the Foster Theater of the May 2016. R. Larry Todd (Duke RRHOFM, Cleveland, Ohio at 7 University) will present “Revisit- p.m. on 29 April 2016. Jacqueline ing Mendelssohn’s Octet, or the Warwick (Dalhousie University) Maturing of Precocity.” will present “Dad Rock, Mim- Todd describes his lecture as icry, and Masculinity.” follows: “Mendelssohn’s Octet Warwick describes her lecture (1825) is usually viewed as epito- as follows: “Despite the phenom- mizing the composer’s astonish- enon of rock star careers extend- ing, early full maturity, and as the R. Larry Todd ing well into old age, most genres culmination of his extraordinary of rock continue to be considered precocity. If Goethe and Heine had already heralded the composer the music of youth. Rockers like Jacqueline Warwick as the ‘second Mozart,’ in the Octet the adolescent composer broke Keith Richards (b. 1943) model new ground by producing a richly hued masterpiece that explored on grandparenthood in ways that contrast sharply with the versions pre- many levels the idea of virtuosity and indeed challenged the limits of sented by their own grandparents, and they challenge us to rethink our chamber music. Drawing on autograph manuscripts held in the Li- understandings of aging. But as we expand our conception of rock’s youthful energy to include septuagenarians, how do children and teens brary of Congress, this lecture reviews the complex early history of this see rock culture and their place in it? masterpiece, and considers how the youthful inspiration of 1825 ‘aged’ “In this paper, I explore the phenomenon of ‘dad rock,’ a recently into the familiar icon of chamber music that it remains.” coined term that connects rock music to adulthood, conservatism, and R. Larry Todd is Arts & Sciences Professor at Duke University. domesticity, rather than youth, rebellion, and rupture. While rock ’n’ His books include Mendelssohn: A Life in Music, described as “likely roll in the mid-twentieth century represented a generational break, to be the standard biography for a long time to come” (New York with young people choosing music that their parents loathed, the same Review of Books), and Fanny Hensel: The Other Mendelssohn, which music today is enjoyed by multiple generations in a single family. Rock received the ASCAP Slonimsky Prize. A fellow of the Guggenheim songs are passed down to children by their parents, and fathers in par- Foundation and National Humanities Center, he edits the Mas- ticular are seen as the keepers of musical tradition. 2003 ter Musician Series (Oxford University Press). He studied piano at “Thus, child drummers like Jagger Alexander-Erber (b. ) and Avery Molek (b. 2006) developed their technique and musical tastes the Yale School of Music and with the late Lilian Kallir, and has under the guidance of their rock-fan fathers. ‘Dad rock’ is viewed recorded with Nancy Green the complete cello/piano works of the fondly, contrasting interestingly with the negative clichés of domineer- Mendelssohns for JRI Recordings. ing stage mothers, but what lessons are child performers absorbing about masculinity and adulthood through their mimicry of the previ- The two AMS Lecture Series will continue in the fall of 2016. ous generation’s rebellious musics?” Webcasts of the lectures are available at the AMS web site. The Jacqueline Warwick is Associate Professor of Musicology and Direc- Communications Committee welcomes proposals from AMS tor of the Fountain School of Performing Arts, Dalhousie University members interested in giving a lecture as part of these distin- (Canada). She is the author of Girl Groups, Girl Culture: Popular Music guished series; see www.ams-net.org for full details. The applica- and Identity in the 1960s (Routledge, 2007) and co-editor, with Allison tion deadline is 15 January 2017. Adrian, of Voicing Girlhood in Popular Music (Routledge, forthcoming 2016).

Recent Board Actions The AMS Fund for Guest Speakers, be- gun on a preliminary basis in 2015, has been The Board agreed to join colleagues in twen- The Board plans to propose changes to expanded to include support for three guest election procedures for AMS Council ty-eight other learned societies in opposing from speakers. In Vancouver, guest speakers will voting by Council members only to voting legislation designed to facilitate the car- participate in meetings of the Ibero-American by the Society at large. A public discussion is rying of guns on college campuses. They Study Group, the Music and Dance Study planned for the Vancouver Annual Meeting. encourage members in any state considering Further information is forthcoming in the Group, and the Popular Music Study Group. such legislation to bring the perspective of August 2016 AMS Newsletter. The Board approved increasing funding for musicologists and the higher education com- Judy Tsou, and Patrick Warfield, alternate, the Annual Meeting Performance Commit- munity to the debate. Further details: www. were appointed AMS delegates to the Na- tee so that modest travel expenses for guest ams-net.org/joint-statement.php tional Recording Preservation Board. performers can be supported. February 2016  Awards, Prizes, and Honors Honorary Members The Cambridge Opera Journal,and Opera Quarterly, and has served the Society as Chair Carolyn Abbate is Paul and Catherine But- of the Kinkeldey and Slim Award commit- tenwieser University Professor at Harvard. tees, and as a member of the AMS 50 Fellow- She received a B.A. from Yale University ship Committee, the Council, and Board of 1977 ( ) and a Ph.D. from Princeton Univer- Directors. sity (1984); she also did graduate work at the Ludwig-Maximilians-Universität Munich Susan McClary is Professor of Music at Case (1979–81). She has held faculty positions at Western Reserve University; she has also held Princeton and the University of Pennsylva- professorships at the University of Minne- nia, and as a visiting professor at Berlin’s Freie sota, McGill University, University of Oslo, Universität (1990–91); and fellowships at the and University of California, Los Angeles, Wissenschaftskolleg in Berlin (1994–95) and where she is Distinguished Professor Emerita. the Institute for Advanced Study in Princeton She received her undergraduate degree in pi- (2010–11). Outside academia, she has worked ano from Southern Illinois University (1968) as a dramaturge and director both in the and her Ph.D. in musicology from Harvard (1976). McClary’s research focuses on the United States and Europe; she has also been Susan McClary active as a translator of Jean-Jacques Nattiez’s cultural analysis of music, both that from the Honorary Member Musicologie générale et sémiologie (Music and European canon and contemporary popular University of Chicago. A primary scholarly Discourse, 1990) and Vladimir Jankélévitch’s genres. In contrast with an aesthetic tradition interest in the music of the Middle Ages and La musique et l’ineffable (Music and the Inef- that treats music as ineffable and transcen- Renaissance in Spain and France led to mul- fable, 2003). dent, her work engages with the signifying tiple publications, including The Responsorial Abbate has focused her research principally dimensions of musical procedures as a set of Psalm Tones for the Mozarabic Office (1969), on opera, with emphasis on the nineteenth social practices. An Index to the Chant of the Mozarabic Rite and twentieth centuries. With Roger Parker, Best known for her book Feminine Endings: 1973 she co-edited Analyzing Opera: Verdi and Wag- Music, Gender, and Sexuality (1991; 2002), she ( ), and a series of important articles on ner (1989) and wrote A History of Opera: The is also author of Georges Bizet: Carmen (1992), medieval and renaissance composers reading Last 400 Years (2012; revised ed. 2015). Her Conventional Wisdom: The Content of Musical texts (1983, 1990, 1993). More recently, Ran- work draws on diverse disciplines, including Form (2000), Modal Subjectivities: Renais- dal has also published significant work on linguistic theory (Unsung Voices, 1991), and sance Self-Fashioning in the Italian Madrigal Latin American popular music (for example, philosophy and material history (In Search of (2004; Kinkeldey Prize, 2005), Reading Music: on Rubén Blades in JAMS, 1991), the songs of Opera, 2001), as well as film studies. Her more Selected Essays (2007), Desire and Pleasure in Robert Schumann (19th-Century Music, 2014) recent work delves into sound and technol- Seventeenth-Century Music (2012), and editor and of Cole Porter and his contemporaries (in ogy in the Machine Age and the epistemol- of Structures of Feeling in Seventeenth-Century A Cole Porter Companion, 2016). He is edi- ogy of listening in past eras. Abbate’s honors Expressive Culture (2012). Together with Rich- tor of The Harvard Dictionary of Music, The include awards from the Guggenheim Foun- ard Leppert she edited Music and Society: the Harvard Biographical Dictionary of Music, and dation and the National Endowment for the Politics of Composition, Performance and Recep- The Harvard Concise Dictionary of Music and 1987 Humanities, as well as the Dent Medal of the tion ( ). Her latest project is a book titled Musicians. The Passions of Peter Sellars: The Staging of Mu- Royal Music Association. She has served on Randel is a member of the board of the sic Drama. Her work has been translated into the Editorial Boards of Musik und Ästhetik, Carnegie Corporation of New York, Carnegie at least twenty languages. McClary received a MacArthur Foundation Fellowship in 1995. From 1996 to 2006, she served on the Board of Directors for the ACLS, and she chaired the ACLS Board from 2003 to 2006. A mem- ber of the AMS since 1975, she has served on the Council, Publications Committee, Kin- keldey Committee, and AMS 50 Committee. Don Michael Randel is President Emeritus of The University of Chicago and of the An- drew W. Mellon Foundation and is Chairman of the Board of the American Academy of Arts and Sciences. He was trained as a mu- sic historian at Princeton, where he earned his undergraduate and doctoral degrees. He was a faculty member in the Department of Music and held various administrative posts, including Dean of Arts and Sciences and Carolyn Abbate Provost, at Cornell University from 1968 un- Don M. Randel Honorary Member til 2000, when he became president of the Honorary Member  AMS Newsletter Hall, the Lyric Opera of Chicago, and CNA ACLS; she became a fellow of the American Financial. He has also served on the boards Academy of Arts and Sciences in 2008 and a of the Chicago Symphony Orchestra, the Ar- member of the American Philosophical Soci- gonne National Laboratory, and The Rock- ety in 2015. Robertson has served the AMS in efeller University. Randel has served the AMS many roles, including as chair of the Local Ar- as a member of the AMS Council; as chair of rangements Committee and of the Alvin H. Board Nominating Committee and Steven- Johnson AMS 50 Fellowship Committee, as son Prize Committee; and as Editor-in-Chief a member-at-large of the Board of Directors, of JAMS. as Co-Chair of the OPUS Campaign, and as President. Anne Walters Robertson is Claire Dux Swift Distinguished Service Professor of Music at Corresponding Members the University of Chicago. Her writings range widely from the plainchant of the early church Stephen Banfield is Stanley Hugh Badock to the Latin and vernacular polyphony of the Professor Emeritus at the University of Bris- fifteenth and sixteenth centuries. The themes tol. He also held the Elgar Professor of Music of French royal culture, medieval biography, at the University of Birmingham and served mystical theology, and local musical dialect as Senior Lecturer at Keele University. He has occupied visiting positions at the University wind their way through Robertson’s books, Stephen Banfield which focus on the history of music at the ca- of Ohio, the University of Minnesota Twin Corresponding Member thedral of Reims (Guillaume de Machaut and Cities campus, and the University of Mel- a degree in theology and completed musi- Reims: Context and Meaning in his Musical bourne, where he has held an honorary fel- cal studies in Gregorian chant and paleogra- Works, 2002), where the kings of France were lowship since 2007. His publications on clas- crowned, and the music and liturgy of the Ab- sical, theatrical, and vernacular song include phy at the abbey of Saint Pierre de Solesmes bey of St-Denis of Paris, where the kings and four monographs, Sensibility and English (France). Returning to Santo Domingo de their families were buried (Service Books of the Song: Critical Studies of the Early 20th Century Silos, he directed the monastic choir from Royal Abbey of Saint-Denis: Images of Ritual (1985); Sondheim’s Broadway Musicals (1993), 1962 to 1973, and also served as professor of and Music in the Middle Ages, 1991). Her most which won the Kurt Weill and Irving Low- Liturgy and Theology (1964–70) in the Fac- ens awards; Gerald Finzi (1997), and Jerome recent work studies the symbolic and cultural ulty of Theology of Northern Spain at Bur- aspects of seminal masses and motets of the Kern (2006). A concern to understand and fairly represent the entire spectrum of music gos. Multiple recordings of the monastic fifteenth and early sixteenth centuries, espe- choir under his direction brought the beauty cially the Missae Caput, the Missa Se la face ay and sound informs the edited publications of Gregorian chant to a worldwide audience. pale, and the Missae Fortuna desperata. The Twentieth Century (Blackwell History of 1973 Robertson’s many honors include the H. Music in Britain vol. 6, 1995); The Sounds of After leaving the monastery in , his study Colin Slim, Kinkeldey, and Einstein Awards. Stonehenge (2009); Music and the Wesleys (with of the Hispanic codices in the British Library She was the first scholar to win all three awards Nicholas Temperley, 2010); and his ongoing led to an important series of publications, of the Medieval Academy of America—the projects, of which West Country Sounds: the and a degree in Romance Philology from the Haskins Medal and the John Nicholas Brown History of Music in an English Region is near- National University of Distance Learning in ing completion. and Van Courtlandt Elliott Prizes. Robert- Madrid resulted in an important edition of At Keele, Banfield played Bach’s major or- son has received grants and fellowships from the music of the troubadors, Las Cançons dels gan works in a series, established the Keele the Guggenheim Foundation, the American continued on page  Philosophical Society, the NEH, and the Philharmonic Choir and Orchestra, directed a baroque opera from the keyboard, and founded a six-voice early music group, the Sneyd Consort. At Birmingham, he presented Sondheim’s previously-unperformed musical Saturday Night. Other significant accomplish- ments include his voice / piano duo with ten- or John Potter, which flourished in the1980 s, and a number of programs for BBC Radio 3 that he devised and presented. In 2006 he founded Bristol’s Centre for the History of Music in Britain, the Empire and the Com- monwealth, and he has served on the editorial committee of Musica Britannica since 1993. He is an honorary vice-president of the Brit- ish Music Society. Ismael Fernández de la Cuesta made his monastic profession in 1956. He studied logic, metaphysics, cosmology, ethics, and the his- Anne Walters Robertson tory of philosophy in the monastery of Santo Ismael Fernández de la Cuesta Honorary Member Domingo de Silos, after which he received Corresponding Member February 2016  Awards, Prizes, and Honors forthcoming); Richard Strauss: Die Opern (2013); and Richard Strauss: Musik der Mod- continued from page  erne (2014, English trans. forthcoming). Trobadors (with texts established by Robert Lütteken is also active as an editor. His sin- Lafont, 1980). gle-volume editions include Die Musik in den As President of the Sociedad Española de Zeitschriften des 18. Jahrhunderts: Eine Bibli- Musicología (1984–95), he coordinated the ographie (with Gudula Schütz and Karsten Madrid IMS Congress in 1992. He is a found- Mackensen, 2004) and Wagner-Handbuch ing member of the Centre pour la Recherche (2012), a collection of essays from leading et l’Interprétation des Musiques Médiévales. scholars on the bicentenary of the composer’s Since June 2000, he has been a member of the birth. He has served on the editorial boards of Real Academia de las Artes de San Fernando. many music journals, including Musica Dis- His numerous awards include the Académie ciplina, Early Music History, and Eighteenth- Charles Cros grand prix du disque for the Century Music. Since 2013, he has served as recording “Códice Calixtino-Antifonario General Editor of MGG Online, the online Mozárabe” (1972); the Grand Prize of the edition of MGG (forthcoming 2016). Lüt- Tokyo International Festival of Fine Arts for teken has received wide recognition for his the recording “Tomás Luis de Victoria: Heb- work, including the Walter Kalkhof Rose- 1974 Gedächtnispreis from the Akademie der Wis- Susan Rankin domana Sancta” ( ), and the Cross of Al- Corresponding Member fonso X the Wise in 2011, conferred by Juan senschaften und der Literatur Mainz (1996), Carlos I, King of Spain. the Royal Musical Association’s Dent Medal Chant, and the Topography of Early Music. In (2002), and a Fellowship at the Wissen- Honor of Thomas Forrest Kelly, ed. Cuthbert Laurenz Lütteken is Professor and Chair schaftskolleg zu Berlin (2013/14). et al. (2013). Rankin was awarded the Dent of Musicology at the University of Zürich. Medal of the Royal Musical Association in Before that, he served as Professor and Susan Rankin is Professor of Medieval Mu- 1995 Chair of Musicology at Marburg University sic at the University of Cambridge, and a , elected to the Society of Antiquaries in 2006 (1996–2001), and held teaching positions at Fellow of Emmanuel College. From a first , Fellow of the Academia Europaea in 2007 the Universities of Heidelberg, Erlangen and publication on a fifteenth-century manu- and Fellow of the British Academy in 2009 Münster. His interests in music include late script (“Shrewsbury School MS VI: A Medi- . medieval music, eighteenth-century music eval Part-Book?” (1975/6), her scholarly work AMS Awards and Prizes (especially Mozart), the history of ideas, Wag- has moved back in time to the ninth century. ner, and Strauss. His Ph.D. from the Univer- Between these two extremes, she has written TheOtto Kinkeldey Award for a book of ex- sity of Münster (1991) led to the publication on medieval manuscripts and notations, with ceptional merit by a scholar beyond the early in 1993 of his dissertation (Guillaume Dufay St. Gall and Winchester as central points of stages of her or his career was presented to und die isorhythmische Motette: Gattungstra- interest, and on music as an element of rit- Elisabeth Le Guin (University of California, dition und Werkcharakter an der Schwelle zur ual. Close work with manuscripts has been Los Angeles) for The Tonadilla in Performance: Neuzeit) and his Habilitation in 1995 resulted the hallmark of her interpretative studies as, Lyric Comedy in Enlightenment Spain (Univer- in the publication in 1998 of Das Monolo- for example, in her work on the Winchester sity of California Press). Troper (The Winchester Troper, Introduction gische als Denkform in der Musik zwischen The Lewis Lockwood Award for an out- 1760 1785 and Facsimile, Early English Church Music, und . His other books include Musik standing book by a scholar in the early stages 2007; “Organa dulcisona docto modulamine der Renaissance: Imagination und Wirklichkeit of her or his career was presented to Andy Fry einer kulturellen Praxis 2011 compta: Rhetoric and Musical Composition ( ; English trans. (King’s College London) for Paris Blues: Afri- in the Winchester Organa,” in Qui musicam can American Music and French Popular Cul- in se habet: Studies in Honor of Alejandro ture, 1920–1960 (University of Chicago Press). Planchart, American Institute of Musicol- ogy, 2015). On ritual her work has stretched The Music in American Culture Award for from a study of how a Roman temple was a book of exceptional merit that both illumi- re-consecrated to become a Christian church, nates some important aspect of the music of to the utilization of ritual text and music as the United States and places that music in a commentary in a vernacular context and the rich cultural context was presented to Carol exploitation of drama within ritual. J. Oja for Bernstein Meets Broadway: Collab- She continues to explore the importance orative Art in a Time of War (Oxford Univer- of music in ninth-century culture in such sity Press). studies as “Carolingian Music,” in Carolin- The Robert M. Stevenson Award for out- gian Culture: Emulation and Innovation, ed. standing scholarship in Iberian music was McKitterick (1993); “The Making of Carolin- presented to Carol A. Hess for Representing gian Mass Chant Books,” in Quomodo can- the Good Neighbor: Music, Difference, and tabimus canticum. Studies in Honor of Edward the Pan American Dream (Oxford University H. Roesner, ed. Cannata et al. (2008); and Press). “Beyond the Boundaries of Roman-Frankish Laurenz Lütteken Chant: Alcuin’s de laude dei and Other Early The Claude V. Palisca Award for an out- Corresponding Member Medieval Sources of Office Chants,” in City, standing edition or translation was presented  AMS Newsletter Elisabeth Le Guin Andy Fry Carol J. Oja Carol A. Hess Kinkeldey Award Winner Lockwood Award Winner MACA Award Winner Stevenson Award Winner to Lawrence M. Earp (University of Wis- The Noah Greenberg Award for outstanding Music Performance” (Northwestern Univer- consin-Madison), Domenic Leo (Duquesne contributions to historically aware perfor- sity, 2014). mance and the study of historical performing University), and Carla Shapreau (University Rebekah Ahrendt (Yale University) received Jessie Ann Owens of California, Berkeley) for The Ferrell-Vogüé practices was presented to grants from the Netherlands Organization for Machaut Manuscript: Facsimile and Introduc- (University of California, Davis) and the vo- Scientific Research, and Metamorfoze, the Blue Heron tory Study (Digital Image Archive of Medieval cal ensemble (Boston, Mass.) for Dutch national program for the preservation Music). the world premiere compact disc recording of of paper heritage, for the project “Signed, Cipriano de Rore’s I madrigali a cinque voci. Sealed, & Undelivered: The Brienne Collec- TheH. Colin Slim Award for an outstanding The Paul A. Pisk Prize for an outstanding tion of the Museum voor Communicatie, The article by a scholar beyond the early stages of paper presented by a graduate student at the Hague.” his or her career was presented to Pierpaolo Annual Meeting was awarded to Frederick Wye Jamison Allanbrook posthumously Polzonetti (University of Notre Dame) for G. C. Reece (Harvard University) for “How “Tartini and the Tongue of Saint Anthony,” received an ASCAP Deems Taylor/Virgil to Forge a Missing Link: Winfried Michel’s Thomson Award for her book The Secular Journal of the American Musicological Society. ‘Haydn’ and the Style-Historical Imagination” Commedia: Comic Mimesis in Late Eighteenth- The Alfred Einstein Award for an article of The AMS Teaching Award for outstanding Century Music (University of California exceptional merit by a scholar in the early work in innovative teaching in the music Press). stages of her or his career was given to Andrew history/music appreciation classroom was Emily Abrams Ansari (University of West- A. Cashner (University of Southern Califor- presented to Estelle Joubert (Dalhousie Uni- ern Ontario) received the Kurt Weill Foun- nia) for “Playing Cards at the Eucharistic versity) for “Music in the Global Eighteenth dation’s prize for an outstanding article for Table: Music, Theology, and Society in a Cor- Century: A New Course Proposal.” “‘Vindication, Cleansing, Catharsis, Hope’: pus Christi Villancico from Colonial Mexico, Other Awards, Prizes, and Honors Interracial Reconciliation and the Dilemmas 1628,” Journal of Early Modern History. of Multiculturalism in Kay and Dorr’s Jubilee The Philip Brett Award, presented by the (1976),” American Music. The Ruth A. Solie Award for a collection of LGBTQ Study Group of the AMS for ex- David K. Blake (University of Akron) re- essays of exceptional merit was presented to ceptional work in the field of gay, lesbian, ceived the Joyce Tracy Fellowship from the Tina Frühauf (Columbia University) and bisexual, and transgender/transsexual stud- American Antiquarian Society and a Gerald Lily E. Hirsch (Bakersfield, Calif.), eds., for ies, was presented to Elias Krell (Vassar E. and Corinne L. Parsons Fund Award from Dislocated Memories: Jews, Music, and Postwar College) for her Ph.D. dissertation “Singing German Culture (Oxford University Press). Strange: Transvocality in North American continued on page  Photo courtesy of MichaelPhoto courtesy Anderson

Lawrence M. Earp Domenic Leo Carla Shapreau Pierpaolo Polzonetti Palisca Award Winner Palisca Award Winner Palisca Award Winner Slim Award Winner February 2016  Andrew A. Cashner Tina Frühauf Lily E. Hirsch Frederick G. C. Reece Einstein Award Winner Solie Award Winner Solie Award Winner Pisk Award Winner

Awards, Prizes, and Honors Patronage Networks, and the Roots of the Barbara Milewski (Swarthmore College) Musical Enlightenment.” received an NEH fellowship for her project continued from page  “Hidden in Plain View: The Music of Holo- Kate Guthrie (University of Southampton) the Library of Congress American Folklife caust Survival in Poland’s First Postwar Fea- received the 2015 Jerome Roche Prize from Center to support research on popular and ture Film.” the Royal Musical Association for her article folk music on American college campuses be- “Propaganda Music in Second World War Matthew Mugmon (University of Arizona) tween 1850 and 1960. Britain: John Ireland’s Epic March,” Journal currently serves as the New York Philharmon- David Brodbeck (University of California, of the Royal Musical Association. ic’s Leonard Bernstein Scholar-in-Residence. Irvine) received an ASCAP Foundation Virgil Anna Parkitna (Stony Brook University) re- Ellen T. Harris received the Nicolas Slonim- Thomson Award for Music Criticism for his ceived a Scholarship for Junior Researchers sky Award for Outstanding Musical Biog- book Defining Deutschtum: Political Ideology, from the Herder Institute in Marburg, Ger- raphy from the ASCAP Foundation for her German Identity, and Music-Critical Discourse many for her dissertation “Opera in Warsaw, book George Frideric Handel: A Life with (Oxford University Press). 1765–1830: Operatic Migration, Adaptation, Friends (Norton). Carolyn Bryant (Brunswick, Maine) has and Reception in the Enlightenment.” been elected President of the American Musi- Thomas J. Kernan (Roosevelt University) re- Kirsten Santos Rutschman (Duke Universi- cal Instrument Society. ceived the 2016 Hay-Nicolay Prize from the ty) received a Fulbright U.S. Student Grant to Abraham Lincoln Association and Abraham Sweden for her dissertation “Concepts of Folk Joy H. Calico (Vanderbilt University) re- Lincoln Institute for his Ph.D. dissertation in Nineteenth-Century Swedish Art Music.” ceived an Honorable Mention for the 2016 “Sounding ‘The Mystic Chords of Memory’: Laura Shannon Prize in Contemporary Eu- Jennifer Saltzstein (University of Oklahoma) Musical Memorials for Abraham Lincoln, ropean Studies from the University of Notre received an NEH fellowship for her project 1865–2009” (University of Cincinnati, 2014). Dame’s Nanovic Institute for European Stud- “Medieval Learning and Vernacular Music: ies for her book Arnold Schoenberg’s A Survi- Catherine Mayes (University of Utah) re- The Songs of the Cleric-Trouvères.” 2015 vor from Warsaw in Postwar Europe (Univer- ceived the Westrup Prize for an article Sarah Fuchs Sampson (Eastman School of sity of California Press). of particular distinction published in Music & Music, University of Rochester) received the Letters for her article “Eastern European Na- Mark Clague (University of Michigan) re- 2015 Transnational Opera Studies Conference tional Music as Concept and Commodity at ceived an NEH Public Scholar grant for his award for the best presentation by a scholar book project “O Say Can You Hear?: A Tune- the Turn of the Nineteenth Century.” under thirty-five for her paper “Mechanical ful Cultural History of ‘The Star-Spangled Banner.’” Emma Dillon (King’s Col- lege London) received a Lever- hulme Trust Major Research Fellowship for the project “The Romance of Song: The Early Trouvères and Their Recep- tion, 1150–1350” Don Fader (University of Ala­ bama) received an NEH fel- lowship for his project “Italian Music in Louis XIV’s France: Blue Heron Jessie Ann Owens Elias Krell The Goûts-réunis, Noble Greenberg Award Winner Greenberg Award Winner Brett Award Winner  AMS Newsletter Reproduction and the Modern Prima Donna: Amanda Sewell: What I Do in Musicology Jeanne Hatto’s 1900 Phono-Cinéma-Théâtre Performance.” In this issue’s installment of our series of essays by demand. For ex- AMS members who have pursued careers outside ample, reviewers Katelijne Schiltz (University of Regens- the traditional tenure-track faculty line, Aman- for journals and burg) was elected a member of the Academia da Sewell reflects on her work as a self-employed scholarly presses Europaea. academic editor. will recommend Peter Schmelz (Arizona State University) that the author Having completed my Ph.D. in musicology work with a de- received an ASCAP Deems Taylor/Virgil at Indiana University in May 2013, I applied velopmental edi- Thomson Award for his article “Valentin Sil- for over fifty tenure-track, one-year, and post- tor, but the author vestrov and the Echoes of Music History,” doctoral positions for the 2013–14 academic may not know ex- Journal of Musicology. year. While there were some nibbles, job of- actly what a devel- Amanda Sewell fers failed to materialize. I was a strong can- Douglas W. Shadle (Vanderbilt University) opmental editor is or how to find a reputable received an ASCAP Deems Taylor/Virgil didate, with teaching experience outside my one. In response, I have heavily promoted my Thomson Award for his article “How Santa home institution, forthcoming peer-reviewed developmental editing services, making sure publications, including a piece in the Cam- Claus Became a Slave Driver: The Work of to explain what the process entails. bridge Companion to Hip-Hop, and a defini- Print Culture in a Nineteenth-Century Mu- Since I work entirely on a freelance basis, tive dissertation defense date, but no doubt sical Controversy,” Journal of the Society for I am constantly in pursuit of the next client there were numerous other similarly-qualified American Music. or project. At the most recent national AMS applicants. After evaluating my finances and meeting, my friend and colleague Mark Katz Ruth A. Solie (Smith College) has been my professional abilities, I chose to become a saw me handing out business cards to repre- named a lifetime member of the North Amer- self-employed academic editor. sentatives from various presses and teased me ican British Music Studies Association. My career path requires entrepreneurial about “hustling.” Although my hustle is quite as well as musicological and academic skills, different from that of many hip-hop artists Justin Vickers (Illinois State University) re- many of which I was lucky to possess natu- about whom Mark and I have both written, it ceived the University of Illinois 2014 Nicholas rally or else pick up along the way; whatever is true that I must pitch my services, knowing Temperley Prize for Excellence in a Disser- their source, all are valuable. Entrepreneur- that not every attempt will yield a client. I am tation for “‘The Ineffable Moments Will Be ship means offering a particular service to a familiar with this type of rejection from my Harder Won’: The Genesis, Compositional person who needs it, and I have chosen to own research. I have sent hundreds of emails Process, and Early Performance History market my skills as an editor to fellow aca- to musicians in hopes of interviewing them, of Michael Tippett’s The Heart’s Assurance” demics who want or need writing assistance, and perhaps one in fifty responded. From an (University of Illinois at Urbana-Champaign, including graduate students, professors, and entrepreneurial perspective, not every busi- 2011). academic and university publishers in almost ness card I hand out will become a project, every specialty within the humanities and so- but I have to keep trying—that is, “hustling” Joshua Walden (Peabody Institute, Johns cial sciences. (http://in-the-write.com. Please check out my Hopkins University) received an ASCAP When starting a new project, I learn ev- web site and let me know if you need some Deems Taylor/Virgil Thomson Award for erything I can about the topic. I then assess help!). his article “The ‘Yidishe Paganini’: Sholem what angles other scholars already have taken Although my editing career may have start- Aleichem’s Stempenyu, the Music of Yiddish and what remains to be addressed. As an en- ed as a Plan B, I have fallen in love with the Theatre, and the Character of the Shtetl Fid- trepreneur, I identify what services previously work I do and have no intention of returning dler,” Journal of the Royal Musical Association. have saturated the market and those most in to the academic job market. What is the AMS Council? With good reason, Council has been infor- mally described as “the voice of the people.” Whether you are a recent or seasoned AMS The AMS established the Council in 1948, Members represent a variety of geographic member, keeping up with how the Society runs and it has met at Annual Meetings since then, regions, methodologies, areas of specializa- is often challenging. With this in mind, I asked although the Society did not establish the po- tion, career paths, and academic career stages; Carol Hess, who recently completed a term as sition of Council Secretary until Ann Besser Council also seeks age, gender, racial, and eth- Council Secretary, to describe the AMS Council Scott took it up in 1974. The position was nic diversity, as well as representation from in- for those who may wonder what it is and does. formalized in 1977 in a by-laws revision. A dividuals working outside the academy. Any —Ed. further revision in 1998 added thirty student of Council’s ninety members can propose The AMS Council consists of ninety mem- members. Each year, student representatives new initiatives; pending Council’s approval, bers: sixty regular (forty-five at-large and hold their own meeting as well as attend the those go to the Board and then the Society fifteen chapter representatives) and thirty full Council meeting. Council continues its as a whole. In recent years, Council has em- student members. Election is a privilege con- discussions via email throughout the year. It barked on several projects, including student ferred upon “scholars who have made notable proposes Honorary and Corresponding mem- member voting privileges, an idea that first contributions to the Society’s stated object,” bers to the Board of Directors, and similarly arose in the meeting of the student represen- as expressed in AMS by-laws. Council ser- recommends a slate of new Council members tatives, one that obtained Society approval 2015 vice is a prerequisite for future Society elected to the Board each year. Once it is finalized, and finally a change to the by-laws in . office. Council votes on the slate. continued on page  February 2016  What is the AMS Council? Lawrence Bernstein: Career / Life Intersections continued from page  We have received the following communication the years that followed, I was appointed to Another initiative was revising the Society’s from Lawrence Bernstein, Professor Emeritus, committees that included people like Gustave by-laws-defined object statement, which now University of Pennsylvania. It provides a won- Reese, Claude Palisca, and William Mitchell. specifies teaching as one of the AMS’s central derful exemplar of how it is possible with grace At these meetings I sat—often awestruck—as objectives. The object statement—and by ex- and respect on both sides to combine a successful I observed these giants charting the course of tension, the true purpose of our Society—was career with personal commitments that would our discipline, and I learned from them much at first appear to be incompatible with a pro- the subject of energetic debate, both online of what musicology was all about. Later, I was fessional life. We are aware that such situations and at the 2012 Annual Meeting. At its most entrusted with the editorship first of JAMS do not always satisfactorily resolve, but that is recent meeting, Council discussed topics such and then of AMS Studies. And when I chaired why knowing of successful outcomes is so impor- as the voting procedures for Council member- the AMS 50 Fellowship committee I was able tant. By having these models in front of us, it ship, the Society’s role regarding public state- to relish the incomparable measure of satisfac- helps those in similar circumstances today, and ments on matters beyond musicology (e.g. its tion that comes from making hands-on con- also those who work alongside such colleagues, decision to affirm the Joint Statement Oppos- tact with the future of the discipline. There to see how adjustments can be made. If there are ing “Campus Carry”), and the desirability of is no way to describe adequately my feelings other members who would like to share their ex- establishing a room for breast-feeding moth- at having been elected an honorary member periences in reconciling conflicting situations in of the Society in 2009. I still have to pinch ers at Annual Meetings. professional and personal life, please be in touch Council is constantly looking for new ways myself, from time to time, as I wonder if this with one of us to discuss how to move forward. really happened. Thus my gratitude to AMS to serve as “the voice of the people.” Dur- —Ellen T. Harris, [email protected] 2015 can be described as boundless. ing summer , an ad hoc committee be- James Parsons, [email protected] gan studying new ways to realize this goal. In a way, there is nothing unique about this particular set of reminiscences for, hap- Both Council Secretary Steve Swayne and The emeritus years provide ample opportu- pily, similar career trajectories can be claimed the Board are eager to hear your suggestions. nity for reminiscence, a pursuit in which I by many members of the AMS, and a lot of Also, consider whether you would like to serve engage at length. Some of my most cherished those careers, I am sure, were nurtured by the on Council, an important part of shaping the recollections center on the AMS, of which I Society just as mine was. There is, however, a Society’s future. Your input is welcome! Write have been a member for fifty-six years. As a to Steve Swayne (Steven.R.Swayne@dart- frightened and fledgling ABD in pursuit of a dimension of my relationship with AMS that mouth.edu) with your thoughts. job, I read a paper at an AMS meeting, which is unusual. Over the years, I have often ac- —Carol A. Hess was then published in JAMS. These two op- knowledged it informally, but I have come to Council Secretary, 2011–15 portunities, in effect, launched my career. In continued on page 

Treasurer’s Message and John Hajdu Heyer—and all of you who took part in making the following possible.) The biggest news in my reports to the Board they may spend each year according to the When I became Treasurer in 2000, our and to the membership at our Annual Meet- average value of the endowment over the endowment stood at $1.27 million, approxi- ing in Louisville was that for the first time our preceding three years. Looked at in this light, mately one-fifth of today’s total. Our Alvin H. $6 endowment has crossed the -million mile- the AMS endowment has been performing Johnson AMS 50 and Howard Mayer Brown stone. This is all the more remarkable because admirably. Our gains of +10.25, +16.35, and fellowship endowments were underway. But it had been only one-and-a-half years since we +2.02% over the last three fiscal years give us at the annual Business Meeting and Awards passed $5 million. a compound cumulative return of +30.87% or Presentation we gave only five prizes, whereas Nonetheless, our investment return for the slightly more than 10% annualized. In dollar we now announce twelve such awards, and fiscal year ending 30 June 2015 was a modest terms, this represents an investment gain dur- we had none of the travel- and research-grant +2.02%. FY 2015 turned out to be a lacklus- ing this period of approximately $1.4 million, programs that today help support the work ter year not only for us but for endowments which does not even include two six-figure of our members. Furthermore, our publica- overall, and although our return might at first donations by individuals and the many other seem low, we in fact beat the +1.8% return of tions endowment has tripled over these fifteen gifts given by our members. (As noted else- the average endowment. Even the largest en- years. where in this Newsletter, after the close of the dowments ($1 billion and above) fared barely It is amazing for a Society of our size to have fiscal year our Society also received a wonder- one percent better than us with an average re- the financial resources to do all of this. But $300 000 turn of +3.2%. The Ivy League endowments, ful legacy gift of , from the estate of how much money one can accumulate should too, were mostly in the single digits, but on Roland Jackson.) not be the main goal. What has always been average they came in five percent ahead of This is the fifteenth year that I have had the most important to the Board, the Develop- us. We and the vast majority of endowments pleasure of serving our Society as Treasurer. So ment Committee, and our campaign com- were held back this year by mediocre returns it is a fitting moment to look back even fur- mittees is how much money the AMS can in bonds and international stocks. ther at what has happened to our endowment spend on you, our members. Fifteen years Endowments, however, do not judge them- over these years. (I would also like to thank ago we had the resources to give away about selves by their short-term, annual returns. our Development and OPUS Campaign $60,000 a year. That figure has now more Rather, they view both the rise and fall of Committees—especially Jessie Ann Owens, than quadrupled to $250,000. their investments and the percentage that D. Kern Holoman, Anne Walters Robertson, —James Ladewig  AMS Newsletter AMS Elections 2016 Candidates for the Office Louis XIV and the Politics of Spectacle (Chi- Administrative experience: Chair, vari- cago, 2008); “Watteau’s Pilgrimage to Cythera ous search committees, University of Rhode of Vice President and the Subversive Utopia of the Opera-Bal- Island Department of Music (1990–2010); BRUCE ALAN BROWN let,” Art Bulletin (2001); “Carnival in Venice General Editor, Italian Instrumental Music of or Protest in Paris? Louis XIV and the Poli- the Sixteenth and Early Seventeenth Centuries Professor of Musicology, University of South- tics of Subversion at the Paris Opéra,” JAMS (30 vols, Garland, 1987–95); has maintained ern California (2001); ed., French Musical Thought, 1600–1800 an interest in the financial world for over thirty years; as an active investor monitors the Degrees: PhD, UC Berkeley, 1986; MA, UC (UMI Research Press, 1989; Rochester, 1994) markets on a daily basis Berkeley, 1979; BA, UC Berkeley, 1977 Awards: Stanford Humanities Center Fellow- AMS activities: Treasurer (2000–16); Board Research interests: 18th-century opera and ship (2011–12); NEH Fellowship (2011, 2001– of Directors (2000–16); Chair, Finance Com- ballet; music in Vienna; Gluck, Mozart; per- 02); Metropolitan Museum of Art Fellowship mittee (2000–16); Development Committee formance practice (2007–09); Guest Curator, “Watteau, Music (2004–16); Editor, AMS Newsletter (1987–90); & Theater” (MMA, 2009); ASECS James Publications: Ed., Gluck, L’Arbre enchanté President, New England Chapter (1986–88) Clifford article award (2003) (critical edn., 1759 version; Bärenreiter, 2015); co-ed., with Harris-Warrick, The Grotesque Administrative experience: President, Soci- Candidates for the Office Dancer on the Eighteenth-Century Stage: Genn- ety for Seventeenth-Century Music (2006– aro Magri and His World (Wisconsin, 2005); 09); CWRU: Chair, Music Department, and of Members-at-Large, Kritischer Bericht for NMA edition (ed. Dan- Co-Director, Joint Music Program, CWRU Board of Directors iel Heartz) of Mozart, Idomeneo (Bärenreiter, and Cleveland Institute of Music (2002–07); MARK BURFORD 2005); W. A. Mozart: Così fan tutte (Cam- Univ. of South Carolina: Area Head, music bridge, 1995); Gluck and the French Theatre in history (1996–2001) Associate Professor of Music, Reed College Vienna (Oxford, 1991) AMS activities: Board of Directors (2014–15); Degrees: PhD, Columbia, 2005; MA, Co- Awards: Dean’s Award for Excellence in Slim Award Committee (2013–14); JAMS Edi- lumbia, 1999; BA, UC Santa Barbara, 1994 Teaching, USC (2006); Mellon Award for 2011 14 torial Board ( – ); AHJ AMS 50 Com- Research interests: African American music Excellence in Mentoring, USC (2005); grants mittee (Chair, 2006–09; 1995–98); Council from James A. Zumberge Faculty Research history; black gospel music; popular music (1998–2000) 18 19 and Innovation Fund, USC (1986, 1992); studies; th- and th-century Austro-Ger- man concert music; cultural politics NEH Fellowship (1988/9) Candidate for the Office Publications: “Mahalia Jackson Meets the Administrative experience: Program Chair, of Treasurer biennial conference of Mozart Society of Wise Men: Defining Jazz at the Music Inn,” MQ 2015 America (2005–06); MSA Board of Directors ( ); “Sam Cooke as Pop Album Art- JAMES LADEWIG ist—A Reinvention in Three Songs,”JAMS (2010–present, 2002–06); Editorial Board, (2012); “Nationalism, Liberalism, and Com- Gluck-Gesamtausgabe (1991–present); USC: Professor Emeritus, University of Rhode memorative Practice: A Tale of Two Nine- Executive Board, Academic Senate (2007– Island teenth-Century Bach Editions,” in Music’s 09); Chair, Musicology Dept. (2008–10, Degrees: PhD, UC Berkeley, 1978; MA, UC Intellectual History, ed. Blažeković and Mack- spring 2004 [interim], 1998–99 [interim], Berkeley, 1973; BM, Northwestern, 1971 enzie (RILM, 2009); “Hanslick’s Idealist Ma- 1992–96) Research areas: Frescobaldi; Italian instru- terialism,” NCM (2006); “Cipriano de Rore’s AMS activities: Committee on Communi- mental and keyboard music of the 16th and Canonic Madrigals,” JM (1999) cations (2014–15; Chair, 2015); Board of Di- 17th centuries; early keyboard notations Awards: Historic New Orleans Collection rectors (2014–15); Slim Award Committee Dianne Woest Fellowship (2014); Irving (2010–12); JAMS Editor-in-Chief (2004–07); Publications: “The Use of Open Score as a Lowens Article Award, Society for American JAMS 1998 2004 Solo Keyboard Notation in Italy, ca. 1530– Editorial Board ( – ) 2014 1714,” in A Compendium of American Musi- Music ( ); Dena Epstein Award, Music Library Association (2012); Howard Mayer GEORGIA J. COWART cology (Northwestern, 2001); Editor, 19 vols, Brown Fellowship (2001) Italian Instrumental Music of the Sixteenth Professor of Music, Case Western Reserve Administrative experience: Society for University and Early Seventeenth Centuries (Garland, 1987–95); “Bach and the Prima prattica: The American Music, Cultural Diversity Com- Degrees: PhD, Rutgers, 1980; MMus, Indi- Influence of Frescobaldi on a Fugue from the mittee (2013–15); NEA National Heritage Fel- ana University, 1974; BM, Univ. of Alabama, WTC,” JM (1991); “The Origins of Fresco- lowships Panel (2008); NY State Council on 1970 baldi’s Variation Canzonas Reappraised,” in the Arts Folk Arts Panel (2006); Weill Music 2004 07 Research interests: France, 17th and 18th cen- Frescobaldi Studies (Duke, 1987); “Luzzaschi Institute at Carnegie Hall ( – ); Editor- 2000 03 turies; spectacle; arts and politics; aesthetics as Frescobaldi’s Teacher: A Little-Known Ri- in-Chief, Current Musicology ( – ) cercare,” Studi Musicali (1981) AMS activities Publications: “Sirènes et Muses: de l’éloge : Pisk Award Committee 2013 15 2012 14 à la satire dans la fête théâtrale, 1654–1703,” Awards: ACLS grant (1986); ACLS fellowship ( – ); Council ( – ); Howard Mayer XVIIe siècle (2012); The Triumph of Pleasure: (1982) continued on page  February 2016  AMS Elections 2016 Music and International History, ed. Gienow- AMS activities: Program Committee (2015); Hecht (Berghan, 2015); “Music Pushed, Mu- AHJ AMS 50 Fellowship Committee (2010– continued from page  sic Pulled: Cultural Diplomacy, Globaliza- 13); Philip Brett Award Committee (2011); Brown Award Committee (2008–12); Career- tion, and Imperialism,” Diplomatic History Noah Greenberg Award Committee (2007– Related Issues Committee (2000–01) (2012); “Cultural Diplomacy as Cultural Glo- 09; chair 2009); Council (2003–05) balization: The University of Michigan Jazz JAMES P. CASSARO Band in Latin America,” JSAM (2010); Music BERTHOLD HOECKNER Divided: Bartók’s Legacy in Cold War Culture Head, Finney Music Library; Assistant Pro- Associate Professor of Music and the Human- 2007 fessor of Music, University of Pittsburgh (California, ). ities, University of Chicago Awards: Degrees: MA, Cornell, 1993; MLS, SUNY Ohio State Univ. Virginia Hull Re- Degrees: PhD, Cornell, 1994; MA, Cornell, 2014 Buffalo, 1980; BA, SUNY Buffalo, 1978 search Award ( ); AMS Publication Sub- 1992; MMus, King’s College London, 1988; vention (2014); NEH Fellowship (2011–12); Staatsexamen (Music and German Language Research interests: French Baroque; 18th- Princeton Society of Fellows (2000–03); AMS & Literature), Musikhochschule Köln/Uni- /19th-century opera; bibliography 50 Dissertation Fellowship (1998–99) versität Köln, 1987/1989 Publications: “Libraries and Collections” Administrative experience: Ohio State Univ. Research interests: Music since 1800; aes- [rev., updated entry], New Grove Dictionary School of Music: Head, Musicology Area, thetics; music and literature; film music and of American Music, 2d edn. (Oxford, 2014); (2014–present) visual culture; psychology and neuroscience Gaetano Donizetti: A Research and Information of music Guide, 2d edn. (Routledge, 2009); ed., Music, AMS activities: Slim Award Committee Libraries, and the Academy: Essays in Honor (2013–15; chair, 2015); Council Committee Publications: “Multimedia and Audiovisual of Lenore Coral (A-R Editions, 2007); ed., on Corresponding and Honorary Members Memory: The Casablanca Effect” (with H. Jean Baptiste Lully. Ballet des Saisons (Olms, (2010); Council (2008–10); Cold War and Nusbaum), in Psychology of Music in Multi- 2001); “Lully’s Ballet des Saisons: Manuscript Music Study Group, founding Member-at- media, ed. Tan et al. (Oxford, 2013); “Wag- Sources,” in Quellenstudien zu Lully / L’œuvre Large (2006–09); Student Rep. to Council ner and the Origin of Evil” OQ (2007); ed., de Lully: Etudes des sources, ed. de la Gorce and (1997–99) Apparitions: New Perspectives on Adorno and Schneider (Olms, 1999) Twentieth-Century Music (Routledge, 2006); ROGER FREITAS 2006 Awards: Music Library Association, Citation “Paths Through Dichterliebe,” NCM ( ); (2014) Associate Professor of Musicology, Chair, Programming the Absolute: Nineteenth-Centu- Musicology Department, Eastman School of ry German Music and the Hermeneutics of the Adminstrative experience: Editor, Fontes Music, University of Rochester Moment (Princeton, 2002) Artis Musicae (2015–present); Editor, Notes (2004–10); Univ. of Pittsburgh: Musicology Degrees: PhD, Yale, 1998; MM, IU, 1988; Awards: Franke Institute of the Humanities representative, Graduate Admissions Com- BM, Dominican College, 1985 Fellowship (2012–13); Mellon New Directions Fellowship (2006–07); Humboldt Research mittee, Music Dept. (2013–2014); Coordina- Research interests: 17 th-century Italy, can- Fellowship (2001–02); Alfred Einstein Award tor, Musicology Comprehensive Exams, Mu- tata, castrato, patronage; 19th-century perfor- 2015 2013 2011 (1998); AMS 50 Dissertation Fellowship sic Dept. (Spring , Fall , Fall ); mance practice Peer Review Committee , University Library (1993) System, Faculty Assembly (chair, 2001–02; Publications: “The Art of Artlessness, or, Administrative experience: NCM, Associ- member, 2012–14; 2009–11; 2006–08; Adelina Patti Teaches Us How to Be Natural,” ate Editor (2006–present); Beethoven Forum, 2000–02) in Word, Image, and Song, ed. Cypess et al. Advisory Board (2004–09); Univ. of Chicago: (Rochester, 2013); “Metaphors in Music: Two AMS activities: Chair, AMS/MLA Joint Search Committee for the Society of Fellows, Musical Topoi in Mid-Seicento Rome,” JSCM Committee on RISM (present); Chair, Com- (chair for 5 years between 2005–12); Govern- 15 (2009); Portrait of a Castrato: Politics, Pa- mittee on Membership and Professional ing Board of the Franke Institute for the Hu- tronage, and Music in the Life of Atto Melani Development (2013–15); Council (2012–14); manities (2010–13); DGS, Dept. of Music (6 (Cambridge, 2009); ed., Atto Melani: Com- Chair, Committee on Career-Related Issues years between 1995 and 2004) plete Cantatas (A-R Editions, 2006); “The (2010–13) Eroticism of Emasculation: Confronting the AMS activities: Membership and Profes- sional Development Committee (present); DANIELLE FOSLER-LUSSIER Baroque Body of the Castrato,” JM (2003) Graduate Education Committee (chair, Associate Professor of Music, Ohio State Awards: Philip Brett Award (2010); AMS 2015–present; 2003); Einstein Award Com- University Publication Subvention (2008); Eastman, mittee (2004–06; chair, 2006); AMS Council Eisenhart Award for Excellence of Teaching (2002–04) Degrees: PhD, UC Berkeley, 1999; MA, UC (2006); Fellow of the American Academy in 1994 Berkeley, ; BA, Univ. of Pennsylvania, Rome (2003–04); NEH Fellowship (2000–01) COLLEEN REARDON 1991 Administrative experience: Organizer, an- Professor of Music, University of California, Research interests: 20th century; diplomacy; nual conference, Society for Seventeenth- Irvine Eastern Europe Century Music (2009); Board member, Degrees: PhD, UCLA, 1987; MA, UCLA, Publications: Music in America’s Cold War American Handel Society (2002–present); 1982; BA, UCLA, 1976 Diplomacy (California, 2015); “Instruments Eastman: Chair, Dept. of Musicology (2012– of Diplomacy: Writing Music into the His- present); DGS (2001–12); Editor, 17th-Centu- Research interests: Musical culture in 16th-, tory of Cold War International Relations,” in ry Music (2009–12) 17th-, and 18th-century Siena  AMS Newsletter Publications: A Sociable Moment: Opera and AMS Louisville 2015 Post-Conference Survey Festive Culture in Baroque Siena (Oxford, 2016); Holy Concord within Sacred Walls: Nuns Following the 2015 Annual Meeting, Society for people with mobility issues. Other re- and Music in Siena, 1575–1700 (Oxford, 2002); members received a short survey. Unlike pre- sponses included: vious years, it was sent to all members—even Agostino Agazzari and Music at Siena Cathe- • overlapping sessions on the same/similar those who did not attend—in order to learn dral, 1597–1641 (Oxford, 1993) themes (14.0%) about the needs of non-attendees as well as • change significantly or eliminate evening Awards: NEH Fellowship (2011–12); NEH attendees. From the 2,927 invitations, the sessions (10.2%) Summer Stipend (1994); Fulbright Fellow- AMS received 617 valid responses (an overall • change the program content (9.6%) ship (1985–86) response rate of 21.1%). • change the conference location due to Of these, 76.8% were from those who at- Administrative experience: Society for travel difficulties or lack of city amenities tended the Annual Meeting: 32.3% of those Seventeenth-Century Music: Vice President (7.6%) who attended the meeting responded. The re- 2003 06 • change nothing [satisfied] (6.4%) ( – ); UCI: Director of Undergraduate sponse rate for non-attendees was 9.8%. 2014 2009 11 2012 13 Studies ( ); DGS ( – ; – ); As- Attendees were asked for the one thing they 36.8% of respondents mentioned topics sociate Dean, Claire Trevor School of the Arts liked most about the meeting, and a large ma- difficult to categorize broadly. Among topics (2005–09) jority singled out one of four things: mentioned more than once were hostile envi- AMS activities: Committee on the Annual • Convenience of the layout, the proxim- ronment for people of color, “micro-aggres- Meeting (2016–17); Ruth A. Solie Award ity of the various events within it, and the sions,” lack of a breastfeeding room, a gener- ally stuffy atmosphere, AV problems, dissat- Committee (2013–15; chair, 2015); Lewis availability of spaces for informal gather- 19 9 isfaction with the AMS awards presentation, Lockwood Award Committee (2004–06); ings ( . %) • Quality of the papers (17.8%) poor-quality coffee, and length (both too long Council (1998–2000) • The program overall (17.0%) and too short) of the meeting as a whole. 9.4% of the respondents attended one or Interested in AMS Committees? • Networking and informal meetings (15.4%) two noontime concerts and 1.3% attended The president would be pleased to hear three or four. 5.7% attended one or two eve- from members who wish to volunteer for When asked the one thing they would ning concerts. change, respondents were less consistent. The assignments to committees. Send your The majority of attendees were present ei- most common response identified the venue’s assignment request and C.V. to Ellen T. ther for all four days (61.3%) or for three days physical layout (15.2%), typically that it was Harris: [email protected]. (26.3%). too spread out, too cold, or posed challenges continued on page 

Career / Life Intersections immediately and graciously rescheduled to am content to be the Adlai Stevenson of the another day when my needs were explained. AMS!) Of pertinence here is that the Boards continued from page  In the years in which I was a regular presenter of Directors that nominated me for this office feel an increasing need to express my thanks at the business meeting, I learned that I could did so aware of the constraints that arise from in a more public manner. skirt the problem of the microphone by re- my religious obligations, which could readily There were those who warned me early on questing to appear at the end of the proceed- have resulted in the rescheduling of the annu- ings (after sundown and the departure of the that a career even remotely resembling the al business meeting for two years. Obviously, Sabbath). After a short time, I didn’t even one described above would be beyond my they did not view these circumstances as an reach. Such predictions were predicated on have to request this accommodation; it came to be done automatically. impediment to their choice. the fact that I live my life as an Orthodox Jew. There is so much goodness in all of this. That life brings with it a host of seemingly For many years, Alvin Johnson, long-time Executive Director of the Society, was, to What is more, as the recipient of this kind- arcane constraints that are unconditionally many, the face of the AMS. I remember him ness, I never had the sense that anyone acting binding. On the Sabbath and festival days es- particularly in the context under discussion. on behalf of the Society behaved in this way pecially, they can conflict with one’s secular He would smile and record my votes at Board with the thought that they were doing any- life, for they preclude on those days travel, meetings when I couldn’t submit a written thing at all special. They were simply doing writing, the use of electronic devices like ballot. Once, at a Saturday meeting of the what was held to be right. Thus our Society microphones and audio equipment, and op- Publications Committee on the eighth floor was and continues to be a beacon of how to erating elevators. A host of other restrictions of the old CUNY Graduate Center in New address special needs grounded in religious that vary widely with the practices of different York, Alvin encountered me out of breath individuals could be cited. Given the degree conviction, and it acted this way many years from my ascent up the stairs. Thereafter, on before sensitivity to such needs was in the to which the scholarly and administrative ac- arriving for the meetings, I always found him forefront of our consciousness. tivities of the AMS are held on Saturdays, it is on the sidewalk downstairs. Ostensibly, he The AMS enabled me to have the career I easy enough to see how these religious restric- was window shopping on the north side of tions could be perceived as serious potential 42nd Street, but it was obvious that he was had been warned was beyond my reach. And impediments to full participation in a schol- waiting for me—to make it possible for me I was able to do so without having to com- arly society such as ours. to ride up on the elevator without having to promise the system of values and regulations That was not the way it turned out for me. press the buttons. that lies at the very heart of who I am. Thank Many papers I submitted that were originally I was honored to have been nominated you, AMS. scheduled for presentation on Saturday were twice for the presidency of the Society. (I —Lawrence F. Bernstein February 2016  News Briefs Archive at the University of North Texas, is Répertoire Internationale de now available online. Littérature Musicale The proposed AMS Music and Media Study Details: forte.music.unt.edu Have you added abstracts of your dissertation Group held an organizational meeting at the The Music Notation Community Group, Louisville Annual Meeting to discuss require- and publications to RILM lately? Doing so which develops and maintains format and will benifit both you and the disclpine. See ments for AMS recognition and plan for a ses- language specifications for notated music www.ams-net.org/administration/RILM.php sion in Vancouver. Details: used by web, desktop, and mobile applica- for details on how to add to RILM. If you www.musicandmediasg.wordpress.com tions, invites those interested to join. Details: support the goals of RILM, please consider www.w3.org/community/music-notation/ Harvard University’s Eda Kuhn Loeb Music contributing to the Lenore Coral / RILM Library continues the exhibition One Hun- Répertoire International de Littérature Fund. See www.ams-net.org/endowments/ dred Years of Chinese Piano Music until Musicale announces RILM Music Encyclo- coral.php. 4 June 2016. Details: hcl.harvard.edu/info/ pedias, a full-text compilation of 41 seminal exhibitions/ titles published from 1775 to the present and National Recording Preservation The Magnes Collection of Jewish Art and comprising nearly 80,000 pages, the major- Board ity of which are not available anywhere else Life at the University of California, Berkeley Delegate Judy Tsou and Alternate Patrick online. Details: rilm.org/encyclopedias continues the exhibition From Mendelssohn Warfield encourage interested members to To Mendelssohn: German Jewish Encoun- The Society for Seventeenth-Century Mu- assist the board, especially regarding the ters in Art, Music, and Material Culture sic has published volume 2 of its online series National Recording Registry (updated each until 24 June 2016. Details: magnes.berkeley. Monuments of Seventeenth-Century Music. year). See www.ams-net.org/administration/ edu/visit/exhibitions-programs/exhibitions/ Details: www.sscm-wlscm.org/monuments-of- NRPB.php for details. from-mendelssohn-to-mendelssohn seventeenth-century-music/volume-2 Grove Music Online Advisory Board New World Records has released a record- The University of Southampton has pub- ing of George Frederick Bristow’s “Jullien” lished The Austen Family Music Books, The AMS is currently discussing with Oxford Symphony, based on Katherine K. Preston’s an online collection of eighteen printed and University Press a means to provide access to MUSA edition of the work (2011). Details: manuscript music books owned by members Grove Music Online for those without in- sites.google.com/a/umich.edu/musa/publica- of the Austen family, including the writer Jane stitutional access. Plans are proceeding, and tions/musa-23-george-frederick-bristow and Austen. Details: archive.org/details/ we hope to have an agreement this spring. www.newworldrecords.org austenfamilymusicbooks An announcement to the membership is Notes: Quarterly Journal of the Music Li- forthcoming. brary Association Book Review Editor Liza Vick invites those interested in writing book Post-Conference Survey • Unemployed (0.9%) reviews to communicate, identifying areas of • Postdoc (0.7%) continued from page  expertise. Details: [email protected] • Librarian (0.4%) A majority of attendees (51.5%) used the • Other (0.9%) online program booklet; 32.9% used the Age: Internet Resources Guidebook app; and 9.3% used the online handouts. • Between 31 and 62 (63.7%) News Non-attendees were asked why they chose • 63 or older (18.9%). not to attend. Answers ranged as follows: • Under 30 (17.4%) The American Musical Instrument Society has created an e-list devoted to instrument • Too busy (38.5%) There were statistically significant differ- collection management at universities, col- • Too expensive (35.0%) ences between attendees and non-attendees leges, and music conservatories. • Bad timing / rarely attend (21.0%) regarding career stage. Those with part-time Details: Helen Rees, [email protected] • Poor location (12.6%) adjunct positions and retirees were signifi- cantly less likely to attend. Those with stable TheCenter for Computer Assisted Research Demographic information about career full-time positions and early-stage students in the Humanities has created the tool Digi- stage and age was collected from both attend- were significantly more likely to attend. tal Resources for Musicology, providing links ees and non-attendees, with the following There were also statistically significant dif- to all substantial open-access projects of use results: ferences by age: those 63 or older were signifi- to musicians and musicologists. Career stage: cantly less likely to attend, while those under Details: drm.ccarh.org 30 were significantly more likely to attend. • Full-time teaching position (45.9%) A revision of Bruce Gustafson’s Chambon- Space limitations preclude presenting more • Student fifth year and beyond (15.1%) than this brief summary; a fuller discussion nières: A Thematic Catalogue is now avail- • Student first to fourth year (10.9% of the survey results may be found at www. able online. Details: sscm-jscm.org/ • Retired (7.5%) ams-net.org/louisville/. The Committee on instrumenta/instrumenta-volumes/ • Full-time but seeking a change (6.2%) the Annual Meeting is grateful to all who instrumenta-volume-1/ • Part-time or adjunct (5.2%) responded, and will be considering how we “Music Makes a Better Person,” a documen- • Full-time adjunct (2.7%) might adjust the Annual Meeting in light of tary celebrating the life and contributions of • Independent/freelance (2.3%) the responses. Allen Forte, part of the Allen Forte Electronic • Career outside the academy (1.4%) —Evan Cortens  AMS Newsletter AMS Fellowships, Awards, and Prizes Robert M. Stevenson Award for outstanding scholarship in Iberian music Descriptions and detailed guidelines for all Ora Frishberg Saloman Fund Deadline: 1 May AMS awards appear on the AMS web site. for research anywhere Publication subventions are drawn from the Deadline: 1 April Eileen Southern Travel Fund AMS 75 PAYS, Anthony, Brook, Bukofzer, to attend the Annual Meeting Hanson, Hibberd, Jackson, Kerman, Picker, Eugene K. Wolf Travel Fund Deadline: 1 June Plamenac, and Reese Endowments. Applica- for European research tion deadlines are 15 February and 15 August Deadline: 1 April MPD / Keitel-Palisca Travel Fund each year. to attend the Annual Meeting Alfred Einstein Award Deadline: 30 June AMS-Newberry Library for an outstanding article by a scholar in the Short Term Fellowship early stages of her or his career Philip Brett Award for research at the library Deadline: 1 May of the LGBTQ Study Group for Deadline: 15 January Roland Jackson Award outstanding work in gay, lesbian, bisexual, for an outstanding article in the field of mu- and transsexual/transgender studies Claude V. Palisca Award Deadline: 15 August for an outstanding edition or translation sic analysis 1 Deadline: 31 January Deadline: May Thomas Hampson Award for research and publication in classic song Janet Levy Travel and Research Fund Otto Kinkeldey Award Deadline: 15 August for independent scholars for an outstanding book by a scholar beyond the early stages of her or his career Deadline: 1 April Noah Greenberg Award Deadline: 1 May for outstanding performance projects M. Elizabeth C. Bartlet Fund Deadline: 15 August for research in France Lewis Lockwood Award for an outstanding book by a scholar in the Deadline: 1 April Teaching Award early stages of her or his career Virginia and George Bozarth Fund Deadline: 1 May for innovative teaching projects 15 for research in Austria Deadline: August Deadline: 1 April Music in American Culture Award for outstanding scholarship in music Paul A. Pisk Prize William Holmes/Frank D’Accone Fund of the United States for an outstanding paper presented by a for research anywhere Deadline: 1 May graduate student at the Annual Meeting Deadline: 1 April Deadline: 1 October H. Colin Slim Award Jan LaRue Travel Fund for an outstanding article by a scholar Howard Mayer Brown Fellowship for European research beyond the early stages of her or his career for minority graduate study in musicology Deadline: 1 April Deadline: 1 May Deadline: 15 December

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

Additional Grants and Fellowships • Deutscher Akademischer Austauschdienst Guidelines for Announcements • Emory University, Fox Center for Human- Many grants and fellowships that recur on istic Inquiry of Awards and Prizes annual cycles are listed at the AMS web site: • French Ministry of Foreign Affairs: Cha- www.ams-net.org/grants.php. teaubriand Scholarship Awards and honors given by the Soci- Grants range from small amounts to full- • Fulbright U.S. Scholar Program ety are announced in the Newsletter. In year sabbatical replacement stipends. The list • Humboldt Foundation Fellowships addition, the editor makes every effort of programs includes the following: • Institute for Advanced Study, School of to announce widely publicized awards. • American Academy of Arts & Sciences Historical Studies Other announcements come from in- • American Academy in Berlin • Kurt Weill Foundation for Music dividual submissions. The editor does • American Academy in Rome • Monash University, Kartomi Fellowship not include awards made by the re- • American Antiquarian Society • National Endowment for the Humanities cipient’s home institution or to scholars • American Brahms Society • National Humanities Center Fellowships who are not currently members of the • American Council of Learned Societies • Newberry Library Fellowships Society. Awards made to graduate stu- • American Handel Society • Rice University, Humanities Research dent members as a result of national or • Berlin Program for Advanced German and Center international competitions are also an- European Studies • Social Science Research Council nounced. The editor is always grateful • Camargo Foundation • University of London, Institute of Musical to individuals who report honors and • Columbia Society of Fellows in the Research awards they have received. Humanities • Yale Institute of Sacred Music February 2016  Committee News Society now covers reasonable venue expenses The Society’s two lecture series (Library of such as meeting insurance and rental of space, Congress and Rock and Roll Hall of Fame AMS-Music Library Association when such expenses cannot be met in other and Museum) both drew healthy audi- Joint RISM Committee ways. The “Upcoming Chapter Meetings” ences, and continue to be viewed thanks to list is important to monitor in order to stay their availability online (past lectures may be Sarah Adams, director of the U.S. RISM Of- abreast of chapters meetings throughout the viewed at www.ams-net.org/LC-lectures and fice at Harvard University, reports that 1,500 year. Additional information about chapters www.ams.net/RRHOFM-lectures). Speakers new manuscript records held in the U.S. have may be found at www.ams-net.org/chapters/. this year for the AMS-Library of Congress been added to Series A/II (music manuscripts series were Paul Laird on Bernstein’s Chich- after 1600) between June and December 2015. Communications Committee ester Psalms and Ryan Raul Bañagale on Ger- They include manuscripts from the Harvard The charge of the Communications Commit- shwin’s Rhapsody in Blue. The Society is grate- Theatre Collection, St. Vincent College in tee (chaired by Bruce Alan Brown in 2015) is ful to Daniel Boomhower, formerly Head of Latrobe, Pa., and the Clark Library at the to oversee and offer recommendations on the Reader Services in the Music Division at the University of California, Los Angeles; the Society’s internal and external communica- Library of Congress for his stellar support of Moravian Music Foundation’s records for tions. During the past year, the committee these events. The RRHOFM hosted lectures both manuscript and print materials will be has continued to administer its two public by Mark Clague on Jimi Hendrix’s versions added to RISM in the near future. The Li- lecture series and facilitate society communi- of “The Star-Spangled Banner” and Stepha- brary of Congress’s Schatz Collection of cations. The committee continues to review nie Vander Wel on Rose Maddox and 1950s Opera Librettos, some 12,000 items, is now the Society’s public face, and the place of pub- Rockabilly and Honky-Tonk. As ever, we are completely digitized. Series B/VI, printed lic musicology within the work of AMS mem- grateful to Jason Hanley, RRHOFM Director writings about music, is being digitized and bers. At the Louisville meeting, we agreed to of Education (and Communications Com- will appear as a collection on the Library of form a task force this spring to examine how mittee member), for serving as a liaison be- Congress’s web site; Series B/I and B/II, six- the Society might articulate a public mission, tween the Society and the Museum. The new teenth- to eighteenth-century printed collec- and how it could support its members in deadline for applications to present a lecture tions, are being added into the RISM data- transmitting and transforming their work for in the series is 15 January; we encourage mem- base. Finally, the new RISM working group a broader audience. bers to consider submitting proposals (see the in China will continue to enlarge the number AMS-L, our email discussion forum, and web site for further information). of manuscripts indexed in Series A/I and A/ Musicology Now, our blog, have played a cru- At the Louisville annual meeting, the com- II. See the RISM web site, opac.rism.info, for cial role in offering members the opportunity mittee said farewell to a number of dedicated additional information. to reach a broader audience and to reflect members of the group. In addition to Kern —James P. Cassaro on the place of our scholarship in the public Holoman, Mark Brill, Evan Cortens, Carol Committee on the Annual Meeting sphere. Musicology Now goes from strength Hess, and Eric Hung concluded their terms to strength. Over the past year the blog pub- of office: they are to be thanked for their The Committee on the Annual Meeting has lished 108 posts, on subjects as diverse as many contributions to the committee. The implemented a new program to bring guest Nazi confiscation of bells (Carla Shapreau) committee is grateful to Timothy Watkins speakers from outside our discipline to par- to “millennial music” (Alexander Rehding). for his excellent work as AMS-L moderator, ticipate in the Annual Meeting, and will fund This year also saw the introduction of video and welcomes Blake Howe and Teresa Neff, travel for three speakers in Vancouver (see the podcasts, including memorable interviews incoming moderator and assistant modera- Study Group reports for the Ibero-American with Lewis Lockwood and Ellen T. Har- tor. Last but not least, we owe a huge debt Music, Music and Dance, and Popular Music ris. The Musicology Now audience continues of thanks to the committee chair, Bruce Alan Study Groups for details). Committees and to grow, with popular posts such as Robert Brown, under whose wise leadership the com- Study Groups may apply for funding: see Fink’s on “Blurred Lines” drawing well over mittee has advanced its missions, particularly www.ams-net.org/committees/cam/ for de- 3,000 page hits. The blog’s success owes much those pertaining to musicology’s public out- tails. The next deadline is 15 December; early to the dedication and imagination of its cura- reach. In the coming year our chief focus planning is encouraged. The Program Com- tors, D. Kern Holoman, joined this year by will be to continue the work initiated during mittee invitational session (first implemented Drew Massey. We are sorry to bid farewell to Bruce’s leadership. Specifically, the committee in Louisville) will continue in Vancouver. Holoman as he steps down (and no less to his will pursue two tracks, the first of which is to Meetings for Rochester 2017, San Antonio “Dear Abbé”) and thank him for his brilliant gather more information about the practice of 2018, and Boston 2019 are scheduled, but ven- and witty contributions, as well as for his ex- public musicology. We seek to understand all ues for 2020, a joint meeting with the SMT traordinary work over the past three years to that is involved with the dissemination (some remain under consideration. If you would like set the blog on so firm a footing. We welcome might call it “translation”) of musicological to see the meeting come to your city in 2020 Drew as sole curator and look forward to the scholarship to a broad audience; we wish to or another future year, please contact Com- new ventures he has planned for the coming help train members to develop public profiles mittee Chair Anne Shreffler, acshreff@fas. year. and reach that audience; and we hope to bet- harvard.edu. Under the judicious moderation of Timo- ter understand how reorienting our scholar- Chapter Activities Committee thy Crain, AMS-L continues to provide an ship for a broad audience affects members’ invaluable forum for more than 2,000 sub- career trajectories. Second, the committee The Chapter Activities Committee has re- scribers, offering a space to ask questions, air will gather information from our sister com- ceived additional funding to support various views, and make connections. We encourage mittees (especially Graduate Education, Peda- chapter activities: the grant for guest speakers members who do not currently follow the list gogy and the Committee on Career-Related has been increased to $250 per speaker, and the to subscribe. Issues) on their work in public musicology.  AMS Newsletter We aim to have a working paper with pre- The GEC is currently planning a session COPAM and MUSA, we are looking for- liminary recommendations on best practices on “Your Dissertation and Your Job” for Van- ward to publishing three new volumes in the by the time of the 2016 Vancouver meeting. couver 2016. AMS members interested in coming year, under the leadership of Execu- —Emma Dillon this topic or other issues related to graduate tive Editor Andrew Kuster, and Co-Editors- education are encouraged to contact co-chairs In-Chief Mark Clague and Gayle Sherwood Committee on Cultural Diversity Berthold Hoeckner and Daniel DiCenso. Magee. Forthcoming volumes on the imme- The Committee on Cultural Diversity was —Catherine Saucier diate horizon include Paul Austerlitz and Jere Laukkanen’s Machito and His Afro-Cubans: able to support nine of the twenty who ap- Committee on the History of the plied for Eileen Southern Travel Grants to Selected Transcriptions, Marianne Betz’s edi- the Annual Meeting last year. The program’s Society tion of George Whitefield Chadwick’s1912 continued success depends on support from As forecast in the August 2015 AMS Newslet- verismo opera The Padrone, and Michael Society members who encourage their prom- ter, The Committee on the History of the So- Ochs’s full-score edition of Joseph Rum- ising students to apply. The deadline in 2016, ciety held an open meeting in Louisville. Its shinsky’s Yiddish opera Di goldene kale [The to attend the Vancouver meeting, will again topic (purposely announced only a few days Golden Bride] (1923). The latter was recently be 1 June; please encourage your students to prior to the meeting) was “AMS Milestones,” given a fully-staged production by the Na- apply. See www.ams-net.org/committees/ccd/ and participants took the cue to talk about tional Yiddish Theatre Folksbiene of New for additional details. Contributions to the a period, event, or transition particularly im- York City. Also of note: a recording of MUSA Southern Travel Grant Fund are warmly en- portant to them in their AMS experiences. 23, Katherine K. Preston’s edition of George couraged; see www.ams-net.org/donations/, It resulted in highly rewarding presentations Frederick Bristow’s Symphony No. 2 in D or send your contribution to the AMS office. and conversations. The session’s video record- Minor, op. 24 (“Jullien”) has been released Development Committee ing and transcript will be published in the by New World Records, together with other spring. Bristow works (New World Records 80768). The Development Committee is pleased to Current committee initiatives include creat- Finally, we are thrilled to report that outgoing report that through the generosity of Society ing an index of members’ special collections COPAM Chair Dale Cockrell’s Laura Ingalls members, the Kenneth Levy Fund Supporting on deposit at institutional libraries, and wid- Wilder Family Songbook (MUSA 22) was sin- Publications on Medieval Music has achieved ening its oral history collecting by accepting gled out for coverage in the National Endow- the required level to become a permanent en- member-created oral histories. If you can con- ment for the Humanities fiftieth anniversary dowment of the AMS. We extend thanks to tribute an item to the index or wish to offer online celebration (50.neh.gov/projects/laura- Susan Boynton, who, after the contribution your own oral history, please contact the com- ingalls-wilder-and-songs-of-american-life). of a lead gift by an anonymous donor, advo- mittee. Visit the web site, www.ams-net.org/ American music research and publication cated for the fund and gave effective leader- committees/history/, or write to Committee continues to thrive. We thank the National ship following its November 2014 approval Chair Anthony Cummings, cumminga@­ Endowment for the Humanities and the Uni- by the Board. Contributions for this, and all lafayette.­edu. versity of Michigan for their ongoing support. endowed funds, are welcome at the AMS web —Amy C. Beal site (www.ams-net.org/endowments/). Membership and Professional —John Hajdu Heyer Development Committee Publications Committee Graduate Education Committee In 2015, the Membership and Professional In Fall 2015, the Publication Committee Development Committee allocated the Soci- awarded subventions to nineteen books and At the Louisville Annual Meeting, the Gradu- ety’s funds established last year through the one scholarly article for a total of $38,000. ate Education Committee (GEC) sponsored new Keitel-Palisca Endowment, as well as its They include the following: an evening session, “What Must a Musicolo- own travel grant funding, for those attending Sharon Ammen, May Irwin: Queen of Com- gist Know? Form and Content of the Musi- the Annual Meeting. They were able to pro- edy (University of Illinois Press); supported by cology Ph.D. Curriculum.” This well-attend- vide sixty-four grants ranging from $200 to the AMS 75 PAYS Endowment ed session featured presentations by graduate $620 each, for a total of about $23,000. The Eliot Bates, Digital Tradition: Arrangement student Ysabel Sarte and professors Joseph grants will continue in 2016; the application and Labor in Istanbul’s Recording Studio Cul- Auner, Elisabeth Le Guin, Travis A. Jackson, deadline is 30 June. Details will be posted to ture (Oxford University Press); supported by and Richard Will. Panelists addressed the the AMS web site and sent to the member- the Manfred Bukofzer Endowment challenges of preparing for an increasingly ship nearer the deadline. Peter Bennett, “Hearing King David in Ear- diversified job market, the importance of ly Modern France: Politics, Prayer, and Louis performance and creativity in musicological Committee on the Publication of XIII’s Musique de la Chambre” (JAMS); sup- study, the benefits of engaging with a plural- American Music ported by the James R. Anthony Endowment ity of musics and methodologies in teaching Giorgio Biancorosso, Situated Listening: and research, strategies for balancing depth The AMS Committee on the Publication Music and the Representation of the Attention in and breadth in inter-sub-disciplinary studies, of American Music (COPAM) is pleased to Narrative Cinema (Oxford University Press); and the fiction of a core curriculum. A lively report on the ongoing vigor and productiv- supported by the AMS 75 PAYS Endowment discussion focused on aspects of adaptability: ity of its flagship project, Music of the United David Brackett, Categorizing Sound: Genre the value of musicology beyond the arts and States of America (MUSA), a series of critical and Identity in Twentieth-Century Popular academia, the constant need to expand and editions of representative American music. retool, and the extent to which revisions to The series currently includes twenty-five pub- Music (University of California Press); sup- graduate programs have preceded undergrad- lished volumes, with fifteen more on the way. ported by the Otto Kinkeldey Endowment uate reform. Following the recent reorganization of both continued on page  February 2016  Committee News In accordance with the Society’s proce- its starting point Svetlana Boym’s The Future dures, these awards were recommended by of Nostalgia (2001), and explored manifesta- continued from page  the Publications Committee and approved tions of reflective and restorative nostalgias Geoffrey Burgess, The Pathetick Musician by the Board of Directors. Funding for AMS in the musical cultures of the Cold War and (Oxford University Press); supported by the subventions is provided through the National post-Cold War periods. The papers were cir- Margarita M. Hanson Endowment Endowment for the Humanities, the Andrew culated to Study Group members in advance Victor Coelho and Keith Polk, Instrumen- W. Mellon Foundation, and the generous and led to a vibrant discussion. This was fol- talists and Renaissance Culture, 1420–1600: support of AMS members and friends. Those lowed by a more informal networking session, Players of Function and Fantasy (Cambridge interested in applying for AMS publication aimed at introducing Study Group members University Press); supported by the Martin subventions are encouraged to do so. See the to each other. Picker Endowment program descriptions for full details (www. The CWMSG celebrates its tenth anniver- Rebecca Harris-Warrick, Dance and Drama ams-net.org/pubs/subvention.php). Next sary this year and is planning a special session in French Baroque Opera: A History (Cam- deadlines: 15 February 2016, 15 August 2016. to mark the occasion at the Annual Meeting bridge University Press); supported by the —Caryl Clark in Vancouver. Other endeavors in the pipe- James R. Anthony Endowment line include a section on the Study Group’s Committee on Technology Daniel Harrison, Pieces of Tradition: An web site dedicated to announcing new pub- Analysis of Contemporary Tonal Music (Oxford The Committee on Technology has drafted lications by current members. The CWMSG University Press); supported by the Lloyd a set of guidelines, “Best Practices in Digi- always welcomes new members. Our inter- Hibberd Endowment tal Scholarship,” intended to assist those ests cover a broad remit in terms of musical Lawrence Kramer, The Thought of Music involved with producing, publishing, and genres, geographical regions, and method- (University of California Press); supported by evaluating digital scholarship, and to prepare ological approaches. If you would like to join the Joseph Kerman Endowment members in their use of such scholarship. The or learn more about our activities, please visit Richard Kramer, Enlightenment Moments at finalized “Best Practices” will be published in our web site: www.ams-net.org/cwmsg. the Interiors of the Musical Imagination (Uni- spring 2016. Contact Committee Chair Rich- —Elaine Kelly versity of Chicago Press); supported by the ard Freedman with questions: rfreedma@ Otto Kinkeldey Endowment haverford.edu. Ecocriticism Study Group Deirdre Loughridge, Haydn’s Sunrise, The Ecocriticism Study Group (ESG) is ex- Beethoven’s Shadow: Audiovisual Culture and Committee on Women and Gender cited to be associated with the upcoming con- the Emergence of Romanticism (University of At last year’s Annual Meeting the Committee ference “Locations and Dislocations: An Eco- Chicago Press); supported by the AMS 75 on Women and Gender (CWG) sponsored musicological Conversation,” to be held 8–10 PAYS Endowment an evening session on “Feminist Musicology April at Westminster Choir College of Rider Nancy Yunhwa Rao, Chinatown Opera The- and Contingent Labor,” as well as a mentor- University (Princeton, N.J.). It will bring to- aters (University of Illinois Press); supported ing breakfast that connected senior women gether scholars, performers, and composers to by the AMS 75 PAYS Endowment with small groups of untenured women. We further explore the relationships between mu- Colleen Reardon, A Sociable Moment: Op- will organize a similar breakfast for the Van- sic, culture, and the environment. For details, era Production and Performance in Seicento Si- couver meeting. Following approval by the please visit musicinnewjersey.com/eco2016/. ena (Oxford University Press); supported by AMS Board, we are now raising funds to en- See the ESG web site, www.ams-esg.org, for the Gustave Reese Endowment dow an annual lecture on women and gender more information about the study group and Bradley Shope, American Popular Music in by a distinguished scholar. We have adopted to sign up for its email list. Britain’s Raj (University of Rochester Press); an unusual method of fund-raising: we are supported by the AMS 75 PAYS Endowment selling blocks on a “name quilt,” with each Ibero-American Music Study Group Jeffrey Summit,Singing God’s Words in God’s block bearing the name of the donor. Blocks Own Tune: The Performance of Biblical Chant The Ibero-American Music Study Group are $200 each. If you are interested in having in Contemporary Judaism (Oxford University (IAMSG) will host a special session at the your name appear on this endowment quilt, Press); supported by the Dragan Plamenac 2016 Vancouver National Meeting, entitled which will be raffled at the 2017 meeting in Endowment “Ginastera at 100: Politics, Ideology, and Rochester, sign up at www.ams-net.org/com- Jeffrey Swinkin, Performative Analysis: Rei- Representation.” The session marks the cen- mittees/csw/quilt/. Additional blocks bearing magining Music Theory for Performance (Uni- tenary of the composer’s birth with a panel of the names of individuals one wishes to honor versity of Rochester Press); supported by the scholars who will assess the historiographical may also be purchased. AMS 75 PAYS Endowment tenets that have informed Ginastera schol- —Honey Meconi Benjamin Teitelbaum, Lions of the North: arship, and envision new ways of thinking Music and New Nordic Radical Nationalism about the composer. With the support of the (Oxford University Press); supported by the Study Group News AMS Fund for Guest Speakers, the IAMSG AMS 75 PAYS Endowment has invited Esteban Buch, professor of social Donald Traut, Stravinsky’s “Great Passaca- Cold War and Music Study Group sciences at the École des Hautes études en sci- glia”: Recurring Elements in the Concerto for ences sociales in Paris, France. Best known to Piano and Wind Instruments (University of At the Annual Meeting in Louisville, the Cold English-language readers for his Beethoven’s Rochester Press); supported by the AMS 75 War and Music Study Group (CWMSG) Ninth: A Political History (2003), Buch has PAYS Endowment hosted an evening session devoted to the top- written extensively on Ginastera and has Andrew Walkling, Masque and Opera in ic of nostalgia. Featuring position papers by emerged as one of the most significant schol- Restoration England (Ashgate Publishing); Ewelina Boczkowska, Martha Sprigge, Peter ars in the field. In his Vancouver presenta- supported by the AMS 75 PAYS Endowment Kupfer, and Ulrike Präger, the session took as tion, Buch will discuss the composer’s late  AMS Newsletter period of residence in Switzerland, especially musicals. She examined the processes by and moderated by Maribeth Clark. Thanks the years 1976–83, which coincided with the which campers adapt those works, the roles are extended to all who attended the session, so-called Dirty War—the final period of the their amateur performances play in commu- particularly the speakers. military dictatorship in Argentina. nity building, and the relation of these shows Participants at our business meeting elected The session’s other three participants will to professional theatrical performance. A Matilda Butkas Ertz to join Sarah Gutsche- present additional case studies that shed light response from JSMSG board member Amy Miller as co-chair and discussed several ideas on the connections between Ginastera’s musi- Wlodarski and a lively question-and-answer for future events. In addition to our annual cal life and Argentine and international poli- session followed. Support for Wolf’s presenta- evening panel with invited guest speakers, tics. Eduardo Herrera (Rutgers University), tion came from the inaugural AMS Fund for we plan to collaborate with the SMT Dance who has conducted research on Ginastera’s Guest Speakers. and Movement Interest Group to sponsor a activities from 1962 to 1971 as the Director The Study Group thanks its outgoing sec- roundtable on pedagogy and course design of the Centro Latinoamericano de Altos Es- retary Rebecca Cypess and welcomes its new for music or general education dance/music tudios Musicales, will examine the way that secretary Kristofer Eckelhoff. This year we will courses. We are also planning another dance the composer maneuvered around the lo- hold elections for a new chair and four board event, also with our SMT colleagues: a salsa cal dictatorship and international Cold War members, and we encourage those interested or tango dance class and party. politics to pursue his activities as an artistic to consider running for these positions. We We invite everyone to visit our new Face- entrepreneur. Melanie Plesch (University of will post election information on our web site book page and post information about dance- Melbourne), who pioneered the use of topical in February; all discussion group subscribers related events or resources, or contribute bib- theory and postcolonial critique in her stud- are welcome to vote. To join, send an email to liographies to our Music and Dance database ies of twentieth-century Argentine music, will jewish-studies-and-music+subscribe@google- (atom.lib.byu.edu/dancemus/) maintained apply these approaches to problematize the groups.com. Please follow us on Twitter: @ by David Day. If you would like to add your political dimensions of the term “national- JSMStudyGroup. name to the Study Group’s online member- ism” as applied to Ginastera’s music. Deborah —Josh Walden ship list please contact Sam Dorf (sdorf1@ Schwartz-Kates (University of Miami), who udayton.edu). Information about conferences, has focused on the composer’s cinematic pro- LGBTQ Study Group links to dance/music resources, and ideas duction, will address Ginastera’s retreat into The LGBTQ Study Group is planning a pre- for future events and conferences should be spirituality in his work for the motion picture conference symposium, “Race-ing Queer sent to [email protected] or Rosa de América (1944), in response to the Music Scholarship” in Vancouver prior to the matilda.­[email protected]. growing tensions in the film industry at the November AMS/SMT meeting. Rather than —Sarah Gutsche-Miller beginning of the Perón years. These presenta- queering race studies in music scholarship, the Music and Disability Study Group tions reflect a diversity of approaches that will symposium aims to race queer music scholar- foster a lively dialogue with which to welcome ship, unpacking the structural ellipses and All are invited to follow the study group’s Ginastera as he enters his next century. disciplinary violence of our current practice current activities at their blog, musicdisabili- —Susan R. Thomas and sketching the outlines of a richer, criti- tystudies.wordpress.com. Readers are espe- cially encouraged to view, use, and contribute Jewish Studies and Music Study cally stronger approach to our thinking about music and sound in its relationship with queer to the Musical Representations of Disability Group bodies. Papers given at the symposium will be Database, which includes musical works that The Jewish Studies and Music Study Group considered for publication in a special issue feature a representation of disability or a dis- (JSMSG) began its 2015 Annual Meeting ses- of Women & Music: A Journal of Gender and abled person. The expansive nature of this sion by celebrating the winners of its inaugu- Culture. The symposium is co-sponsored by list—covering diverse composers, genres, and ral Awards of Recognition. Joy H. Calico’s Ar- the LGBTQ Study Group, the SMT Queer time periods—demonstrates the pervasive- nold Schoenberg’s A Survivor from Warsaw in Resource Group, the Gender and Sexualities ness of disability within musical discourses. Postwar Europe (2014) won for an Exceptional Taskforce of the SEM, the School of Music of Ludomusicology Study Group Book in Jewish Studies and Music, and Ronit the University of British Columbia, the Insti- Seter’s “Israelism: Nationalism, Orientalism, tute for Gender, Race, Sexuality, and Social The inaugural meeting of the Ludomusicolo- and the Israeli Five,” Musical Quarterly (2014), Justice at UBC, and Women & Music: A Jour- gy Study Group (LSG) took place at the Lou- won for an Exceptional Article. These awards nal of Gender and Culture. See the LGBTQ isville Annual Meeting: Neil Lerner, Dana will be offered annually, and nominations and web site, ams-lgbtq.org, for full details. Plank, and Roger Moseley presented papers that drew a large and inquisitive audience. self-nominations are welcome for 2016. For Music and Dance Study Group details, please see the Study Group’s web site, The LSG elected officers William Cheng and jewishstudiesandmusic.org. The AMS Music and Dance Study Group held William Gibbons (co-chairs), Dana Plank Last November the JSMSG devoted its ses- two events at the Louisville Annual Meeting (secretary/treasurer), and Michael Austin sion to a presentation by guest Stacy Wolf, in addition to its business meeting. Christo- (webmaster); and board members at-large professor of theater at Princeton University pher Wells led an inspiring and highly enter- Karen Cook, Sarah Teetsel, and Ryan Thomp- and director of Fellowships at Princeton’s taining noontime dance class on the Charles- son. A call for papers for Vancouver will be Lewis Center for the Arts. In her presentation ton and Lindy Hop, and new and emerging going out soon. Visit the LSG web site, www. “‘The Hills Are Alive with the Sound of Mu- scholars Dana Terres, Alexandre Abdoulaev, gamemusicstudies.org, and write to gamemu- sic’: Musical Theater at Girls’ Jewish Summer Anne Searcy, and Elia Andrea Corazza pre- [email protected] with questions or mail- Camps in Maine,” Wolf offered a fascinating sented their research in a stimulating evening ing list requests. study of the ways campers participate in the session (“New Musicological Scholarship on —William Cheng performance of Broadway and Hollywood Dance”) organized by Chantal Frankenbach continued on page  February 2016  Study Group News Roust and John Spilker serving as co-organiz- CFPs and Conferences ers. Joice Gibson will oversee local arrange- continued from page  ments assisted by Alex Ludwig. Additional The AMS lists conferences and CFPs at Pedagogy Study Group information will be available at the PSG web musicologyconferences.xevents.sas.ac.uk. site: www.ams-net.org/studygroups/psg/. The site includes further details concerning At the Louisville Annual Meeting, the Peda- —John Spilker these listings, as well as additional conference gogy Study Group (PSG) sponsored three listings. panels. In the first, “Teaching Writing in Popular Music Study Group To subscribe to email notification regarding the Music History Classroom,” John Spilker At the Louisville Annual Meeting the Popu- musicology conferences, see www.ams-net. discussed assignments and activities used to lar Music Study Group (PMSG) hosted two org/announce.php. engage undergraduate students in reviewing evening sessions and a roundtable during its and revising their writing for a semester-long business meeting. Thursday’s session, “Popu- CFPs research project. Jeffrey Wright demonstrated lar Music and Social Mobility,” featured Nor- how to use curriculum to map out and design International Schönberg-Symposium iko Manabe on Japanese demonstrations in undergraduate writing assignments spanning CFP deadline: 6 March 2016 urban space, Virginia Christy Lamothe on a multiple-semester music history sequence. 6–8 October 2016 the musical The Wizard of Oz, and Benjamin Everette Smith presented methods for using Arnold Schönberg Center, Vienna Court on Johnny Rotten’s T-shirt. Theo Cate- course content in a master’s-degree seminar foris was the session respondent. Musical Exchanges between Italy to help students create and revise thesis state- The Saturday roundtable focused on Felicia and Spain in the Eighteenth ments. Colin Roust explored challenges and Miyakawa and Richard Mook’s “Avoiding the and Nineteenth Centuries principles of doctoral-student writing. ‘Culture Vulture’ Paradigm: Constructing an CFP deadline: 13 March 2016 With co-sponsorship from the Popu- Ethical Hip-Hop Curriculum.” With the au- 3–5 May 2016 lar Music Study Group, “Getting ‘Into the thors in attendance, the panelists were Nicol Instituto Cervantes, Rome Groove’: Teaching Students How to Listen Hammond, Fernando Orejuela, Philip Gen- The Many Faces of Camille Saint-Saëns to Temporality in Popular Music” comprised try, Chris Wells, and Shana Goldin-Persch- CFP deadline: 3 April 2016 five lecture-demonstrations. Robert Fink bacher. The discussion was wide-ranging and 7–9 October 2016 presented a grid-based approach to help stu- lively, and PMSG is currently working on a Complesso Monumentale di San Micheletto, dents understand polyrhythmic patterns in follow-up session. Lucca Afro-diasporic music. Jason Hanley demon- On Saturday evening, PMSG and the Peda- “It’s Still Rock and Roll to Me”: The strated methods of teaching rock-and-roll gogy Study Group hosted a set of lecture- Music and Lyrics of Billy Joel rhythms to adult learners. Using techniques demonstrations entitled “Getting ‘Into the CFP deadline: 8 April 2016 and music from Zumba, Jocelyn Neal showed Groove’: Teaching Students How to Listen 7–8 October 2016 participants how to use their bodies to per- to Temporality in Popular Music.” Details of Colorado College, Colorado Springs ceive temporality. John Covach used record- this session can be found in the PSG report. ings and audience participation to teach ideas As for upcoming activities, PMSG is co- Diplomacy and Aristocracy as associated with rhythmic coordination and sponsoring “Locations and Dislocations: A Patrons of Music and Theatre in stratification. Mandy Smith used a live drum Ecomusicological Conversation” at West- Europe of the ancien régime kit to teach students how to listen to rock beat minster Choir College of Rider University, CFP deadline: 15 April 2016 patterns. 8–10 April. For details, see musicinnewjer- 1–3 July 2016 “Novel Approaches to Music for General sey.com/locations/. On 14–16 June, PMSG, Queluz National Palace, Portugal Students: Adopting and Teaching from New in collaboration with Case Western Reserve Music and Power in the Baroque Era Textbooks” featured perspectives from a pub- University, will host its second Junior Faculty 19 2016 lisher, author, and teacher. Jennifer Hund CFP deadline: April Symposium. 11–13 November 2016 traced the history of using a chronological The PMSG was awarded a grant from the method to teach music to general students. Complesso Monumentale di San Micheletto, AMS Fund for Guest Speakers to bring our Lucca Chris Freitag discussed how authors can shape 2016 Evening Session keynote speaker. Jasen Nineteenth-Century Programme Music their new ideas into a book that will resonate Emmons, author of the novel Cowboy Angst, 24 2016 across various academic settings. Robin Wal- multimedia producer, and Curatorial Direc- CFP deadline: April 25 27 2016 lace discussed his textbook publication pro- tor at Experience Music Project, will speak – November cess and how he has marketed it to instruc- about the exhibits he has mounted. Complesso Monumentale di San Micheletto, tors. Reeves Shulstad explained the process —Eric Hung Lucca of adopting Mary Natvig’s general music text Granados In Context: The Spanish Piano and using it to create an online course. School and Pre-War Artistic Movements 6 Volume of the Journal of Music History CFP deadline: 15 May 2016 Pedagogy was released as a double issue in Jan- AMS Study Groups explore focused 16–17 September 2016 uary. At the Louisville PSG business meeting, Mojácar, Almería John Spilker was elected as new PSG chair. topics in musicology and maintain We thank Colin Roust for his service and networks for the exchange of ideas. Society for American Music leadership in that role. Learn more about the eleven AMS CFP deadline: 1 June 2016 The 2016 Teaching Music History Confer- Study Groups: 22–26 March 2017 Montreal ence is scheduled for 3–4 June at Metropoli- www.ams-net.org/studygroups/ tan State University of Denver, with Colin continued on page   AMS Newsletter Papers Read at Chapter Meetings, 2014–15 Allegheny Chapter Capital Chapter Nicholas Taylor (University of Maryland), “Members of the Bach Family and the Pub- 25 October 2014 18 October 2014 lished Church Cantatas of Georg Philipp Te- West Liberty University University of Virginia lemann” Amanda Lalonde (University of Guelph), “The Devin Burke (Case Western Reserve University), “The French Infernal in Venice: Cavalli’s Influ- Waldhorn and Metaphysical Distance” Greater New York Chapter Stephen Armstrong (Michigan State Universi- ential Adaptation of Lully’s Dancing Demonic 1665 ty), “Dorothy L. Sayers on Murder, Music, and Statues in Muzio Scevola ( )” 18 October 2014 Noise: Interpreting Death and Depersonaliza- Stephanie Doktor (University of Virginia), Center for Remembering and Sharing tion in The Nine Tailors” “John Powell’s Rhapsodie nègre and the Racial Elizabeth Weinfield (Graduate Center, CUNY), Politics of American Ultra-Modernism” Evan A. MacCarthy (West Virginia University), “Isabella d’Este: Patronage, Performance, and “Oedipus Modernized: John Knowles Paine Matthew Franke (Roanoke College), “Cosmo- the Viola da Gamba” and America’s First Greek Tragedy” politanism at the Opera: Edoardo Sonzongno’s Anna Parkitna (Stony Brook University), “‘The Teatro Lirico, 1894–1907” Most Beautiful Lyrical Masterpiece of the Kelly Fallon (Marshall University and Indiana Deborah Lawrence (St. Mary’s College of Mary- Eighteenth Century’: Antonio Salieri’s Axur, re State University), “Antonín Dvořák and the land), “Uncovering a Renaissance Soundscape” d’Ormus on the Warsaw Stage (1789–1825)” Politicization of the American National Sound” Bonny Miller (Bethesda, Md.), “Augusta Louis Blois (College of Staten Island), “The Vicki P. Stroeher (Marshall University), “Brit- Browne’s National Bouquets at the University Concerti of Boris Tchaikovsky” ten’s ‘American’ Problem” of Virginia” Jacquelyn Sholes (Boston University), “Gustav Randall Goldberg (Youngstown State Univer- Alanna Ropchock (Case Western Reserve Uni- Jenner and the Music of Brahms: The Orches- sity), “‘I’m Going Home’: Ethnic Records and versity), “From Alamire’s Workshop to the tral Serenades” the Jewish Immigrant Experience” Lutheran Gymnasium: A Case Study of Con- Anoosua Mukherjee (New York University), Mariana Whitmer (University of Pittsburgh), fessional Context and the Polyphonic Mass “Parenthetical Sounds in Haydn’s ‘Distracted’ “Elmer Bernstein’s The Magnificent Seven: De- Ordinary” Symphony” fining an American Soundscape for the Sixties” Andrew H. Weaver (Catholic University of Keith Johnston (Stony Brook University), “Mi- Matthew Baumer (Indiana University of Penn- America), “Memories Spoken and Unspoken: metic Silence in the Early Eighteenth-Century Comic Intermezzo” sylvania), “A Snapshot of Music History Teach- Hearing the Narrative Voice in Dichterliebe” Mark Durrand (University at Buffalo, SUNY), ing to Undergraduate Music Majors, 2011–12: 11 April 2015 “‘Do You Know How to Play?’: Music, Vio- Curricular Design,Teaching Methods, and As- University of Maryland sessment” lence, and Narrative in Sergio Leone’s Once Peter D’Elia (University of Virginia), Upon a Time in the West (1969)” “Beethoven’s Goethe Settings and Enlighten- 24 January 2015 18 April 2015 ment Song” Columbia University Grove City College Therese Ellsworth (Washington, D.C.), “‘Dis- Ryan Taussig (Eastman School of Music, Uni- Derek Stauff (Indiana University), “The Political armed prejudice and put out the eyes of big- versity of Rochester), “Of Soldiers and Second Context of Schütz’s Saul, was verfolgst du mich” otry’: The Career of Kate Loder (1825–1904)” Prologues: Early Comic Relief as Interpretive James A. Davis (SUNY Fredonia), “Locating Pa- Kevin Frecker (Catholic University of America), Frame in Claudio Monteverdi’s L’incoronazione triotism in Civil War Songs” “Brahms’s Vier ernste Gesänge: Romantic Com- di Poppea” mentary on Biblical Texts” Michael Boyd (Chatham University), “Score- Joseph Salem (Yale University), “Why Isn’t Any- one Laughing? Humor in Pierre Boulez’s Penser Based Site-Specificity in the Music of John Robert Lintott (University of Maryland), la musique aujourd’hui” Cage” “‘What passing bells?’ Time and Memory in Benjamin Britten’s War Requiem” Sharon Mirchandani (Westminster Choir Col- Christopher M. Culp (University at Buffalo, Joseph Mann (Catholic University of America), lege of Rider University), “Humor through SUNY), “Surrealist Music: The Ontology of “James William Davison: Monument in His Biphasic Sequence in Prokofiev’s ‘Ridicolosa- Collage within Temporal Arts” Own Time, Monster in Ours” mente’” Jonathan C. Ligrani (Pennsylvania State Uni- Tonia Passwater (City University of New York), Mirna Lekic (Queensborough Community Col- versity), “Harmony through Dissonance: Op- “The Gendered Reception of American Wom- lege), “Winking it—Humor in Claude De- positional Discourse in Twelfth-Century Po- bussy’s La Boîte à joujoux” en Modernists: Ruth Crawford, Johanna Beyer, lyphony” Marion Bauer, and Jessie Baetz” David Hurwitz (Classicstoday.com), “Héraclius Andrew Farina (Ohio State University), “On the Djabadary—a ‘Perfect Storm’ of Awfulness” Katherine K. Preston (College of William and Temporal Organization of Mensural Music” Mary), “Stretching the Ears of American Au- Joe Drew (New York University), “From Caged Robert Fallon (Carnegie Mellon University), diences: Contemporary Music Techniques in Birds to Camel Dung: A Survey of Humor in Karlheinz Stockhausen’s Music” “Topography and Manifest Destiny in Appala- Mainstream Cinema” Jordan Stokes (Hunter College and The Juilliard chian Spring” Alanna Ropchock (Case Western Reserve Uni- School), “Garbo Laughs! Garbo . . . Emotes! Mark Ferraguto (Pennsylvania State University), versity), “Birds, Vegetables, and Sharp Objects: Music, Humor, and the Golden-Age Comedy “Music and Diplomacy at the Palais Rasumof- An Investigation of Symbolism in Polyphonic Soundtrack” sky” Masses from a Sixteenth-Century Castle” continued on page  February 2016  Papers Read at Chapter Meetings Mark Durrand (University at Buffalo, SUNY), Nicholas Stevens (Case Western Reserve Univer- “Indiana Jones and the Escape from Narrativ- sity), “George Antheil’s Music for Crime Film,  continued from page ity: Toward a Performative Model of the Cin- 1940–50: Broadway, Ballet, Murder, Noir” ematic Leitmotif” Christopher Lynch (Indiana University), Reba Wissner (Montclair State University), 4 October 2014 “Broad­way Mozart: The Metropolitan Opera “Hearing That Old Black Magic: Humor and Rowan University House in the 1940s” Fred Steiner’s Score for The Twilight Zone’s ‘The Allison Fromm (University of Illinois at Urbana- Bard’ (1963)” Michael Schnack (Muhlenberg College), “The Champaign), “In the Beginning’s Oasis of Se- Amateur Choir in Motion: The Innovative S. Alexander Reed (Ithaca College), “‘They renity: Aaron Copland’s Jewish Identity and Choral Work of Jean Berger (1909–2002)” Might Be Giants’: Flood and Post-Coolness” the Day of Rest” Ryan Bunch (Rutgers University-Camden), Ryan Prendergast (University of Illinois at Urba- 25 April 2015 “Beginning with Do Re Mi: Musicals, Child- hood, and The Sound of Music” na-Champaign), “‘Only he who humbles him- The Juilliard School self wins the victory’: Richard Strauss and the Julian Onderdonck (West Chester University), Politics of Friedenstag” Vincent Rone (University of California, Santa “Ralph Vaughan Williams’ Original Hymn Barbara), “Harmonizing the Fantastical: The Tunes: Two Newly Discovered Tunes and a Re- Rachel Tollett (Northwestern Universi- Familiar and Unfamiliar in Howard Shore’s The vised Works List” ty), “Sounding Narratives, Stereotyping En- emies, and Forming Soviet Citizens: An Exam- Lord of the Rings” Samuel Nemeth (College of New Jersey), “The ination of the American “Other” in Post-War Christopher Hopkins (Five Towns College), Restoration, Reaction, and Revolution: Ber- “Immersion into Fantasy: Compositional lioz’s Requiem as a Product of the French Out- Soviet Film” Techniques of Video Game Music from the look on Religion and Romantic Ideals” Thornton Miller (University of Illinois at Ur- Late ’80s and Early ’90s” Sabrina Clarke (Temple University), “Simulta- bana-Champaign), “Benjamin Britten and William Germano (Cooper Union), “The Tem- neity and Intertextuality: Nonlinear Time in the Anglo-Soviet Cultural Exchanges of the pest in Opera from the Eighteenth Century to Dallapiccola’s Canti di Liberazione” Early 1960s: The Days of British Music Festival Thomas Adès” (1963) and the English Opera Group’s Tour of the Soviet Union (1964)” Ren Draya (Blackburn College), “The Tempest: Its Structure and Music” Midwest Chapter Emily Wuchner (University of Illinois at Ur- bana-Champaign), “‘A blend of onions and Eric Hung (Rider University), “The History and 27 September 2014 garlic’: The Political and Cultural Ingredients Politics of Water through Music and Dance: University of Illinois at of Maximilian Ulbrich’s Die Israeliten in der The Mendelssohn Club of Philadelphia’s Per- Urbana-Champaign Wüste” formance of Turbine” Marian Wilson Kimber (University of Scott Messing (Alma College), “Beethoven and Nathaniel Sloan (Fordham University), “Harold Iowa) “‘The Usual Way’: Courtship, Marriage, beklemmt” Arlen and Tin Pan Politics” and Domestic Life in Spoken-Word Composi- Joseph Morgan (Middle Tennessee State Univer- Jeff Dailey (Five Towns College), “Exploring the tions by American Women” sity), “The Immense and Mighty Ocean: Style, Meaning of Utopia, Limited ” Steven Armstrong (Michigan State Univer- Nature, and Form in the Swansongs of Meyer- sity), “Writing Feminist Identity through Barry Wiener (Graduate Center, CUNY), beer and Weber” “‘Young Classicality’ [Junge Klassizität] and Musical Metaphor: Dorothy L. Sayers and the William Kinderman (University of Illinois at German Cultural Chauvinism” Hermeneutics of Gaudy Night” Urbana-Champaign), with musical illustra- Kelli McQueen (University of Wisconsin- Catherine Coppola (Hunter College), “Fear tions performed by the Jupiter Quartet, “‘Feel- Milwaukee), “That’s Debatable!: Genre Issues of Feminine Power: Hillary Clinton and the ing New Strength’: Beethoven’s Quartet op. 132 in Troubadour Tensos and Partimens” Queen of the Night” and the Ninth Symphony” David Hurwitz (Classicstoday.com), “The Vi- Murray Steib (Ball State University), “Martini brato Monologues: Sexual Politics and Expres- and Petrarch: Two Unrecognized Motet Set- 11 April 2015 sive String Timbre” tings Unmasked” Butler University Derek Stauff (Indiana University), “The Politi- cal Context of Schütz’s Concerto Saul, was ver- Brian Locke (Western Illinois University), “Not Mid-Atlantic Chapter folgst du mich” ‘By Chance’: The Music of Jaroslav Ježek in Communist- and Post-Communist-Era Czech Michael Bane (Case Western Reserve Universi- 4 October 2014 Film” Rowan University ty), “Translating Tasso: The Chevalier de Méré and the Literary Origins of Act 2, Scene 5 of Per F. Broman (Bowling Green State Univer- Elizabeth Weinfield (Graduate Center, CUNY), Armide (1686)” sity), “Ingmar Bergman’s Musicians” “Isabella d’Este: Patronage, Performance, and Michelle Urberg (University of Chicago), “A Sarah Teetsel (Bowling Green State University), the Viola da Gamba” Late-Medieval Processional Repertory: Using “Musical Memory of the Player, Characters, Travis Salley (University of Massachusetts Am- Birgitta of Sweden’s Office to Model Gender and World of The Legend of ZeldaVideo Game herst), “Gender Semiotics in The Marriage of Roles in the Cloister” Series” Figaro” Trudie Ranson (Naperville, Ill.), “A Munich James D. Leach (Hope College), “An Acciden- Megan Sarno (Princeton University), “Symbol- Manuscript, Produced in Flanders, of French tal Discovery: Stravinsky’s Fanfare for a New ist Aesthetics in Fauré’s Requiem” Parody Masses for an English Queen” Theatre” Anoosua Mukherjee (New York University), Daniel Batchelder (Case Western Reserve Uni- Alexandre Bádue (University of Cincinnati), “The Last of the Symphonists: How American versity), “Have You Been to Bahia? Tourism, “Communicating in Song: Music and Dra- Composers Shaped the Final Chapter of the Spectacle, and Utopia in Disney’s The Three matic Action in William Finn’s Musical Falset- Modern Symphony” Caballeros” tos (1992)”  AMS Newsletter Thomas James Johnson and Danielle Alfrey (In- 5 May 2015 Annika Borrmann (York University), “Collec- diana State University), “Spiritual Experiences Yale University tive Individualism: The Frankfurt Group and Among Participants in the Electronic Dance Modernism” Laura Stokes (Indiana University / Brown Uni- Music (EDM) Scene: A Quantitative Study” Durrell Bowman (Waterloo, Ont.), “Classical versity), “Assimilation, Gypsies, and Jews in Alison Mero (Indiana University), “‘Written in Styles and Sources in Early Progressive Rock Meyerbeer’s Ein Feldlager in Schlesien” English words, though scarcely in the English Music by Genesis, 1970–73” Robert W. Eshbach (University of New Hamp- language’: The Plagiarism Scandal of Michael Alessia Macaluso (York University), “The Exile shire), “Joseph Joachim and the Mendelssohn Balfe’s Siege of Rochelle” of Innocence: Fascist Disenchantment and the Christine Kyprianides Potter (IndyBaroque Mu- Legacy” Music of Goffredo Petrassi” sic, Inc.), “A Few Words about Mary Holmes, Karen Desmond (McGill University), “The Paulo Bottas (Université de Montréal), “Anto- Musical Governess” Turn to subtilitas and the Motet Apta caro/Flos nio Carlos Jobim’s Sinfonia da Alvorada: An Douglas Shadle (Vanderbilt University), “An- virginum” Expression of Brazilian Modernist Identity tonín Dvorák: American Interloper?” Stephen Husarik (University of Arkansas, Fort through Ethnic Integration” Shawn Marie Keener (Chicago, Ill.), “What the Smith), “Dissonance Resolved: Occursus and Kirsten Yri (Wilfrid Laurier University), “Wed- Housekeeper Heard: Reconstructing a Vene- the Surrender of Ornamentation to the Coun- ding Rituals and the Expression of Love in tian Boat Party of January 1569” tersubjects in the Finale of Beethoven’s Grosse Orff’s Trionfo di Afrodite” 133 Lillian Blotkamp (Washington University in St. Fuge, op. ” Andrew Kohler (University of Michigan), “The Louis), “Eumelio: A Music Drama in the Con- Brent Wetters (Providence College), “Mon- Equation of Sexual Repression and Tyranny in text of Seventeenth-Century Jesuit Education” strous North: Utopian and Dystopian Fanta- Carl Orff’s Die Bernauerin” sies in Glenn Gould’s Idea of North” Austin Clarkson (York University), “‘Other John Green (Eastman School of Music, Univer- echoes inhabit the garden’: On Imagination, New England Chapter sity of Rochester), “‘Laughter is Preferable to Interiority and the Re-enchantment of Mind” 4 October 2014 Tears’: John Cage and Golden-Age Television” Amanda Lalonde (Toronto, Ont.), “Weber’s Der Clark University Clara Latham (Harvard University), “Sonic Ma- erste Ton and Creation Through Music” Erinn Knyt (University of Massachusetts Am- teriality and Psychoanalytic Technique: Helm- Robert Gauldin (Eastman School of Mu- herst), “New Sonic Landscapes: Otto Luening, holtz, Freud, and the ‘Talking Cure’” sic, University of Rochester), “The Vikings’ Ferrucio Busoni, and Electronic Music” ‘+ULFBERHT+’ and Siegfried’s Nothung: A Sword from the Gods?” Lufan Xu (Brown University / Chinese Univer- New York State–St. sity of Hong Kong), “Arlecchino as Übermari- Northern California Chapter onette” Lawrence Chapter 21 February 2015 Katie Callam (Harvard University), “Welcom- 1–3 May 2015 San Jose State University ing the World with Third-Relations: George York University, Toronto Whitefield Chadwick’s Ode for the 1893 World’s Michael Accinno (University of California, Columbian Exposition” Jeremy Dibble (Durham University), “From Davis), “A Music Conservatory for the Blind? Prometheus to Judith: Parry’s Choral Odyssey Christopher Lynch (Bloomington, Ind.), Francis Joseph Campbell’s American Dream” 1880–88” “Broadway Mozart: The Metropolitan Opera Elisse C. La Barre (University of California, House in the 1940s” Stephanie Martin (York University), “Judith’s Santa Cruz), “‘Let’s Go San Francisco’: Cultur- North American Premiere” Anne Searcy (Harvard University), “A Cold War al and Musical Intersections Uncovered in the 1939 40 Welcome: The American Reception of Pro- Barbara Swanson (Dalhousie University), Sheet Music Written for the / Golden kofiev and His Choreographic Collaborators “Lyres, Laments, and Plainchants: Vincenzo Gate International Exposition” During the Bolshoi Ballet’s 1959 Tour” Galilei’s Staging of Musical Antiquities” Charissa Noble (University of California, San- ta Cruz), “The Migration of Consciousness: 21 March 2015 Roseen Giles (University of Toronto), “Jesuit Understanding Robert Ashley’s Perfect Lives Boston University Spirituality and the Fate of Carissimi’s Orato- rios” Through Music Video” Yonatan Bar-Yoshafat (Cornell University), “As Jacek Blaszkiewicz (Eastman School of Music, William Meredith (San Jose State University), Obscure and Unintelligible as the Warbling of University of Rochester), “‘Monster Concerts’: “Beethoven in Politics” Larks and Linnets”: Latent Agendas in C. P. E. Music and Monumentality at the 1855 Paris Sarah Waltz (University of the Pacific), “[E-flat Bach’s C-Minor Trio, Wq. 161/1 (H. 579)” Universal Exposition” Minor]” Mohammed Pasha (Corpus Christi, Tex.), “So- Kimberly Francis (University of Guelph), Stephen Husarik (University of Arkansas, Fort ciety as Cure: Moral Treatment in Brunetti’s Il Smith), “Dissonance Resolved: Ocursus and Maniatico” “French Modernist Women and the Music of India” the Surrender of Ornamentation to the Coun- Beth Abbate (Boston Conservatory), “Mendels- tersubjects in the Finale of Beethoven’s Grosse Amy Gajadhar (York University), “An Iconic sohn’s Scottish Sentiments: A New Look at Fuge, op. 133” Object from Two Worlds: The Player-Piano as Music, Meaning, and Contemporary Nation- Christopher Reynolds (University of California, a Mediator” alism in Mendelssohn’s ‘Scottish’ Symphony” Davis), “Counterpoint, Conflict, and the Les- Dana Dalton (Brandeis University), “‘Steady Daniel Robinson (University at Buffalo, SUNY), sons of Beethoven’s Ninth Symphony” “A Problem With the Historiography of Re- Gradients’ and Scenic Designs: Leonora’s Lyric Kirsten Paige (University of California, Berke- corded Sound: The Hidden History of Opti- Narrative” ley), “De-Industrializing the Urban Body: David Ferrandino (University at Buffalo, cal Sound, and Walter Ruttmann’s ‘Study in Achieving Nature through Technology at the 1930 SUNY), “Too Much Carbon Monoxide for Me Sound-Montage,’ Wochenende ( )” Bayreuth Festival, 1876–90” to Bear”: Irony and Criticism in the Music of Vincent Benitez (Pennsylvania State University), Cake” “Messiaen and Improvisation” continued on page  February 2016  Papers Read at Chapter Meetings Pacific Southwest Chapter Sasha Metcalf (University of California, Santa Barbara), “Houston Grand Opera, New York 11 October 2014 continued from page  City Opera, and the American Premiere of University of California, Irvine Philip Glass’s Akhnaten (1984)” 2–3 May 2015 Joseph Schubert (Claremont Graduate Univer- James A. W. Gutierrez (University of Califor- Cal Poly San Luis Obispo sity), “Grunenwald’s De Profundis: Psalm Text nia, San Diego), “Crossover Evangelism: How Jointly with Pacific Southwest Chapter as a Rosetta Stone for a Musical Language” Contemporary Christian Music Advanced See below. Taylor Smith (Cuyamaca College), “Tell Us Post-Christian America” the Name of Your Favorite Vega-Table: Chas- 2–3 May 2015 Cal Poly San Luis Obispo Pacific Northwest Chapter ing Brian Wilson’s ‘Vegetables’ from SMiLE to Wild Honey” Jointly with Northern California Chapter 18–19 April 2015 Steven Ottományi (California State University, Jessica Stankis (Allan Hancock College), “Sur- University of Puget Sound Long Beach), “La Última Banda: Music in the vival with Sight and Sound: Experiencing the Hannah MacKenzie-Margulies (Reed College), Post-Mission Period and the Clarinet of Car- Okinawan Uta-Sanshin Tradition” “Disembodied Nusach, Reimbodied Maqam: mel Mission” Kristi Brown-Montesano (Colburn School of Neo-Mozarabic Chant and the Construction Daniela Smolov Levy (Pasadena, Calif.), “Parsi- Performing Arts), “‘Strad Fever’ and Sherlock’s of Spanishness in Sixteenth-Century Toledo” Violin” fal in the Melting Pot: Race and Class in Opera Susan Lewis Hammond (University of Victo- Attendance in America, 1903–05” Alison Maggart (University of Southern Cali- ria), “Lost in Translation: Valentin Haussmann fornia), “Milton Babbitt’s Unspoken Jewish as Poet, Composer, and Translator of Italian Marc René Lombardino (California State Uni- Identity” versity, Long Beach), “An Italian Man in Rus- Music for German Audiences” Kerry Brunson (California State University, Kimberly Beck (University of British Colum- sia: Riccardo Drigo and the Evolution of Ballet Long Beach), “Mass Classical: America, Acces- bia), “Emblematic Scordatura: Heinrich Bib- at the Imperial Theatres” sibility, and the Atlanta School of Composers” er’s Hic est panis and Eucharistic Devotion” David Brodbeck (University of California, Ir- Jaclyn Howerton (University of California, Riv- Jinshil Yi (University of Puget Sound), “‘Feld­ vine), “Music and the Marketplace: On the erside), “‘Doing His Bit’: Vaughan Williams’ einsamkeit’: Beyond Emulation, the Challenge Backstory of Carlos Chávez’s Violin Concerto” Wartime Film Music” to Equal or Surpass” Kerry Brunson (California State University, Breena Loraine (University of California, Los Ellen George (Pierce College), “Stravinsky’s Long Beach), “Affairs and Airs: Opera, Scan- Angeles), “The ‘Independent Music “Formu- Text-Setting in His Symphony of Psalms: A Neo- dal, and Romance in the Court of King Louis la”’: Licensing, Power, and Value in the Con- Classic Approach” XIV” temporary Film and Television Music Indus- Rachel Chacko (Whitman College), “‘From Ar- try” Robert Wahl (University of California, River- menia to America’: Alan Hovhaness’ Search for Alfred Cramer (Pomona College), “Woody side), “Reinforcing the Black Legend: Mozart a New Sound” Guthrie as Schematic Composer, and the Mu- and Da Ponte’s Don Giovanni ” Kenneth Clifton (Lewis & Clark College), “The sical Meanings of ‘This Land Is Your Land’” Nature of Sounds in Nature: A Vertebrate Bi- 21 February 2015 Amy Bauer (University of California, Irvine), ologist’s Perspective on Animal Noises” San Diego State University “Opera, Modernism, and the Failure of Lan- Tyler Kinnear (University of British Columbia), guage” “In Search of a Sustainable Soundprint: R. Catherine Ludlow (University of Washington), Charissa Noble (University of California, Santa Murray Schafer, Dallas Simpson, and Outdoor “Narrative Modalities and Musical Commen- Cruz), “‘They’re freaks, they’re phenomena . . . Interspecies Interaction” tary in Schumann’s Manfred ” but I can really sing’: Canonicity, Legibility, Emily Doolittle (Cornish College of the Arts), Siu Hei Lee (University of California, San Di- and the Politics of Music and Gender in Joan La Barbara’s Cathing” “Songs of Birds and Other Animals” ego), “Listening Through the Disabled Body: Gavin MacFarlane (Lewis & Clark College), One-Handed Pianist Paul Wittgenstein and Madison Heying (University of California, “Frogs in Traffic” Musical Modernism” Santa Cruz), “‘The Magic and Crudeness of the Electronic World’: A Cyborg Reading of Catherine Ludlow (University of Washington), Matthew Buchan (University of California, Riv- Laetitia Sonami’s Lady’s Glove” “Narrative Modalities and Musical Commen- erside), “‘Ecstatic Audiences Leave Aspiring tary in Schumann’s Manfred ” British Opera Composer Horrified’: Investigat- Sasha Metcalf (University of California, Santa Mark Martin (Lakewood, Wash.), “Material ing the Unspeakable in Postwar British Culture Barbara), “Funding ‘Opera for the ’80s and Be- States: Bruckner Revisited” through the Reception of Rutland Boughton’s yond’: The Role of Impresarios in Creating a New American Repertory” Robert Wrigley (University of Puget Sound), The Immortal Hour” “Embracing the Millions: Brahms’s Allusions Ewelina Boczkowska (Youngstown State Uni- to Beethoven in Ein Deutsches Requiem” versity), “Chopin and Propaganda Films, Rocky Mountain Chapter Kerry O’Brien (Indiana University), “‘Machine 1944–49” 27–28 March 2015 Fantasies into Human Events’: Steve Reich and Joshua Charney (University of California, San Technology in the 1970s” Diego), “From Serial to Open-Form: The Mu- Jointly with Society for Music Theory, Stephen Rumph (University of Washington), sic of Netty Simons” Rocky Mountain Chapter, and Society for Ethnomusicology, Southwest Chapter “Bernard Herrmann’s Diary of a Madman: Richard H. Brown (University of Southern Cali- Colorado State University Music, Writing, and Narration in Taxi Driver” fornia, Occidental College), “‘The Cinema De- Paul Harris (University of Puget Sound), “Hid- limina’: Expanded Cinema Aesthetics in John Joel Schwindt (Tucson, Ariz.), “Differentiation ing in Plain Sight: Peculiar Song Forms in Post- Cage and Merce Cunningham’s Variations V of Gendered Discourse and Educational Privi- 70s Mainstream Rock” (1965)” lege in Monteverdi’s Orfeo”  AMS Newsletter Mohammed Pasha (Corpus Christi, Tex.), “So- Mona Kreitner (Rhodes College), “How the Jennifer Walker (University of North Carolina ciety as Cure: Moral Treatment in Brunetti’s Il Sousa Band’s Female Soloists Helped Tell the at Chapel Hill), “‘A Frenchman from Provence Maniatico Symphony” Sousa Story” by Birth and a Jew by Religion’: Darius Mil- Gregg Brandon (University of Arizona), “Men- Michelle Meinhart (Martin Methodist College), haud, Esther de Carpentras, and the French In- delssohn’s Public Statement of Faith: Lobgesang “Rienzi for Graduation: Franklin Harrison terwar Identity Crisis” as Christian Witness” Smith and the Reconstruction of Southern Kirsten Santos Rutschman (Duke University), Michael W. Chikinda (University of Utah), Musical Education at the Athenaeum Girls’ “‘Your Letter Brought Me the Greatest Joy’: Fe- “Persichetti’s Lincoln Address and the Nixon School in Columbia, Tennessee, 1868–88” lix Mendelssohn-Bartholdy’s Correspondence Administration’s Case for Censorship: Why the C. J. Komp (University of Georgia), “À l’envers: with Adolf Fredrik Lindblad” Text of Lincoln Caused an American Work of Contrapuntal Gender Play in Stromae’s ‘Tous Tim Carter (University of North Carolina at Art to be Rejected” les mêmes’” Chapel Hill), “On Batto, Ergasto, and Clori: Shawn Keener (Newberry Library), “The Com- Nancy Riley (University of Georgia), “‘Salute Monteverdi, Marino, and the Sixth Book of 1614 pagnia del Orbo Plays for Its Supper: A Micro- the Majesty’: Bloodshot Records’ Use of Trib- Madrigals ( )” history of a Musical Evening in 1569” ute Albums” Michael Hix (University of New Mexico), Eileen Mah Watabe (Colorado Mesa Univer- Margaret Butler (University of Florida), “Creat- “Songs Against Fascism: Paul Dessau’s Lieder sity), “Haydn’s Proto-Romantic Hymnic Style” ing a European Capital from the Opera Stage: Composed for Lin Jaldati” Heeseung Lee (University of Northern Colo- Cultural Fusion, Sovereignty, and Entertain- James Brooks Kuykendall (Erskine College), rado), “An Offering to Beethoven on the Altar ment in Eighteenth-Century Parma” “Britten’s War Requiem as Post-Christian Pas- of Handelian Sublimity: The Additional Organ César Leal (Sewanee: The University of the sion” Part and Its Meanings in Ignaz Moscheles’ Per- South), “Opera, Waltz, and Cabaret: Music Sanna Pederson (University of Oklahoma), formance of the Ninth Symphony” Publishing Business and Parisian Cultural Life “Wagner Unmanned” Jason Rosenholtz-Witt (Northwestern Univer- During the Fin-de-Siècle” 14 February 2015 sity), “Beyond the Score: Charlotte Moorman Terry Dean (Indiana State University), “The Wake Forest University 26 1 1499 Dissolution of the Rachmaninoff Memorial and John Cage’s ' . " for a String Player” Stewart Carter (Wake Forest University), “Kast- Fund (1943–49): Administrative, Financial, Michael Harris (University of Colorado at Boul- ner, Berlioz, and Sax: Musical Networking in and Ideological Factors” der), “3, 2, 1 Let’s Jam: Time and Music in the Paris in the 1840s” Mary Helen Hoque (University of Georgia), Anime of Shinichiro Watanabe” Oren Vinogradov (University of North Carolina “Scoring Timbre in Caroline Shaw’s Partita for Melanie Schaffer (University of Colorado at at Chapel Hill), “Pointing Fingers, Invisible 8 Voices” Boulder), “Painting and Music as a Gradual Images: The Self-Definition of Programmatic Process: Parallels in the Works of Reich, Roth- Esther Morgan-Ellis (University of North Geor- Composers in Germany” gia), “Warren Kimsey and Community Singing ko, and Newman” Sarah Tomlinson (University of North Carolina at Camp Gordon, 1917–18” Gregory Marion (University of Saskatchewan), at Chapel Hill), “‘And I Have Poisoned Him’: “Duke’s Suites” Jordan Keegan (University of Georgia), “Swing Schönberg’s ‘Warnung’ and the Spectacle of and Sway the Military Way: ‘All-Girl’ Bands Stephen Self (Bethel University), “Egerton 3307: Female Violence” During World War II” New Light On The Faburden-Fauxbourdon Elizabeth L. Keathley (University of North Car- Question” Matilda Ann Butkas Ertz (University of Louis- olina at Greensboro), “Von heute auf morgen: ville), “What Salvatore Viganò’s Pastiche Ballet Sienna M. Wood (University of Colorado at The Schönbergs’ Post-Feminist, Twelve-Tone Scores Can Tell Us about Dance-Mime Drama Boulder), “Liedekens: In Defense of the Fif- Zeitoper” and Musical Dramatic Associations from Ros- teenth- and Sixteenth-Century Polyphonic John Stanislawski (Kennesaw State Univer- sini to Haydn” Song in Dutch” sity–Marietta), “A Holy Ghost: Gram Parsons’ Marie Sumner Lott (Georgia State University), Michael B. Ward (University of Colorado at Southern Gothic Afterlife” “‘Who is the Knight?’: Rights and Responsibil- Boulder), “Richard Wagner and Paris: A Case Matthew Franke (Roanoke College), “Reciting ities in Three Crusader Operas from the Early of Conflicted Cultural Identity” Ossian, Singing Schubert: Intertextual Mean- Romantic Era” Ben Negley (University of California, Santa ings in Massenet’s Werther” Diana Hallman (University of Kentucky), Cruz), “The Ford Foundation Symphony Or- Harrison Russin (Duke University), “Music “Clari, Le Dilettante d’Avignon, and Halévy’s chestra Program: 1966–76” as Poetry: Narrative and Its Means in George French-Italian Reconciliations” Crumb’s Music for a Summer Evening (Makro- kosmos III)” South-Central Chapter Southeast Chapter David B. Levy (Wake Forest University), “Vox 13–14 March 2015 11 October 2014 dei: Beethoven, the Trombone, and his Sym- Belmont University University of South Carolina phonies” Mark Evan Bonds (University of North Caro- Yawen Ludden (Georgia Gwinnett College), Patricia Sasser (Furman University), “The lina at Chapel Hill), “Creeping Romanticism” “An Instrument for the People: Violin Music [Great] Caruso: Critics, Audiences, and a Ten- with Chinese Characteristics during the Cul- or’s Repertoire” Southern Chapter tural Revolution” Helena Kopchick Spencer (University of North 27–28 February 2015 David Haas (University of Georgia), “Beyond Carolina at Wilmington), “The Comique Roots Loyola University the Bombast: What Shostakovich Took from of Queen Marguerite’s Garden: Contextualiz- Bruckner and Why” ing Act II of Les Huguenots” Heather J. Paudler (Florida State University), “Material Culture Matters: Deconstructing La Ysabel Sarte (University of Kentucky), “Straus’s Sarah Elaine Neill (Duke University), “Wait- Pollera in La Danza Bugabita” Narrative of the Fractured Body in the Adagio ing for Erwartung: Audience Expectations and Movement of Mahler’s Symphony No. 9” Schoenberg’s Operatic Success in Prague” continued on page  February 2016  Papers Read at Chapter Meetings Joseph E. Morgan (Middle Tennessee State Uni- Jennifer Ronyak (University of Texas at Arling- versity), “The Immense and Mighty Ocean: ton), “The Problem of Public Intimacy: An-  continued from page Style, Nature, and Form in the Swansongs of dreas Romberg’s Orchestral Setting of Friedrich Michael Vincent (University of Florida), “Goya, Meyerbeer and Weber” Schiller’s ‘Die Sehnsucht’ in Early Nineteenth- Boccherini, and Majismo in Enlightenment Robert Paul Kolt (Ouachita Baptist University), Century Concert Life” Madrid” “Nationalism in Western Art Music: A Reas- Michael T. Lively (University of North Texas), Kathryn Etheridge (Florida State University), sessment” “A Multi-linear Approach to Lewin’s ‘Morgen- “‘Un Grande Amore’: Androgyny, Romance, Jeremy Orosz (University of Memphis), “The gruß’” and Capitalism in the Takarazuka Revue Adap- Last Empress and the Politics of Globalization” Michael Clark (University of Houston), “The tation of Elisabeth” Delphine Piguet (University of Oklahoma), Piano Concerto Transcription: Liszt’s Back April L. Prince (Loyola University New Or- “Shabbat’s ‘Kiddush’: A Study of Orthodox Door Entrance to the Genre” leans), “‘The Lure of the South’: How Women Sephardic Jewish Liturgy” Poster presentations: of Early Country Music and Blues Talk about Megan Woller (University of Houston), “‘You Joshua Albrecht, (University of Mary Hardin / the South in Song” Can Sing Most Anything’: The American Folk Baylor University) and Daniel Shanahan (Lou- Sarah Provost (University of North Florida), Revival in The Sound of Music( 1965)” isiana State University), “The Song Remains “Jack Kleinsinger’s ‘Highlights in Jazz’ and the Aaron J. West (Collin College), “The Police and the Same? The Effect of Oral Transmission on Reception of Jazz Revivalism” the Style Mosaic” Folk Melodies” Scott Warfield (University of Central Florida), Sarah Dietsche (University of Memphis), “Make Donna Arnold (University of North Texas), “Off-Broadway and the Rock Musical” Music, Not War: American Popular Music Op- “Serge Jaroff and the Don Cossack Choir: The Jennifer Thomas (University of Florida), “Music posing Bush’s ‘War on Terror’” State of Research in the Twenty-First Century” and Affective Meditation: A Case Study” Jessica Narum (Concordia College),“Schönberg’s Antonella Di Giulio (University at Buffalo, Lindsey Macchiarella (Florida State University), Nocturne: A Narrative Interpretation of Op. SUNY), “The Labyrinth: Musical Intuitions in “‘I Am God, I Am Nothing’: Psychology, Re- 11, No. 2” an Open Work” ligion, and ‘Free Creation’ in the Journals of Candice L. Aipperspach (South Plains College), Nathan I. Munoz (University of the Incarnate Alexander Skryabin” “Brundibár in History and Production: Holo- Word), “Music Rhetoric in Tomás Luis de Vic- Jeremy Frusco (University of Florida), “Con- caust Studies and the Performance of Musical toria’s O quam gloriosum est regnum” fronting the Fascist Past: Recollection and Rec- Theatre” Charles Olivier (Texas Tech University), “A onciliation in Bertolucci’s Il conformista” Poster presentations: Dance With a Touch of Class: Fugal Practices Felicia K. Youngblood (Florida State Universi- Brian Galica (Texas Tech University), “The in the works of Astor Piazzolla” ty), “Womansong and Women’s Choirs: Sing- Female Songster’s Role: Discussing The Re- Jessica Stearns (University of North Texas), ing Feminism in the Twenty-First Century” Appropriation of Power within Machismo “Soundscape and Landscape: The Denton Arts Kathleen Sewright (Winter Springs, Florida), Culture” and Jazz Festival in Quakertown Park” 170381 “Chicago, Newberry Library MS AC : A Alexander Lawler (University of Houston), “‘Let Kimberly A. Burton (Texas State University), Preliminary Report” Us Not Be Misled’: History Tempered by Ide- “Pavel Haas (1899–1944) and the Second World Xuan Qin (University of Miami), “‘Sighing’ ology in Act 1, Scene 2 of Nixon in China” War (1939–45)” Ornaments: Giuditta Pasta’s Performance in 11 April 2015 Maristella Feustle and Ralph Hartsock (Univer- Bellini’s Norma” University of North Texas, Denton sity of North Texas), “Minstrelsy, Vaudeville, Joshua Neumann (University of Florida), John Michael Cooper (Southwestern Univer- and Jim Crow, as Reflected in the Special Col- “Bookending Tradition: Empirical Models of sity), “Music and Cultural Transfer in the lections of the UNT Music Library” Performance Practices in Giacomo Puccini’s Fourierist Community of La Réunion, Texas Jeremy Logan (Texas State University), “Color- Turandot” (1855–58), With a Little-Known Songbook” Hearing and Music Analysis” Kate Sutton (Florida State University), “‘Old Megan Varvir Coe (University of North Texas), Jakob Reynolds (Texas Tech University), “A Hundred’ and the American Landscape: Trans- “‘L’Accompagnement étrange et charmant’: Musical Geography of 19th Century East End formations in David Maslanka’s Symphony The Unique Role of Aleksandr Glazunov’s In- London” No. 4” troduction et la Danse de Salomée in Ida Rubin- Robert Sanchez (Texas State University), “Chip- Nicole Robinson (Florida State University), stein’s Productions of Oscar Wilde’s Salomé ” tune Music: Then & Now” “Cosmopolitanism vs. Nationalism: English- Joseph E. Jones (Texas A&M University- Language Opera in Nineteenth-Century Nico Schüler (Texas State University), “Canto- Kingsville), “Prima la musica e poi le pa- America” metrics Revisited” role? Symphonic Sketching and the Strauss- Andrew Fisher (Texas State University), “Cre- Hofmannsthal Collaboration” ating a Roleplaying Playground: Immersing Southwest Chapter Drew Stephen (University of Texas at San Anto- Players in the Blood Elf Story in Blizzard En- nio), “A Music-Focused UTSA Study Abroad 5 6 2014 tertainment’s World of Warcraft” – September Program in Urbino, Italy (Spring 2016)” Ouachita Baptist University Drew Stephen (University of Texas at San Anto- Benjamin Dobbs (University of North Texas), nio), “A Music-Focused UTSA Study Abroad Stephen Husarik (University of Arkansas – Fort “The Interdisciplinary Curriculum of the Sev- Program in Urbino, Italy (Spring 2016)” Smith), “Beethoven and the Baths: A Study in enteenth Century” Human Survival” Nicholas Lockey (Sam Houston State Univer- Upcoming Chapter Meetings Kevin Mooney (Texas State University), “Resur- sity), “Ideologies of Ensemble Size in the Ba- See www.ams-net.org/chapters/ recting the Son: Reinterpreting Goethe’s ‘Der roque Concerto: The Contest between Histori- upcoming-meetings.php Erlkönig’” cal Fact and Modern Imagination”  AMS Newsletter 75 Years Ago: 1940–41 American Musicological Society, Inc. • The Southern California Chapter (Wal- Statement of Activities for the Fiscal Year Ending ter Rubsamen, Chair) and the Northwest June 30, 2015 Endowment: Chapter (Otto Gombosi, Chair) were Fellowships, created. Chapters continued to be focal Current Awards, points of activity, with a number of papers Revenue operationsPublications Undesignated TOTALS presented at chapter meetings published in Dues & subscriptions $ 374,005 $ 374,005 The Musical Quarterly. The Society pub- Annual meeting $ 248,946 $ 248,946 lished abstracts of all papers presented at Sales/Royalties $ 41,119 $ 3,989 $ 45,108 Government grants $ 94,662 $ 94,662 chapter meetings in its Bulletin (available Contributions $ 22,211 $ 352,178 $ 374,389 online). In addition, the Society published Investment income $ 2,029 $ 83,772 $ 116,550 $ 202,351 Papers of the American Musicological Society Total revenue $ 666,099 $ 204,634 $ 468,728 $ 1,339,461 between 1940 and 1946, consisting of full texts of papers read at the Annual Meet- Expenses ings. (The first volume of JAMS appeared Salaries & benefits $ 216,378 $ 87,152 $ 303,530 in 1948.) Subventions, Fellowships $ 83,772 $ 78,750 $ 162,522 Dues & subscriptions $ 3,705 $ 3,705 50 Years Ago: 1965–66 Publications $ 148,225 $ 7,705 $ 155,930 Professional fees $ 11,448 $ 11,448 • The Board met independently in the city Annual meeting $ 158,800 $ 37,629 $ 196,429 of the Annual Meeting (Ann Arbor, Mich.) Chapters $ 7,748 $ 7,748 for the first time. Office expense $ 68,179 $ 21,910 $ 90,089 • Barry Brook, Chair of the ad hoc Com- Unrealized loss in investment $ 30,752 $ 82,616 $ 113,368 mittee on Graduate Standards, presented Total expenses $ 614,483 $ 231,291 $ 198,995 $ 1,044,769 its recommendations to the Board. • Problems with aspects of the Ann Ar- Change in Net Assets $ 51,616 $ (26,657) 269,733 $ 294,692 bor Annual Meeting led to establishing a Board member as Program Committee chair, with the President to be copied on Statement of Financial Position 1966 June 30, 2015 all committee correspondence for . Endowment: • AMS member Henry Cowell died. Fellowships, • At their 19 March 1966 meeting, the Board Current Awards, prepared the 1966 call for papers. It stated Assets OperationsPublications Undesignated TOTALS in part: “Suggestions for papers will be Cash $ 208,482 $ 208,482 welcomed (the sooner the better) in qua- Accounts receivable $ 1,816 $ 1,816 Investments $ 1,645,353 $ 4,420,358 $ 6,065,711 druplicate, with the amount of time and Equipment $ 19,921 $ 19,921 equipment needed, plus an abstract of the Funds held in trust $ 20,848 $ 13,149 $ 33,997 subject matter up to 500 words. The hope is to complete all but the final details of the Total assets $ 231,146 $ 1,665,274 $ 4,433,507 $ 6,329,927 program by early June.” (JAMS 19 (1966), 116) Liabilities • The Florida-Georgia Chapter was created. Accounts payable $ 5,512 $ 5,512 Deferred Income $ 14,900 $ 14,900 • Hans Tischler’s edition The Earliest Motets Funds held in trust $ 20,848 $ 13,149 $ 33,997 (to circa 1270): A Complete Comparative Edition was proposed for AMS publication Total Liabilities $ 41,260 $ 13,149 $ 54,409 support. (It was published, with AMS sup- port, in 1982.) Net assets $ 189,886 $ 1,665,274 $ 4,420,358 $ 6,275,518 • The first issue of Current Musicology was Total Liabilities & Net Assets $ 231,146 $ 1,665,274 $ 4,433,507 $ 6,329,927 published under the direction of Colum-

bia University graduate students. Total Liabilities & Net Assets, June 30, 2014: $ 6,035,235 25 Years Ago: 1990–91 • 386 abstracts were submitted to the pro- • The final volume of the Complete Works of • Treasurer and Executive Director Alvin H. gram committee for the 1991 meeting in William Billings was published. Johnson was presented a Festschrift, Essays Chicago. 29% were accepted. (The Soci- • At the joint AMS/SEM/SMT Oakland in Musicology (ed. Lewis Lockwood and ety’s membership was 3,600.) Annual Meeting, Harold S. Powers pre- Edward Roesner). • Council ad hoc committees on minorities sented the plenary lecture, “Three Pragma- • The AMS series AMS Monographs (Law- and outreach were established. tists In Search of a Theory.” rence F. Bernstein, editor) was established. February 2016  Obituaries Alan S. Curtis (1934–2015) Alan Curtis, pioneering harpsichordist, Ba- The Society regrets to inform its members of the deaths of the following members: roque opera conductor, and emeritus Profes- Cecil Adkins, 4 November 2015 Luise Eitel Peake, 14 January 2016 sor of Music at the University of California, John Boe, 27 September 2015 Leonard M. Phillips, 20 January 2016 Berkeley, died in Florence on 15 July 2015. George Diehl, 20 September 2015 Zoltan Roman, 30 September 2015 Born in Michigan, Curtis studied piano with Theodore C. Karp, 5 November 2015 Joel Sheveloff, 8 November 2015 Soulima Stravinsky at the University of Illi- Lawrence Lieberfeld, 8 October 2015 nois, where he earned a Ph.D. in musicology Cecil Adkins (1932–2015) Instrument Society awarded him its Curt with a dissertation on the keyboard works of Sachs Award in 1999 in recognition of his dis- Sweelinck (1960, published 1972). He received Cecil Adkins, University of North Texas Re- tinguished contributions to the study, history, a Fulbright grant to study harpsichord with gents professor of musicology emeritus, died and preservation of musical instruments. Gustav Leonhardt (Amsterdam, 1957–59). at his home in Denton, Tex. on 4 November —Margaret Notley Like Leonardt’s, Curtis’s performances were 2015. Born and raised in Iowa, he received grounded in knowledge of original sources a B.F.A. from the University of Omaha, a Clyde W. Brockett (1935–2015) and performance practices, but were always M.Mus. from the University of South Dako- Clyde W. Brockett, Falk Professor of Music fresh and original; of particular note were his ta, and a Ph.D. from the University of Iowa. emeritus at Christopher Newport University, interpretations of the unmeasured preludes Between completing his bachelor’s degree and died peacefully at his home in Chesapeake, of Louis Couperin and of Bach’s “Goldberg” starting doctoral work, he served for two years 23 2015 Variations. (He was the first to perform and as an army band assistant conductor and ar- Va. on June . After completing his record the fourteen canons on the aria’s bass ranger at Ft. Hood, Tex.. Adkins took his first undergraduate degree in music at the Col- line the composer appended to the score.) and only professorial position at North Texas lege of William and Mary, he enlisted in the From 1960 to 1994 Curtis taught at UC State University (now the University of North U.S. Navy, attaining the final rank of lieuten- Berkeley; beginning in the 1970s, as his per- Texas) in 1963, retiring thirty-seven years later ant commander. After discharge from active in 1999. duty, he attended Columbia University and forming career blossomed, he resided for part 1962 Adkins wrote a foundational dissertation on earned the M.A. and Ph.D. ( ) in musi- of the year in Europe. His manner of teach- the monochord and was an active organolo- cology. Following a visiting appointment at ing was infectious (if also amiably chaotic), 1977 gist throughout his life. Among other proj- Duke University, in he joined the faculty and he was indisputably the leading figure ects, which included a study of early oboes left of Christopher Newport University, where he of the West Coast early music movement. incomplete at his death, he collaborated with taught for twenty-five years. He taught cours- He led the Collegium Musicum and guest his wife, Alis Dickinson, on a book about the es and seminars in music history and world artists in memorable productions of Monte- trumpet marine (1991). Adkins also built in- music, and directed the university’s Collegi- verdi’s L’incoronazione di Poppea, Rameau’s struments: at a UNT concert I attended in um Musicum. La Naissance d’Osiris, and many other works, 1999, one of the performers played a viola that He was the author of Antiphons, Responso- typically producing his own editions. Curtis’s he had made. ries, and Other Chants of the Mozarabic Rite later editorial projects, some in collaboration With Dickinson, Adkins was responsible (1968), the subject of his dissertation research, with violinist Alessandro Ciccolini, included for compiling the AMS-sponsored Doctoral and Letania and Preces: Music for Lenten and reconstructions of incompletely-surviving op- 2006 Dissertations in Musicology from 1968 until Rogations Litanies ( ). He edited the late eras, such as Vivaldi’s Motezuma and Gluck’s 1990, a project that required enormous ef- eleventh-century anonymous De modorum Demofoonte. formulis et tonarius, Corpus scriptorum de fort; their work remains the foundation of the In Amsterdam in 1977 Curtis founded Il musica 37 (1997), about which he also con- present database, www.ams-net.org/ddm/. At complesso barocco, leading the orchestra in tributed the entry in the New Grove. His re- UNT he was much sought-after as a thesis path-breaking performances and recordings search interests included Gerbert of Aurillac, and dissertation adviser, well known for his of Baroque operas; their 1978 recording of a tenth-century scholar, and medieval drama, meticulous attention to detail. Handel’s Admeto inaugurated a long associa- In addition to his responsibilities as a teach- a topic he surveyed for different readerships tion with that composer. Thanks in large part er and adviser, his organology research, and in articles ranging from the Fleury Playbook to Curtis’s exacting standards regarding sing- DDM work, Adkins organized and directed to antiphons sung in connection with the ers and close attention to text, the ensemble’s UNT’s Collegium Musicum. With typical tenth-century Quem quaeritis. After retire- performances in such venues as Spoleto, La energy and industry, he provided the Colle- ment he focused on liturgical processions and gium with high quality and unusual music processional antiphons, making careful tran- Scala, La Fenice, and Versailles convinced with his editions and translations of Ignaz scriptions of the chants in this extensive rep- many previously skeptical listeners of the Josef Pleyel’s marionette opera Die Fee Urgele ertory and examining the manuscript sources, dramatic efficacy of opera seria. Notable col- (1972) and Orazio Vecchi's madrigal com- many in situ. He reported findings of what laborators in recent years included the singers edy L'Amfiparnaso (1977), the latter the first he termed this “retirement project” at recent Ann Hallenberg and Joyce DiDonato, and in volume in the University of North Carolina meetings of the International Musicological the expatriate novelist Donna Leon he and his Press's Early Musical Masterwork series. To- Society Study Group “Cantus Planus.” Those group found a fervent and generous sponsor. gether with his distinguished scholarly work, colleagues who knew or corresponded with Curtis was a connoisseur and collector of mu- Adkins’s decades-long contributions to the him, as I did, could not have failed to have sical instruments, antiques, and works of art, UNT Collegium Musicum provided the basis been impressed by his generosity as a scholar, and as a gregarious host he shared his enthusi- for the fine early music program that now ex- graciousness, and warm manner. asms with many friends and colleagues. ists at the university. The American Musical —James Borders —Bruce Alan Brown  AMS Newsletter Roland Jackson (1925–2015) (see p. 3), which will recognize outstanding CFPs and Conferences articles in the field of music analysis. continued from page  Claremont Graduate University emeritus —John Koegel musicology professor Roland Jackson died in Encinitas, Calif. on 4 June 2015. He was born Theodore C. Karp (1926–2015) Conferences in 1925 in Milwaukee, where he began musi- Ecomusicologies 2016: Locations Theodore C. Karp, Northwestern University cal study. He received the B.Mus. in 1948 and and Dislocations professor emeritus, died at his Wilmette, Ill. the M.Mus. in 1947, both from Northwestern April 8–10, 2016 home on 5 November 2015. He joined the University. From 1948 to 1950 he taught at Westminster Choir College of Rider Univer- University of California, Davis faculty in Northland College, and then spent two years sity, Princeton in Europe on a research fellowship, studying 1963, where he became professor of music with Olivier Messiaen, Solange Corbin, and in 1971. From 1973 until his 1996 retirement, “Musicking: Performance, Jacques Handschin. Manfred Bukofzer en- he was professor of music at Northwestern, Politics & Personalities” couraged Jackson to enter the University of where he chaired the department of music 12–16 April 2016 California, Berkeley musicology doctoral pro- history / musicology from 1973 to 1988, and University of Oregon gram, where he wrote his Ph.D. dissertation expanded its Ph.D. program. Society for Seventeenth-Century Music on the keyboard music of Giovanni Maria Born to a musical family in New York City, 14–17 April 2016 Trabaci (1964). After teaching at the Univer- he attended The Juilliard School (Diploma Florida International University, Miami sity of Arkansas (1958–60), Ohio University in Piano, 1946), and Queens College, City (1961–62), and Roosevelt University (1962– University of New York (B.A., 1947). An early Periods And Waves: A Conference 70), he was appointed to the Claremont participant in the Fulbright Exchange pro- on Sound and History faculty in 1970, where he remained until his gram, he enrolled at the Catholic University 29–30 April 2016 retirement in 1994. of Leuven, Belgium, studying with Abbé Len- Stony Brook University Jackson was instrumental in expanding the aerts (1949–50). In 1960 he earned the Ph.D. International Congress on CGU music program in the 1980s, establish- from New York University, where he studied Medieval Studies ing doctoral programs in musicology, compo- with Curt Sachs and Gustave Reese. 12–15 May 2016 sition, performance, conducting, and church A musician with a wide knowledge of art Western Michigan University, Kalamazoo music. He founded the journal Performance and popular music, Karp devoted his schol- Canadian University Music Society Practice Review, which he edited from 1988 to arly attention to medieval and Renaissance 1–3 June 2016 1997. Jackson directed many CGU master’s music. Examining in his first book the chan- University of Calgary theses and doctoral dissertations, leading by sons of the Châtelain de Coucy (the subject model and suggestion rather than by insis- of his dissertation), he next turned to Saint Teaching Music History tence, willing always to put a student’s needs Martial and Calixtine polyphony, and the 3–4 June 2016 above his own research. Harmonie Park Press problems of rhythmic treatment and voice Metropolitan State University of Denver 1997 published a Festschrift in his honor in , alignments. Following his musical intuition, Music in Performance and Society: Essays in Joseph Joachim at 185 he applied modal rhythm to these repertories. Honor of Roland Jackson, with twenty-five es- 16–18 June 2016 The first of his two books on plainchant, As- says by colleagues and students. Goethe Institut, Boston pects of Orality and Formularity in Gregorian Jackson’s scholarship was far ranging, from Chant (1998), examines traces of the reper- Medieval and Renaissance Music computer music studies (he was one of the first tory’s oral transmission, notated record, and 5–8 July 2016 in the field in the 1960s), early music (stud- related theoretical tradition in a series of case University of Sheffield ies and editions of the music of Frescobaldi studies with extraordinary musical insight. An and Marenzio), nineteenth-century music, Introduction to the Post-Tridentine Mass Proper film music, performance practice, and mu- AMS Membership Totals 2015 (2005) and accompanying synoptic edition sic analysis. He always sought to understand AMS Membership Totals is an important contribution to the history better the close connections between musi- Current total membership (as of 30 Novem- of early-modern chant, demonstrating that cal performance, analysis, and musicological ber 2015): 3,129 (2014: 3,270). scholarship. His magisterial Performance Prac- the so-called reforms of the late sixteenth 2014 members who did not renew: 592 tice: A Dictionary-Guide for Musicians (2005) and early seventeenth centuries were neither reflects his many decades of work in this as long-lived nor as widely adopted as had Institutional subscriptions: 822 (837) field. An extensive collection of his profes- been assumed. He was a charter member of sional materials is at The Honnold Library of the International Musicological Society Study Breakdown by membership category the Claremont Colleges, and a research prize Group “Cantus Planus.” He published a pop- • Regular, 1,409 (1,484) will support work in that collection. Jackson ular dictionary of music, over fifty entries on • Sustaining, 9 (12) continued his research until shortly before his troubadours and trouvères for the New Grove, • Low Income, 377 (374) death. His last article, “Schoenberg after 1908: and numerous journal articles and reviews. • Student, 767 (839) Combined Chords, Abbreviated Keys, and He was a much-beloved professor. Those who • Emeritus, 330 (333) Tonality,” appeared posthumously in Studi worked closely with him felt themselves privi- • Joint, 74 (75) Musicali (2015). Because of his enduring inter- leged to be in the company of such an inquisi- • Life, 68 (65) est in music analysis, he established through a tive, thoughtful, musical, and witty scholar. • Honorary and Corresponding, 76 (70) bequest the new AMS Roland Jackson Award —James Borders • Complimentary, 19 (18) February 2016  American Musicological Society Bowdoin College Nonprofit org. 6010 College Station U.S. Postage PAID Brunswick ME 04011-8451 Mattoon, IL Permit No. 217 Address service requested

Meetings of AMS and Related News from the AMS Statistician Societies In the February 2014 AMS Newsletter, Chris- Perhaps the strongest demographic push 2016: topher Reynolds dedicated a large portion of comes from an initiative announced by Chris SAM: 9–13 March, Boston, Mass. his President’s Message to the Society’s chang- Reynolds, continued by Ellen Harris, and CMS: 27–29 Oct., Santa Fe, N.M. ing demographics as well as those in academia shepherded by Bob Judd to get an enhanced AMS/SMT: 3–6 Nov., Vancouver, B.C. at large. While his focus was on the roles of sense of our Society’s constituency. As of De- SEM: 10–13 Nov., Washington, D.C. contingent faculty, he also noted the impor- cember 2015 the AMS demographic survey tance of demographic surveys undertaken by has roughly 1130 participants, a response rate Next Board Meetings a number of scholarly societies. Last year in of approximately 30%. This is almost triple the AMS Newsletter, President Ellen Harris The next meetings of the Board of Direc- the number of respondents compared to a also emphasized the importance of diversity tors will take place 2–3 April 2016 in Or- year ago, and I hope others will fill out the both in scholars and in scholarship. Yet it is lando and 2 November in Vancouver. difficult to establish how successful we are survey when renewing membership. Self- in supporting various kinds of diversity and reporting of member information is critical, Newsletter Address and Deadline because otherwise our demographic analyses groups within our membership without com- Items for publication in the next issue of will be based solely on guesswork, such as try- piling and analyzing relevant data. the AMS Newsletter must be submitted With this background in mind, I am ex- ing to guess gender based on names or trying by 1 May to the editor: cited to assume my position as the AMS’s in- to estimate career status on the basis of some- augural Statistician. In the past few months I times imprecise affiliations or titles. Although James Parsons have heard about many projects and discus- there are still significant gaps, we are begin- AMS Newsletter Editor sions already in progress, including Kendra ning to have enough data to generate some Missouri State University Preston Leonard’s work compiling AMS na- preliminary reports, which I hope to share in [email protected] tional conference statistics, JAMS editor W. the next Newsletter. Anthony Sheppard’s preliminary survey on TheAMS Newsletter (ISSN 0402-012X) In the meantime, I welcome input from is published twice yearly by the Ameri- gender disparities in musicology publications, AMS members relating to their concerns and Robert Judd’s interest in how musicology can Musicological Society, Inc. and about data and demographics within the So- jobs are listed and classified in the Chronicle mailed to all members and print sub- ciety. I particularly look forward to discus- of Higher Education (as well as discrepancies scribers. Requests for additional copies sions about what types of information would between those statistics and the job listings of current and back issues of the AMS posted to AMS lists). I have also had conver- be most helpful to answer the questions that Newsletter should be directed to the sations with the Statistician of the Society for we have about our own make-up, diversity of AMS office. various kinds and in various roles within the Music Theory Gabriel Fankhauser concerning All back issues of the AMS Newsletter Society, and ongoing trends in the changing the possibility of collaboration among vari- are available at the AMS web site: landscape of our discipline. ous music societies in order to gain a better www.ams-net.org/newsletter understanding of demographics within the —John Z. McKay broader discipline. [email protected] Claims for missing issues must be made within 90 days of publication (overseas: 180 days). Is your member profile up to date?Log in to the AMS web site, visit your profile page, and confirm the demographic details: www.ams-net.org Moving? Please send address changes to: AMS, [email protected].

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