AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLIII, NUMBER 1 February 2013 ISSN 0402-012X AMS Pittsburgh 2013: Music n’at 2012 Annual Meeting: in the Steel City New Orleans

AMS Pittsburgh 2013 when lights outline these features and sparkle The seventy-eighth Annual Meeting of the off the water. American Musicological Society in New Or- 7–10 November A century ago, the night would have been leans, 1–4 November, fell just days after Hur- www.ams-net.org/pittsburgh lit by the flames of massive steel furnaces. The ricane Sandy struck. Some members were thick smoke from coal-burning plants had badly affected by the storm, while many others suffered indirectly with flight delays Those of us who grew up watching Mister long hung over the city; an Atlantic writer and cancellations. Absent friends were never Rogers’ Neighborhood likely recall the pleasure dubbed it “Hell with the Lid Off ” in 1868. far from the thoughts of those who made it, of seeing the trolley emerge from the tun- In the 1940s streetlights came on during the while tales of the travel-worn were a theme nel into the Neighborhood of Make Believe. day, and businessmen took two white shirts of many lobby reunions. What more under- According to Deane Root, Rogers acknowl- to work, because the first would be smudged standing and gracious host for the assembled edged that the trolley’s journey was inspired by noon. For years Pittsburghers didn’t com- than New Orleans? In the days that followed, by the city in which he produced his show for plain; the smoke signaled employment and the city was a generous backdrop to the con- thirty-five years. Driving in from the airport, wages for immigrant workers, and huge prof- ference program as delegates continued con- Pittsburgh looks like a hillier version of any its for Carnegie, Frick, Mellon, and Heinz. versations over beignets, coffee, and a stroll Midwestern metro area until one climbs over Local activism cleared the smoke by the mid- through the French Quarter, or ventured out Green Tree Hill and makes the steep descent 1960s, but in the 1980s a changing economy to enjoy samplings of the city’s vibrant and into the Fort Pitt Tunnel. It’s a longish tun- snuffed out most of the fires. Only one of diverse musical life. nel with a low ceiling, but the exit vista is the major steel mills remains, with far fewer The meeting was joint with the Society workers. Much of the population left, as evi- magical: rivers, bridges, trains, skyscrapers, for Ethnomusicology and Society for Music denced by the legions of Steeler fans that now knots of roadway, stadiums, riverboats—a Theory, and it was agreed as early as 2010 that invade rival stadiums. In the last twenty-five city dreamed up by a model railroad build- the three societies would allocate program years, however, Pittsburgh has experienced er. The scene is equally impressive at night, space for collaborations between the societies, another Renaissance, with banking, educa- as well as plan their regular individual society In This Issue… tion, and medicine creating a stable and di- programs. The Joint Sessions on this year’s verse economy. President’s Message ...... 2 program were thus a new departure, and I am When you exit the Fort Pitt Tunnel, you particularly grateful to Jocelyn Neal and Bon- JAMS News ...... 3 won’t be far from the conference hotel. The 5 nie Wade, chairs of the Program Committees What I Do in Musicology . . . . . Wyndham Grand is the closest commercial 6 for SMT and SEM respectively, for their hard Awards, Prizes, Honors ...... building to the Point, Pittsburgh’s defining 14 work throughout the year as we coordinated Treasurer’s Message ...... geographic feature, where the Monongahela Executive Director’s Message . . . 14 this aspect of the program. This year’s AMS and the Allegheny flow into the Ohio River 2013 News from the AMS Board . . . .14 Program Committee (Dana Gooley, (locally, the Mon, the Al, and the O). Con- AMS-Sponsored Lectures . . . . 15 chair, Nadine Hubbs, Mary Hunter, Gayle tested during the French and Indian War, the Vancouver Int’l Song Institute . . .16 Sherwood Magee, Giulio Ongaro, and Jeffrey Point saw the French Fort Duquesne give Ecomusicology Listening Room . .18 Sposato) thus had the added task of evaluat- way to the British Fort Pitt; a reconstructed AMS Elections 2013 ...... 19 ing AMS-related Joint Session proposals and bastion is now a museum. After World War Committee & Study Group News . 22 did so with great care and insight. That same Post-Conference Survey Report . . 27 II the area became Point State Park, with its attitude characterized their contributions Conferences, CFPs ...... 27 iconic fountain that will reopen this summer. when we met in Louisville in April to evaluate News Briefs ...... 28 The Three Rivers Heritage Trail provides an the AMS proposals. The group worked har- Papers Read at Chapter Meetings . .29 easy path through the park and over the Al moniously and with admirable care for due Financial Summary 2012 . . . . .36 to the North Side, where you can visit Heinz process, bringing different perspectives and Obituaries ...... 37 continued on page  continued on page  President’s Message: Teaching, Research, and the Object of the AMS

Our meeting in New Orleans brought to a introduced in this space a year ago when she Ethnomusicology, and the Society for Amer- close my year as President-elect, my year of asked “How can we do ‘public musicology’ ican Music (the current and incoming presi- learning about the workings of the society. better?” A month later, the AMS Board met dents of SAM were present because both are Of the various activities, one that was both in New Orleans and had a retreat devoted in AMS members). This was possibly the first inspiring and onerous was serving as chair of part to this topic (see her report in the Au- such dinner ever, although our knowledge the Committee on Committees. Armed with gust 2012 AMS Newsletter). Although there of who socialized with whom when only ex- several Excel files of current and past com- are no statistics on this matter, from my tends so far. The best illustration of how im- mittee rosters, I and the other four members own friends and acquaintances, it seems to portant we all felt this gathering to be is that of CommComm (Graeme Boone, Wendy me that the broad range of activities that we it took us nearly sixty emails to slog our way Heller, Melanie Lowe, and Hilary Poriss) set call “teaching” engage as many people in the through our busy schedules to find a time about replacing eighty-five of the 340 people AMS as does research. Pre-concert-lecturers that worked for us all. who serve on one of the Society’s thirty-nine teach, bloggers teach, librarians teach, mu- While one of the goals was simply to get committees. sic-editors and publishers teach. Members acquainted, we also discussed a variety of I find that to be an astonishing set of num- who perform know that there is as much concerns we all share. Among these were bers. They signal how important our mission teaching in performance as there is perfor- various versions of what we are calling “pub- is to so many of us. Hours and hours—in- mance in teaching. lic musicology,” plenary lectures (we are the deed, days and weeks—went into shaping To riff on an orange juice and breakfast odd ones out here, something I hope we can the committees to the best of our abilities, jingle from several decades ago: musicol- address), developments in technology as they balancing areas of specialization, gender, ge- ogy isn’t just for college professors anymore affect our journals and annual meetings, as ography, degrees of seniority, and the wishes (nor was it ever). A broader view of teach- well as the possibility of reduced-rate mem- of volunteers with the available slots. Once ing inevitably requires a broader view of berships in each others’ societies (please con- our work was done, we sent our recommen- why one might pursue graduate studies in tact me if you can think of a way to make dations to President Anne Walters Robert- this happen without reducing the revenue we son, who made the final selections and then Musicology isn’t just for all get from dues). began extending the invitations to serve. I college professors anymore The extent to which the sessions in New later asked her which percentage of people Orleans achieved successful mixes of papers said yes. “Virtually all,” she said (or words read by members of our various societies was to that effect), “and with enthusiasm.” When musicology—which is itself a conversation truly remarkable. Permutations of AMS/ I describe this to colleagues in other disci- that has long simmered. Here in Davis we SEM, AMS/SMT, SMT/SEM (such as that plines I get various expressions of disbelief. A just today received news of a joint initiative on “Rhythm and Dance”), and even AMS/ spirit of altruism is alive and unusually vigor- of the University of California Humanities SEM/SMT (such as “Popular Music and ous in the AMS. Network and the Andrew J. Mellon Foun- Power”) made up a significant portion of the The New Orleans meeting featured a dation on “The Humanities and Changing sessions. I was able to attend a few of these relatively uncommon event for our society: Conceptions of Work.” Clearly the Society that were packed (for example, that on Sgt. a general meeting of members to discuss has tapped into concerns broader than our Pepper’s Lonely Hearts Club Band). While we changes to our by-laws. Although there were own slice of the disciplinary pie. owe our gratitude to the program commit- other small changes, the one that provoked Then, too, the thought that acknowledg- tees of all three societies, I happily extend the most attention was that to alter the Soci- ing teaching in some way diminishes the special thanks to our committee: Emma ety’s object statement, inevitably an exercise importance of research overlooks the fact Dillon, chair, Dana Gooley, Nadine Hubbs, that many current members are members that invites strong feelings. The change from Mary Hunter, Gayle Sherwood Magee, Gi- our declaring that the “object of the Society not because they are currently researching, ulio Ongaro, and Jeffrey Sposato. Your ardu- shall be the advancement of research in the but because they once engaged in research; ous labors were worth the effort! various fields of music as a branch of learn- they now pay dues, read the Journal, and at- —Christopher Reynolds ing and scholarship,” to one that specifically tend meetings because the society provides recognizes teaching as one of our activities forums for maintaining contact with the lat- had been hotly debated on AMS-L in the est developments in scholarly areas that they weeks leading up to our meeting. The pas- long ago helped to shape. The goal, there- sions spilled into the Friday evening session. fore, of our newly worded object statement By-laws Ballot Steve Swayne’s wonderful stint as sergeant- is not to place professors on a pedestal but to Members will soon receive bal- at-arms (what a talent!) kept the motions honor the diversity of what it is we do and to lots (via paper mail) pertaining to and counter motions from getting tangled. make clear our intention to contribute our Now that we have held this meeting, the pro- expertise and our passions in as many ways amending the AMS By-laws. They posed changes in the by-laws will be mailed as possible. will be sent to your account address to each member for a vote. If two-thirds of Because this past meeting was a joint meet- on file. See www.ams-net.org/By- us approve, the changes will be adopted. ing, I took advantage of the opportunity to laws-ballot-2013.php for details re- My take on this question is that it relates arrange a dinner with the presidents of the garding the proposed changes. to an endeavor that Anne Walters Robertson Society for Music Theory, the Society for  AMS Newsletter JAMS News

W. Anthony Sheppard, Editor-in- American art and popular music history. His Chief first book, Revealing Masks: Exotic Influences and Ritualized Performance in Modernist Mu- The AMS is pleased to announce the appoint- sic Theater (2001), received the Kurt Weill ment of W. Anthony Sheppard as Editor-in- Prize, his article on Madama Butterfly and Chief of JAMS for a three-year term begin- film earned the ASCAP Deems Taylor Award, ning with volume 67 (2014). and his article on World War II film music W. Anthony Sheppard is Professor of Music was honored with the Alfred Einstein Award. and Department Chair at Williams College, His discoveries concerning Puccini and the where he teaches courses in twentieth-century influence of musical boxes have been featured music, opera, popular music, and Asian mu- in the New York Times and on PBS. Shep- sic. He earned his B.A. at Amherst College pard’s research has been supported by grants and his M.F.A. and Ph.D. from Princeton from the NEH, the American Philosophical University. His research interests include Society, and the Institute for Advanced Study, twentieth- and twenty-first-century opera Princeton. He is currently completing a book and music theater, film music, vocal timbre, cross-cultural influence and exoticism, and continued on page  W. Anthony Sheppard

AMS Pittsburgh 2013 AMS New Orleans 2012 between the field, while others were born of the natural intersections of interests to explore  continued from page continued from page  topics ranging from religion to ecomusicol- ogy to the North Atlantic fiddle. As a result, Field, PNC Park, the Carnegie Science Cen- expertise to the table. The result was a bal- there was something for everyone, as well as ter, the Andy Warhol Museum, the Mattress anced and varied list of acceptances. ample opportunity for people to learn about Factory (contemporary art), the Children’s With the addition of the Joint Sessions to aspects of the fields with which they were less Museum, and the National Aviary. the regular AMS roster, and the offerings of familiar. Formats were also more varied, with Walking the opposite way from the Point two parallel Society programs to draw on, the sessions such as the Ecomusicology Listening leads to the Cultural District along Penn Ave- 2012 program was without doubt the largest Room providing a departure from the norm nue. At 6th Street is Heinz Hall, home of the the Society has ever seen. At peak times, del- and pointing the way to continued explora- world-class Pittsburgh Symphony Orchestra. egates had close to twenty-five sessions from tion of alternative presentation formats in fu- On Friday and Saturday nights the PSO will which to choose, spread across the three soci- ture meetings (see the story on p. 18). perform Prokofiev’s Violin Concerto No. 1 eties and spanning two different conference In addition to the discussions occurring with Arabella Steinbacher, as well as Rimsky- venues. No wonder, then, that many opted inside individual sessions, which were often Korsakov’s Sheherazade, conducted by Rafael to eschew the trusty paper program booklets packed to capacity, lively debate and discus- Frühbeck de Burgos. Just past the Pittsburgh in favor of the smartphone app that could be sion spilled out into the lobbies, corridors, and Public Theater and the Civic Light Opera’s accessed through all manner of mobile gad- book display, generating an audible “buzz” at Cabaret is the Benedum Center, where the get. If the joint nature of the meeting ensured peak times post-sessions. The common spaces a diversity of topic coverage, the AMS-only Pittsburgh Opera will be performing during were also a good place to get a measure of the portion also reflected the varied nature of the meeting. Further on is the August Wilson range of participants attending. It was heart- the field at present. Taking a cue from the Center for African American Culture, with ening to see the multi-generational nature of individual and session proposals yielded by art exhibits, dance, and theater. Throughout the societies, with emeriti rubbing shoulders the evaluation process, session programming the District are tempting restaurants of many with possible future members of the societies tried to reflect the multiplicity of methods who accompanied their parents into the fray. different cuisines as well as a jazz club or two, and approaches practiced in the field. Sessions The local arrangements team (Alice V. though the main address for jazz is the Man- covered everything from early music to more Clark, chair, Valerie Goertzen, and William chester Craftsmen’s Guild on the North Side. recent fields of music and video games, while P. Horne) did sterling work to provide those Of course, there is also our Annual Meet- single-composer sessions (e.g., “Chopin Re- new to the city with beautiful guidelines and ing! As the program and performance com- visited” and “Ciconia”) ran alongside topic- directives to make the most of their time mittees (Dana Gooley and Catherine Gor- based sessions (e.g., “Singers: Practices, Roles” outside the conference sites. Meanwhile, don-Seifert, chairs) make their selections, the and “Politics, Propaganda, and Mourning”). faced with the embarrassment of musical local arrangements committee will be post- Period-specific sessions (e.g., “Making a riches on offer, the Performance Committee ing at www.ams-net.org/pittsburgh over the Musical Living in Baroque Germany”) were (Steve Swayne, chair, Alice V. Clarke, Cath- coming months, including restaurant recom- counterpointed by sessions whose rationale erine Gordon-Seifert, 2013 chair, and Jeffrey mendations, ticket information, n’at (Pitts- resulted in a broad temporal or geographical Kite-Powell) likewise guided participants to burghese for “and stuff ”). We look forward reach (e.g., “Opera on the Move,” “Musical a thoughtful and enticing range of musical to welcoming yinz to Pixsburgh. Migrations,” and “Cantus”). Some Joint Ses- offerings. —Matthew Baumer sions offered direct reflection on relations —Emma Dillon

February 2013  JAMS News (2010–2011), where she worked on her new A Message from W. Anthony book project Quirks in Tonality: Aspects in the  Sheppard continued from page History of Tonal Space. She has served on the entitled Extreme Exoticism: Japan in the Amer- editorial boards of Music Analysis and Music I am honored to serve as Editor of this illus- ican Musical Imagination and is launching Theory Spectrum, and she is currently a mem- trious journal and, like my predecessors, aim a new project entitled The Performer’s Voice: ber of the AMS Council. to publish engaging articles that are based Timbre and Expression in Twentieth-Century on new, solid, and ambitious research and Vocal Music. Sheppard frequently lectures for Richard Freedman, Digital and that have benefited from the highest edito- rial standards. Through the committed work the Metropolitan Opera Guild, and he deliv- Multimedia Editor ered the AMS/Library of Congress lecture in of the Editorial Board and the dedication of Fall 2010. His term as a Director-at-Large of anonymous readers in the refereeing process, the AMS will end in March. He has previ- The AMS is JAMS will continue to serve as the flagship ously served as Chair of the Einstein Award pleased to journal for musicology, publishing articles Committee, Chair of the Council Nominat- announce the and book reviews that represent the full ing Committee, on the AMS Publications appointment range of musicological topics and scholarly Committee, as well as on the Program Com- of Richard approaches. The Journal will welcome the mittees for the AMS Annual Meeting and the Freedman to submission of articles up to 20,000 words AMS New England Chapter. the new posi- in length. Submissions exceeding this length tion of Digi- will be considered at the discretion of the Suzannah Clark, Review Editor tal and Mul- Editor-in-Chief. timedia Edi- Issues of the Journal will periodically con- The AMS is tor of JAMS tinue to include a collection of brief essays pleased to an- for a three- by multiple authors offering a dialogue on nounce the year term be- a specific topic or research question and in- appointment ginning with troduced by a convenor. Colloquy proposals of Suzannah Richard Freedman volume 67 should be submitted to the Editor-in-Chief Clark as Re- (2014). by the convenor and should consist of a two- view Editor page overview accompanied by a list of four of JAMS for Richard Freedman is John C. Whitehead Professor of Music at Haverford College, to six committed authors who are able to of- a three-year fer multiple expert viewpoints. Proposals will term begin- where he teaches a wide range of courses on Suzannah Clark be considered by the Editor and by members ning with music, history, and culture. His research on of the Editorial Board, and final submis- volume 67 (2014). French and Italian music of the sixteenth sions must then be approved by the Editorial Suzannah Clark is Professor of Music at century in its cultural contexts has appeared Board prior to publication. Harvard University. She received her B.Mus. in the Journal of Musicology, Early Music His- Beginning with volume 67 in 2014, the and M.Mus. at King’s College, London Uni- tory, Musical Quarterly, Revue de musicolo- Journal will periodically include a new Digi- versity, and her M.F.A. and Ph.D. at Princ- gie, and in two books, The Chansons of Or- tal and Multimedia Scholarship section offer- eton University. She held a Junior Research lando di Lasso and their Protestant Listeners: ing reviews and reports of such scholarly work Fellowship and subsequently a British Acad- Music, Piety, and Print in Sixteenth-Century as documentary films, recordings, analytical emy Postdoctoral Fellowship at Merton Col- France (2001) and Music in the Renaissance software, interactive web sites, and databases lege, Oxford. Before moving to Harvard in (2012). Other writings appear in the New that are direct products of musicological re- 2008, she taught at Oxford University for Grove Dictionary of Music and Musicians and search. I am delighted to announce, with the eight years. Clark’s research areas range from the Oxford Dictionary of the Middle Ages. His the music of Franz Schubert and the history approval of the AMS Board, the creation of digital project on the chanson albums of a new editorial position for the Journal. The of tonal theory to medieval vernacular music, Nicolas du Chemin combines his interests in in particular Old French motets and the chan- Digital and Multimedia Editor will edit the the Renaissance chanson with new tools for new Digital and Multimedia Scholarship sec- sons of the trouvères. Her publications in- the study of musical texts, including an image clude the book Analyzing Schubert (2011); two tion and will work directly with authors and archive, modern critical editions, reconstruc- co-edited books, Music Theory and Natural the Editor-in-Chief to assist in creating en- tions, and tools for collaborative research (for Order from the Renaissance to the Early Twen- hanced online versions of accepted articles, as links to the project see duchemin.haverford. tieth Century (2001) with Alexander Reh­ding, appropriate. The creation of the Digital and edu). Undertaken in partnership with the and Citation and Authority in Medieval and Multimedia Editor position and the new sec- Renaissance Musical Culture: Learning from Centre d’études supérieures de la Renaissance tion will enable the Journal both to enhance the Learned (2005) with Elizabeth Eva Leach; in Tours, the project is supported by major scholarly content as it is published in the and articles in 19th-Century Music, Music grants from the National Endowment for the online edition and to recognize several new Analysis, Journal of the Royal Musical Associa- Humanities and the American Council of forms of musicological scholarship that have tion, and Plainsong and Medieval Music. She Learned Societies. Freedman has served the emerged in recent years. has been the recipient of numerous fellow- AMS as member of the JAMS Editorial Board, Detailed directions for potential contribu- ships and awards from Canada, Germany, as Chair of the Nominating Committee, and tors to each section of the Journal will ap- the UK, and the US; most recently, she was as Chair of the Committee on Professional pear in volume 66, number 1 and online in the William J. Bouwsma Fellow at the Na- Development. He is also currently a member April at: www.ucpressjournals.com/journal. tional Humanities Center in North Carolina of the Committee on Internet Technology. php?j=jams&jDetail=submit.  AMS Newsletter “What I Do in Musicology”: Thoughts from the Field

In recent years the AMS leadership has been promoting “public musicol- that have enabled me to apply ogy,” an important concept that impacts all members of our Society and both the values and the intel- indeed the very future of our discipline. While the common assumption is lectual tools I developed as a that we practice musicology solely within the academy, many AMS mem- musicologist. These are values bers have long pursued activities and careers outside of the academic music and habits of mind that can be department, engaging diverse audiences and demonstrating that someone lived in activities well beyond with an advanced degree in musicology can make a significant impact academe. The more the better. outside the field. This new column, an outgrowth of discussions within the Committee on Communications, features essays from musicologists engaged Hannah Mowrey in activities or careers outside the traditional tenure-track faculty line. Our I am grateful to the Society for goal is to inspire AMS members to pursue public musicology, as well as to recognizing the importance of educate our membership—in particular graduate students eyeing the aca- reaching beyond the immedi- demic job market with trepidation—about the many possibilities avail- ate discipline of musicology, as able to musicologists. For our inaugural column, we hear from two AMS I have had the satisfying op- members at different stages of their careers. portunity to create and direct Don M. Randel an entrepreneurial music pro- gram. Redeemer Seminary— Hannah Mowrey Well-meaning parents and their friends ask, “What are you studying?” a post-graduate institution in You reply, “Musicology.” They instantly reply, “What are you going to Dallas, Texas that offers pastoral and ministerial training for men and do with that?” This usually means, “How do you propose to contribute women—is developing a center for worship and music in an effort to to the gross domestic product or the national defense or both?” It is help students understand the historical connections between music and not usually a question about whether you will live a satisfying life exer- its role in Christian worship. At a time when many institutions have cising your intellectual abilities and creative talent in relation to some been forced to eliminate various programs, the Seminary, through a of humankind’s most significant creations, so let’s skip over that for generous grant, has worked to emphasize that which is often underde- now, though we mustn’t forget it. veloped in current theological training: music. The new endeavor called It turns out that there are many more answers to the typical question for an individual with expertise in music performance, music history, about the instrumental purposes of education and scholarly training church history, theology, and of course, teaching. The job description than the skeptical questioner usually imagines. This is true even if we uniquely aligned with my training as a musicologist, and theological skip over the value of the ability to draw elegant conclusions from studies have been a personal interest and area of research for many large and complicated bodies of information and to articulate those years. Administrative and organizational skills have come naturally, and conclusions clearly and persuasively in any professional undertaking it was apparent that I had the necessary experience to launch and direct whatever. We should not skip over teaching, which is often dismissed this new Center. condescendingly when the questioner adds, “besides teach, of course.” I began by sketching a five-year plan for the Center, including short- For there are many kinds of teaching that do not take place in the col- and long-range goals. I created mission, vision, and core-values docu- lege classroom. ments, formed a temporary advisory council, researched other similar Most of us started on the path toward a degree in musicology because programs and institutions, developed branding criteria, and began we love music, we want to know more about it, and we want to share mapping out a curriculum scope and sequence. I also work alongside what we learn with others, perhaps awakening in them a similar love. a development director to cultivate fund-raising initiatives and goals. This is a path that should lead much more often than it usually does Through the Seminary, the Center will eventually offer a certificate to work in arts and cultural organizations of every kind, to publishing, in worship and music. Students can complete the certificate alongside to broadcasting, to philanthropy, even to elected office. I don’t doubt their divinity degree, or the certificate can be earned independently of for a minute that the United a degree. Integrating music, aesthetics, and liturgy into an already rich States Congress would be a divinity program has been a unique and rewarding challenge. Semi- better place if it included more nary students have been grounded in history and philosophy, so they well-trained musicologists. quickly see how naturally music history accompanies and embellishes This becomes a question not much of what they have already learned. As I develop a curriculum so much of the specific tech- that will complement the divinity program, I have also been able to en- nical aspects of musicological hance the Seminary’s library—which has included a subscription to the training but of the values that Naxos Music Library, since listening assignments are a frequent staple underlie that pursuit. I have al- of coursework within the music curriculum. Conferences, along with ways thought that if there must lecture and concert series, are also on the horizon. be deans and provosts and My job is marked by a significant interdisciplinary effort, as I work presidents I want them to have with students and colleagues eager to learn about music and its role my values. This has led me to in Christian worship. With training in musicology, I have been able be a dean of arts and sciences, a to impact an academic field often void of musical knowledge and provost, a university president, understanding. and now a foundation presi- If you are interested in contributing to this column in a future issue, please dent, jobs that have not left contact AMS Newsletter editor Andrew H. Weaver ([email protected]) Don M. Randel much time for musicology but with a brief description of your contributions to public musicology. February 2013  Awards, Prizes, and Honors

Honorary Members liturgiques, ed. Gunilla Björkvall and Wulf Arlt, Acta Universitatis Stockholmiensis: Charles M. Atkinson is Arts and Humani- Studia Latina Stockholmiensia 36 [1993]); on ties Distinguished Professor of Music at The Greek in the Western Latin liturgy (e.g., “Zur Ohio State University, where he has taught Entstehung und Überlieferung der ‘Missa 1978 since . He has also taught at the Uni- graeca,’” AfMw 39 [1982]; “The Doxa, the versity of California, Irvine, and as Visiting Pisteuo, and the ellinici fratres: Some Anoma- Professor at the University of North Caroli- lies in the Transmission of the Chants of the na, Chapel Hill, the Ecole Pratique des Hautes ‘Missa graeca,’” JM 7 [1989]); and studies in Etudes (Sorbonne), and the Universität Würz- the history of music theory and musical ter- burg, Germany. A graduate of the University minology (e.g., articles on the terms modus 1963 of New Mexico (B.F.A., ), he received his and tónos/tonus for HmT [1996 and 2005]; master’s degree from the University of Mich- “The Parapteres: Nothi or Not?” MQ 68 1965 igan ( ) and his Ph.D. from the Univer- [1982]; “Franco of Cologne on the Rhythm of 1975 sity of North Carolina, Chapel Hill ( ), Organum purum,” EMH 9 [1989]). with additional study at the Juilliard School Among the honors Atkinson has received 1966 69 ( – ) and at the Universität Erlangen- are both the Alfred Einstein and Otto Kin- Marcia Citron Nürnberg, Germany (1972–73). keldey Awards from the Society and the Van Bowers and Judith Tick. After studies of Co- Atkinson’s scholarly work is devoted pri- Courtlandt Elliott Prize of the Medieval marily to music within the intellectual history rona Schröter (Music & Letters) and the Lie- Academy of America. He has held research der of Fanny Hensel (The Musical Quarterly), of Antiquity and the Middle Ages; his teach- fellowships from the Deutscher Akademisch- ing interests include music of the Classical Citron published a dual-language edition of er Austauschdienst, the Alexander von Hum- Hensel’s letters to Felix Mendelssohn (1987), Era and the twentieth/twenty-first centuries, boldt-Stiftung, and the National Endowment the history of performance practice, and jazz. most of them previously unpublished. In for the Humanities. 1988 He is the author of The Critical Nexus: Tone- , Cécile Chaminade: A Bio-Bibliography Atkinson serves as series editor for Recent appeared. This study, documenting works System, Mode, and Notation in Early Medieval Researches in Medieval and Early Renaissance Music (2009), as well as over forty articles and performances as well as Chaminade’s life, Music (A-R Editions) and on the editorial ad- helped fill in the picture of this once-popular on a broad array of medieval topics. Among visory boards of Monumenta Monodica Medii these are articles on tropes and prosulae to figure who was forgotten in the twentieth Aevi (Bärenreiter) and the Journal of Musicol- century. These studies laid the basis for Cit- the Agnus Dei and Sanctus of the Roman ogy, as well as the advisory board for the Cen- mass (e.g., “The Earliest Agnus Dei Melody ron’s culminating work on women, Gender ter for the Study of Medieval and Renaissance 1993 2000 and its Tropes,” JAMS 30 [1977]; “Text, Mu- and the Musical Canon ( ; reprint, ). Music Theory (Indiana University). He has A broad-based feminist inquiry, the volume sic, and the Persistence of Memory in Dulcis served the Society in many capacities, begin- est cantica,” Recherches nouvelles sur les tropes approached canon formation from the per- ning with membership on the Publication spective of gender and showed how its vari- and Membership Committees of the South- ous stages are not value-free. It is considered ern California Chapter, continuing with a classic in “second-wave” inquiry and won membership on AMS Council and Board of the Pauline Alderman Prize from the Interna- Directors, and chairing the Einstein Award tional Alliance for Women in Music. Committee and the 1985 Program Commit- More recently, Citron is known for her re- tee. He was elected President of the Society search on opera and film. Her book Opera for the term 2007–08 and is now serving as on Screen (2000) set out basic principles of the Society’s representative to the Advisory opera-film through case studies of key reper- Panel for Grove Music Online. toire, including leading works by Franco Zef- firelli, Peter Sellars, Joseph Losey, Francesco Marcia J. Citron is Lovett Distinguished Rosi, Hans-Jürgen Syberberg, and Michael Service Professor of Musicology at Rice Uni- Powell. She also published the volume When versity, where she has been a faculty member Opera Meets Film (2010). Extending the rep- since 1976. She received her B.A. from Brook- ertoire to a wide range of mainstream film, lyn College (1966) and her M.A. (1968) and from the Hollywood comedy Moonstruck to Ph.D. (1971) from the University of North the French masterpiece La Cérémonie, this Carolina, Chapel Hill. Her master’s thesis fo- book uses the categories of style, subjectiv- cused on metric conflict in Brahms’s cham- ity, and desire to detail how opera can reveal ber duos, and the doctoral work explored something fundamental about a film, and Schubert’s operas. how film can do the same for an opera. Other Citron’s interest turned to women and studies have appeared in 19th-Century Music music with an essay on female composers (2011), Between Opera and Cinema (2002, ed. of Lieder for the groundbreaking collection Jeongwon Joe and Rose Theresa), and Music, Charles Atkinson Women Making Music (1986), edited by Jane Sensation, and Sensuality (2002, ed. Linda  AMS Newsletter Austern). Forthcoming work includes contri- dissertation on “Der stile antico in der Musik butions to The Oxford Handbook of Opera (ed. Johann Sebastian Bachs,” published as a book Helen Greenwald), The Oxford Handbook of in 1968. An invitation as visiting assistant Music in Film and Visual Media (ed. David professor brought him to the University of Neumeyer), and Masculinity in Opera (ed. Toronto, where he taught from 1968 to 1970, Philip Purvis). after which he spent six years at Columbia Citron has received grants from the Nation- University and concurrently two semesters at al Endowment for the Humanities and the Princeton University. Deutsche Akademische Austauschdienst. She Wolff has published extensively on the his- has reviewed productions of Houston Grand tory of music from the fifteenth to the twenti- Opera for Opera News. Citron has served the eth centuries, with essays and critical editions Society in a variety of roles, including as a ranging from Conrad Paumann and early member of the Board of Directors; member keyboard music through Schubert, Brahms, of the Slim, Kinkeldey, and Einstein award Schoenberg, and Hindemith. His principal committees (the last also as chair); and chair scholarly focus, however, has been the music of the Committee on the Status of Women. of the seventeenth and eighteenth centuries and especially the lives and works of Bach and Christoph Wolff is the Adams University Re- Mozart. His publications include Mozart’s search Professor at Harvard University, where Requiem (1991), The New Bach Reader (1998), Susan Youens he has taught for thirty-six years. He joined Johann Sebastian Bach: The Learned Musician J.W. Van Gorkom Professor of Music. Dur- the Harvard faculty in 1976, chaired the De- (2000), Mozart at the Gateway to His For- ing her dissertation research year in Paris, she partment of Music through most of the 1980s, tune: Serving the Emperor, 1788–1791 (2012), spent as much time studying Debussy song was Acting Director of the University Library and several volumes in the complete works manuscripts as she did examining part-books in 1991–92, served as Dean of the Graduate editions of Buxtehude, J.S. and C.P.E. Bach, for chansons, a sign that her first publications School of Arts and Sciences from 1992 to Mozart, and Hindemith. would have to do with mélodies rather than 2000, and was appointed University Professor In 1978 Wolff won the Dent Medal from the Renaissance and that art song would be in 2002. He currently serves also as director of the Royal Musical Association, in 1995 the her preferred country. the Bach-Archiv in Leipzig and on the gradu- Humboldt Research Prize, in 2004 the Har- On hearing a performance of Schubert’s ate faculty of the Juilliard School. rison Medal of the Society for Musicology Winterreise in New York in the early 1980s, Born and educated in Germany, Wolff in Ireland, and in 2005 the Bach Prize of the she began investigations that led eventually studied organ and historical keyboard instru- Royal Academy of Music. In 1982 he was to her first book, Retracing a Winter’s Jour- ments, musicology, and art history at the Uni- elected a fellow of the American Academy of ney: Schubert’s Winterreise (1991), and to her versities of Berlin, Erlangen, and Freiburg. Arts and Sciences, in 2001 of the Saxon Acad- introduction to a facsimile edition of the au- After earning a performance diploma in or- emy of Sciences in Leipzig, and in 2002 of tograph manuscript in The Pierpont Morgan gan and choral conducting at the Hochschule the American Philosophical Society in Phila- Library. By that time, the die was cast, and für Musik Berlin in 1963, he took his first job delphia. He became an honorary member of a lifetime of explorations into the Lieder of as university organist and instructor in Erlan- the Mozarteum in Salzburg in 2010. In 2004 Franz Schubert and Hugo Wolf was under- gen. In 1966, he obtained the Dr.Phil. from he was elected president of the IMS/IAML way. It was probably inevitable that she would the University of Erlangen under the guid- Commission mixte in charge of the Réper- delve into Schubert’s other song cycle on ance of the medievalist Bruno Stäblein with a toire International des Sources Musicales. He poems by Wilhelm Müller, resulting in two has served the Society in various capacities, as books: a Cambridge handbook on Die schöne chair of the AMS Greater New York Chapter, Müllerin in 1992 and Schubert, Müller, and member of the Council and the Board of Di- Die schöne Müllerin (1997). Interested from rectors, and on various committees. His Bach her early years in the intersection of poetry biography was recognized in 2001 by the So- and music, Youens has also written books on ciety’s Kinkeldey Award. Hugo Wolf: The Vocal Music (1992), Schubert’s Poets and the Making of Lieder (1996), Hugo Born in Houston, Texas (and with the accent Wolf and his Mörike Songs (2000), Schubert’s to prove it), Susan Youens studied piano with Late Lieder (2002), and Heinrich Heine and Drusilla Huffmaster and musicology with the Lied (2007), as well as more than fifty Ellsworth Peterson at Southwestern Univer- scholarly articles and chapters in books. She sity in Georgetown, Texas before going to has been the recipient of four fellowships from graduate school at Harvard University. There, the National Endowment for the Humani- she sang with John Ferris’s Harvard Memo- ties, as well as fellowships from the DAAD, rial Choir, worked as a coach-accompanist in Guggenheim Foundation, National Humani- the Boston area, and wrote a dissertation on ties Center, and Institute for Advanced Study. French Renaissance chansons under the di- Performers such as Thomas Hampson, rection of David Hughes. She took her first Graham Johnson, Margo Garrett, Roger Vi- teaching position at Washington University gnoles, Malcolm Martineau, and Eugene Asti in St. Louis in 1974; she has also taught at have endorsed Youens’s work and have invited Ithaca College (1981–1984) and the Univer- Christoph Wolff sity of Notre Dame, where she is currently continued on page  February 2013  Awards, Prizes, Honors renesansu” (The Variation Form in the In- strumental Music of the Renaissance), pub-  continued from page lished in 2008. He taught at the Institute of her to give lectures, master-classes, coaching Musicology of the University of Warsaw un- sessions, and courses on song at the Steans til 1970; from 1970 to 1991 he held research Institute for Young Artists at the Ravinia Fes- positions at the Institute of Art of the Polish tival, the Aldeburgh Festival, the Vancouver Academy of Sciences. The most comprehen- International Song Institute, the Royal Acad- sive statement of his views, Związki muzyki ze emy of Music and Guildhall School of Music słowem. Z zagadnien analizy muzycznej (The in London, and the Juilliard School, among Relationships of Music and Words: Problems others. She has collaborated with Malcolm of Music Analysis), appeared in 1986. Two Martineau on a song-recital series at Wig- volumes of his collected papers, Myśl muzy- more Hall in London and with Eugene Asti czna (Musical Thought), appeared in 2001 on a festival of Mendelssohn’s songs at Kings and 2011 as well as another large collection of Place. Youens has written program notes for essays, Transkrypcje (Transcriptions), also in Carnegie Hall’s song recital series for many 2011. Bristiger’s work has centered on the rela- years and has delivered numerous lectures in tionship between music and language, theory Europe, England and Ireland, Canada, and of analysis, and history of music theory in the the United States. eighteenth, nineteenth, and twentieth centu- Klaus-Jürgen Sachs Youens has served the Society for many ries, as well as the Italian vocal music of the years as a member of the Palisca Award and Baroque period. at the Musikhochschule in Leipzig, where he Obituary Committees and the Council Com- In addition to the University of Warsaw, passed his A-Examen in 1950. After a thor- mittee on Honorary and Corresponding Bristiger has taught at the Jagiellonian Uni- ough catechetical training at the University of Members; as chair of the Pisk, Kinkeldey, and versity in Cracow, the University of Poznan, Naumburg/Saale in 1951, he served as cantor Publications Committees; and as a member- the Musical Academy of Warsaw, as well as and organist in Bautzen (1951–60), as well as at-large of the Board of Directors. the University of Palermo (repeatedly), Uni- a teacher of organ, piano, and music theory versity of Calabria in Cosenza (1990–97), and at the Evangelische Kirchenmusikschule in Corresponding Members University of Macerata-Fermo. He has been Görlitz. Michał Bristiger was born in 1921 in Jagiel- a senior fellow at the Institut für die Wissen- From 1960 to 1962, Sachs served as instruc- 1985 88 nica near the then Polish Lwów (today Ukrai- schaften vom Menschen in Vienna ( – ) tor in music research studies at the University nian Lviv). He lived in Lwów until the Ger- and has served as the Rector of the Interna- of Erlangen, an activity that he continued at man invasion of 1941, learning to play piano tional Mozart Academy, formerly located in the University of Freiburg im Breisgau. He 1994 95 and, beginning in 1939, studying medicine. Cracow ( – ). Currently he conducts the received his Ph.D. summa cum laude there in He continued medical studies in Bologna Musicological Seminar of the De Musica As- 1967 with a dissertation supervised by Hans and completed them in Warsaw in 1951. At sociation in Warsaw and participates in vari- Heinrich Eggebrecht, “Der Contrapunctus the same time, he studied musicology at the ous activities of the Committee for Art Studies im 14. und 15. Jahrhundert: Untersuchungen University of Warsaw, receiving the M.A. in of the Polish Academy of Science (Warsaw), zum Terminus, zur Lehre und zu den Quel- 1954 and Ph.D. in 1963, with his dissertation, the Internationale Cherubini-Gesellschaft len,” later published as volume 13 of the Bei- “Forma wariacyjna w muzyce instrumentalnej (Berlin), and the Institute of Musicology of hefte zum Archiv für Musikwissenschaft (1974). the University of Palermo. Afterward, he worked under the auspices of Bristiger was the founder and editor-in- the Walcker-Stiftung, carrying out research chief of the musicological periodicals Res in organ studies toward the development of Facta and Res Facta Nova (1967–2011), as well his Mensura Fistularum: Die Mensurierung der as of Pagine and Nuove Pagine (since 1972), Orgelpfeifen im Mittelalter, 2 vols. (1970–80). De Musica and De Musica/Muzykalia (since Sachs assumed the position of Lector at the 2001), and De Musica/Diagonali (since 2012). Institut für Musikwissenschaft of the Univer- He has also served on the editorial boards of sity of Erlangen-Nürnberg in 1969, where he Acta Musicologica (Basel), Collage (Palermo), Mensura fistu- and the International Review of the Aesthetics wrote the second volume of and Sociology of Music (Zagreb). larum: Studien zur Tradition und Kommentar 1978 Bristiger received an honorary doctorate der Texte as his Habilitationschrift in . from the University of Palermo, as well as This work was awarded the faculty prize as the 1982 honorary memberships of the Society of Pol- best Habilitationschrift of that year. In ish Composers (Warsaw), the Antiquae Musi- he was named Professor of Historical Musi- cae Italicae Studiosi (Bologna 1977), and the cology in Erlangen, a position from which he Committee of Art Studies of the Polish Acad- retired in 1994. emy of Sciences (Warsaw 2009). In 1978, he In 1992, Sachs was a Distinguished Visiting became a corresponding member of the Ac- Professor at The Ohio State University in Co- cademia delle Scienze dell’Istituto di Bologna. lumbus. From 1971 to 2006 he was a member of the Editorial Board of the Handwörterbuch Klaus-Jürgen Sachs was born in Kiel in 1929. der musikalischen Terminologie. From 1989 Michał Bristiger He studied sacred music beginning in 1947 to 2007 he was Area Editor for Early Music  AMS Newsletter Theory for the second edition of Die Musik in Göttingen, a position that he held until his Geschichte und Gegenwart. retirement in 2002. From 1992 to 2006, Stae- In addition to four books, Sachs has pub- helin served as Honorary Director of the J. lished sixty journal articles and over seventy S. Bach-Institut in Göttingen, and from essays for lexica and handbooks, among them 1998 to 2009 he headed the editorial board the article “Counterpoint,” §1–11, for New of the monumental music series, “Das Erbe Grove. In addition to the areas of counter- deutscher Musik.” Staehelin was honored point and organ-pipe measurement, his writ- with the Dent Medal of the Royal Musical ings span a wide range of topics, including Association in 1975, he was elected as a mem- the musical activities of Gerbert of Aurillac; ber of the Akademie der Wissenschaften in Pierre de la Rue’s Missa de Beata Virgine; com- Göttingen in 1987, and he received the Glar- positional technique in J.S. Bach’s late works; ean Prize of the Swiss Musicological Society Beethoven’s “Lebewohl” sonata, op. 81a; Rob- in 2009. In 2011, Staehelin received an honor- ert Schumann’s fugues on the name BACH; ary doctorate from the University of Münster/ the musical conception of Brahms’s Piano Westphalia. Trio, op. 101, mvt. I; and Maurice Ravel’s Staehelin’s musicological work has encom- Sainte (1896) after Mallarmé. passed two broad themes: the history of mu- Sachs’s recent monographs include De sic of the fifteenth/sixteenth and eighteenth/ modo componendi: Studien zu musikalischen nineteenth centuries, and the study of frag- 15 2002 Lehrtexten des späten . Jahrhunderts ( ) mentary and displaced polyphonic sources in Ruth HaCohen and Beethovens Klaviervariationen op. 34 (with German areas before 1550. His contributions, Kinkeldey Award Winner Mark Lindley and Conny Restle; 2007). He is which have ranged widely, include stud- currently working on Musiklehre im Studium ies and editions of music by Isaac, Obrecht, of Jerusalem) for The Music Libel Against the der Artes: Die „Musica“ (Köln 1507) des Jo- Beethoven, and Mozart, notably his Heinrich Jews (Yale University Press). 1970 1973 hannes Cochlaeus. Isaac, Messen ( and ); Der Grüne Co- The Lewis Lockwood Award for an out- dex der Viadrina (1971); Die Messen Heinrich Martin Staehelin was born in 1937 in Basel, standing book by a scholar in the early Isaacs, 3 vols. (1977); Hans Georg Nägeli and Switzerland, where he completed his elemen- stages of her or his career was presented to Ludwig van Beethoven (1982); Beethoven-Jahr- tary and secondary education. In 1962, he Pierpaolo Polzonetti (University of Notre buch X (1983); Musikalischer Lustgarten (with earned a diploma in flute performance and Dame) for Italian Opera in the Age of the Adalbert Roth and Ulrich Konrad) (1985), music education from the Musikakademie in American Revolution (Cambridge University Allzeit ein Buch: Die Bibliothek W. A. Mozart Basel. Following a stint in the Swiss military, Press). (with Ulrich Konrad) (1991); Jacob Obrecht, Staehelin continued his studies in musicology Collected Works 13 (editions of Missa Cela sans and classics at the University of Basel, receiv- plus and Missa Gracuuly et biaulx) (1993); and ing his doctorate in 1967. He went on to com- Die mittelalterliche Musik-Handschrift W1: plete his Habilitation in 1971 at the University vollständige Reproduktion (1995). of Zurich. From 1976 to 1983, he was Direc- In 1998, Staehelin inaugurated the series tor of the Beethoven-Archiv and Beethoven- Kleinüberlieferung mehrstimmiger Musik vor Haus in Bonn while simultaneously serving 1550 in deutschen Sprachgebiet, which is dedi- as Professor of Musicology at the University 1983 cated to the study of early polyphony. This

of Bonn. In , Staehelin became Professor Photo courtesy of Bernice Magee multi-volume undertaking includes Staehe- Ordinarius in the Musikwissenschaftliches lin’s important study of the life and world of Seminar at the Georg-August-Universität in fifteenth-century composer Petrus Wilhelmi (Neues zu Werk und Leben von Petrus Wilhelmi. Fragmente des mittleren 15. Jahrhunderts mit Mensuralmusik im Nachlaß von Friedrich Lud- wig, 2001), and a volume dedicated to new polyphonic sources (Neue Quellen des Spät- mittelatlers aus Deutschland und der Schweiz, Pierpaolo Polzonetti 2012). Staehelin’s recent research includes an Lockwood Award Winner edition of Mozart’s disputed Sinfonia Concer- tante for Four Winds, KV 297b (forthcoming in 2013) and a study of the life and works of The H. Colin Slim Award for an outstand- Hans Georg Nägeli. ing article by a scholar beyond the early stages of her or his career was presented to Lydia Goehr (Columbia University) for AMS Awards and Prizes “‘—wie ihn uns Meister Dürer gemalt!’ : Con- test, Myth, and Prophecy in Wagner’s Die The Otto Kinkeldey Award for a book of Meistersinger von Nürnberg,” Journal of the exceptional merit by a scholar beyond the American Musicological Society. early stages of her or his career was present- Martin Staehelin ed to Ruth HaCohen (Hebrew University continued on page  February 2013  Awards, Prizes, Honors The Claude V. Palisca Award for an out- standing edition or translation was given to  continued from page Laura Youens (George Washington Uni- versity), Barton Hudson (West Virginia University), and Mary Beth Winn (Univer- sity at Albany–SUNY) for Thomasii Crequil- lonis Opera omnia. Vol. 18: Cantiones Quatu- or Vocum, and Vol. 20: Cantiones Trium, Sex, Septem, et Duodecim Vocum, Corpus men- surabilis musicae 63 (American Institute of Musicology).

The Music in Ameri- can Culture Award for a book of exceptional merit that both illumi- nates some important as- pect of the music of the Elizabeth Wells United States and places MAC Award Winner that music in a rich cul- Laura Youens tural context was presented to Elizabeth A. Palisca Award Winner Lydia Goehr Wells (Mount Allison University) for West Slim Award Winner Side Story: Cultural Perspectives on an Ameri- can Musical (Scarecrow Press). Other Awards, Prizes, and Honors The Alfred Einstein Award for an article of exceptional merit by a scholar in the early The Philip Brett Award, presented by the The Paul A. Pisk Prize stages of her or his career was given to Fran- LGBTQ Study Group of the AMS for excep- for an outstanding paper cesca Brittan (Case Western Reserve Uni- tional musicological work in the field of gay, presented by a graduate versity) for “On Microscopic Hearing: Fairy lesbian, bisexual, and transgender/transsexu- student at the Annual Magic, Natural Science, and the Scherzo al studies, was given to Christopher Moore Meeting was awarded to Fantastique,” Journal of the American Musi- (University of Ottawa) for “Camp in Francis Barbara Swanson (Case Poulenc’s Early Ballets,” Musical Quarterly 95 cological Society. Western Reserve Uni- (2012), and Mitchell Morris (University of The Robert M. Stevenson Award for out- versity) for “Old Chant, California, Los Angeles) for “Syllabus to Mu- standing scholarship in Iberian music, in- New Songs: Plainchant sic History/LBGTS M137, ‘LGBTQ Perspec- Barbara Swanson cluding music created or descended from and Monody in Early Pisk Award Winner tives in Popular Music.’” musical cultures of Spain, Portugal, and all Modern Rome.” Kofi Agawu (Princeton University) has been Latin American areas, was presented to Su- elected to the George Eastman Visiting Pro- san Boynton (Columbia University) for Si- The Noah Greenberg Award for outstand- fessorship at Balliol College, Oxford Univer- lent Music: Medieval Song and the Construc- ing contributions to historically aware per- sity for 2012–13. tion of History in Eighteenth-Century Spain formance and the study of historical per- Michael Alan Anderson (Eastman School of (Oxford University Press). forming practices was presented to Lori Music, University of Rochester) received an Kruckenberg (University of Oregon), Mi- ASCAP Deems Taylor Award for his article chael Alan Anderson (Eastman School of “Fire, Foliage and Fury: Vestiges of Midsum-

Music, University of Rochester), and the mer Ritual in Motets for John the Baptist,” Schola Antiqua of Chicago for “Sounding Early Music History (2011). the Neumatized Sequence.” Paul-André Bempéchat (Harvard University) 2012 The Ruth A. Solie Award for a collection of was honored at the International Festival essays of exceptional merit was presented to Klavier Raritäten in Husum, Schleswig-Hol- stein, at Uppsala University in Sweden, and at Alejandro Madrid (University of Illinois at the Sibelius Academy in Helsinki for his book Chicago), ed., for Transnational Encounters: Jean Cras, Polymath of Music and Letters. Music and Performance at the U.S.-Mexico Border (Oxford University Press). Bonnie Blackburn (Oxford University) re- ceived a grant from the Gladys Krieble Del- The Thomas Hampson Award supporting mas Foundation for research in Venice for her research and publication in classic song was project “The Social World of a Renaissance presented to Allison K. M. Bloom (Univer- Musician: Pietro Aaron and his Friends.” sity of Wisconsin-Madison) for “‘Un pay- Susan Borwick (Wake Forest University) was Francesca Brittan sage choisi’: Fêtes galantes in Fin-de-siècle named President of the International Alliance Einstein Award Winner French Music.” for Women in Music.  AMS Newsletter Christopher Moore Brett Award Winner

Mary Beth Winn Barton Hudson Palisca Award Winner Palisca Award Winner

Bella Brover-Lubovsky (Hebrew University, as Scholar in Residence at the American Acad- Jerusalem) is one of three scholars who re- emy in Rome (spring semester). ceived the Einstein Foundation research grant Robin Elliott (University of Toronto) re- for “A Cosmopolitan Composer in Pre-Revo- ceived the 2012 Helmut Kallmann Prize from lutionary Europe: Giuseppe Sarti.” the Canadian Association of Music Librar- Christopher Chowrimootoo (Oxford ies, Archives, and Documentation Centres Brookes University) won the 2012 Jerome in recognition of his significant contribu- Roche Prize of the Royal Musical Associa- tions to Canadian musicological research and tion for his article “Bourgeois Opera: Death documentation. in Venice and the Aesthetics of Sublimation,” Cambridge Opera Journal 22 (2010). Raymond Erickson (CUNY Graduate Cen- ter) received an Emeritus Professor Research Sarah Collins (Monash University) received Fellowship from the Andrew W. Mellon Mitchell Morris a Music & Letters Trust Award to assist with Foundation for his project “Tolerance, Jews, Brett Award Winner image reproduction for her forthcoming book and the Early Enlightenment in Saxony: The The Aesthetic Life of Cyril Scott (Boydell & Witness of Leipzig Theologians.” Brewer). Kate Galloway (Memorial University of New- University for The Virgin of Chartres: Making Anthony M. Cummings (Lafayette College) foundland) won the 2012 Postdoctoral Prize by History through Liturgy and the Arts (Yale Uni- spent academic year 2011–12 as Robert Lehman the Social Sciences and Humanities Research versity Press, 2010). She is also the principal Visiting Professor in Residence at Villa I Tatti, Council of Canada for her project “Sound- investigator on a new $1.9 million grant from The Harvard University Center for Italian Re- ing Environmental Change: Representing the the Lilly Endowment, which will be used to naissance Studies, Florence (fall semester) and Environment and Environmentalism in Con- send Notre Dame graduate students into lo- temporary Canadian cal churches to strengthen existing children’s Music Practices.” choirs or establish new ones, as well as provide the funds to begin a laboratory children’s choir Philip Gossett (Uni- at Notre Dame. versity of Chicago) re- ceived an NEH grant of Sabine Feisst (Arizona State University) won $60,000 plus $43,500 in the 2013 Irving Lowens Book Award from the matching funds for the Society for American Music for Schoenberg’s preparation of the com- New World: The American Years (Oxford Uni- plete works of Giuseppe versity Press, 2011). Verdi. As a member of the Baroque chamber music Margot Fassler (Uni- ensemble Pallade Musica, Elinor Frey (Mon- versity of Notre Dame) treal, Quebec) was a grand prize winner at the 2012 won the Otto 2012 Early Music America Baroque Perfor- Gründler Prize from mance Competition. Lori Kruckenberg, Michael Alan Anderson, and the Schola Antiqua of Chicago The Medieval Institute Greenberg Award Winners of Western Michigan continued on page  February 2013  Awards, Prizes, Honors Jeffery Kite-Powell (Florida State University) was honored with the Festschrift “Hands-on” continued from page  Musicology: Essays in Honor of Jeffery Kite-Pow- Susan Lewis Hammond (University of Victo- ell, ed. Allen Scott (Steglein Press, 2012). ria) received an Insight Grant from the Social John Koegel (California State University, Ful- Sciences and Humanities Research Council of lerton) received an NEH Fellowship for his 2012 2016 Canada ( – ) for Claudio Monteverdi: project “Musical Theater in Mexican Los An- A Research and Information Guide (forthcom- geles, 1910–1940.” ing in the Routledge Music Bibliographies series). Mark Kroll (Boston University) was appoint- ed Editor-in-Chief of the Historical Harpsi- Barbara Russano Hanning (City College, chord Series (Pendragon Press) and served as CUNY) was named an Honorary Member of president of the jury of the Prague Interna- the Society for Seventeenth-Century Music. tional Harpsichord Competition in May 2012. Thomas F. Heck (Santa Barbara, Califor- Jeffrey Kurtzman (Washington University in nia) received the “Chitarra d’Oro” lifetime St. Louis) was named an Honorary Member achievement award from the Pittaluga Inter- of the Society for Seventeenth-Century Music. national Guitar Competition of Alessandria, Italy for his contributions to the field of gui- Beth E. Levy (University of California, Da- tar history and performance since 1970. vis) received the University of California Press Carol Hess (University of California, Davis) Exceptional First Book Award for Frontier Fig- received a Short-Term Fellowship from the ures: American Music and the Mythology of the Alejandro Madrid 2012 New York Public Library, where she spent American West ( ). Solie Award Winner summer 2012 working on the project “Histo- Timothy Love (Louisiana State University) riographer of the Airwaves: Gilbert Chase and received a 2012–2013 Institute of International Magazine Award in the “Early Music” cat- Latin American Music at the Height of the Education Graduate Fellowship for Inter- egory for his boxed set of ten CDs of the Sa- Good Neighbor Period.” national Study for his project “Thomas Da- cred Works of Tomás Luis de Victoria on the DGG Archiv label. Jane Schatkin Hettrick (Rider University) vis, the Nation, and the Politicization of Irish received a grant from the Chicago Founda- Music.” Margarita Ophee-Mazo (Ohio State Uni- tion of the American Guild of Organists for Evan MacCarthy (Harvard University) re- versity) received an NEH grant of $195,412 her project “Critical Edition of Motets with ceived a 2012–13 Committee for the Rescue of for a facsimile edition of Stravinsky’s Les Concerted Organ Parts by Franz Schneider.” Italian Art (CRIA) Fellowship at Villa I Tat- Noces. ti, The Harvard University Center for Italian Members of Carolina Baroque presented a David Pear Renaissance Studies, Florence, for his project (University of London) has been concert in honor of Founder and Music Di- appointed 2012 Redmond Barry Fellow by Dale Higbee “Music and Learning in Early Modern Italy.” rector (Salisbury, North Caro- the University of Melbourne and the State lina) on 5 August 2012 in the Chapel of St. Cristina Magaldi (Towson University) re- Library of Victoria for his project “Percy John’s Lutheran Church in Salisbury, North ceived an NEH Fellowship for her project Grainger, Melbourne, and the 1890s.” Carolina. “Music and Cosmopolitanism in Rio de Ja- neiro at the Turn of the 20th Century.” Peter Pesic (St. John’s College) won the 2012 Derek Price/Rod Webster Prize from the Jean-Paul C. Montagnier (University of Lor- History of Science Society for the best paper raine; McGill University) was made an “Of- in Isis during the preceding three years for ficier dans l’Ordre des Arts et des Lettres” by “Hearing the Irrational: Music and the De- the French Minister of Culture. velopment of the Modern Concept of Num- Rena Charnin Mueller (New York Univer- ber” (2010). sity) was awarded the 2011 American Liszt So- Tobias Plebuch (Huboldt University Berlin) ciety Medal. received a three-year research grant from the Bruno Nettl (University of Illinois) received Deutsche Forschungsgemeinschaft for his the inaugural Taichi Traditional Music Award, project “Dramaturgy of Musical Events in given by the China Conservatory and the Films.” Taichi Traditional Music Foundation, which recognizes individuals or social groups who Pierpaolo Polzonetti (University of Notre have made “outstanding and original contri- Dame) received a non-residential fellow- bution toward the performance, inheritance, ship from the Earhart Foundation (Ann Ar- theoretical studies, or dissemination of tradi- bor) for his project “Marriage in Opera from tional music.” He will also deliver the Charles Monteverdi to Mozart.” 2014 Homer Haskins Prize Lecture at the An- Nancy B. Reich (Ossining, N.Y.) received nual Meeting of the ACLS. the AMY Award for Lifetime Achievement Susan Boynton Michael Noone (Boston College) and his in Music Scholarship from Women’s Philhar- Stevenson Award Winner Ensemble Plus Ultra won the Gramophone monic Advocacy.  AMS Newsletter Eva Rieger (Vaduz, Liechtenstein) received AMS Fellowships, Awards, and Prizes the title “Honorable Senator” of the Hoch- schule für Musik und Theater Hamburg. Descriptions and detailed guidelines for all Jan LaRue Fund AMS awards appear in the AMS Directory for European research John Rink (University of Cambridge) re- and on the AMS web site. Deadline: 1 March ceived the 2012 Vincent H. Duckles Award Publication subventions are drawn from the from the Music Library Association and the Janet Levy Travel and Research Fund AMS 75 PAYS, Anthony, Brook, Bukofzer, 2011 C. B. Oldman Prize from the Interna- for independent scholars Daverio, Hanson, Hibberd, Jackson, Ker- tional Association of Music Libraries, Ar- Deadline: 1 March man, Picker, Plamenac, and Reese Funds. chives and Documentation Centres (UK Application deadlines are mid-February and Harold Powers World Travel Fund and Ireland) for Annotated Catalogue of Cho- mid-August each year. for research anywhere pin’s First Editions (Cambridge University Deadline: 1 March Press, 2010), co-authored with Christophe M. Elizabeth C. Bartlet Fund Grabowski. for research in France Ora Frishberg Saloman Fund Deadline: 1 March for European research Deane Root (University of Pittsburgh) re- Deadline: 1 March ceived an NEH grant of $197,517 for the proj- Virginia and George Bozarth Fund ect “Voices across Time: Teaching American for research in Austria Teaching Fund History through Song,” a five-week institute Deadline: 1 March for innovative teaching projects Deadline: 1 March for twenty-five school teachers linking Amer- William Holmes / Frank D’Accone Fund ican popular songs to significant periods and for travel and research in the history of opera events in American history. Deadline: 1 March continued on page  Philip Rupprecht (Duke University) re- ceived an NEH Fellowship for his project project “Music as Expression of Piety and pratique de l’hommage chez Debussy,” Ca- “Avant-Garde Nation: British Musical Mod- Power: Instrumental Music, the Sacred and hiers Debussy 34 (2010). ernism, 1956–1979.” Profane in Seventeenth-Century Salzburg.” Lionel Sawkins (Roehampton University) Elizabeth A. Wells (Mount Allison Univer- Ronit Seter (Fairfax, Virginia) received an was elected an Honorary Fellow of the Aus- sity) was named Chair of the Council of 3M NEH Fellowship for her project “A History tralian Academy of the Humanities in recog- National Teaching Fellows, an organization of Jewish–Israeli Music, 1940–2010.” nition of his “outstanding contribution to the of award-winning teachers in all disciplines humanities in Australia.” Erica Siegel (University of California, Riv- from across Canada who carry out projects erside) won the Nicholas Temperley Prize for to enhance teaching and learning in post-sec- Janet Schmalfeldt (Tufts University) re- outstanding student paper presented at the ondary education. ceived an ASCAP Deems Taylor Award for Biennial Conference of the North American her book In the Process of Becoming: Analytic British Music Studies Association for “‘I’m Ronald Woodley and Philosophical Perspectives on Form in Early (Birmingham Conserva- not making this up, you know!’ The Success toire, Birmingham City University) received Nineteenth-Century Music (Oxford Universi- of Vaughan Williams’s Students in America.” a research grant of over £400,000 from the ty Press, 2011). Arts and Humanities Research Council of Reinhard Strohm (Oxford University) won Kimberly Beck Seder (University of Brit- the UK for his online project “The Complete the 2012 Balzan Prize. ish Columbia) received a Fulbright Com- Theoretical Works of Johannes Tinctoris: A bined Grant to undertake research in Aus- Steve Swayne (Dartmouth College) received New Digital Edition.” tria for the 2012–2013 academic year for her the Nicolas Slonimsky Award for Outstand- ing Musical Biography in the concert music field from ASCAP for Orpheus in Manhattan: William Schuman and the Shaping of America’s Guidelines for Announcements of Musical Life (Oxford University Press, 2011). Awards and Prizes

Nicholas Temperley (University of Illinois Awards and honors given by the Society at Urbana-Champaign) received two hon- are announced in the Newsletter. In addi- ors for his eightieth birthday: the Festschrift tion, the editor makes every effort to an- Music and Performance Culture in Nineteenth- nounce widely publicized awards. Other Century Britain: Essays in Honour of Nicholas announcements come from individual Temperley, ed. Bennett Zon (Ashgate, 2012) submissions. The editor does not include and the concert “Anglo-American Musical awards made by the recipient’s home insti- Connections,” given 28 July 2012 at the Fifth tution or to scholars who are not currently Biennial Conference of the North American members of the Society. Awards made to British Music Studies Association in Urbana, graduate student members as a result of Illinois. national or international competitions are also announced. The editor is always Danick Trottier (Université de Montréal) grateful to individuals who report honors received an Opus Prize from the Conseil Allison K. M. Bloom and awards they have received. Hampson Award Winner québécois de la musique for his article “La February 2013  Treasurer’s Message Executive Director’s Message

The past fiscal year ending in June 2012 turned out to be a medio- I enjoy compiling the regular AMS Newsletter column “75/50/25 cre period for endowments overall. The Society’s endowment has Years Ago” and reviewing AMS Board papers, meeting minutes, been no exception, coming in with a return of -0.6%. Put an- JAMS issues, and newsletters. One side benefit (if it can be called other way, in our $4.6 million portfolio we fell about $28,000. The that) is observing, sometimes with dismay, topics that return regu- National Association of College and University Business Officers, larly for consideration. The AMS functions incrementally: we build which crunches the numbers for the endowments of institutions on what we’ve done in the past, and changing direction or trying nationwide, has issued a preliminary report in which it anticipates new things is difficult and rare. This is evident in reviewing Lewis the majority of endowments to show similarly negative results, with Lockwood’s activities about twenty-five years ago. He made signifi- the average expected to come in somewhere between 0% and -2%. cant efforts to address concerns that are still with us today: the ques- The downbeat mood among endowments this year has been tion of careers for recent musicology Ph.Ds (particularly careers be- exacerbated by the sudden drop compared to 2011, when the Ivy yond academe), and public musicology. Here are two excerpts from Leagues, for example, returned from 18% to 23%, and our AMS Lockwood’s President’s Message from February 1988: “Whatever the portfolio came in right in the middle of that illustrious group at obstacles to enlarging the scope of professional life for musicology +20.7% (revised from the +20.3% reported in the February 2012 in the United States, I feel sure that a commitment by the Society to Newsletter). move in this direction is being welcomed by our membership.” “I As I write this column in late November, there are some signs in think the time is ripe for more of us than in the past to do what we the new fiscal year for improvement in the global financial situa- can to address ourselves not only to one another but to those sectors tion, and our AMS endowment stands 4.8% above where it was of the lay public who can absorb some musicology but are largely on June 30, now at a new all-time high of $4.8 million. The stock unaware of what musicologists do.” market, however, has shown volatility after the national election, The Society’s first move toward enlarging the scope of professional and the outcome of fiscal cliff negotiations (which will certainly life for musicology was to institute in 1987 the Career Options com- move markets and our endowment one way or the other) remains mittee, which was named in its planning stages the Committee on uncertain. Non-Academic Employment and is now named the Committee on The other crucial decision that confronts any endowment, besides Career-Related Issues. The CRI session in New Orleans on alterna- how to invest its money, is how to spend it. In this regard, the Board tive careers indicates that the committee very much has this on the of Directors voted at its recent meeting to lower annual endow- radar screen. But what more can the Society do? If this is a concern ment spending from 5.0% to 4.5%, to be phased in over a three- that has been with us for twenty-five years, perhaps we should begin year period. Our 5.0% level had been established in 2001 when that to work toward a long-term plan with continuity and broad reach. was the average among endowments. Since then, however, endow- Part of my job is to facilitate, develop, and maintain continuity ments have steadily lowered their spending to the point that from concerning important issues that are difficult to tackle successfully 2006 to the present the figure has been hovering between 4.4% and within the scope of a year of committee work. What strategic ac- 4.6%. This trend toward fiscal restraint was further reinforced by tions should the AMS be tackling on this front? I’ll be working on the global financial crisis of 2008–09. That event has caused the it, together with the CRI and the Board, and I invite your thoughts: boards of many endowments to adopt a viewpoint that the world let me know. has entered a new financial environment in which we cannot, as a Reaching the lay public was much on the minds of the Board of 2012 matter of course, rely on the same returns from stocks and bonds Directors at its March retreat, and they laid the foundation for as in prior years. The goal of our move to a 4.5% level of spending a plan of action on this front. We’re taking steps in JAMS, the web is to help ensure that the AMS endowment will remain financially site, the new Committee on Internet Technology, and the Commu- secure in perpetuity, so that all future generations of musicologists nications Committee to develop a viable public musicology arm of will be able to enjoy the same benefits from our programs that we the Society that both supports member efforts and can stand on its enjoy today. own as a resource for all. It’s difficult, but it’s an essential job the —James Ladewig Society faces, as Lewis Lockwood observed a generation ago. My job is to keep pressing the initiative and not allow it to languish due to how hard it is to do within one committee-season’s purview. I hope News from the AMS Board that its importance is self-evident. Again, your thoughts are wel- The AMS Board met in New Orleans in November 2012. In addition come and invited: let me know. I have no doubt that you’ll be seeing to reviewing reports from the officers and committees of the Society more on both fronts regularly for the foreseeable future. and reviewing nominations and appointments to committees and So- —Robert Judd ciety positions, the Board:

• Approved the Finance Committee’s recommendation to reduce en- • Agreed to invite several scholars from Eastern Europe to the Annual dowment spending to 4.5% over a three-year period (see Treasurer’s Meeting in Pittsburgh for a special Friday noontime session. Message). • Approved a proposal from the Committee on the Annual Meeting • Agreed to appoint a Digital and Multimedia Editor for JAMS (see to incorporate poster sessions at the Annual Meeting (beginning p. 4). 2014). • Approved an ad hoc committee proposal to emend the by-laws to • Approved moving the travel grant deadline to 1 February beginning incorporate a number of minor changes, mostly concerning elec- in 2014. tronic communication. • Approved the establishment of the Music and Dance Study Group.  AMS Newsletter Rock and Roll Hall of Fame Library of Congress Lecture Series and Museum Lecture Series The next AMS / Library of Con- gress Lecture will take place in the The next AMS / Rock and Roll Hall of Fame and Museum Coolidge Auditorium at noon on (RRHOFM) Lecture will take place this spring in the Foster The- Tuesday 19 March. Todd Decker ater of the RRHOFM, Cleveland, Ohio (the date will be announced (Washington University in St. Lou- shortly). is) will present a lecture entitled Loren Kajikawa (University of Oregon) will present a lecture en- “Making Show Boat: Jerome Kern, 1979 titled “Before Rap: DJs, MCs, and Pre- Hip Hop Performances.” Oscar Hammerstein II, and the He describes his talk as follows: “‘Rapper’s Delight,’ the multi-plati- Power of Performers.” num single that propelled The Sugarhill Gang into the national spot- Todd Decker writes, “Few light late in 1979, effectively launched a new genre called rap music. Broadway musicals have enjoyed For those at the center of New York’s hip hop scene, however, the sud- the popular and critical reputation den rise of The Sugarhill Gang—a group that had never performed of Show Boat. Jerome Kern and Os- together live until after they had a hit record—came as a shock. The car Hammerstein II’s musical was a group’s many critics have emphasized their lack of credibility as live hit when Florenz Ziegfeld initially performers, their stealing of other MCs’ rhymes, and the way their produced it in 1927, and the show Todd Decker hit song emphasized the MC at the expense of the DJ. Yet this focus kept on succeeding commercially AMS / Library of Congress Lecturer on the inauthenticity of ‘Rapper’s Delight’ has shielded from view a for seven decades in Broadway revivals, Hollywood films, and produc- profound shift in form that accompanied hip hop’s translation from tions in London’s West End. A current round of concert performances live performance to recorded rap. and productions by American opera companies suggests that Show Boat “Fortunately, the world of hip-hop music before ‘Rapper’s Delight’ remains an audience favorite into the twenty-first century. is not completely lost to us. In addition to oral histories and auto- “The Library of Congress is the single most valuable archival source biographies describing the era, a trove of pre-1979 bootleg record- for Show Boat: the show is well represented in both the Kern and Ham- ings provides us with valuable documentation of this bygone era. My merstein collections in the Music Division. When combined with oth- lecture focuses on two of the best preserved of these tapes, featuring er archival materials, the Kern and Hammerstein collections tell a story RRHOFM inductees DJ Grandmaster Flash and The 4 MCs (before of the power individual performers exercised over the making of Show they added Rahiem and became the Furious Five). I rely on close Boat in 1927. This power was distributed across male and female, black listening and an original approach to transcription that highlights and white, famous and unknown performers. Again and again, Show the expressive practices and ar- Boat’s original players exerted a defining influence on the content of the tistic priorities of hip hop’s first show in a manner that left discernible traces in the archive: from the DJs and MCs. Although we hear choice of one song over another at a key moment in production history, something that resembles later to the expansion of a character’s vocal range to accommodate a casting music—namely MCs rapping choice, to the decision made in the midst of out-of-town tryouts to over beats—these recordings fea- feature one set of performers over another. ture a sense of musical spontane- “This lecture highlights instances where performers shaped the con- ity that distinguishes them from tent and form of Show Boat. Among many such examples, the archives later studio-produced music. By reveal how Kern and Hammerstein’s desire to feature Paul Robeson as paying closer attention to pre- the stevedore Joe determined the repeated use of ‘Ol’ Man River’; how 1979 hip hop on its own terms, the musical and dramatic shape of act two was built around the choice of nightclub singer and Prohibition celebrity Helen Morgan to play Ju- I seek a greater understanding lie; how the show’s central romantic couple—Ravenal and Magnolia— and appreciation for the work of proved a mismatched pair from the start, with operetta singers consid- pioneering DJs and MCs, and I ered for the former and musical comedy performers for the latter; how hope to demonstrate how formal the eventual casting of tenor Howard Marsh as Ravenal pushed the lead Loren Kajikawa analysis and questions related to AMS / RRHOFM Lecturer male role into unusual vocal territory, and, finally, how the large chorus historical performance practice of African American singers and dancers hired for Show Boat gradually can serve to generate new knowledge in popular music research.” claimed more and more stage time in the form of elaborate production Loren Kajikawa serves as contributing editor for all hip hop-relat- numbers designed to serve specific technical and aesthetic functions. ed entries to Amerigrove II. His most recent article, “The Sound of “Understanding how performers shaped the content of Show Boat Struggle: Black Nationalism and Asian American Jazz in the 1980s,” in 1927 proves an essential first step in assessing this storied musical, appeared in Jazz/Not Jazz: The Music and its Boundaries, ed. David for all subsequent versions have had to work with (or around) songs Ake, Charles Hiroshi Garrett, and Daniel Goldmark (University of and scenes designed to showcase the powerful members of Show Boat’s California Press, 2012). original cast.” The AMS/RRHOFM Lecture Series will continue in the fall of The Communications Committee welcomes proposals from AMS 2013. Webcasts of the lectures are available at the AMS web site. members interested in giving a lecture as part of this distinguished se- The AMS is grateful to the RRHOFM’s Jason Hanley, Director of ries, which is intended to showcase research conducted using the ex- Education, for helping to organize this series. The Communications traordinary resources of the Library of Congress Music Division. All Committee is happy to receive proposals from those interested in giv- lectures are available as webcasts. Links to the webcasts and application ing a lecture as part of this series; see www.ams-net.org/RRHOFM- information can be found at www.ams-net.org/LC-lectures. The ap- lectures/ for full details. plication deadline is 1 December 2013. February 2013  The Song Scholarship and Performance Program at the Vancouver International Song Institute The Dynamic Engagement of Scholarship and Performance The Vancouver International Song Institute processes as a collaborative pianist I began by bring its hybrid language into rich performa- (VISI), a multifaceted and interdisciplinary art asking: how does art song differ from solo and tive dimensionality, artists should be deeply song festival held at the University of British Co- chamber music in its preparatory interpre- apprised of the poetic content and the ana- lumbia’s School of Music each June, inaugurated tive exigencies? Is art song a medium apart, lytical relationship between word and sound. its Song Scholarship and Performance program and if so, what special actions are needed by These represent fields of scholarship—poetry, (SSP) in 2010. Since then, SSP has flourished performers during the creative process? My translation, cultural history, philosophy, com- as a model of productive interaction between answers identified a spectrum of fascinating parative literature, psychology, music history scholars and performers, bringing together grad- components, which VISI addresses through a and analysis—that lie beyond the scope of uate students and professionals in musicology, continuum of integrated programs. Of these, general performance training yet are essen- music theory, and performance for an intensive SSP represents the crucial foundational base tial to performers’ interpretative prowess. and illuminating exploration of art song. AMS from which all else emerges. Its launch was Conversely, scholars may not realize the ex- Newsletter editor Andrew H. Weaver recently sparked by one of the countless serendipities tent of the need for an expanded library of sat down with SSP participants to learn more that has graced VISI’s renegade penchant for performer-oriented scholarly work, and the about the program. Contributing to the follow- breaching barriers. transformative beneficial impact it can gener- ing discussion are Rena Sharon (University of When Benjamin Binder spoke at the inter- ate. To galvanize new ways of thinking about British Columbia), founder and artistic direc- national “Phenomenon of Singing” confer- the purposeful interaction of scholarship and tor of VISI; Benjamin Binder (Duquesne Uni- ence in St. John’s, Newfoundland in 2009, performance, I envisioned SSP as a forum versity), director and co-founder of SSP; Susan his presentation blended substantive depth through which both groups might experi- Youens (University of Notre Dame), SSP faculty with warm humanity and delightful humor. ence the sort of unanticipated and breath- member in 2012 and 2013; and Kenneth Stilwell As both scholar and collaborative pianist, and taking insights that often emerge through (Catholic University of America), a musicology as a sensitive speaker and listener, he was per- collaboration. graduate student who has attended SSP since the fectly poised to lead a pilot exploration join- Binder: program’s inception. ing the two domains of SSP. He is joined by I would add that all too often per- a distinguished cohort who have contributed formers and scholars are afraid or unwilling Weaver: How did SSP get started? richly to the program’s creation and develop- to enter into substantive discussion with one Sharon: The creation of the VISI project in ment: Deborah Stein, Cameron Stowe, and another across the disciplinary divide. With which SSP is situated followed fifteen years of Harald and Sharon Krebs. Susan Youens at- SSP we have created an open and welcom- my personal observation of the art song’s ero- tended VISI before SSP was launched (2007– ing environment for the in-depth exploration sion as a performance modality. Many con- 8) and returned in 2012 to our great joy. of song from as many disciplinary perspec- cert presenters across North America assert Richard Kramer, Kristina Muxfeldt, and Mi- tives as we can muster. It’s a two-week sum- that programming vocal recitals results in low chael Musgrave have also been honored par- mer camp for scholars and performers, but at audience turnout; some have even predicted ticipants. SSP’s home is the UBC School of the highest level of rigor and intensity. The the disappearance of the art song recital from Music, directed by Richard Kurth. The Dean’s program aims to make performers aware of the concert stage within the next twenty years. Office of the Faculty of Arts has assisted its the scholarly resources available to them as The impetus to add a new entity to the exist- growth, as has the Peter Wall Institute for Ad- they pursue creative interpretation of a song. ing network of summer art song institutes, vanced Studies and Green College. Meanwhile, scholars discover what is really therefore, was to provide an experiential labo- involved in bringing a song to life in perfor- Weaver: What are the main objectives of SSP? ratory for research, study, and creative inno- mance. We aim to break down inhibitions, vation to catalyze proactive solutions and new Sharon: Because art song is an extraordi- open a productive dialogue, and dissolve the models for training, pedagogy, and perfor- nary symbiosis of poetry fused to music, its boundaries between scholars and performers. mance. Placing the searchlight upon my own study is intrinsically multidisciplinary. To It’s really a false choice we face between the two identities; at the end of the day, we are all musicians, and the activity that unites us is interpretation.

Weaver: How do scholars and performers interact in SSP? What kinds of activi- ties take place on a typical day? Binder: In the morning we attend lectures and mas- ter classes. Often these are linked: a musicologist or theorist will explore some Rena Sharon Benjamin Binder Kenneth Stilwell aspect of Schubert, for

 AMS Newsletter example, and then one of VISI’s performance Binder: Since not all musicology and theo- with experts and inevitably have my ideas faculty will give a master class on related ry students have experience interacting with changed for the better; 3) I hear performers Schubert songs. The afternoon is devoted to general audiences, we work with them on the shape and refine their interpretations; and 4) interactive seminars led by SSP faculty. One final lecture-recital to make sure that the pre- I learn an enormous amount of new informa- of the innovative group activities we’ve de- sentation will be accessible and engaging. We tion and insights. veloped is an open discussion format that in- even set them up with a voice coach to work Stilwell: SSP is an excellent model for dynam- cludes performance. A student duo performs on public speaking skills. I strongly believe ic and creative collaboration. As a student, I a song, which provokes ideas about the poem that any musical idea of value can and should find this kind of dialogue particularly help- and its setting. Everyone is invited to contrib- be made comprehensible to anyone, provided ful, even essential, since it brings new ways ute to the conversation from their own angle they are motivated to receive it. This belief in- of thinking about song. In addition, students and ask questions of the collective wisdom. forms all the activities of SSP. often feel they have the freedom to explore If we want to see how our ideas might im- Weaver: What can students (both performers new conceptual and interpretive terrain, with pact the performance of a song, we ask the and scholars) and faculty expect to get out of the full support and encouragement of the students to try them out. We also find that participation in SSP? faculty. This is what is so empowering about having live performers available changes the SSP, and why it continues to stimulate vibrant kind of things we end up saying approaches to scholarship and about the song as scholars. performance. Youens: For me, a typical day Weaver: What have been some of at VISI might begin either with the greatest insights gleaned from breakfast at one of UBC’s col- SSP? leges, set in visually magnifi- cent surroundings, or coffee Sharon: Our pilot event in- and croissants at a Vancouver cluded a memorable session on coffee shop with a graduate stu- translation prepared by Sharon dent whose work we discuss over Krebs that, for me, defined the cappuccino—a fantastic way thrilling possibilities of moder- to meet the next generation of ated cross-disciplinary discus- scholars! I might then attend a sion. The music scholar and art- lecture on a particular analyti- ist cohort, joined by translation, cal topic by the likes of Harald poetry, and literature scholars, Krebs or Deborah Stein, fol- spent several hours exploring lowed by an illuminating master the consequences of the transla- class led by Cameron Stowe, a tion of Lord Byron’s “My Soul lunch filled with still more lively is Dark” in Schumann’s “Mein discussion of the participants’ Herz ist schwer” from Myrthen. projects, a lecture on Brahms’s The plethora of topics—from songs by Michael Musgrave, compositional choices and phil- and extraordinary late afternoon osophical dissonances to per- performances in which the en- former conundrums and the tire group offers comments and confusing nuances encountered suggestions. After dinner comes in diverse alternative transla- a performance or perhaps a lec- tions—were electrifying and opened the floodgates to a spec- ture on historical singing styles SSP performance director Cameron Stowe leads a master class with students preserved on old recordings. I Rachel Fenlon, soprano, and Loretta Terrigno, musicologist and pianist. trum of further conversation. go home both exhausted and ex- Binder: Broadly speaking, per- hilarated after so much musical stimulation at Binder: SSP is an extraordinarily casual envi- formers want to fix an interpretation of a song, such a high level. ronment, despite the high caliber of the dis- so that they can rehearse toward the very prac- tical goal of a successful performance, whereas Stilwell: For the student scholars and per- course. The program gives students a chance scholars usually regard conclusive interpreta- formers, the focal point of the experience is to have meaningful, prolonged exchanges tions as reductive. SSP has shown that the the final lecture-recital, in which we present with professionals in their field and to ob- tension between these two imperatives can be the musicological and theoretical work we serve creative and intellectual processes at beneficial for both sides. Performers become have honed over the course of the program. close range. For faculty, SSP provides an op- newly sensitive to the wide range of interpre- As we develop introductory talks for the lec- portunity to recharge one’s batteries, recon- tive possibilities available to them in song, ture-recital, we also meet one-on-one with nect with the repertoire, and remind oneself of what makes song such a fascinating and vi- while scholars see what’s at stake when their SSP faculty. These meetings are designed to tal object of study. speculative notions collide with the require- further enhance the scholarly work we will ments of making a song “work” in real time. present, and it also gives us a wonderful op- Youens: As a faculty member, I derive four- Of course, in talking about “performers” and portunity to discuss the work we do outside fold stimulus from SSP: 1) I hear about the “scholars” I’m referring to abstract stereotypes; of VISI with an outstanding collection of latest research by both young and senior scholars. scholars; 2) I get to discuss my own projects continued on page  February 2013  The Ecomusicology Listening Room

Over a hundred people attended the Eco- presentation, with topics ranging from hu- musicology Listening Room (ELR) in New man-animal musics to Thoreau’s resonance in Orleans last November. The cross-disciplin- John Cage’s compositions. ary conversation took place as part of an al- The ELR was also on display in the Ex- ternative format, joint association (AMS hibit Hall throughout the conference. QRS © Elena Elisseeva, 2012 . Used under license from Shutterstock.com. and SEM) event featuring seven soundscape barcodes allowed participants to listen to the compositions. ELR design teams combined sound compositions on their smart phones. photography and sound compositions in or- Headphones and iPods were provided as well. der to inspire reflection, questions, and new The New Orleans ELR session and exhibit ideas concerning music and the environment. were co-sponsored by the ESG (AMS), Eco- Themes of identity, place, sustainability, bio- musicology Special Interest Group (SEM), diversity, and environmental justice were Popular Music Study Group (AMS), and woven throughout the interdisciplinary ex- Special Interest Group for Sound Studies change. The exhibit lives on at ecosong.org, (SEM). The ELR continues to serve as a com- including an audio recording of the session in munication tool for building the interdisci- New Orleans. plinary discussion around ecomusicology or, Violinist Mati Braun’s performance of J. S. as aptly titled for the ESG preconference, Bach’s Partita No. 3 was a highlight. Braun “ecomusicologies.” A feedback feature below performed in front of a photographic image each soundscape composition at ecosong. of the endangered pernambuco tree, from org allows online participants to share their Room 7 of the ELR, accompanied aurally with “Beneath the Forest Floor” (1992) by Hildegard Westerkamp. See which prized violin bows are crafted. Braun’s thoughts, interpretations, questions, and http://ecosong.org/room-4.html. performance was followed by an interactive ideas; this is one of many ways to take part discussion, facilitated by Aaron S. Allen, in the growing interdisciplinary conversation incorporated into future ELRs. Meanwhile, chair of the AMS Ecocriticism Study Group concerning music and the environment. the physical photo-sound exhibit will be on (ESG) and a leading researcher on the topic Participants at the New Orleans session rec- public display at the University of Minnesota of sustainable instrument manufacture. In ommended the incorporation of video instal- Institute on the Environment (IonE), Febru- similar fashion, AMS and SEM scholars fa- lations, moving images to match the moving ary through May 2013. The ELR was funded cilitated discussions after each soundscape musical compositions. That suggestion will be by a grant from the IonE.

Vancouver International Song Institute human dignity and intelligence of art. Pas- Doctoral Dissertations in sionate scholarship and inspired performance continued from page  Musicology work together and arise from total immersion in the beauty of song itself, and there is great Hundreds of listings in DDM have been add- SSP participants are actually quite adept at honor in sharing ideas with an audience that ed over the past year, and the database now 15,500 switching roles, so much so that the very no- waits just past the edge of the stage and with- includes nearly dissertations. Is your tion of separate roles tends to disappear by the in earshot of the lecture hall. own listing correct? See www.ams-net.org/ second or third day of the program. ddm/ to use the database. Weaver: What suggestions might you offer to Youens: What I hope all the participants take other AMS members on how to do something away from SSP—I know I do—is the extent Ongoing Grants and Fellowships similar within their own areas of expertise? to which all these disciplines that are often kept separate (theory, musicology, perfor- Binder: Let participants speak from their Grants and fellowships that recur on an- mance, literary matters) merge to produce a own perspective first, in the specialized lan- nual cycles are listed at the AMS web much deeper understanding of song. To see guage of their discipline, even if they won’t site. Granting agencies include the performers delve into the musical workings initially be entirely understood by everyone. following: of a song, to hear everyone discuss how Wolf A genuine exchange of ideas can only begin • American Academy in Berlin or Mahler understood a particular poem, to when these languages collide. Eventually, ev- • American Academy in Rome listen to rehearsals in which different ways of eryone will feel comfortable and respected, • American Council of Learned Societies interpreting a gesture, a phrase, a passage are and that’s when the forging of a common lan- • Guggenheim Foundation tried out: everyone is up to his or her elbows guage can begin. • Humboldt Foundation in every aspect of song. • International Research and Exchanges Stilwell: For me, beyond the creative scholar- The 2013 Song Scholarship and Performance Board ship, the development of skills necessary for program (6–20 June for performers, 8–17 June • National Endowment for the close poetic and musical readings, engage- for scholars) will focus on “Mahler, Strauss, and Humanities ment with some of the highest conceptual the Fin-de-siècle Lied.” For more information, • National Humanities Center work being done in the area of song, and ex- including a list of faculty and application in- • Newberry Library Fellowships ploring the outermost liminal boundaries of structions, please visit www.songinstitute.ca/ the Lied in all its multiplicity, I’ve learned the song-scholarship-and-performance. Details: www.ams-net.org/grants.php

 AMS Newsletter AMS Elections 2013

AMS elections take place in the spring each (2007–08; Chair, 2008); Chair, Howard Candidates for the year. This year, two candidates have agreed to Mayer Brown Fellowship Committee (2002– stand for president, two for secretary, and six 05); Director-at-Large (1993–95); Council Office of Secretary for member-at-large of the Board of Directors (1982–84) (three are elected). Michelle Fillion You may vote electronically at the web site, Professor of Music, University of Victoria or by using the paper ballot sent to members Honey Meconi Degrees: PhD, Cornell, 1982; MA, Cor- under separate cover; if you lose it, a replace- nell, 1975; BMus, McGill, 1973; BA, Univ. de ment may be obtained at the web site. Please Susan B. Anthony Professor of Gender and Montréal, 1970 follow the instructions found on the ballot Women’s Studies; Professor of Music, Col- Research interests: Classical music and carefully. Ballots not conforming to the in- lege Music Department; and Professor of musical form; Haydn; Beethoven; music and structions are rendered invalid. Musicology, Eastman School of Music, Uni- English literature; E. M. Forster Detailed descriptions of the three offices are versity of Rochester Publications: “Form, Rhetoric, and the found in the AMS By-laws, available in the 1986 Degrees: PhD, Harvard, ; AM, Har- Reception of Haydn’s Rondo Finales,” in AMS Directory and at the web site. vard, 1980; BA, Pennsylvania State Univer- Engaging Haydn, ed. Hunter and Will (Cam- sity, 1974 bridge, 2012); Difficult Rhythm: Music and the Candidates for the Office Research interests: Hildegard of Bingen; Word in E. M. Forster (Illinois, 2010); “Inti- of President manuscript studies; 15th- and 16th-century mate Expression for a Widening Public: The musical culture, especially that of the Keyboard Sonatas and Trios,” in Cambridge Habsburg-Burgundian court; musical bor- Companion to Haydn, ed. Clark (Cambridge, rowing; extreme singing 2005); “Beethoven’s Mass in C and the Search Ellen T. Harris 7 1999 Publications: “The Unknown Hildegard: for Inner Peace,” Beethoven Forum ( ); ed., Early Viennese Chamber Music with Ob- Class of 1949 Professor Emeritus, Massachu- Editing, Performance, and Reception,” in bligato Keyboard: Vol. I: Six Keyboard Trios; setts Institute of Technology Mediating Music from Hildegard of Bingen to Vol. II: Six Ensemble Works for Two to Five Degrees: PhD, Chicago, 1976; MA, Chi- The Beatles: Essays in Honor of Jane Bernstein, Performers (A-R, 1989) cago, 1970; BA, Brown, 1967 ed. Monson and Marvin (Rochester, forth- Awards: Phi Beta Kappa, N. California Research interests: Baroque opera; Handel; coming); Cancionero de Juana la Loca (Pat- Teaching Award (2002); Mary S. Metz Chair Purcell; vocal performance practice rimonio, 2007); ed., Early Musical Borrowing for Excellence and Creativity in Teaching, Publications: Handel: A Life with Friends (Routledge, 2004); Pierre de la Rue and Mu- Mills College (2000–01); Fellowships of Can- (Norton, forthcoming); “Viardot sings sical Life at the Habsburg-Burgundian Court ada Council (now SSHRC) and Province de Handel (with thanks to George Sand, (Oxford, 2003); ed., Fortuna desperata: Thir- Québec (FQRSC) (1975–77); Medal of the Chopin, Meyerbeer, Gounod, and Ju- ty-Six Settings of an Italian Song (A-R, 2001) Governor-General of Canada (1970) lius Rietz),” in The Fashion and Legacy Awards: NEH Fellowship (2008–2009) Administrative experience: Graduate Ad- of Nineteenth-Century Italian Opera, ed. 2006 12 and Summer Stipends (1995, 1990); Noah visor, U Victoria School of Music ( – ); Marvin and Poriss (Cambridge, 2010); “Jo- Archivist, Gordon Mumma Collection Greenberg Award (2006); Andrew W. Mel- seph Goupy and George Frideric Handel: (2010–present); Board Secretary, Canadian lon Postdoctoral Fellowship (1990–91); Fel- From Professional Triumphs to Personal University Music Society (2006–08); Di- 1986 87 Estrangement,” Huntington Library Quar- low, Villa I Tatti ( – ); Fellow, Fulbright rector of General Education, Mills College terly (2008); “Handel the Investor,” M&L (1982–84) (2001–02); Head, Music Dept., Mills College (2004); Handel as Orpheus: Voice and Desire Administrative experience: Editorial (1998–2000; 1990–94) (Harvard, 2004) Board, Grove Music (2009–present); Direc- AMS activities: Claude V. Palisca Award Awards: AMS Honorary Member (2011); tor, Susan B. Anthony Institute for Gender Committee (2009–11; Chair, 2010–11); Coun- Westrup Prize (Music & Letters Trust) (2005); and Women’s Studies, Univ. of Rochester cil (2006–12); President, N. California Chap- Member, Institute for Advanced Study (2007–present); Univ. of Rochester Faculty ter (1993–94); Council (1987–89) (2004); Louis Gottschalk Prize, American So- Diversity Officer for the College (2009–10); Michael C. Tusa ciety for Eighteenth-Century Studies (2003); Director, Medieval Studies Program, Rice Otto Kinkeldey Award (2002) University (1998–2004); Board of Directors Professor of Music, Butler School of Music, University of Texas at Austin Administrative experience: Associate Pro- (1995–2000) and Advisory Board (2000–02), vost for the Arts, MIT (1989–95); Chair, U. Degrees: PhD, Princeton, 1983; MMus, Houston Early Music Chicago Music Dept. (1984–87); Chair, MIT Yale School of Music, 1976; BA, Yale, 1975 AMS activities: Vice President (2009–10); Music and Theater Arts Section (2000–02); Research interests: Beethoven; 19th-centu- Board President, Boston Baroque (2000–03); Chair, Committee on the Annual Meet- ry opera; piano music; compositional process Chair, MIT Presidential Committee on Cam- ing (2009–10); Committee on the Status of Publications: “Reading a Relationship: pus Race Relations (1994–99) Women (2004–06); President, Southwest Solo-Tutti Interaction and Dramatic Trajec- AMS activities: JAMS Editorial Board Chapter (1999–2001); Program Committee tory in Beethoven’s Second Piano Concerto” (2004–10); Kindeldey Award Committee (1999) continued on page  February 2013  AMS Elections 2013 Executive Committee (2012–13); Rice Acting Research interests: Renaissance; Britain c. Musicology Dept. Chair (2011); Board of Di- 1800; interwar France  continued from page rectors, Houston Early Music (2009–12); Rice Publications: The Musical Work of Na- University Faculty Senate (2012–13; 2009–11) dia Boulanger (Cambridge, 2013); “Musical JM (2012); “Cosmopolitanism and the Na- AMS activities: Hewitt-Oberdorffer Prize Monuments for the Country House: Music, tional Opera: The Case of Weber’s Der Frei­ Committee, Southwest Chapter (2011; Chair, Collection and Display at Tatton Park,” M&L schütz,” Journal of Interdisciplinary History 2009); AHJ AMS 50 Fellowship Committee (2010); “Music as Erotic Magic in a Renais- (2006); “Noch einmal—Form and Content in (2006–10); Council (2005–07); Local Ar- sance Romance,” RQ (2007); Courtly Song the Finale of Beethoven’s Ninth Symphony,” rangements Committee (2003) in Late Sixteenth-Century France (Chicago, 7 1999 Beethoven Forum ( ); “The Unknown 2000); “Nadia Boulanger and the Salon of the 1805 Florestan: The Version of ‘In des Lebens Su san BoYNTON Princesse de Polignac,” JAMS (1993) 1993 Frühlingstagen,’” JAMS ( ); “Euryanthe” Awards: AMS Publication Subvention and Carl Maria von Weber’s Dramaturgy of Professor of Historical Musicology, Columbia (2011); Macgeorge Fellowship, University 1991 German Opera (Clarendon, ) University of Melbourne (2009); University of South- Administrative experience: Assoc. Direc- Degrees: PhD, Brandeis, 1997; MFA, ampton Vice-Chancellor’s Teaching Award tor, Butler School of Music, University of Brandeis, 1996; Diplôme d’études médiévales, (2008); Roland Bainton Prize, Sixteenth Cen- 2001 08 Texas at Austin ( – ); Acting Director, Louvain-la-Neuve, 1992; MA, Yale, 1990; BA, tury Society (2001); Noah Greenberg Award 1999 2001 Butler School of Music, UTA ( – ); Yale, 1988 (1996) Head, Division of Musicology/Ethnomusi- Research interests: Medieval; liturgy; mo- Administrative experience: Southampton: cology, Butler School of Music, UTA (1988– nasticism; women’s studies; childhood studies Head of Research (Music) (2010–present); 1992, 2008–10) Publications: Silent Music: Medieval Song Director of Graduate Studies (1992–99, 2001– AMS activities: Eugene K. Wolf Travel and the Construction of History in Eighteenth- 03). Co-Editor, Music & Letters (1999–2004); Grant Committee (2007–10); Director- Century Spain (Oxford, 2011); Shaping a Vice President, Royal Musical Association at-Large (2004–05); Council (1999–2001); Monastic Identity: Liturgy and History at the (2004–09); Music Representative, Renais- Reviews Editor, JAMS (1996–98); Program Imperial Abbey of Farfa, 1000–1125 (Cornell, sance Society of America (2009–12) Committee (1989, 2003) 2006 ); “Prayer as Liturgical Performance in AMS activities: Chair, Travel Awards Eleventh- and Twelfth-Century Monastic Committee (2012); Bartlet Prize Commit- 2007 Psalters,” Speculum ( ); “Orality, Lit- tee (2009–11); Chair, Honorary and Corre- Candidates for the Office eracy, and the Early Notation of the Office sponding Members Nominating Committee 2003 of Members-at-Large, Hymns,” JAMS ( ); co-ed., Young Cho- (2003–04); Council (2002–05) risters, 650–1700 (Boydell & Brewer, 2008); Board of Directors co-ed., Musical Childhoods and the Cultures of Banruce Al Brown Youth (Wesleyan, 2006) Awards: Robert M. Stevenson Award Gregory Barnett Professor of Musicology, University of South- (2012); Lewis Lockwood Award (2007); ACLS ern California Associate Professor of Musicology, Rice Uni­- Fellowship (2007–08); Member, Institute for Degrees: 1986 versity Advanced Study (2007–08); NEH Summer PhD, UC Berkeley, ; MA, 1979 1977 Degrees: PhD, Princeton, 1997; MFA, Princ- Stipend (2006); Rome Prize (1998–99) UC Berkeley, ; BA, UC Berkeley, Research interests: 18 eton, 1992; BA, Oberlin, 1988 Administrative experience: Historical Mu- th-century opera and Research interests: Baroque; history of sicology Area Chair, Columbia (2012–pres- ballet; music in Vienna; Gluck; Mozart; per- music theory; performance practices ent); Chair, Music Humanities, Columbia formance practice Publications: Bolognese Instrumental Music, (2006, 2009–11, 2012–13); Councilor, Medi- Publications: Ed., Gluck, L’Arbre enchanté 2009 1660–1710: Spiritual Comfort, Courtly Delight, eval Academy of America (2011–13); Execu- (Bärenreiter, ); ed., with Harris-Warrick, and Commercial Triumph (Ashgate, 2008); tive Committee, Graduate School of Arts and The Grotesque Dancer on the Eighteenth- “Giovanni Maria Bononcini and the Uses of Sciences, Columbia (2010–13); Chair, Colum- Century Stage: Gennaro Magri and His World 2005 the Modes,” JM 25 (2008); “Handel’s Borrow- bia University Seminar on Medieval Studies (Wisconsin, ); critical report for Mozart, ings and the Disputed Gloria,” Early Music 34 (2007–present); Convener of Issues in Medi- Idomeneo (Bärenreiter, 2005); W. A. Mozart: (2006); “Tonal Organization in Seventeenth- eval Liturgy seminar, North American Acad- Così fan tutte (Cambridge, 1995); Gluck and Century Music Theory,” in The Cambridge emy of Liturgy (2008–12) the French Theatre in Vienna (Oxford, 1991) History of Western Music Theory, ed. Chris- AMS activities: JAMS Editorial Board Awards: Univ. of Southern California, tensen (Cambridge, 2002); “Modal Theory, (2010–15); Einstein Award Committee Dean’s Award for Excellence in Teaching Church Keys, and the Sonata at the End of (2009–11); Program Committee (2003); (2006); USC, Mellon Award for Excellence in the Seventeenth Century,” JAMS 51 (1998) Council (2000–03); Treasurer, Greater New Mentoring (2005); USC, grants from James Awards: ACLS Fellowship (2011–12); Resi- York Chapter (2001–03) A. Zumberge Faculty Research and Innova- dent Fellow, Rockefeller Foundation Bella- tion Fund (1986, 1992); NEH Fellowship gio Center (2011); Fulbright Senior Research Jeanice Brooks (1988–89) Grant (2007); NEH Summer Stipend (2007); Administrative experience: Executive University of Iowa Arts and Humanities Ini- Professor of Music, University of South- Board, USC Academic Senate (2007–09); tiative Grant (2001–02) ampton Program Chair, Mozart Society of America Administrative experience: Chair, Nomi- Degrees: PhD, Catholic University of (2005–06); MSA Board of Directors (2002– nating Committee, Society for Seventeenth- America, 1990; MA, CUA, 1985; BSc, West 06, 2010–present); Editorial Board, Gluck- Century Music (2012–14); Rice University Chester State College, 1982 Gesamtausgabe (1991–present); Chair, USC  AMS Newsletter Musicology Dept. (1992–96, 1998–99 (inter- Fellowship (2008–09); American Academy in Publications: “Spanish Moors and Turkish im), Spring 2004 (interim), 2008–10) Berlin (2005); NEH Summer Stipend (2005); Captives in fin de siècleMexico: Exoticism as AMS activities: Slim Award Committee NEH Summer Seminar (2002); Berlin Pro- Strategy,” JMR (2012); “Manuel M. Ponce’s (2010–12); Editor-in-Chief, JAMS (2004–07); gram for Advanced German and European Chapultepec and the Conflicting Represen- Publications Committee (2004–07); JAMS Studies (1998); DAAD Fellowship (1997) tations of a Contested Space,” MQ (2009); 1998 2004 Editorial Board ( – ); Joint AMS- Administrative experience: Director, Eu- “Staging the Nation: Race, Religion and His- MLA Committee on RISM (1993–2001) ropean Studies and Max Kade Center for tory in Mexican Opera of the 1940s,” OQ European and German Studies, Vanderbilt (2007); “The American Composer of Western Joy H. Calico (2013–17); Co-Chair, Music and Sound Stud- Art Music in the 1930s: A Study of Charles ies Network, German Studies Association Seeger’s and Carlos Chávez’s Social Thought,” Associate Professor of Musicology, Vanderbilt 2012 ( –ongoing); Co-Chair, Vanderbilt Fac- in Understanding Charles Seeger, Pioneer in University ulty Senate Committee on Student Affairs American Musicology, ed. Yung and Rees (Il- Degrees: PhD, Duke, 1999; MMus, Univ. (2011–12); Chair, Vanderbilt U Press Editorial linois, 1999); “Musical Identities, the Western of Illinois, Urbana-Champaign, 1992; BMus, Committee (2008–09) 1988 Canon, and Speech About Music in Twenti- Baylor, AMS activities: JAMS Editorial Board eth-Century Mexico,” HMSGN (1998) Research interests: Cold-War cultural poli- (2011–16); Alfred Einstein Award Committee 20 Awards: COR Omnibus Fellowship, UC tics; Second Viennese School; th-century (2013–15); Chair, Cold War and Music Study opera; opera stagings Riverside (2008–12); UC-MEXUS grant Group (2010–12); Board Nominating Com- Publications: Brecht at the Opera (Califor- (2006–07); FONCA grant (Mexico) (1996– mittee (2011); Program Committee (2009); nia, 2008); “Staging Scandal with Salome and 97 Council, Council Nominating Committee ); Andrew Mellon Pre-Doctoral Fellowship Elektra,” in The Arts of the Prima Donna in 1994 95 1989 91 (2006–08) ( – ); Fulbright-Juárez Grant ( – ) the Long Nineteenth Century, ed. Cowgill and Administrative experience: Director of Poriss (Oxford, 2012); “Musical Threnodies Leonora Saavedra Graduate Studies, UCR (2005–08); National for Brecht,” in Brecht and the GDR: Politics, Coordinator of Music and Opera, INBA, Culture, and Posterity, ed. Bradley and Leeder Mexico City (1998); Director, National Cen- (Camden House, 2011); “The Legacy of GDR Associate Professor, University of California, ter for Music Research (CENIDIM), Mexico Theater Directors on the Post-Wende Opera Riverside 1985 88 Stage,” in Art Outside the Lines: New Perspec- Degrees: PhD, Univ. of Pittsburgh, 2001; City ( – ) tives on GDR Art Culture, ed. Kelly and Wlo- Maîtrise en Musicologie, Univ. Paris IV-Sor- AMS activities: JAMS Editorial Board darski (Rodopi, 2011); “Schoenberg’s Sym- bonne, 1979; BA, Conservatorio Nacional de (2011–13); Co-Chair, Committee on Cultural bolic Remigration: A Survivor from Warsaw in Música, Mexico City, 1975 Diversity (2010–12); Robert M. Stevenson West Germany in the 1950s,” JM (2009) Research interests: Mexican music; Ameri- Award Committee (2006–08); Honorary and Awards: ACLS Frederick Burkhardt can music; exoticism; nationalism; music and Corresponding Members Nominating Com- Residential Fellowship (2009–10); Howard ideology mittee (2005); Council (2004–06)

AMS Fellowships, Awards, and Prizes Music in American Culture Award for out- MPD Travel Fund continued from page  standing scholarship in music of the United to attend the Annual Meeting States Deadline: 25 July Deadline: 1 May Eugene K. Wolf Fund Thomas Hampson Fund for research and for European research Claude V. Palisca Award for an outstanding publication in classic song Deadline: 1 March edition or translation Deadline: 15 August Deadline: 1 May Noah Greenberg Award AMS Publication Subventions for outstanding performance projects H. Colin Slim Award for an outstanding ar- Deadlines: 15 February, 15 August Deadline: 15 August ticle by a scholar beyond the early stages of her or his career Eileen Southern Travel Fund Alfred Einstein Award for an outstanding ar- to attend the Deadline: 1 May ticle by a scholar in the early stages of her or Annual Meeting Deadline: 25 September his career Ruth A. Solie Award for an outstanding col- Deadline: 1 May lection of essays Paul A. Pisk Prize for an outstanding paper Deadline: 1 May presented by a graduate student at the Annual Otto Kinkeldey Award for an outstanding Meeting Robert M. Stevenson Award for outstanding book by a scholar beyond the early stages of Deadline: 1 October scholarship in Iberian music her or his career Deadline: 1 May Howard Mayer Brown Fellowship for mi- Deadline: 1 May nority graduate study in musicology Philip Brett Award of the LGBTQ Deadline: 17 December Lewis Lockwood Award for an outstanding Study Group for outstanding work in gay, book by a scholar in the early stages of her or lesbian, bisexual, and transsexual/transgender Alvin H. Johnson AMS 50 Dissertation- his career studies year Fellowships Deadline: 1 May Deadline: 1 July Deadline: 17 December February 2013  Committee News Richard Wattenbarger, and Chris Williams, the Library of Congress) with great success; as well as its fearless leader Jim Cassaro, who those lectures are available online at www. will be taking over as chair of our parent ams-net.org/RRHOFM-lectures/ and www. AMS-Music Library Association Committee on Membership and Professional ams-net.org/LC-lectures/. Another ongoing Joint RISM Committee Development. As incoming chair, I welcome venture, the AMS-L discussion e-mail list, As of 2013, RISM owns the rights to the RISM our new members and am looking forward to continues to flourish and lately has changed A/I data and plans to put the contents, previ- working with them: Chris Gibbs, James Mai- some of its logistical guidelines to facilitate ously released by Bärenreiter on CD-ROM at ello, Felicia Miyakawa, and Elizabeth Perten. electronic communication on musicological the end of December 2011, online at the start of The CCRI-sponsored events at the joint issues among the membership and beyond. 2014, integrated into the RISM Online Cata- Annual Meeting in New Orleans were par- A new initiative sponsored by our commit- logue of Musical Sources (the RISM OPAC) at ticularly lively and well attended. They in- tee that begins in this issue of the Newsletter www.rism.info/en/service/opac-search.html cluded our now traditional Master Teacher is a series of short reflections by musicolo- and freely available to researchers worldwide. session, which focused on what and how we gists who have built careers beyond university The online version is planned to include up- teachers learn as we educate our students. teaching, called “What I do in Musicology: dates submitted to RISM by libraries since Other sessions addressed publishing journal Thoughts from the Field.” We hope to con- the publication of the CD-ROM database, as articles, surviving the trials of adjunct life, tinue this initiative indefinitely and welcome well as a system for electronic submissions of and alternative careers for musicology Ph.D.s. submissions from any AMS members who future updates by national groups (such as the The CV/Cover Letter workshop was packed, would like to share their stories for future U.S. RISM Office) directly into the RISM and the popularity of the buddy program issues, especially to model successful profes- OPAC, therefore transforming RISM A/I increased yet again this year, so we will be sional pathways outside the academy for our from a static catalog into a dynamic and ever asking more of our distinguished conference younger members. more comprehensive resource. Thus 2013 is a attendees to volunteer as mentors at the Pitts- One of our primary concerns moving particularly opportune year for librarians and burgh meeting. forward is a systematic approach to foster- scholars to submit updates on U.S. holdings Speaking of Pittsburgh—and Milwaukee ing “public musicology” in a wide variety of RISM A/I publications (including new or to come: In making our future plans, CCRI of forms. While we have some plans under- unreported materials as well as emendations is looking to expand upon the subjects that way (including a likely session at the Annual for copies already reported) to Sarah Adams, proved of particular interest to the session at- Meeting in Pittsburgh), we welcome any sug- Director of the U.S. RISM Office (sjadams@ tendees, as well as to explore other topics of gestions from the membership on possible fas.harvard.edu), for inclusion in this initial concern for AMS members that have reached initiatives to bring the intellectual energy of online data upload. RISM is also in the pro- our ears. Specifically, we are planning a sequel our Society into the public sphere. Please 2012 cess of acquiring the rights to the RISM B se- to the publishing session, this time con- feel free to contact me with suggestions at ries so that at least some of this material can centrating on broadly defined book projects, [email protected]. appear online as well. such as monographs, editions, edited collec- —Andrew Dell’Antonio tions, and textbooks. Our Master Teacher Results from the ongoing survey of U.S. Committee on Internet Technology library holdings to target appropriate music session will likewise build on some of the is- manuscripts still not cataloged in RISM A/II sues raised this year and will deal with new As reported in the August 2012 AMS News- have revealed a substantial enough number of teaching philosophies. The frustrations of letter, the Board of Directors has established important collections to justify a grant appli- today’s job market, ever present in the minds a new Committee on Internet Technology. cation to underwrite the cataloging of these of so many of us (if not for ourselves, then Its larger purposes include facilitating music sources for inclusion in the RISM OPAC. for our students’ sakes), will be addressed in research through the use of the myriad new Among the collections are Princeton’s De- a session tentatively titled “Search Commit- technological tools that have become avail- partment of Rare Books and Special Collec- tee: What Do You Want from Me?” Mean- able in the past twenty years, and helping the tions; the Lilly Library at Indiana University; while, we hope that those of us who are gain- AMS with its goals regarding public outreach. St. Vincent College in Latrobe, Pennsylvania; fully employed but may feel that they always The committee was formed last fall and met Harvard’s Music, Houghton, and Theatre have to choose between career or family will in New Orleans. Collection libraries (post-1998 acquisitions); be able to voice their concerns at a session Committee members include Mauro Cal- Yale’s Beinecke Library (the Hanover Royal on work/life balance dubbed “Surviving the cagno, Michael Scott Cuthbert, Margot Music Archive acquired in 2009); and the Li- Guilt.” The committee is also planning ses- sions on the stages of tenure (the first-year brary of Congress, which has an unreported RILM News cache of around five thousand relevant manu- nightmare; the third-year review; preparation scripts (including nearly six hundred full op- of the tenure dossier), as well as the frequently RILM (Répertoire International de Lit- era scores). overlooked anxieties of newly tenured faculty térature Musicale) would like all AMS members. We hope to see many of you at our members to submit abstracts and bib- 2013 2014 —Darwin F. Scott events in and . liographic records of their publications. —Olga Haldey See www.ams-net.org/RILM.php for full details. Committee on Career-Related Issues Committee on Communications Please let me know if you have RILM- 1 This year, the Committee on Career-Related The Committee on Communications contin- related questions or comments: pstarr @ Issues (CCRI) bid farewell to its fabulous ues to coordinate the two lecture series spon- unl.edu. departing members Rebecca Cypess, Holly sored by the AMS (in partnership with the —Pamela F. Starr Focht, Mona Kreitner, Christina Linklater, Rock and Roll Hall of Fame and Museum and RILM-U.S. Governing Board Delegate

 AMS Newsletter Fassler, Kimberly Francis, Richard Freedman, Committee on Women and Gender and a singer-bandleader (Sissle) who cre- Ardal Powell, Matthias Röder, Eleanor Self- ated a landmark Broadway hit of the post- ridge-Field, Zachary Wallmark, and Bob Judd This year the Committee on Women and World War I era, aficionados may suspect a (chair pro tem). The committee’s collective Gender worked with the SMT Committee turn in the MUSA agenda toward an African experience is impressive, but the challenges on the Status of Women and the SEM Sec- American emphasis. In fact, though, rather it faces are also great. It is currently work- tion on the Status of Women to put together than suggesting a pattern for the future, the ing with the Board of Directors to establish a series of events for the Annual Meeting in ordering is coincidental: as Sissle and Blake its charge, as well as strategies and tactics for November. These included a scholarly panel themselves might have joked, three related achieving its ambitious goals. that revisited Guido Adler in an attempt to chickens coming home to roost side by side. —Robert Judd consider canonic ideas from fresh perspec- The arrival of 2013 also finds the Commit- Committee on Membership and tives and a mentoring panel. From a variety tee on the Publication of American Music Professional Development of articles and studies it is clear that there is a (COPAM) seeking a new Executive Editor, trend toward gender inequities in hiring and replacing Dorothea Gail who after almost The Committee on Membership and Profes- that there are mentoring issues around wom- three years on the job, has resigned to accept sional Development (CMPD) is happy to an- en that can and should be productively ad- a research fellowship in Germany. Doro’s nounce that it was able to offer thirty-six Pro- dressed. The committee’s energies have been excellent work in that role will be greatly fessional Development Travel Grants in 2012. focused on organizing daytime scholarly pan- missed. By the time this issue is in print 135 300 Ranging from $ to $ , these grants were els at the Annual Meetings, which we hope we expect her successor to be settled and at awarded to graduate students, part-time fac- can help empower younger scholars with crit- work in the MUSA office at the University ulty, and independent scholars to attend the ical tools to challenge structures that may in of Michigan. Annual Meeting in New Orleans. The com- the past have excluded them. —Richard Crawford mittee received forty-six applications (on par —Bonnie Gordon with previous years). For this year, the com- Graduate Education Committee mittee decided to streamline the process of the award and move to a flat-fee model. For Committee for the Publication of At the New Orleans Annual Meeting, the 2013, $300 will be awarded to qualified inter- American Music national applicants (non-U.S. and Canada), Graduate Education Committee (GEC) and $200 for domestic applicants (U.S. and Because edition making is a tricky process hosted what is becoming an annual event: a Canada). This change will make for a more to schedule, the order in which the volumes reception for prospective graduate students uncomplicated process of deciding the vari- of Music of the United States of America offering them the opportunity to meet direc- ous amounts to be given to the different con- (MUSA), the society’s national series of criti- tors of graduate studies. The ninety-minute stituents who apply. Please consult the com- cal editions, appear in print owes much to reception was attended by approximately mittee’s web site (www.ams-net.org/commit- chance. The year 2012, for example, saw the fifty students and thirty representatives from tees/mpd) for this year’s updated procedures publication of MUSA volume 24, Sam Mor- graduate programs. For the reception at the and new application form; the application gan’s Jazz Band: Complete Recorded Works upcoming Pittsburgh meeting, we will sug- deadline for Travel Grants to the 2013 Annual in Transcription, edited by John J. Joyce, gest that programs may also wish to invite Meeting in Pittsburgh is Friday, 10 May 2013. Jr., Bruce Boyd Raeburn, and Anthony M. current graduate students to share their expe- At the AMS Annual Meeting in New Or- Cummings. It also greeted from series pub- riences with the prospective applicants. leans, the committee continued to explore lisher A-R Editions a series of songbooks In keeping with our mandate “to serve as a initiatives that involve the Society’s mem- based on MUSA 22, The Ingalls Wilder Fam- liaison between the AMS and representatives bership in collaboration with its constituent ily Songbook, edited by Dale Cockrell from of institutions with graduate programs in musicology; to foster communication among committees. Part of the work of the com- Laura Ingalls Wilder’s “Little House” series. programs; and to provide guidance as to the mittee this year will be to discuss the various (Each of the new songbooks is drawn from a AMS committees for which the CMPD acts role the AMS can play in graduate educa- different “Little House” volume.) In produc- as an umbrella group to ascertain how they tion,” the GEC is also planning a session for tion at this writing is MUSA 25, Mary Lou interact and/or intersect. The broader ques- the upcoming Annual Meeting. Among the Williams: Selected Works for Big Band, edited tion of what is professional development in topics under consideration are: the content by Theodore E. Buehrer, which we expect to this day and age will also be discussed. Ad- and scheduling of qualifying exams and their be published in the spring of 2013. The pro­ ditional topics to be addressed are to look at impact on timely degree completion, appro- ject scheduled to follow next as MUSA 26 the various institutions represented in and at priate student workload during the degree, a is a Broadway musical comedy, Eubie Blake the AMS, the impact of this diversity on ca- workshop on funding and grants, and since and Noble Sissle’s Shuffle Along (1921), edited reers in the field, and ways in which we can “entrepreneurship” is the buzzword of the by Rosalyn Schenbeck. include diverse institutions to participate in day, how curricula may best prepare the mu- Noting that the three most recent series the Society. Further information will soon sicology M.A. and Ph.D. for the job market volumes will include music by a stay-at- be available on our web site. The committee and employment. Those with an interest in home New Orleans band leader of the 1920s is happy to receive questions and concerns these or other topics related to graduate edu- (Morgan), an accomplished female modern- about how it can best serve the membership. cation should contact the GEC co-chairs, ist composer, arranger, and piano wizard Your suggestions and comments are always Mary Ann Smart and David Grayson. from mid-century worlds of jazz (Williams), welcome: [email protected]. —David Grayson —James P. Cassaro and a team of consummate entertainers in- cluding a brilliant ragtime pianist (Blake) continued on page  February 2013  Committee News Gregory S. Johnston, A Heinrich Schütz Next dead­lines: 15 August 2013, 15 February Reader (Oxford University Press); supported 2014.  continued from page by the AMS 75 PAYS Endowment —Judith Peraino Kevin C. Karnes, A Kingdom Not of This Publications Committee World: Wagner, the Arts, and Utopian Visions in Fin-de-Siècle Vienna (Oxford University Study Group News In Fall 2012, the Publications Committee was Press); supported by the Jackson Endowment Cold War and Music Study Group able to award subventions for twenty-four Elisabeth LeGuin, Indispensable Ornaments: books and two scholarly articles for a total of Performing Comic Musical Theater in Enlight- During the Annual Meeting in New Or- about $50,000. They include the following: enment Madrid (University of California leans, the Cold War and Music Study Group John H. Baron, Concert Life in Nine- Press); supported by the Hanson Endowment (CWMSG) sponsored an alternative-format teenth-Century New Orleans (Louisiana State Rebecca Maloy and Emma Hornby, Music daytime session entitled “Oral History and University Press); supported by the Reese and Meaning in Old Hispanic Lent: Psalmi, Cold War Studies: Methodological Perspec- Endowment Threni, and the Easter Vigil (Boydell & Brew- tives and Notes from the Field.” This session Kevin Bartig, Composing for the Red Screen: er); supported by the Kerman Endowment brought together musicologists, ethnomu- Sergey Prokofiev and Stalinist Historical Film Drew Massey, John Kirkpatrick, American sicologists, and an expert in oral history to (Oxford University Press); supported by the Music, and the Printed Page (University of discuss best interviewing practices, oral testi- AMS 75 PAYS Endowment Rochester Press); supported by the AMS 75 mony and trauma, and the often ambiguous E. Douglas Bomberger, MacDowell (Oxford PAYS Endowment relationships between oral and written histor- University Press); supported by the Daverio Janet K. Page, Nuns, Music, and Politics ical documentation. Jennifer Abraham Cra- Endowment in Eighteenth-Century Vienna (Cambridge mer, Laura Silverberg, Nicholas Tochka, and Anthony J. Bushard, Leonard Bernstein’s On University Press); supported by the AMS 75 Jonathan Yaeger gave stimulating presenta- the Waterfront: A Film Score Guide (Scare- PAYS Endowment tions, Jeffers Englehardt and Amy Wlodarski crow Press); supported by the AMS 75 PAYS Guthrie P. Ramsey, The Amazing Bud Pow- offered incisive responses, and Joshua Pilzer Endowment ell: Black Genius, Jazz History, and the Chal- was a gracious and effective chair. One of the Margaret Butler, “Time Management at Tu- lenge of Bebop (University of California Press); most energizing aspects of this panel was the rin’s Teatro Regio: Galuppi’s La clemenza di supported by the Reese Endowment opportunity it offered for interdisciplinary di- Tito and Its Alterations, 1759” (Early Music); Ivan Raykoff, Dreams of Love: Playing the alogue, and in the future the CWMSG hopes supported by the Brook Endowment Romantic Pianist (Oxford University Press); to continue to find ways to connect with our Margaret Butler, “Gluck’s Alceste in Bo- supported by the Kinkeldey Endowment colleagues in related fields. logna: Production and Performance at the S. Alexander Reed, Assimilate: A Critical The CWMSG held elections in late Octo- Teatro Comunale, 1778” (JAMS); supported History of Industrial Music (Oxford Univer- ber and is now under new leadership. As the by the Brook Endowment sity Press); supported by the AMS 75 PAYS incoming chair, I would like to thank Joy James Doering, The Great Orchestrator: Ar- Endowment Calico for her dedicated service to the group thur Judson and American Arts Management Matt Sakakeeny, Instruments of Power: Brass over the past two years. I would also like to (University of Illinois Press); supported by the Bands in the Streets of New Orleans (Duke recognize the contributions of the outgo- AMS 75 PAYS Endowment University Press); supported by the AMS 75 ing Members-at-Large: Andrea Bohlman, Annegret Fauser, Sounds of War: Music in PAYS Endowment Anne Shreffler, and Martha Sprigge. The new the United States during World War II (Oxford Bryan Simms, Pro-Mundo—Pro-Domo: The Members-at-Large are Eric Drott, Leah Gold- University Press); supported by the Plamenac Writings of Alban Berg (Oxford University man, Lynn Hooker, and Jonathan Yaeger. We Endowment Press); supported by the Hibberd Endowment look forward to serving and working with the Jason Geary, The Politics of Appropriation: Christopher J. Smith, William Sidney members of the CWMSG, and to encourag- German Romantic Music and the Ancient Mount and the Creolization of American Cul- ing further discussion and new research about Greek Legacy (Oxford University Press); sup- ture (University of Illinois Press); supported music and the Cold War from a broadly inter- ported by the AMS 75 PAYS Endowment by the Brook Endowment disciplinary and global perspective. Christine Suzanne Getz, Sacred Conversa- Justin A. Williams, Rhymin’ and Stealin’: We welcome new members. If you would tions: Mary, Music, and Meditation in Post- Musical Borrowing in Hop-hop (University of like to join the CWMSG or learn more about Tridentine Milan (Indiana University Press); Michigan Press); supported by the AMS 75 our activities, please visit www.ams-net.org/ supported by the Hibberd Endowment PAYS Endowment cwmsg. Lila Ellen Gray, Resounding History: Poetics In accordance with the Society’s proce- —Lisa Jakelski dures, these awards were recommended by and Politics of the Soul in Lisbon’s Fado (Duke Ecocriticism Study Group University Press); supported by the AMS 75 the Publications Committee and approved PAYS Endowment by the Board of Directors. Funding for AMS On 29 and 30 October 2012, the AMS Eco- Matthew Head, Sovereign Feminine: Music subventions is provided through the National criticism Study Group (ESG) and SEM Eco- and Gender in Eighteenth-Century Germany Endowment for the Humanities, the An- musicology Special Interest Group (ESIG) of- (University of California Press); supported by drew W. Mellon Foundation, and the gener- fered “Ecomusicologies 2012” at Tulane Uni- the Bukofzer Endowment ous support of AMS members and friends. versity. Twenty-eight scholars from a range of Stephanie Jensen-Moulton, Edition of Those interested in applying for AMS pub- countries, institutions, disciplines, and pro- Miriam Gideon: Fortunato: An Opera in Three lication subventions are encouraged to do so. fessional career stages made scholarly and cre- Scenes (1958) (A-R Editions); supported by the See the program descriptions for full details ative presentations. Some participants — ei- AMS 75 PAYS Endowment (www.ams-net.org/pubs/subvention.php). ther by choice or because of Hurricane Sandy’s

 AMS Newsletter interruptions—presented their work via the prepared statements by Gordon Dale, Lily authored and edited numerous books; his internet, and a number of them tuned in to E. Hirsch, Meredith Aska McBride, Klára most recent monograph How to Be Gay is ripe hear, see, and participate in the sessions. In Móricz, and Ronit Seter, with moderation with musical exploration, containing produc- addition to papers and discussions, we experi- by Judah Cohen, focused on ways to for- tive resonances that we invite our member- enced a soundwalk on Tulane’s campus, heard mally enable collaboration between the study ship to explore. The Board will be soliciting a performance on flutes and live electronics, groups and thus establish a dialogue between questions for Halperin via the LGBTQ list- and ate stellar organic foods and snacks from scholars whose work on Jewish studies and serv leading up to the session. As usual, we a local green catering company, which fueled music overlaps. Some suggested ideas include will be hosting the annual LGBTQ SG party our animated breaks and collegial mealtimes. compiling an online repository listing ongo- following the session with Halperin, giving Some attendees also participated in the three ing projects in the field as well as maintaining attendees the opportunity to continue con- outings that the ESG and ESIG coordinated: a joint email list combining SEM, SMT, and versations. I should note, however, that it will a van tour of River Road/Cancer Alley, a boat AMS membership. Discussion also centered be difficult to trump the New Orleans party tour of Honey Island Swamp, and an almost- on the role of performance, specifically per- in which fire sirens and strobe lighting only but-not-quite-rained-out boardwalk hike in formance’s ability to reach a wider audience enhanced the party’s atmosphere from the Barataria Preserve. Audio of selected sessions, interested in contributing to Jewish studies outset! pictures from the outings, and some partici- and music. Thanks to all those who attended The LGBTQ SG Board meets each year, pant reactions can be found at online at www. and contributed to this lively discussion—all but we conduct much of the group’s business ecomusicologies.org/reflections. of which was recorded by Rebecca Cypess to (such as elections to the Board) electronically At the joint Annual Meeting, the ESG also help enable future work toward organized these days, preferring to allow extra time at co-sponsored the Ecomusicology Listening collaboration. sessions for questions and dialogue. Finally, Room, an alternative-format daytime ses- For the next AMS panel of the JSMSG, we are pleased to welcome our new member- sion that explored the relationship between the chair and board hope to build on the at-large, Ryan Dohoney, and we thank Phillip sound, image, and place (see the story on p. 2012 meeting—both the joint session and the Klepacki for his dedicated service. 18). The ESG evening session on “Music and wonderful panel organized by Florian Sched- —Nina Treadwell Nature” included papers from a musicolo- ing and Tina Frühauf, “Historiographies of gist, ethnomusicologist, and theorist on how Jewish Music”—by inviting proposals (indi- Music and Dance Study Group beliefs about music’s nature have shaped our vidual presentations or a cohesive panel) from The Music and Dance Study Group was for- relationship with the non-human world. At members of AMS, SMT, as well as SEM. mally approved by the AMS Board of Di- the ESG business meeting (which was held Although the group is open to presentations rectors last November and will meet for the jointly with the SEM ESIG), we re-elected on any theme, we would be especially inter- first time in Pittsburgh. Organizers Marian secretary-treasurer Michael Baumgartner. ested in assembling a session on the theme of Smith, Sarah Gutsche-Miller, Samuel Dorf, Plans were also made for continuing the Eco- “Commemoration and Revival,” which has and Daniel Callahan plan to maintain an musicologies conference in other locations rich interdisciplinary possibilities. To join the internet presence in addition to gathering in 2013 and 2014, and for more outings and JSMSG or learn more about our activities, each year at AMS meetings. Members inter- listening rooms at next year’s AMS and SEM please visit our web site at www.ams-net.org/ ested in joining the new study group should meetings. We are also pleased to announce studygroups/jsmsg/. communicate with Sarah Gutsche-Miller, that volume two of the Ecomusicology Newslet- —Lily E. Hirsch [email protected], or Samuel ter is available at www.ams-esg.org/resources/ Dorf, [email protected]. ecomusicology-newsletter. LGBTQ Study Group See www.ams-net.org/studygroups/mdsg/ The ESG maintains an open-door policy, The LGBTQ Study Group sponsored the ses- for more details. and all are welcome to attend our events. Visit sion “A Graduate Student Forum for New Music and Disability Study Group our web site to join our email list, consult re- Research” at New Orleans featuring thought- sources such as the dynamic Ecomusicology provoking papers by Sarah Hankins and Reflecting musicologists’ increasing interest Bibliography, and explore news of interest Jarek Paul Ervin. Ervin considered the po- in disability studies and the recent burgeon- and archives of our activities. litical capital and marketing strategies associ- ing of the SMT Special Interest Group on —Aaron S. Allen ated with LGBT images in media and mu- Music and Disability, the Music and Disabil- Jewish Studies and Music Study sic, while Hankins built upon Suzanne Cu- ity Study Group (MDSG) held its inaugural Group sick’s work on the disciplinary implications of meeting in New Orleans. While the MDSG “musician” as a sexual orientation, expanding will still share a web site with the SMT group, In New Orleans, the Jewish Studies and Mu- the relational trope to include “theorist” and the MDSG will now have its own designated sic Study Group (JSMSG) sponsored a joint “ethnographer.” The session was one of several panel time at Annual Meetings for exploring session with the SEM Special Interest Group hosted by the Study Group over the past years issues related to this new field. Blake Howe for Jewish Music entitled “Method in Col- in which graduate student research presenta- and Stephanie Jensen-Moulton will co-chair laboration.” In the opening address “Geog- tions have alternated with an invited speaker the group, which will be dedicated to scholar- raphies of Jewish Music Research,” Philip on an annual basis. We are very pleased to ship, professional support, and accessibility. Bohlman challenged those in attendance to announce that next year David Halperin, W. To support and promote scholarship in consider the various ways collaboration is H. Auden Distinguished University Profes- the field of music and disability studies, the normative in Jewish music research. He fur- sor of the History and Theory of Sexuality at MDSG will host a discussion forum and ther identified performance as a collaborative the University of Michigan, will be joining us workshop at the next AMS Annual Meeting, contact point between SEM and AMS. The in Pittsburgh at our Friday evening session. on the theme “Discourses of Disability.” The discussion that followed, anchored around Halperin, a pioneer of LGBTQ studies, has continued on page  February 2013  Study Group News interest this event generated; it was the best- pedagogy in our field. The revision reads, attended business meeting we have held yet, “The object of the Society shall be the ad- continued from page  and many of those who participated were vancement of scholarship in the various session will begin with discussion of an es- new to the group. fields of music through research, learning, say from the disability studies literature, then We would also like to call attention to a and teaching.” After discussion from both Contemporary Music segue into a workshop of four musicologi- forthcoming issue of the opposing and supportive voices, the mem- Review 31 5 6 2012 cal papers that illuminate its central themes. (vol. , no. / , ) devoted to mu- bers present voted overwhelmingly to move All material will be posted online in advance sic and philosophy. The issue is guest edited forward with the proposed change. The last of the conference. Our goal is to introduce by Martin Scherzinger and contains essays step will be a vote by the full membership, scholars to central concepts in disability by a number of scholars active within the which will take place in 2013. studies and to provide presenters with the MPSG, including Amy Cimini, James Cur- During the coming year, the PSG has opportunity for maximum feedback. rie, Michael Gallope, Jennifer Heuson, Brian several plans to promote the study of mu- The MDSG is also planning two initiatives Kane, Jairo Moreno, Gavin Steingo, Martin sic history pedagogy. Our ninth Teaching to provide professional support to scholars. Scherzinger, and Stephen Decatur Smith. Music History Day (TMHD) is tentatively The first is a Work and Family Group, which We continue to plan for the future, includ- planned for Chicago in summer 2013. The will seek ways to connect scholars with re- ing an increased web presence and events PSG is still actively seeking host institutions sources—including each other—to help outside of the annual AMS and SMT meet- for future TMHDs and is particularly inter- with the many complicated issues that can ings. Updates about new developments will ested in partnering with AMS chapter con- arise when living with and/or caring for a be circulated on our email list. If you are in- ferences. Interested parties are encouraged to disabled family member, whether a parent, terested in joining this list, or in proposing contact myself or our chair, Matthew Bau- topics for future meetings, please contact me spouse, or child. The second initiative is a mer. The PSG has also created a Facebook at [email protected]. mentoring program that will connect schol- page entitled “AMS Pedagogy Study Group.” —Stephen Decatur Smith ars (at any phases of their careers) with others All are welcome to join and post items for interested in similar research areas. discussion. Finally, Stephen Meyer has been In addition to scholarship and professional Pedagogy Study Group selected as the next editor of the Journal of support, the MDSG will also focus on acces- Music History Pedagogy and will assume that sibility, particularly at conferences. We have The AMS Annual Meeting in New Orleans post in Fall 2014. created an ad hoc committee to review the contained several important sessions related —Christina Fuhrmann Society’s current accessibility guidelines and to pedagogy. The annual Master Teacher to ensure that they are followed at Annual session featured not one but four excellent Popular Music Study Group Meetings. teachers: Maureen Carr, Charles Youmans, If you are interested in these or any other Michael Scott Cuthbert, and Rebecca C. The Popular Music Study Group (PMSG) matters related to the MDSG, please contact Marchand. These teachers shared advice and met at the Annual Meeting in New Orleans. its co-chairs at [email protected] or sjensen- reflections on assignments, in-class writing The group ratified a set of by-laws and will [email protected]. exercises, and the dos and don’ts of teach- —Blake Howe ing, particularly for those new to the field. be electing officers in the coming months. Its The Pedagogy Study Group (PSG) spon- sponsored session, “The Art of War,” show- Music and Philosophy Study Group sored a session entitled “The Music Course cased strong scholarship on prewar popu- in General Education: Eliciting Student En- lar song. The PMSG also co-sponsored the Ecomusicology listening room (along with At this year’s AMS Annual Meeting in New thusiasm and Investment,” which featured the AMS Ecocriticism Study Group and the Orleans, the Music and Philosophy Study five speakers: Julia Chybowski, Patrick K. SEM Sound Studies Special Interest Group; Group (MPSG) held two events, both de- Fairfield, Ramona Holmes, Marjorie Roth, see the story on p. 18) and a session on Pop- voted to reflecting upon the changing role of and Sarah Watts. The teachers shared specific ular Music and Protest (with the popular philosophy in contemporary music studies. advice about their techniques for engaging Our evening session gathered scholars from students in the music appreciation course, music groups of the SMT and SEM). AMS musicology, music theory, and ethnomusi- which ranged from shaping Play-Doh to De- members interested in popular music are cology to reflect upon the question, “What bussy to in-class writing assignments. It was invited to visit the PMSG Facebook page is the contemporary relation of music stud- especially useful to have perspectives from (www.facebook.com/AMSpop) and to email ies and philosophy?” Tamara Levitz, Brian ethnomusicology, which the joint meeting [email protected] to join the group’s discus- Kane, Gavin Steingo, and Fred Maus pre- with SEM allowed. Our business meeting sion list. sented papers and led a lively discussion. followed, during which, despite a brief delay —S. Alexander Reed Lawrence Kramer and Ana Maria Ochoa had for a fire alarm, I was elected to my second also hoped to participate but were unable to and final term as secretary-treasurer of the PSG. attend due to Hurricane Sandy. AMS Study Groups The next day, we continued to reflect upon The Annual Meeting also included a ple- nary session to discuss changes to its by- this same question during our business meet- Learn more about all ten AMS ing, with a conversation structured around laws, including the Object of the Society. position papers by three graduate students: This change, approved by the AMS Council Study Groups at: Daniel Villegas, Benjamin Court, and Delia and supported by the AMS Board of Direc- www.ams-net.org/studygroups/ Casadei. We were particularly excited by the tors, would reflect the broad importance of  AMS Newsletter AMS/SEM/SMT New Orleans 2012 Post-Conference Survey We received 1,285 responses (about 50% of Registration: 89.9% registered for the hotels. AV (72) and sound bleed (31) prob- the invitations we sent) to the survey sent to meeting online. 55.5% received some level lems were noted. Matching the room size to attendees following the New Orleans Annual of funding to attend the meeting. Printed the popularity of the session was mentioned Meeting. Details that flesh out this summary material: 11.8% did not utilize paper; 60.5% forty-five times. Over forty respondents ex- are at the AMS web site (www.ams-net.org/ used PDF materials; 32.1% used the mobile pressed concern over the high costs involved neworleans/survey/). app. with the meeting. Twenty comments, mostly Demographics. Age: 54% of respondents 137 respondents commented on making favorable, were made on the Guidebook app. are 40 or younger. Gender: 48.4% female, the meeting more accessible for those with Misconceptions were revealed, suggesting 48.3% male. 53.0% of those age 21–40 are disabilities. Many observed that they were that better communication with attendees unaware of such accommodations; some female; 53.3% of those age 41–70 are male. would be helpful: some were unaware of the presenters complained that their large-print Residence: 86.1% of respondents are from wi-fi; some were unaware that free beverages handouts went unused. the U.S., 7.8% from Canada, and 2.7% from were served in the exhibit hall. 708 general comments were received. 270 the U.K. or Ireland. Prior meetings: 16.4% The Committee on the Annual Meeting offered favorable reactions and 560 offered and the Board of Directors will take respons- said it was their first meeting; for those who suggestions for improvement (some offered 31 7 es into consideration for future meetings. had been to earlier AMS meetings, . % had both; all are available at the web site, www. (Change may be slow, since meeting venues been to ten or more; 28.6% had been to four ams-net.org/neworleans/). Comments about are now booked through 2016.) The Annual to nine; and 22.2% had been to one, two, or the large joint meeting were most numerous Meeting is one of the Society’s most impor- three meetings. Employment: 50.2% of at- (177); respondents were evenly divided on tendees are employed full-time at education- whether they enjoyed this or found it over- tant activities, and we wish to make it as ef- al institutions; 35.6% are students; 4.1% are whelming. Over eighty commented on the fective and valuable as possible. Thanks are retired; 1.6% are fully employed but not by schedule: its size, conflicts of sessions, mis- due to those who are helping by completing an educational institution. Society member- match of sessions between AMS and SEM, the survey. Feel free to write me at any time if ship: 63.1% of the respondents identified the and so on. Seventy pointed out the incon- you continue to have ideas. AMS; 19.8% the SEM; and 26.8% the SMT. venience of having the meeting span two —Robert Judd

Conferences and CFPs

This is a highly selective listing; comprehen- Sounds from behind the Iron Curtain: American Musical Instrument Society: sive and up-to-date listings of conferences in Polish Music after World War II Roots of American Musical Life musicology are posted online. See the AMS 6 April 2013 30 May–1 June 2013 web site (www.ams-net.org/announce.php) Univ. of Southern California Williamsburg, Va. for full details. www.usc.edu/dept/polish_music/ www.amis.org/meetings/2013/ 2013 2013 pmcevents/ / conference.html Wagner Fifth International Schenker Symposium Sacre Celebration: Revisiting, Reflecting, 30 May–2 June 2013 15–17 March 2013 Revisioning Leeds Univ. 2013 Mannes College of Music 18–20 April 2013 www.pvac.leeds.ac.uk/wagner www.schenker2013.com York Univ. Canadian University Music Society sdhs.org/conferences/upcoming-conferences 6–9 June 2013 Univ. of Victoria Society for Seventeenth-Century Music Titles, Teasers and Trailers 21 24 2013 www.cums-smuc.ca – March 22–23 April 2013 Ohio State Univ. Univ. of Edinburgh Rethinking Poulenc: 50 Years On music.osu.edu/sscm-conference musicologyconferences.xevents.sas.ac.uk/ 21–23 June 2013 event/show/8815 Keele Univ. The Performing Body in the Hollywood www.keele.ac.uk/music/ Film Musical Music Encoding: Concepts, Methods, concerts-events-forums/poulencconference/ 4–6 April 2013 Editions Analyzing Popular Music 22 24 2013 Colgate Univ. – May 2–4 July 2013 www.colgate.edu/filmmusicals Mainz Univ. of Liverpool 2013 music-encoding.org/conference/ ww.popmac.org.uk Imagining Sound in the Early Nineteenth Music Cognition Symposium Medieval and Renaissance Music Century 24–26 May 2013 4–7 July 2013 5–6 April 2013 Ohio State Univ. Certaldo, Italy Cornell Univ. musiccog.ohio-state.edu/home/index.php/ www.arsnovacertaldo.it www.imaginingsound.com MidWestCogSymposium continued on page  February 2013  News Briefs and the Nordic countries is to provide an in- Princeton University Library has been award- ternational, interdisciplinary organization for ed a two-year grant from the National En- promoting the study of sound by offering a dowment for the Humanities to inaugurate The Université Paris-Sorbonne announces forum for knowledge exchange, conferences, the Blue Mountain Project, devoted to the establishment of the Groupes de recher- research encouragement, and information. che de musiques brésiliennes (GRMB), an creating freely available digital editions of Details: www.soundstudies.eu interdisciplinary research group dedicated avant-garde, forward-looking journals in the to Brazilian Music, headed by Zéila Chueke. arts produced in Europe and North America 1848 1923 The first GRMB seminar, which included between and . The Project’s initial conferences, concerts, and workshops, was Internet Resources digitization of thirty-six journals will include held 28–31 January 2013. Details: omf.paris- five music titles: La chronique musicale (Par- sorbonne.fr/Presentation-866 News is, 1873–76); Dalibor (Prague, 1858–1927); Le mercure musicale (later Revue musicale S.I.M.) The Recorded Sound Reference Center of (Paris, 1905–14); Niederrheinsiche Musik-Zei- The University of Rochester announces the the Library of Congress has made recordings tung (Cologne, 1859–65), and Revue d’histoire founding of the Institute for Popular Mu- from the Joe Smith Collection available on et de critique musicales / La revue musicale sic. The Institute’s Inaugural Lecture, entitled its web site, including over 225 recorded in- (Paris, 1901–11). Details: diglib.princeton. “Ladies Love Country Boys: Gendered Nar- terviews with popular musicians active from ratives and the Meaning of Country Music,” the 1950s to the 1980s. Details: www.loc.gov/ edu/bluemountain was given by Jocelyn Neal (University of rr/record/joesmith/ North Carolina, Chapel Hill) on 23 January “Women Song Composers: A Database of 2013, with additional lectures planned for 13 The MassDataBase (MDB) records around Songs Published in the United States and February and 3 April. Details: www.rochester. 40,000 settings of the Ordinary ranging from England, ca. 1890–1930,” which currently edu/popmusic the closing years of the fourteenth century to contains about 15,400 entries of songs and the present day. In addition to general infor- song publications by 1,580 women song- The European Sound Studies Association mation and fundamental biographical data, it writers, has moved to a new URL housed (ESSA) was launched in July 2012. The aim also contains information on source material by the California Digital Library and is now of this committee of sound researchers from and modern editions for each composition. downloadable. Details: n2t.net/ark:/13030/ Germany, England, France, The Netherlands, Details: www.mdb.uni-mainz.de m5br8stc Conferences and CFPs Music since 1900 Calls for Papers 12–15 September 2013 continued from page  Liverpool Hope Univ. Sources of Identity: Makers, Owners and Britten on Stage and Screen www.hope.ac.uk/events/conferences/ Users of Music Sources Before 1600 1900 5–7 July 2013 musicsince conference/ CFP deadline: 30 April 2013 Univ. of Nottingham Music and Minimalism 4–6 October 2013 www.nottingham.ac.uk/music/events/benja- 3–6 October 2013 Univ. of Sheffield min-britten-on-stage-and-screen.aspx Long Beach, Calif. www.hud.ac.uk/research/researchcentres/ Nineteenth-Century Music minimalismsociety.org mugi/projects/ 11–13 July 2013 Tracking the Creative Process in Music Verdi’s Third Century: Italian Opera in the Texas Christian Univ. 10–12 October 2013 New Millennium www.ncm.tcu.edu Univ. de Montreal CFP deadline: 15 March 2013 Music and Philosophy tcpm2013.oicrm.org 9–13 October 2013 19–20 July 2013 New York Univ. International Musicological Society East King’s College London musicologyconferences.xevents.sas.ac.uk/ www.musicandphilosophy.ac.uk/ Asian Regional Association: Musics in the event/show/8810 conference-2013/call-for-papers/ Shifting Global Order 18–20 October 2013 The Baroque Legacy: Past and Present in Historical Keyboard Music Taipei Hispanic America and Central and Eastern 19–21 July 2013 www.gim.ntu.edu.tw/imsea2013.html Europe Univ. of Edinburgh CFP deadline: 25 March 2013 www.ichkm.music.ed.ac.uk Benjamin Britten at 100: An American 23–26 October 2013 Chant and Culture Centenary Symposium Grand Valley State Univ., Allendale, Mich. 24 27 2013 6–9 August 2013 – October www.gvsu.edu/music Univ. of British Columbia Illinois State Univ. facebook.com/Britten100 The Musical Worlds of Polish Jews, www.gregorian.ca 1920–1960: Identity, Politics and Culture Cantum pulcriorem invenire: Music in Lyrica at MLA: Scott and Music CFP deadline 30 March 2013 Western Europe, 1150–1350 9–12 January 2014 17–18 November 2013 9–10 September 2013 Chicago Arizona State Univ. Univ. of Southampton musicologyconferences.xevents.sas.ac.uk/ musicologyconferences.xevents.sas.ac.uk/ www.conductus.ac.uk event/show/8808 event/show/8812  AMS Newsletter Papers Read at Chapter Meetings, 2011–12

Allegheny Chapter 4 April 2012 Capital Chapter 15 October 2011 Geneva College 15 October 2011 Youngstown State University Terry Dean (Indiana State University), “Ser- George Washington University gey Prokofiev’s Evocation of Opposing Bonny H. Miller (Bethesda, Md.), “Only Jee-Weon Cha (Grinnell College), “What War and Peace: Realms of Experience in A Half a Huckster: The Logierian System and Mattheson Really Meant: Revisiting Mat- ” Rimskian Dramaturgical Strategy Nineteenth-Century Women Musicians” theson’s Affektenlehre” Michael Baumgartner (Cleveland State Uni- Caitlin Miller (Library of Congress/Catholic Christopher Bruhn (Denison University), versity), “How to Undercut ‘Soviet Realism’: University of America), “Killing Him Softly “John Cage’s Musical Multiverse” Alfred Schnittke’s Subversive Sounds for (or Fiercely) with Her Song: The Loreley as Agoniya 1975 85 Alexandra A. Vago (Cuyahoga Community Elem Klimov’s ( – )” Subject or Object in Two Musical Settings of College), “Gender Stratification in Contem- John E. Crotty (West Virginia University), Heine’s Poem” porary Christian Music (CCM), Not Just a “J. S. Bach’s Artistic and Cultural Values: Laurie McManus (Shenandoah University), Singer in a Christian Rock Band” What His Inventions Tell Us” “Brahms in the Priesthood of Art?” Theodore Albrecht (Kent State University), Laura Stanfield Prichard (University of Mas- Katherine Walker (Cornell University), “Leo- “‘They Ain’t Makin’ Jews Like Jesus Any- sachusetts, Lowell), “Diaghilev’s New World: pold Mozart, the Rationalist? Humanism more’: Kinky Friedman and His Texas Jew- Manipulating French (Colonial) Taste for and Good Taste in Eighteenth-Century Per- boys in a New Historical and Geographical the Exotic into Modern Art” formance Practice” Perspective” Elizabeth Hoover (University of Pittsburgh), Olga Haldey (University of Maryland, Col- James A. Davis (SUNY Fredonia), “Civil “The ‘Feedback Condition’ of Earle Brown’s lege Park), “Reading the Master: Segei War Music, Ritual, and the Military Com- Calder Piece and His Collage-Paste-Up Slonimsky’s Master i Margarita as an Inter- munity during Winter Quarters in Virginia, Process” pretation of Its Source” 1863–64” Vicki P. Stroeher (Marshall University), “‘I Natalie Zelensky (Washington, D.C.), “Per- Marie Sumner Lott (Pennsylvania State Uni- have never had such a devil as this song’: The forming a la Russe: Gypsy Romances, Rus- versity), “From Paris to Bohemia and Be- Discarded Versions of Benjamin Britten’s sian Folk Music, and the Russian Exiles in yond: Chamber Arrangements of Opera and Let the florid music praise Auden Setting, ” 1920s New York” Folksong in Nineteenth-Century Berlin” Theodore Albrecht (Kent State University), Lars Helgert (Georgetown University), “Lu- Ewelina Boczkowska (Youngstown State “A Falling Out between Beethoven and kas Foss’s American Landscapes (for Guitar University), “Chopin and the Morbid 1823 Schindler (August–November, )” and Chamber Orchestra) as an Expression of Haunting” Hilary Baker (Pennsylvania State University, the Immigrant Experience” Jürgen Thym (Eastman School of Mu- Erie), “‘A Bittersweet Evocative Song’: Musi- sic, University of Rochester), “Schubert cal Borrowing, Adaptation, and Memory in 14 April 2012 Remembers” Rent” George Mason University Sara Pecknold (Catholic University of Ameri- ca), “‘On Lightest Leaves Do I Fly’: Natality AMS Chapter News Upcoming Chapter and the Renewal of Identity in Barbara Stro- zzi’s Sacri musicali affetti( 1655)” The long-dormant Mid-Atlantic Chapter Meetings Eric Hermann (University of Maryland, Col- has been revived and held its Fall Meet- lege Park), “Songs of Dixie: Buell Kazee and See www.ams-net.org/chapters/ for links to the Reinvention of the Mountain Ballad” ing on 6 October 2012 at the University all Chapter web sites and more details. of Pennsylvania. Details: amsmidatlantic. Josh Barnett (University of Maryland, Col- wordpress.com. • 16 February: Northern California lege Park), “The Tunebook of Maria Brand- • 22–23 February: Southern stetter: Shape-Note Dissemination and the TheGreater New York Chapter held a pan- • 23 February: Pacific Southwest Germans of Western Maryland” “The Future of Musicol- 1 2 el discussion on • – March: South-Central Rebecca Cweibel (University of Delaware), ogy” 8 9 at their Fall Meeting at Hofstra Uni- • – March: Southwest “The [Indistinct, yet Ubiquitous] Sound of 13 2012 5 6 versity on October . The discussion • – April: Rocky Mountain Silence” touched on many topics, including current • 6 April: Midwest Karen Uslin (Catholic University of Ameri- job availability, the role of musicology out- • 7 April: Southeast ca), “We Shall Sing: Rafael Schächter’s Defi- side of academia, the “consumer mentality” • 12–14 April: Pacific Northwest ant Requiem in Terezin” of university students and its effect on music • 13 April: Allegheny pedagogy, the growth of popular musicol- • 13 April: Capital Paul Michael Covey (University of Mary- ogy, and the position of musicology within • 20 April: New England land, College Park), “The Ford Foundation- the larger humanities. Details: ams-gny- • 27 April: Mid-Atlantic MENC Contemporary Music Project and meetings.blogspot.com/2012/10/summary- • 27–28 April: New York State/St. ‘Serial Tyranny’” of-future-of-musicology-panel.html. Lawrence continued on page  February 2013  Papers read at Chapter Meetings Like It’: The Politics of Queer Abjection in 28 April 2012 Gertrude Stein and Virgil Thomson’s Four Hunter College  continued from page Saints in Three Acts” Joint with the North American James Massol (Savannah Philharmonic Or- British Music Studies Association Paul S. Kim (Shenandoah University), “Non- chestra), “The Role of Harmoniemusik in Justin Vickers (Illinois State University), “In modernism in Carl Roskott’s Concerto for Mozart’s Piano Concertos” Britten’s Shadow: Arthur Bliss and the 1962 Violin Solo and Orchestra” Nicholas Chong (Columbia University), Coventry Cathedral Festival Fifty Years On” “Music for the Last Supper: The Dramatic Philip D. Nauman (Boston University), Greater New York Chapter Significance of Mozart’s Musical Quotations “Dramatic Vocalization in the Works of in the Tafelmusik of Don Giovanni” Ralph Vaughan Williams” 29 October 2011 Randall Keith Horton (Queens College), Church for All Nations Robert McClung (Temple University), “An “What Yet-Unseen Musical Presence is Island Full of Noises: The Theater of Thomas Raymond Erickson (Queens College and Hidden in the Finale of Mahler’s Ninth Adès and William Shakespeare” Symphony?” Graduate Center, CUNY) with Mikyung Jennifer Oates (Queens College and Gradu- Kim, violin (Rutgers University), “Challeng- ate Center, CUNY), with Justin Vickers ing a Deep-Seated Performance Tradition: 31 March 2012 Rider University (Illinois State University), tenor, and Sylvia Bach’s Ciaccona for Unaccompanied Violin” Kahan (College of Staten Island and Gradu- David Hurwitz (New York, N.Y.), “So klingt Durrell Bowman (Music Discussion Net- ate Center, CUNY), piano, Lecture-Recital: Wien: Conductors, Orchestras, and Vibra- work), “A Web-Based System for Teaching, “Cosmopolitan Songs by a Scottish Com- to in the Nineteenth and Early Twentieth 1868 1916 Learning, and Discussing Music History and poser: Hamish MacCunn ( – ) and Centuries” Culture” his Caledonian Cloak” Artis Wodehouse (New York, N.Y.), “The Bethany Cencer (Stony Brook University), Sarah Davies (New York University), “‘It’s Mustel Art Harmonium: A Performance Not Necessary!’ Johann Schnetzler and Primer” “‘Early Music Day’: An Interactive Approach to Promoting Music Before 1750” Changing Attitudes toward the Organ in David Schulenberg (Wagner College), “Or- Reformed and Anglican Worship” Naomi Barrettara (Metropolitan Opera Guild naments, Fingerings, and Authorship: Per- Kate Sekula (University of Connecticut), “El- and CUNY Graduate Center), “Classical sistent Questions About English Keyboard ements in Opposition: The Juxtaposition of Music and the Public Domain in the Inter- Music ca. 1600” Dualist Concepts in Michael Tippett’s The net Age: Discovering the Pedagogical Poten- Kirsten Paige (University of Cambridge), Vision of Saint Augustine” tial of Public Domain Resources in Music “Giuseppe Verdi, Giovanni Bottesini, and Education” Samantha Bassler (The Open University), the Nineteenth-Century Double Bass” “Antiquarianism, ‘Ancient’ Music, and the Amy Kimura (Rider University), Marilyn Steven Tietjen (New York, N.Y.), “Revis- Manuscript Copies in the London Madrigal Quinn (Rider University), and Colin Roust ing the Supernatural: Exploring Verdi’s Use Society Collection (British Library Mad.Soc. (Roosevelt University), “Library–Classroom of Dramatic-Tonal Association in His Two MSS)” Faculty Collaboration in Teaching Music Macbeths” History” Andrew Chung (Wesleyan University), Jason Hanley (Rock and Roll Hall of Fame Midwest Chapter “Reading Scarbo: Orchestration and and Museum), “Who Cares if You Teach? 15 October 2011 Performativity” Public Musicology, Audiences, and Rock National Louis University Philip Ewell (Hunter College, CUNY) “The and Roll” Expression Parameter in Performing the Danielle Kuntz (University of Minnesota), Music of Gubaidulina” Matthew Peattie (Cincinnati College-Con- “‘E che giammai può far femmina imbelle? ’ servatory of Music), “Music Performance as William Bauer (Case Western Reserve Uni- Gendered Politics in Francisco António de Active Learning: How Performance-based versity), “The Blues Idiom and Blues Perfor- Almeida’s La Giuditta (1726)” Projects Can Be Used to Teach the Con- mance Practices in Louis Armstrong’s Early Robert C. Lagueux (Columbia College, Chi- cepts, Skills, and Disciplinary Knowledge of Recordings” cago), “‘Screaming gets you nowhere. Be Music History” Peaceful.’ Bernstein’s Mass and the Practice Ted Solis (Arizona State University), “Global of Peace” 28 January 2012 Performance in Music History Class: Real- Columbia University Lester D. Brothers (University of Central izing Western Realization” Missouri), “An Icon, a Master, and a Cause Aya Esther Hayashi (CUNY Graduate Cen- Matthew Werley (University of East Anglia), in Mid-Seventeenth-Century Mexico: Missa ter), “Fela!” “In medias res: The Case for Non-diachronic Quam pulchra sunt gressus tui by López-Cap- Eric Hung (Rider University), “Stayin’ Alive: and Material History in the First-Year Music illas as a New-World Work of Wonder” Senior Citizen Choirs Rocking Out in South History Curriculum” Jane Riegel Ferencz (University of Wisconsin- Korea, China, and the U.S.” Dave Blake (Stony Brook University), “Is the Whitewater), “Dancing through Dogpatch: Jeff S. Dailey (Five Towns College), “Doni- Rock Music Survey the Popular Music Sur- A Dance Arranger’s Workshop” zetti’s Daughter, Noah’s Flood, and a Line of vey Course?” Marian Wilson Kimber (University of Iowa), Cows” Louis Epstein (Harvard University), “Per- “Jane Manner’s ‘Readings with Music’ and Brandon Peter Masterman (University of forming Scholarship: Student-Curated Blogs the Creation of Melodramatic Performance, Pittsburgh), “‘This Is How They Do Not as Listening Journals” ca. 1890–1935”

 AMS Newsletter Caitlin Schmid (University of Wisconsin- Claudio Vellutini (University of Chicago), Ronald Broude (The Broude Trust), “The Madison), “Bizarre Sounds and Esthetic “Opera and Monuments: Verdi’s Ernani in Two Worlds of Johannes Tinctoris, or Res Commotion: Conceptualizing Charlotte Vienna and the Construction of Dynastic facta Revisited” Moorman’s New York Avant Garde Festivals” Memory” Alex Ludwig (Brandeis University), “Is Haydn Daniel Bishop (Indiana University), “The Judith Mabary (University of Missouri, Co- Too Funny for Hepokoski and Darcy? Ex- Sounding Past in Terrence Malick’s Days of lumbia), “Lidice’s Darkest Hour: Martinů’s amining Haydn’s Presence in H&D’s Sonata Heaven” Memorial to a Town’s Destruction” Theory” Brian Schmidt (University of Minnesota), Eric Saylor (Drake University), “Beholding Mark Ferraguto (Cornell University), “Of “‘To See That Old Gang of Mine’: Mitch the Sea Itself: The Political and Musical Vi- Russian Themes and Rescue Fantasies: New Miller’s Sing-Along Revival from Record to sions of A Sea Symphony and The Songs of the Light on Beethoven’s Third ‘Razumovsky’ Television” Fleet” String Quartet” Robin Gehl (University of Cincinnati), “Re- Alanna V. Ropchock (Case Western Reserve Reba Wissner (Brandeis University), “La put- assessing a Legacy: Rachmaninoff in Ameri- University), “The Messe solenelle and Its Cre- ta che canta: An Examination of the Epon- ca, 1918–1943” do: How a Young Berlioz Changed an Old ymous Role in Francesco Cavalli’s Elena 1659 Jeremy Orosz (University of Minnesota), Genre” ( )” “Berg the Wagnerian: Lulu and Tristan” Taylor Greene (Indiana University), “Ju- Zoey Cochran (University of Montreal), “A lian Bream’s Twentieth-Century Guitar: An lieto fine for Neapolitans? Multilingualism Karen Woodworth (Kalamazoo, Mich.), Album’s Influence on the Modern Guitar and Musical Characterization in Pergolesi’s “Singing The Masque of the Rustic Gods: The Repertoire” Lo frate ’nnamorato” Curious Case of the Satyrs’ Tails” Jennifer Trowbridge (Chicago, Ill.), “Beatles Martin Marks (M.I.T.), “Music for a Trip to Gail E. Lowther (Bowling Green State Uni- Songs to Legitimize and Promote ‘Classical’ the Moon: An Obscure English Score for a versity), “Spiritual Affinity and Political Es- Music from 1966 to 1977” Famous French Fantasy” trangement in Francis Poulenc’s Dialogues des Carmélites” Joseph R. Matson (University of Minnesota), Hannah Lewis (Harvard University), “A “Ungrammaticality in the Music of Weezer” World of Dreams: The Musical Fantasy of Dorothea Gail (MUSA/University of Michi- René Clair’s Early Sound Cinema” gan), “The Curious ‘Case’ of Charles Ives’s Jessica Kizzire (University of Iowa), “‘The Fourth Symphony” Place I’ll Return to Someday’: Musical Nos- Victor Coelho (Boston University), “Through talgia in Final Fantasy IX ” the Lens, Darkly: Peter Whitehead and the Patrick Byrd (Chicago, Ill.), “Unveiling Bride Rolling Stones” and Groom: Double Meaning in Schumann’s William Cheng (Harvard University), “Queer­ ‘Die Lotosblume’” New England Chapter ing Disability/Disabling Queerness: The Michele Fuchs (Ohio State University), 1 October 2011 Carnivalesque Politics of R. Kelly’s ‘Global “Gradual Chants and the Notion of Embod- Capital Community College Closet’” ied Lament in a Passage from Innocent III’s Thomas J. Kernan (University of Cincin- De sacro alteris mysterio (1198 C.E.)” Max DeCurtins (Boston University), “Chang- ing Contexts for Bach Reception in Israel” nati), “‘Farewell, Father, Friend and Guard- Christopher M. Barry (University of Wiscon- David Schneider (Amherst College), “Mad ian’: The Initial Musical Memorialization of sin-Madison), “Violent Light in Mahler’s Abraham Lincoln” Second Kindertotenlied ” for Her Country: Melinda’s Insanity, the Csardas, and Erkel’s Nationalist Dramaturgy Kassandra Hartford (Stony Brook Univer- Ryan Ross (University of Illinois at Urbana- in Bank ban” sity), “‘Authenticity,’ Anthropology, and Champaign), “Ralph Vaughan Williams, A Klara Moricz (Amherst College), “Symphonies Appropriation in Gershwin and Heyward’s Pastoral Symphony, and the Great War: The Porgy and Bess” Walt Whitman Connection” and Funeral Games: Lourie’s Reinterpreta- tion of Stravinsky’s Neoclassicism” Luci Mok (Harvard University), “When Jazz Anya Holland-Barry (University of Wiscon- Elinor Frey (McGill University), “The Voice Goes North: Oscar Peterson and Possibilities sin-Madison), “La Gazette des classes du Con- of the Violoncello: The Musical Context of of Northern Jazz” servatoire National: L’Union sacrée, Disillu- the First Great Cellist-Composers of Italy” sionment, and Musical Composition in the 14 April 2012 First World War” Emily Richmond Pollock (University of Cali- Mount Holyoke College fornia, Berkeley), “The Opera Underneath: 31 March 2012 Carl Orff ’s Oedipus der Tyrann” Monica Chieffo (Tufts University), “Maria’s Western Illinois University Gabriel Alfieri (Boston University and Provi- Veils, Salome’s Machinery: The Dance Scene dence College), “War, Intertextuality, and in Metropolis and Salome” Pop Art: Reassessing Cumming’s We Happy Jacquelyn Sholes (Boston University), “A Adam La Spata (Cary, Ill.), “Beethoven on the Few” ‘Cremation Cantata’? Contextualizing the Mount of Olives” Dramatic Conclusion of the Brahms–We- Cesar Favila (University of Chicago), “Puebla 4 February 2012 sendonck Correspondence” and Gaspar Fernandes’ Cancionero Musi- Massachusetts Institute of Technology Joel Schwindt (Brandeis University), “Mon- cal: Music, Art, and Race Relations in Early teverdi’s Orfeo (1607): Pulchritude through Modern New Spain” Spiro Antonopoulos, “Very Beautiful: The Proportion, and Why It Mattered to the Ac- Jenna Harmon (Drake University), “‘Only Kratemata of Manuel Chrysaphes and the cademia degli Invaghiti” the Negroes Can Excite Paris’: Viewing Composition as Artistic Work in Late Me- Blackness in La Revue Nègre” dieval Music” continued on page  February 2013  Papers read at Chapter Meetings Eva Branda (University of Toronto), “An ‘Ex- John Koegel (California State University, ecution’ at the Hofoper: Czech Perspectives Fullerton), “From Anaheim to Wanganui:  continued from page on Dvořák’s The Cunning Peasant in Vienna” Pianist Albert Friedenthal’s Tours around Andrew Burgard (New York University), “A the Globe, to California, New Zealand, and Lester Zhuqing Hu (Amherst College), “To- Moravian fin-de-siècle: The ‘Art World’ in Beyond” wards Modal Coherence: ‘Modal Chro- which Janáček Found His Mature Style” Byron Sartain (Stanford University), “‘Unpar- maticism’ in Gesualdo’s two ‘O vos omnes’ Anna Stoll-Knecht (New York University), donable Negligence’: Aesthetic Contingency Settings” “Beckmesser Redeemed: Die Meistersinger in and the Manuscript Dissemination of Fran- Heather de Savage (University of Connecti- Mahler’s Seventh Symphony” çois Couperin’s Pièces de clavecin” cut), “Hidden Lessons: Tonal Structure and Christopher Lynch (University at Buffalo, Walter Clark (University of California, Riv- Personal Faith in Heinrich Schütz’s Motet SUNY), “American Opera from Broadway’s erside), “‘Eternal Spain’: Federico Moreno ‘Gedenke deinem Knechte an dein Wort,’ ‘Coherence’” Torroba, Miguel de Unamuno, and the Mu- SWV 485” sical Aesthetics of the Franco Dictatorship, 1936–75” Northern California Chapter New York State–St. Lawrence William F. Prizer (University of California, Chapter 29 January 2012 Santa Barbara), “Court Piety, Popular Piety: Mills College The Lauda in Renaissance Mantua” 21–22 April 2012 Alexandra Monchick (University of Massa- Hamilton College Giacomo Fiore (University of California, San- chusetts, Lowell), “‘Positions, shocks, simul- ta Cruz), “‘When Bad Things Fall from the Stephen Meyer (Syracuse University), “Epic taneities, dissociations’: Zeus und Elida as Sky’: Just Intonation and Musical Protest in Stefan Wolpe’s Filmic Montage” Judaica: Music and Historical Destiny in a Recent Work by Terry Riley” Postwar Hollywood Cinema” Jessica Balik (Stanford University), “The Sub- Amy C. Beal (University of California, Santa lime, the Beautiful, and the Status Quo: Gilad Rabinovitch (Eastman School of Mu- Cruz), “‘Like a Mockingbird’: The Music of Wolfgang Rihm’s Sub-Kontur” sic, University of Rochester), “The Exotic, Carla Bley” the Erotic, the Spiritual, and the Intertextu- Valerio Morucci (University of California, Matthew Blackmar (California State Univer- al: Some Contexts for the ‘Geistliche Lieder’ Davis), “Cardinal’s Patronage and Tridentine sity, Long Beach), “From ‘Sermons in Tones’ of Hugo Wolf’s Spanisches Liederbuch” Reform: Giulio Feltro della Rovere as Spon- to Tin Pan Alley: Wagner and Gilded-Age James A. Davis (University at Fredonia, sor of Sacred Music” Music Publishing” SUNY), “Civil War Music, Ritual, and the Joan Stubbe (San Jose State University), Beverly Wilcox (University of California, Da- Military Community during Winter Quar- “The Cambiata: Understanding Ambiguity vis), “Italian Arias at the Concert Spirituel: A ters in Virginia, 1863–64” and Metaphor in Beethoven’s and Bartók’s Skirmish before the Querelle des Bouffons” Nancy Newman (University at Albany, Chamber Music” SUNY), “Gender and the Germanians: ‘Art- Sarah C. Davachi (Mills College), “Looking Loving Ladies’ in Nineteenth-Century Con- Inward: La Monte Young, Arvo Pärt, and Pacific Northwest Chapter cert Life” the Spatiotemporal Dwelling Environment 27–29 April 2012 Michael A. MacKenzie (York University), “A of Minimalist Music” University of Alberta Televised Revolution: Jazz and Race Politics Lydia Mayne (Stanford University), “Rhyme, 1960 on s U.S. Public Television” Meter, and the ‘Cadential Couplet’ as Matthew Roy (Eastern Washington Univer- Katherine Hutchings (Eastman School of Structural Elements in Richard Wagner’s sity), “Dehumanization in the Prelude Set of Music, University of Rochester), “What’s Lohengrin” Vsevolod Petrovich Zaderatsky” So New about Nova Musica? Johannes Ci- Mark Martin (University of California, Los Ianna Ings (University of Alberta), “Rituals conia and Early Quattrocento Theories of Angeles), “Bruckner and the Schalks: Sub- and Performances: Appropriating Borrowed Imitation” jectivity at the fin-de-siècle and Beyond” Traditions to Create a Uniquely Canadian Katherine Walker (Cornell University), “Leo- 28–29 April 2012 Space in Military Music” pold Mozart, the Rationalist? Humanism University of California, Berkeley Caitlyn Triebel (University of Alberta), and Good Taste in Eighteenth-Century Per- Joint with Pacific Southwest Chapter “Combustion to Rebirth: Arts, Dance, and formance Practice” Derek Katz (University of California, Santa Music in Montreal from Refus global to Joel Mott, “Hummel as Innovator: Severe De- Barbara), “Apache Dances in the Futur- L’Oiseau-phénix, 1948–56” 5 81 formation in his Piano Sonata No. , op. ” istic Cellar: Erwin Schulhoff as Dresden Alex Fisher (University of British Colum- Honey Meconi (Eastman School of Music, Überdada” bia), “A Musical Dialogue in Bronze: Gregor University of Rochester), “Caveat Can- David Brodbeck (University of California, Aichinger’s Lacrumae (1604) and Hans tor: Manuscript Differences in Hildegard’s Irvine), “‘Come Out of the Ghetto!’ The Reichle’s Crucifixion Group for the Basilica Songs” Goldmark-Bild of Ludwig Speidel” of SS. Ulrich and Afra in Augsburg” Durrell Bowman (Kitchener, Ont.), “A Web- Mindy O’Brien (University of California, Los Nora Beck (Lewis & Clark College), “A Based System for Teaching, Learning, and Angeles), “Disciplining Song in Sixteenth- Reassessment of Mozart’s Family Portrait Discussing Music History and Culture” Century Geneva” (1780–81)”

 AMS Newsletter David Gramit (University of Alberta), “Senses Pacific Southwest Chapter 28–29 April 2012 University of California, Berkeley of Occasion: The Transitory and the Perma- 15 October 2011 Joint with Northern California Chapter nent in Photographs of Music from Prairie University of Redlands Archives” See Northern California listing for papers Robert Wahl (California State University, Patricia Moss (University of Oregon), “The read. Long Beach), “Chief Nitsuga Mangoré: Road to Friedenstag: Politics, Strauss, and Agustín Barrios and New World Identities” Stefan Zweig” Rocky Mountain Chapter Noél Stallings (Los Angeles, Calif.), “The Eu- Lynn Cavanagh (University of Regina), “Mar- ropean Concerts of the Pan-American Asso- 30–31 March 2012 cel Dupré’s ‘Dark Years’: Unveiling the Truth ciation of Composers” University of Northern Colorado, Greeley about his Occupation-Period Concertizing” Joint with Rocky Mountain Erin Brooks (Los Angeles, Calif.), “‘Pourquoi Society for Music Theory Ethan Allred (Lewis & Clark College), “Pou- ajouter à qui n’a besoin de rien?’ Debating lenc’s French Historicism as Resistance in Tradition and Innovation through Massenet K. Dawn Grapes (Colorado State University), Occupied France” and Saint-Saëns’s Music for Racine” “Reconstructing Mary Gascoigne: Traces of Pauline Minevich (University of Regina), Brian Wright (University of Nevada, Reno), a Sixteenth-Century Woman” “Teaching Musicology in the Digital World” “Toward A Working Analytical Definition Maxine Fawcett-Yeske (United States Air Force Academy), “From the Black Mountain Barbara Reul (Luther College, University of of Postmodernism for Popular Music: Post- to the Shining Brow: The Life and Music of Regina), “A Practical Toolkit to Revitalize modern Architecture, Double-Coding, and Olgivanna Lloyd Wright” the Music History Classroom” Nirvana’s ‘Come As You Are’” Alejandro Planchart (University of California, Antonia L. Banducci (University of Denver), Nicholas Rheubottom (University of Regi- Santa Barbara), “Numerical Structure and “How to Solve a Problem Like Quinault’s na), “‘Reacting to the Unexpected’: A Music Rhetorical Gambits in Ars Antiqua Motets” Amadis” History Major’s Perspective on Diverse Ap- John J. Sheinbaum (University of Denver), proaches to Pedagogy” Zachary Wallmark (University of California, Los Angeles), “‘The Most Powerful Human “Beethoven, the Beatles, and the Ideology of Michael MacDonald (University of Alberta), Sound Ever Created’: Noise, Embodiment, the Unified Masterpiece” “Critical Listening: Applying Critical Theo- and the Timbre of the Saxophonic Scream Melanie Shaffer (University of Colorado, ry to Popular Music Listening” in Free Jazz” Boulder), “The Motet That Gets Left Out: 13 Daniel Carroll (University of Idaho), “The Meghan Joyce (University of California, Santa An Analysis of Machaut Motet ” Phenomenological Implications of Richard Barbara), “From Swan Lake to Black Swan: A Edward Looney (University of Arizona), “Ari- Wagner’s Operatic Theories” Reinvention of Tchaikovsky’s Music” anna’s Disposition: The Rhetorical Frame- work in Monteverdi’s ‘Lamento d’Arianna’” Edward Jurkowski (University of Lethbridge), Daniela Smolov Levy (Stanford University), “Neither: An Opera about Nothing?” “The Battle of the Parsifals” Michelle Lawton (University of Northern Colorado), “Narrative Strategies and Musi- Ken DeLong (University of Calgary), “Back 25 February 2012 cal Gestures in Gustave Satter’s ‘Undine Bal- to the Future: Tradition and Innovation in California State University, Northridge lade,’ op. 11” Jake Heggie’s Moby Dick (2010)” Briawna Anderson (University of Utah), Jeff Arsenault (University of Alberta), “Spiri- David J. Kendall (La Sierra University; Uni- “American Impresarios and the Commodi- tual Reconciliation: Autobiographical Meta- versity of California, Riverside), “Inter- fication of European Superiority” phor in Christos Hatzis’s In the Name of national Repertories, Locally Interpreted: Joseph Finkel (Arizona State University), God ” Variants and Local Performance Practices “Searching for a Sonic Ecology: John Luther Tyler Kinnear (University of British Colum- in Mass Settings in the Spanish Colonial Adams’s Dark Waves” bia), “Emergent Soundscapes: Uses of Tech- Philippines” Thomas Riis (University of Colorado), “Paul nology and Nature in Hildegard Wester- Steven Elster, “Interpreting Native American Robeson and His Signature Song: The Many kamp’s Talking Rain” Creation Stories and Songs from Southern Lives of ‘Ol’ Man River’” California, 1900–1950” Paul Sanden (University of Lethbridge), “Re- Angela Parrish (University of Northern considering Fidelity in Recorded Music: Kevin R. Burke (Franklin College), “Pads, Colorado), “Western Coast, Eastern Way: Live­ness and Juxtaposition in the Music of Pods, and Apps: Exploring the iPad in the The Hindustani Jazz Sextet of Los Angeles, The White Stripes” Music History Classroom” California” Valerio Morucci (University of California, Lisa M. Cook (Metropolitan State College Brian Black (University of Lethbridge), Davis), “Rethinking Cori Spezzati: A New of Denver), “A Meeting in Northwest Asia: “Schubert’s Late Sonata Forms and the Source from Central Italy” Transculturation and Lou Harrison’s Suite ‘Governing Idea’” Tiffany Kuo (Mount San Antonio Col- for Sangen” Sharon Krebs (Victoria, BC), “Listening like lege), “Economy vs. Autonomy: Luciano Jason Rosenholtz-Witt (Colorado State Uni- a Nightingale” Berio’s Opera and the American Operatic versity), “The Instrumentation of Orlando Adana Whitter (University of British Co- Institution” Gibbons’s Dooble Base Fantasias” lumbia), “A Case Study Comparison of Matthew Alan Thomas (Pasadena City Col- Caroline Greenberg (University of Northern Two Nineteenth-Century German Jew- lege), “Framing Jazz in New Orleans: Ter- Colorado), “Berlioz Enters the Prix de Rome: ish Composers: Assimilation, Identity, and ence Blanchard’s Score to When the Levees La mort d’Orphée as Failure and Validation” Acceptance” Broke” continued on page  February 2013  Papers read at Chapter Meetings Vanessa Rogers (Rhodes College), “Music in Naomi Graber (University of North Carolina, the Mid-Eighteenth-Century London Fair Chapel Hill), “Kurt Weill and Davy Crockett:  continued from page Theaters” Kindred Spirits” Joshua S. Duchan (Wayne State University), Reeves Shulstad (Appalachian State Universi- Ryan Raul Bañagale (Colorado College), “The A Cappella Explosion” ty), “Tui St. George Tucker’s Notes from the “Composing Rhapsody in Blue: Gershwin, Jordan Baker (University of Tennessee), “Me- Blue Mountains: ‘a landscape remembered Grofé, and a New Source Manuscript” los Dulcis: ‘Sweet Melody’ and the Concept from a dream’” Michael W. Harris (University of Colorado), of Music as Food in the Middle Ages” Darren Mueller (Duke University), “Hear- “‘Lost in a Memory’: Memory and Music in ing Voices: Multiple Representations of the Nikos Pappas (University of Kentucky), Cowboy Bebop” Voice in Ascenseur pour l’échafaud ” “‘Thou hast made the North and the Sabine Feisst (Arizona State University), South; Tabor and Hermon shall rejoice 3 March 2012 “Commemorating the Holocaust in Music: in Thy NAME’ (Ps. 89:12): Rigdon Mc- Wake Forest University Case Studies of Four German Composers” Coy McIntosh’s Tabor as Musical Southern Stephen Self (Bethel University), “Modena Julie Hedges Brown (Northern Arizona Nationalism” F 9.9: New Light on the Problem of the University), “Reinventions of the Past in Matilda Ann Butkas Ertz (University of Lou- Quattrocento” Schumann’s 1842 String Quartet, op. 41/1” isville), “Uncle Tom’s Cabin in Italy: Music Diane Oliva (University of South Carolina), Amy Holbrook (Arizona State University), and Story in the Ballet Bianchi e negri” “Madame Louise Gautherot: The Violin So- “Another Look at Schubert’s Dass sie hier Elizabeth Whittenburg Ozment (University loist in Haydn’s First London Concert” gewesen” of Georgia), “Stone Mountain, Elvis Presley, Megan K. Eagen (University of North Caro- Zachary Milliman (University of Utah), “Pro- and Civil War Heritage Music” lina, Chapel Hill), “Poland’s Minerva: Fré- pagandizing Bohemian Virtuosity: Map- déric Chopin’s Mazurkas in an Age of Polish ping an Alternate Reception for The Gipsy in Lawrence Schenbeck (Spelman Col- Romantic Nationalism” Music” lege), “Music, Race, and the Rosenwald Fellowships” Molly M. Breckling (University of North Isabella Perazzo C. Campos (University of Carolina, Chapel Hill), “Song Form as Nar- Utah), “On Franz Liszt and the Science of John Bass (Rhodes College), “Rhetoric and rative Device in Mahler’s Lieder from Des Virtuoso Performance” Music through Improvisation: A Look at Similarities between Classical Rhetorical Knaben Wunderhorn” Bettie Jo Basinger (University of Utah), “Liszt Texts and Sixteenth-Century Italian Orna- Catherine Hughes (University of North Car- and the Edification of the Masses: Héroide mentation Treatises” olina, Chapel Hill), “Music as a Commod- funèbre as Musique humanitaire” Jessica Moore-Lucas (Middle Tennessee State ity: Prestige, Nationalism, and Cosmopoli- University), “Serialism Joins the Establish- tanism in Brussels before World War I” South-Central Chapter ment: Milton Babbitt’s ‘Who Cares if You David Kirkland Garner and Darren Muel- 2–3 March 2012 Listen’ as Modernist Manifesto” ler (Duke University), “It’s all in the Feet: Union University David Carson Berry (University of Cincinna- Sound, Recording, and Social Space in the ti, College-Conservatory of Music), “Schen- Traditional Music of Cape Breton” Kenneth Kreitner (University of Memphis), ker and Music Criticism in 1930s America” Katherine L. Turner (Raleigh, N.C.), “Perfor- “Spain Discovers the Mass” mance, Performing, Performativity” Jeremy Grall (University of Alabama, Bir- Ryan McCollum (North Carolina Central mingham), “Giovanni Kapsberger’s Partite Southeast Chapter University), “Bill Evans or Red Garland? The Role of the Pianist in Miles Davis’s Small sulla folia and Evolution of the Sectional 1 October 2011 Ensembles” Folia” Duke University Kevin O’Brien (University of Tennessee), Dan Ruccia (Duke University), “Reorganiz- “Location and Motion as Musical Agents: Brian Jones (University of North Carolina, ing the Rock and Roll: US Maple’s Decon- An Evaluation of Geographical Determin- Chapel Hill), “French Secular Polyphony in struction of the Voice” ism’s Use in Musicology” Florence at the End of the Italian Ars Nova” Angela Brunson (University of Memphis), Stewart Carter (Wake Forest University), Southern Chapter “The Nuns of St. Agnes Academy: Rising “From Peking to Paris, with Instruments: 10–11 February 2012 from the Ashes to Nurture a New Musical Father Amiot and His Treatises on the Music University of Alabama, Early College Memphis” of China” Ashley Pribyl (University of Texas at Austin), Michael Long (University at Buffalo, SUNY), Matt Henson (Florida State University), “‘Pretty Women’: Objectification of Johanna “How Josquin Sounded: An Exercise in Mu- “Foreign Songs for Foreign Kings: Angelo in Sondheim’s Sweeney Todd ” sical Anthropology” Notari’s Scorebook and the ‘Italian Notes’ in Kara McLeland (Middle Tennessee State Uni- Amy Zigler (Music Academy of North Caro- Caroline England” versity), “Variations on a Theme: Reclaiming lina, Greensboro), “Innocents Condemned: Sarah Bushey (University of Florida), “Revis- Feminine Agency with Tori Amos’s Night of An Interpretation of Ethel Smyth and Fran- iting Revisionism: Horrifying Elements in Hunters” cesca da Rimini” Jommelli and Verazi’s Fetonte (Ludwigsburg, David Huron (Ohio State University), Key- Yana Lowry (Duke University), “Finding the 1768)” note Address: “That Complex Whole: A Vi- ‘Collective Voice’: Analyzing the Mass Song Alice Clark (Loyola University New Orleans), sion for Musicology” Genre” “Carissimi’s Jephte and Jesuit Spirituality”

 AMS Newsletter Jennifer Thomas (University of Florida), Jason Hibbard (University of North Florida), William Gibbons (Texas Christian Univer- “Influence, Borrowing, or Convention? Jos- “Robert Ashley’s Operas and the Promise of sity), “Reweaving Penelope: Fauré’s Pénélope, quin, Richafort, and What They Shared” Television” Symbolism, and Morality” Morgan Rich (University of Florida), “The 14 April 2012 Lasting Influence of Compositional Study: Southwest Chapter University of Arkansas, Fort Smith Adorno, Berg, and the Beginning of Dialec- 15 October 2011 tical Contradiction” Sam Houston State University Dawn De Rycke (University of Chicago), “A Michael Vincent (University of Florida), New World Hymnscape: Texts, Tunes, and “Continuous Expositions and Static Har- Ryan Best (Texas Tech University), “Number Liturgical Identity in Mexico City Cathe- monic Modules in Boccherini’s Sonata Symbolism in the Works of Hildegard von dral, 1530–1800” Forms” Bingen” Jane Dahlenburg (University of Central Ar- Don Fader (University of Alabama), “Les Justin R. Glosson (Texas State University), kansas), “Parallel Texts: Shostakovich, Yev- Modernes Face the Music: The Circle of the “The Sixth Noble Science of the Craft: An tushenko, Solzhenitzyn, and Socialist Real- Future Regent as Locus for a Relativist Crisis Examination of Music in and about the ism in 1962” in ‘Préramiste’ Music Theory” Lodge of Freemasonry” Nicholas Temperley (University of Illinois Kathleen Sewright (Winter Springs, Fla.), “A Jamie G. Weaver (Stephen F. Austin State at Urbana-Champaign), “The Elizabethan New Sixteenth-Century Source of Plain- University), “Mannerist or Model: Refram- Metrical Psalms and Their Tunes” chant in Orlando, Florida” ing Sigismondo D’India within the Seconda Lee Chambers (Texas Tech University), “The Sarah Kahre (Florida State University), “‘The Prattica” Discourse of International Relations in Jean- Good Old Way’: A Historian’s Approach to Jessica Stearns (Stephen F. Austin State Uni- Baptiste Lully’s Persée” the Sacred Harp Diaspora” versity), “Swing State: The Use of Saxophone Martin Nedbal (University of Arkansas, Ed Hafer (University of Southern Mississip- and Jazz by Shostakovich and Prokofiev in Fayetteville), “Rectifying the Rectified: pi), “Cabaret and the Art of Survival at the Soviet Music” Beethoven and Die schöne Schusterin” Concentration Camp Westerbork” Stephen Husarik (University of Arkansas, Janita R. Hall-Swadley, “Facts, Fault Finding, Brian Holder (Santa Fe College), “John Fort Smith), “Musical Progress and the and Flatteries: The Pros and Cons of Trans- Heney and the Evolution of the School Per- Wedge in Beethoven’s Grotesque Comedy, lating and Editing Franz Liszt’s Collected cussion Ensemble” Grosse Fuge, op. 133” Writings” Elizabeth Clendinning (Florida State Uni- Hang Nguyen (Texas Tech University), “Cho- Karrin Ford (Waco, Texas), “Florence Price versity), “Writing Punk, Picturing Gender: pin and Affect: Op. 28 Preludes” and the Semiotics of Reception: Cultural Renegotiating Womanhood in Indonesian Randy Kinnett (University of North Texas), Response to Her Symphony No. 1” Punk Fanzines, 1998–Present” “Berg’s Reception of Mahler: The Chamber Frank Heidlberger (University of North Tex- Joshua Neumann (University of Florida), Concerto Revisited” as), “Traces of the Past, or Visions of a Bright “Recorded Tempi in a Puccini Aria: Colline’s Nico Schüler (Texas State University), “So- Future? Antoine Reicha’s Music Theory and (too) Long Farewell to His Coat” cialist Realism and Socialist Anti-Realism in Hector Berlioz’s Compositional Practice” Scott Warfield (University of Central Florida), one Composition? The Rise and the Fall of Thornton Miller (University of Houston), “Inventing the ‘Rock Musical’: The ‘Rock ’n’ the Opera Fetzer’s Flucht (1959/1963) by Kurt “Benjamin Britten, the Soviet Union, and Roll’ Predecessors of Hair on Broadway” Schwaen” International Copyright”

AMS Membership Totals Nomination Requirements and Interested in AMS Application Deadlines Current total membership (as of 10 Novem- Committees? ber 2012): 3,475 (2011: 3,462). Please note that all AMS awards require The president would be pleased to hear 2011 members who did not renew: 533 nominations; award committees will from members of the Society who wish not consider work that has not been Institutional subscriptions: 906 to volunteer for assignments to com- nominated. See the individual award mittees. Those interested should write guidelines, available in the AMS Direc- Breakdown by membership category Christopher Reynolds, and are asked to tory and at the AMS web site, for full Regular, 1,544 (1,586) details. Deadline: 1 May. enclose a curriculum vitae and identify Sustaining, 12 (9) their area(s) of interest. Application deadlines for AMS publi- Low Income, 457 (416) Christopher Reynolds cation subventions are: Student, 886 (862) University of California, Davis 15 February Emeritus, 352 (363) Dept. of Music 15 August Joint, 78 (78) Life, 65 (65) 1 Shields Ave. See the AMS web site for details: Honorary and Corresponding, 67 (66) Davis, CA 95616-5270 www.ams-net.org Complimentary, 14 (17) [email protected]

February 2013  75 Years Ago: 1937–38 American Musicological Society, Inc. • A debate arose at the December 1937 Statement of Activities for the Fiscal Year Ending Business Meeting regarding require- June 30, 2012 ments for membership, one faction Endowment: Fellowships, advocating restricted membership (in- Current Awards, vitation only, publications and Ph.D. Revenue operations Publications Undesignated TOTALS required), the other open membership Dues & subscriptions $ 371,513 $ 371,513 (all interested persons, including stu- Annual meeting $ 190,470 $ 190,470 dents). A committee to overhaul the Sales/Royalties $ 50,221 $ 4,622 $ 54,843 current organizational structure was Government grants $ 54,625 $ 54,625 formed. Contributions $ 10,418 $ 101,482 $ 111,901 Investment income $ 2,243 $ 92,059 $ 108,300 $ 202,602 50 1962 63 Years Ago: – Total revenue $ 614,447 $ 161,724 $ 209,782 $ 985,953 • Members of the Board and Council were divided regarding the time of year Expenses for the Annual Meeting. Response to Salaries & benefits $ 182,903 $ 59,029 $ 241,932 the referendum that appeared in JAMS Subventions, Fellowships $ 92,059 $ 78,000 $ 170,059 (1962, p. 118) indicated strong prefer- Dues & subscriptions $ 6,049 $ 6,049 ence not to meet between Christmas Publications $ 91,556 $ 11,300 $ 102,856 and New Year’s. The Annual Meeting Professional fees $ 68,290 $ 68,290 Annual meeting $ 181,486 $ 30,300 $ 211,786 was eventually moved to the fall in Chapters $ 6,486 $ 6,486 1970 . Office expense $ 62,334 $ 6,777 $ 69,111 • The Society for Ethnomusicology Unrealized loss in investment $ 31,976 $ 70,938 $ 102,914 joined the American Council of Learned Total expenses $ 599,104 $ 201,140 $ 179,238 $ 979,483 Societies. • A proposal for an award for an out- standing article by a younger scholar Change in Net Assets $ 15,342 $ (39,416) 30,544$ 6,470 languished; the motion lost for want of a second. • Isabel Pope’s review of Robert M. Ste- Statement of Financial Position venson’s Spanish Music in the Age of June 30, 2012 1960 Endowment: Columbus (Nijhoff, ) appeared in Fellowships, JAMS (Spring 1963). Current Awards, Assets Operations Publications Undesignated TOTALS 25 Years Ago: 1987–88 Cash $ 203,585 $ 203,585 • The Board considered “the problem of Accounts receivable $ 914 $ 914 very long JAMS articles”; the idea of in- Investments $ 1,432,580 $ 3,178,160 $ 4,610,740 augurating a monograph series, where Equipment $ 17,122 $ 17,122 such research might instead be pub- Funds held in trust $ 21,843 $ 10,472 $ 32,315 lished, emerged. Total assets $ 226,342 $ 1,449,702 $ 3,188,632 $ 4,864,676 • The first three-year NEH grant to Mu- sic of the United States of America was Liabilities approved in spring 1988. Accounts payable $ 4,709 $ 4,709 • The AMS instituted a new Commit- Deferred Income $ 6,185 $ 6,185 tee on Career Options (initially named Funds held in trust $ 21,843 $ 10,472 $ 32,315 the Committee on Non-Academic Employment). Total Liabilities $ 32,737 $ 10,472 $ 43,209

Net assets $ 193,605 $ 1,449,702 $ 3,178,160 $ 4,821,467

Total Liabilities & Net Assets $ 226,342 $ 1,449,702 $ 3,188,632 $ 4,864,676

Meetings of AMS and Related Total Liabilities & Net Assets, June 30, 2011: $ 4,929,951 Societies 2013: Next AMS Board Meetings SAM: 6–10 Mar., Little Rock, Ark. CMS: 31 Oct.–3 Nov., Cambridge, Mass. The next meetings of the Board of Directors will take SMT: 31 Oct.–3 Nov., Charlotte, N.C. place in Pittsburgh on 2–3 March and 6–7 November. SEM: 14–17 Nov., Indianapolis, In.

 AMS Newsletter Obituaries The Society regrets to inform its members of the deaths of the following members: Louisville and liked occasionally to revert to the Kentucky accent of her childhood. 11 2012 Mary Wallace Davidson, October Emma Garmendia Paesky, 15 November 2012 Mary’s contributions in Notes, Fontes, New 9 2012 Cenieth Elmore, July Charles Rosen, 9 December 2012 Grove, and elsewhere deal primarily with li- 6 2012 K. M. Knittel, August Robert M. Stevenson, 22 December 2012 brary and bibliographic subjects. After her re- 16 2012 Rosamond McGuinness, March Ivan Waldbauer, 13 September 2012 tirement in 2004 she continued writing—in 7 2012 Anne Dhu McLucas, September Lavern John Wagner, 4 December 2012 American Music, the Lenore Coral festschrift 25 2012 Angela Migliorini, July (Music, Libraries, and the Academy, 2007), The Encyclopedia of New England—and continued Robert Bailey (1937–2012) Bailey’s thought is presented in lean, care- working on RILM, RIPM, and the Index to fully wrought, elegant prose. He was a con- Printed Music. Between 2009 and August Robert Bailey died in Naples, Florida on 6 noisseur, not only of well-crafted letters, but 2012 she wrote sixty-eight reviews for the Bos- 2012 July , shortly after his seventy-fifth birth- also of Burmese cats, porcelain, Federal furni- ton Musical Intelligencer. day. Born in Flint, Michigan, Bailey received ture, and Civil War battlefields. An intensely No words can fully capture Mary’s smile, 1959 his B.A. ( ) from Dartmouth College and private man, Robert nonetheless possessed compassion, soft voice, thoughtfulness, and 1969 his Ph.D. ( ) from Princeton, where he an ebullient humor richly tinged with irony. overall gentleness, nor can this brief essay con- studied with Oliver Strunk, Arthur Men- He relished reminding his friends that he vey her knowledge, skill, resourcefulness, and del, and Milton Babbitt. He taught at Yale was once cast as Algernon in The Importance resolute ability to accomplish what needed to 1967 77 ( – ) and the Eastman School of Music of Being Earnest primarily because of how he get done. Through her wonderful personal 1977 86 ( – ), and he joined the Department of would deliver the line, “If I am occasionally a qualities she influenced and inspired swarms 1986 Music at New York University in as the little over-dressed, I make up for it by being of librarians and faculty members and, most Milton and Carol Petrie Professor of Music, always immensely over-educated.” especially, her staff and students, whom she 2008 retiring in as Professor Emeritus. He —Edward Roesner and Rena Charnin Mueller guided, encouraged, and led by example. 1986 also taught at the Juilliard School from The loss to her friends, to her field, and to until his death. A pupil of Friedrich Wuehrer Mary Wallace Davidson (1935–2012) the world at large of this admirable woman is and Eduard Steuermann, Bailey was a gifted immeasurable. pianist, performing concertos with orchestras Mary Wallace Davidson, who died 11 October —Michael Ochs at Yale and Eastman. 2012, was best known as head of the Sibley Li- Bailey had originally intended to write brary at the Eastman School of Music (1984– K. M. Knittel (1965–2012) his dissertation on Byzantine chant, but he 99) and the Cook Library at Indiana Univer- Friends and colleagues of K. M. (Kay) Knittel turned instead to Wagner’s Tristan. His place sity (2000–2004)—the two largest academic were deeply saddened to learn of her sudden in the forefront of the scholars in the 1960s music libraries in the US—and as co-author death at the age of forty-six on 6 August 2012 who returned the nineteenth century to a with James J. Fuld of 18th-Century Ameri- at her home in Philadelphia, PA. central position in musicological inquiry can Secular Music Manuscripts: An Inventory Born on 11 October 1965 in Norwich, New was confirmed with his first published ar- (1980). Among her many achievements at York, Knittel grew up in Corvallis, Oregon. ticle, on the sketches for Wagner’s Siegfrieds Eastman, she planned and supervised the con- An accomplished violinist, she earned the Tod, which appeared in the Strunk festschrift struction of a sumptuous yet highly function- B.A. in music at Carleton College in 1987 (1968). His study of the structure of the Ring, al new building, obtained grants for the elec- (cum laude) and the Ph.D. in historical mu- published in the first issue of 19th-Century tronic conversion of its huge card catalogue, sicology at Princeton in 1992, writing a dis- Music (1977), helped establish the new jour- and organized a major music preservation sertation on the reception of Beethoven’s late nal as pre-eminent in the discipline. Although program. At Indiana, she helped implement string quartets. Important for her scholarly his publications focused primarily on Wagner, the “Variations2” digital music library proj- outlook was post-doctoral coursework in Eu- his reach was much broader, ranging from ect and taught both bibliography and music ropean history at Cornell University (1992– Weber to Berg. His attention was always fo- librarianship. She was president of the U.S. 93), where she studied with Sander Gilman. cused on the music, its design, and the tonal Branch of the International Association of Knittel was an innovative scholar whose spectrum that gave it coherence and meaning. Music Libraries (2005–08) and, before that, work, focused on Beethoven and Mahler, His thinking on these matters has been pro- president of the Music Library Association often challenged orthodoxies. Working pri- foundly influential. (1993–95). In 1998 she received MLA’s high- marily with the tools of reception history, she Bailey was not a Vielschreiber; his ideas were est award, a citation for lifetime achievement. studied the ways in which nineteenth-century communicated through his teaching and Mary studied music history, theory, and writers shaped many of the terms of discourse the many papers he delivered at professional composition at Wellesley College (B.A., that are still with us today. Her numerous es- meetings and colloquia. He was an inspiring 1957) and library science at Simmons College says on Beethoven examine the development teacher: one of his former students described (M.S., 1962). Before her period at Eastman, of the “Beethoven Myth” in the nineteenth his teaching as “electrifying”; another called she served as music librarian at the Brookline century by interrogating how biographical it “spellbinding.” The handouts that accom- (Mass.) Public Library and at Radcliffe and tropes colored the interpretation of his oeu- panied his papers were seldom discarded af- Wellesley Colleges. Although she spent her vre, in particular fostering a “heroic” image terwards. He also directed a number of NEH early career in the Boston area and co‑edited that marginalized portions of his output that summer seminars at NYU that reached an The Boston Composers roject:P Bibliography did not accord with this image. Knittel was academic audience extending far beyond the of Contemporary Music (1983), she never for- immediate field of musicology. got her roots in her beloved home town of continued on page  February 2013  K. M. Knittel divergent as Mozart keyboard works and the for over four decades, died in New York City music of Native Americans. The Musical Ear: on 9 December 2012, at the age of 85. He  continued from page Oral Tradition in the USA (2010), her most taught at SUNY Stony Brook and the Uni- recent work, examines the role of orally trans- versity of Chicago, and in 1980–81 he held also concerned that biographers and crit- mitted music in the development of Ameri- the Charles Eliot Norton Professorship of ics sacrificed Beethoven the human being to can musical styles; it is a psychological and Poetry at Harvard. In 2012 President Obama his mythical alter ego. In articles on Mahler ethnomusicological study informed by re- bestowed the National Humanities Medal on in 19th-Century Music, Knittel investigated cent neurological research. At the time of her Rosen for “his rare ability to join artistry to contemporary concert reviews and caricatures death, McLucas was co-editing (with Norm the history of culture and ideas.” of Mahler’s conducting for evidence of anti- Cohen) One Hundred Folk Songs from Record- Rosen wrote or co-authored fourteen Semitic prejudices. Her last published work, ings, 1920–1950, a volume in the MUSA series. books, including several collections of essays Seeing Mahler: Music and Antisemitism in Fin- McLucas was born in Denver, Colorado on that first appeared in The New York Review de-siècle Vienna (2010), brings the reception of 26 July 1941. The variety of her musical and of Books, to which he was a regular contribu- Mahler’s music into play, arguing that many intellectual interests manifested early on: she tor. Rosen’s prose was at once learned and of the seemingly objective statements by earned a performance certificate from the engaging, reflecting a deep musicality that Mahler’s early critics originated in stereotypes Mozarteum Akademie (Salzburg, 1963) and grew from his insights as a performer. His traceable back to Wagner’s notorious “Das graduated with a B.A. in Italian and Ger- first book, The Classical Style: Haydn, Mozart, Judentum in der Musik.” Various awards, man from the University of Colorado (1965). Beethoven, won the National Book Award in including an AMS 50 Fellowship, a research She earned graduate degrees in musicology 1972. Contrary to much traditional scholar- grant from the Vidal Sassoon International at Harvard (M.A., 1968; Ph.D., 1975) and ship, it defined the musical style of a period Center for the Study of Antisemitism, and an taught at Harvard, Boston College, Wellesley, by examining not a broad cross-section of NEH Fellowship, supported her research. Colorado College, and the University of Or- composers but the few figures who mastered Knittel’s career as a teacher took her first to egon, but she remained active as a performer the possibilities of the contemporary musical 1993 2001 Seton Hall University ( – ) and then on harpsichord, fortepiano, and piano her en- language. The lucid, penetrating analyses in to the Butler School of Music of the Universi- tire life. She was also a skilled administrator, The Classical Style inspired me and others of 2001 12 ty of Texas at Austin ( – ). Her commit- establishing and chairing the Music Depart- my generation to pursue careers in musicol- ment to Socratic method challenged students ment at BC, and serving as Dean of the UO ogy. Rosen’s other magnum opus, a worthy to think critically and independently. Her School of Music (1992–2002). She planned to successor to The Classical Style, was The Ro- greatest satisfactions as a teacher came, how- retire in December 2012. mantic Generation, which discussed the music ever, in her role as a tireless and loyal mentor McLucas received numerous fellowships of Schubert, Chopin, Liszt, Berlioz, Mendels- to her graduate advisees. (Boettcher, Woodrow Wilson, Danforth, and sohn, and Schumann. It was awarded the Those of us who knew Kay Knittel as col- Fulbright foundations, the Smithsonian In- Otto Kinkeldey Prize by the AMS in 1996. league, mentor, and/or friend will long miss stitution, and NEH) and was active in many Rosen was not a formalist, but he mistrust- her keen intellect, her self-deprecating and scholarly organizations, including the AMS, ed explanations of music that placed a prior- ironic sense of humor, her healthy skepticism SAM (President, 1997–99), CMS (President, ity on biographical, social, or cultural context. of received wisdom, and the honesty with 1990–92; Symposium editor, 1993–96), SEM, “Only when the movement back and forth which she assessed scholarship and the larger and many other music and folklore societies. between historical and formal explanation world. She was a tireless proselytizer for the study starts and ends with the music itself,” he ar- —Michael Tusa of American music and strongly supported gued, “do we have any possibility of saying music-making in her community by serving Anne Dhu McLucas (1941–2012) something sensible.” on the boards of the Oregon Bach Festival, As a pianist, Rosen’s repertoire extended Anne Dhu McLucas, musicologist and eth- Mozart Players, and Festival of American from Bach’s Goldberg Variations to works by nomusicologist, teacher, performer, and ad- Music and the Eugene symphony and opera modernist composers whom he admired and ministrator, died in Eugene, Oregon, on 7 associations. who held him in high esteem. Rosen partici- September 2012, a victim of homicide. The These accomplishments do little, however, pated under Stravinsky’s baton in the first re- death of this brilliant and gentle scholar—a to illustrate the impact Anne Dhu McLucas cording of Movements for Piano and Orchestra. woman with a true joie de vivre—devastated had on those around her. She had boundless He had long associations with Elliott Carter, her family, friends, and colleagues and sent a energy, enthusiasm, optimism, and plenty of whose Double Concerto he premiered, and shock wave through the world of American laughter. Her high scholarly standards, frank- Pierre Boulez, who invited him to record the musicology. ness, and honesty were balanced by affection piano sonatas. McLucas was a scholar with wide-ranging and kindness; she was a beloved mentor. The finest of Rosen’s performances are and eclectic interests. She published widely She maintained an enviable life-balance as a characterized by a compelling blend of tech- on the traditional music of Britain, Ireland, scholar, performer, skier and climber, devoted nique, intellect, and feeling. He brings out and America, eighteenth- and nineteenth- mother and grandmother, and as an individ- inner voices, counterpoint, and structural ele- ual who always had time for friends. She is century melodrama and musical theatre in ments that other pianists ignore. For example, profoundly mourned. the UK and US, vocal music of Scotland and Rosen’s recordings of Beethoven’s Hammer­ —Katherine K. Preston Ireland, music in the ceremonies of the Mes- klavier Sonata, op. 106, are the only ones I calero Apache, music and gender, and music Charles Rosen (1927–2012) have heard that observe the diminuendo on education. She had a brilliant and agile mind the trill in the answer of the fugue in the fi- and invariably asked insightful questions of Charles Rosen, a distinguished pianist and in- nale (m. 26). The marking, which eludes even scholars presenting papers on topics as widely fluential and prolific writer on classical music meticulous artists like Arrau, Pollini, Richter,

 AMS Newsletter and Serkin, clarifies the fugal form by allow- crucial role in moving the Americas from the Hungarian-born musicologist Otto Gom- ing the accompanying countersubject to be periphery to a position of central importance bosi. After Gombosi’s early death in 1955, he heard. This moment captures Rosen’s unique in music scholarship. Though he will be sore- worked with John Ward, receiving his Ph.D. gifts as both performer and critic: delight in a ly missed by innumerable friends, admirers, in 1964 with a dissertation on “The Cittern musical detail that animates and illuminates colleagues, and students, his discoveries will in the Sixteenth Century and its Music in the larger design. continue to serve as a shining beacon for mu- France and the Low Countries.” During his —Walter Frisch sicologists and performers everywhere. studies he taught at Reed College, Cornell —Walter Clark Robert M. Stevenson (1916–2012) University, and Vassar College before join- Ivan F. Waldbauer (1923–2012) ing in 1960 the faculty of Brown University, Robert Murrell Stevenson, one of the leading where he taught piano, music history, and music scholars of the twentieth century and a Ivan Waldbauer, one of the last links to the theory for thirty years. Among his many stu- preeminent figure in Iberian and Latin Amer- European world of Béla Bartók, passed away dents were Charles Capwell, Ellen T. Harris, ican research, died of natural causes on 22 on 13 September 2012 at the age of eighty- Robert Winter, Lance Brunner, Elizabeth 2012 December in Santa Monica. A longtime eight. Born in Budapest on 23 September Seitz, and Gregory Dubinsky. Upon retiring professor of musicology at UCLA, as well as 1923, Ivan was the son of celebrated violin- in 1990 he moved to Ohio, where his second an adjunct professor at The Catholic Univer- ist Imre Waldbauer (1892–1952), who led wife, Claudia Macdonald, is Professor of Mu- sity of America, he was the author of twenty- the Waldbauer-Kerpely Quartet, which pre- sic History at Oberlin College. nine books, several editions, and hundreds of miered Bartók’s first two string quartets and In addition to Bartók and Renaissance articles, reference entries, and reviews. His spread the next three—along with other cut- instrumental music, Ivan’s publications en- scholarly investigations ranged over an im- ting-edge repertoire—across Europe. Imre compassed wide-ranging subjects such as pressively wide array of subjects, particularly and Bartók were frequent sonata partners; Riemannian music theory and Schubert. An Spain and Latin America before 1800. while still in his teens, the impressionable engaged and passionate teacher who cared Born on 3 July 1916 in Melrose, New Mex- Ivan turned pages for the great composer— deeply about his students, Ivan typically kept ico, he spent his childhood and grew to ma- the first step toward becoming an important in touch with them for decades after their turity in El Paso, Texas, earning a bachelor’s Bartók scholar in his own right. In his home- degree in music at the University of Mines town, Waldbauer studied piano and compo- graduation. A complete musician who rec- and Metallurgy there (now the University of sition at the Franz Liszt Academy of Music. ognized no barriers between composition, Texas, El Paso). An account of his subsequent After graduating and serving in the Hungar- music history, theory, and performance, his training reads like a Who’s Who of institu- ian resistance he immigrated in 1947 to the lectures invariably provided a non-polemical tions and famous people, with degrees from US. He concertized widely in a piano duo and lively mix that communicated his great Juilliard, Yale, Eastman, Harvard, Princeton, with his first wife Suzanna Waldbauer and and contagious love of music while leaving and Oxford, and studies in composition, pi- later joined the New York Bartók Archives his auditors hungering for more. A riveting ano, and musicology with Stravinsky, Schna­ as Research Director. In this capacity, he pre- raconteur, world-class bridge player/teacher, bel, and Schrade, among others. He began pared the first catalogue of Bartók’s complete and superb cook, Ivan will be sorely missed teaching at UCLA in 1949 and soon estab- works. by the many people around the world whose lished his scholarly reputation with seminal Ivan entered the graduate musicology pro- lives he touched so deeply. volumes on music in Mexico (1952) and Peru gram at Harvard to study with the eminent —Peter Laki and Robert Winter (1959, 1960), followed by a trilogy of classics: Spanish Music in the Age of Columbus (1960), AMS Legacy Gifts retirement there, he moved to Washington Spanish Cathedral Music of the Golden Age University in St. Louis, where he taught for (1961), and Music in Aztec and Inca Territory another nine years, until 1972. He spent his (1968). In 1978 Stevenson launched his own Paul Amadeus Pisk final years in Los Angeles, where he was ac- journal, Inter-American Music Review, which (1893–1990) tive for a number of years and was made an became a major venue for leading research Honorary Member of the Pacific Southwest on music of all the Americas. The recipient Chapter of the AMS. of Guggenheim, Fulbright, NEH, and Ford Paul A. Pisk began his musical career in Vi- In keeping with his deep commitment Foundation fellowships and grants, he was enna, completing his Ph.D. on the masses of to students and teaching, in 1974 Paul Pisk also an honorary member of the American Jacobus Handl under Guido Adler in 1916. wrote to the AMS advising that he planned to Musicological Society and established an He studied with Schoenberg in Vienna and include the Society in his will for the purpose AMS award for outstanding scholarship in was active in the new music of endowing a prize for the Iberian and Latin American music. scene, establishing himself as a most outstanding paper pre- Stevenson was an exceptional mentor as composer. He was a founding sented at the Annual Meeting well as researcher and guided twenty-five member of the International by a graduate student. Upon dissertations at UCLA and Catholic Uni- Society for Contemporary his death in 1990, the AMS versity. Those who were fortunate enough Music. He came to the United received $20,000 for this pur- to do graduate research under his direction States in 1936, where he was a pose and inaugurated the Pisk felt deeply inspired not only by his erudition champion of new music, and Prize. The first of the awards and productivity, by the scope and depth of took a post at the University was presented in 1991. his investigations, but also by his passionate of Redlands (1937–51). He moved to the Uni- The Pisk endowment, the value of which commitment to preserving and promoting versity of Texas at Austin to build their Ph.D. is now over $50,000, will continue to supply a vast heritage of great music. He played a program; upon reaching the statutory age of funds for the annual prize in perpetuity.

February 2013  American Musicological Society Bowdoin College Nonprofit org. 6010 College Station U.S. Postage Brunswick ME 04011-8452 PAID Mattoon, IL 217 Address service requested Permit No.

Bozarth Travel Grants Open Meeting in New Orleans Moving? Regarding By-laws Changes The Virginia and George Bozarth Fund To send AMS mailings accurately, the AMS must receive notice of changes of attained full funding in fall 2012, en- An open meeting was held at the AMS An- address at least four weeks prior to each nual Meeting last fall to discuss proposed by- abling the AMS to add an additional mailing. travel grant to its array. The fund sup- laws changes reported in previous newsletters and at the AMS web site. They include one AMS ports travel to Austria for musicological 6010 College Station major and several minor proposals: modifi- research. Applications may be submit- Brunswick ME 04011-8451 cation of the Object of the Society, changes ted through the web site: see www.ams- (207) 798-4243; toll free (877) 679-7648 to facilitate electronic communication, and net.org/grants/bozarth.php for details. [email protected] Deadline: 1 March each year. changes to update the by-laws to reflect cur- www.ams-net.org rent practice with regard to office procedures. (See www.ams-net.org/By-laws-ballot-2013. Newsletter Address and Deadline Correction php for details.) The minor proposals elicited no comments. Items for publication in the next issue of Michael Scott Cuthbert’s institution- The proposed change to the Object Statement the AMS Newsletter must be submitted al affiliation was incorrectly identified (Article II) was discussed for about twenty electronically by 1 May to: in the August 2012 AMS Newsletter (p. minutes. The following points were raised: Andrew Weaver, AMS Newsletter Editor 7). It is the Massachusetts Institute of • the gradual shift in emphasis from musi- Catholic University of America Technology. cology as a discipline to the teaching of [email protected] musicology has raised ethical and practi- The AMS Newsletter (ISSN 0402-012X) is Membership Dues cal problems that the Society has not ad- equately considered; published twice yearly by the American Calendar Year 2013 • scholarship is not simply a production Musicological Society, Inc. and mailed to all members and subscribers. Requests for $110 of knowledge, but the pursuit of inquiry, Regular member additional copies of current and back is- $200 which closely relates to teaching; Sustaining member sues of the AMS Newsletter should be di- $30,000 $55 • we are all products of teaching, and it de- Income less than rected to the AMS office. Student member $40 serves emphasis and recognition; every- Emeritus member $50 thing the Society does is understood as All back issues of the AMS Newsletter Joint member $45 teaching. are available at the AMS web site: Life member $2,000 An amendment to the motion under dis- www.ams-net.org cussion to change the object statement to "… Overseas, please add $20 for air mail delivery. the advancement of knowledge in all fields of Claims for missing issues must be Students, please enclose a copy of your cur- music" did not pass. The original motion was made within 90 days of publication (over- rent student ID. affirmed by a majority of a show of hands. seas: 180 days).