AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLV, NUMBER 2 August 2015 ISSN 0402-012X Louisville: City of Surprises

AMS Louisville 2015 12–15 November www.ams-net.org/louisville Looee-ville, Louis-ville, Loo-a-ville, Loo-ih- vuhl, Loo-ih-vul . . . it’s a city of seemingly many names. But to the locals, it’s simply Loo-uh-vul; and one imagines that Louis XVI, after whom the city was named, would probably turn in his grave if he heard it. So would Michelangelo, if he saw the stupen- dous homage to him outside the 21c Hotel, one of the top boutique hotels in the world and only a short walk from Galt House (venue of the AMS meeting). Drenched in mock Cellinian splendor (and somehow al- ways free of avian donations despite its being The Belle of Louisville on the permanently placed outside), it’s truly a sight see in this city by the river (the red glass gems- House is Fourth Street Live!, a focal point for to behold. encrusted limousine by the hotel entrance, so nighttime entertainment (and the location But 21c’s always captivating art exhibition, dressed up as to be inspired by the interior for our Friday night dance: see p. 18). For the whether indoors or outdoors, is only one of of a pomegranate, is another eye-catcher). more adventurous, there’s the Urban Bour- the many things that a visitor would want to As huge as the homage to Michelangelo is, it bon Trail that leads to the many scattered dis- pales beside the baseball bat that stands taller tilleries (such as Maker’s Mark and Jim Beam) In This Issue… than the five-story Slugger Museum on which for which is known. it leans, a stone’s throw away from 21c. Simi- Happily, Krzysztof Penderecki and Kaija President’s Message ...... 2 larly impressive is the collection at the Frazier Saariaho will be in town while the AMS President-Elect Martha Feldman . . 4 History Museum (General Custer’s ivory- meeting is taking place. Here for the New AMS Public Lectures ...... 4 handled Colt pistols, ’s supposed Music Festival of the University of Louisville’s President’s Endowed Plenary Lecture 5 bow, etc.), located just across the street from School of Music which, this year, celebrates What I Do in Musicology . . . . 6 that doozy of a baseball bat (which, inciden- the thirtieth anniversary of its Grawemeyer Public Musicology Conference . . 6 tally, is a steroids-gone-awry version of a 34- Award in Composition, they will be holding Awards, Prizes, Honors ...... 7 inch Slugger bat owned by Babe Ruth). separate composition seminars at the School. Grants, Fellowships ...... 10 To be sure, one can name many more inter- These are open to all without charge. Pen­ Recent Board Actions ...... 11 esting things to see and do in this derby city: derecki’s seminar is slated for Wednesday, 11 News Briefs ...... 11 an Ohio River steamboat cruise on board the November, and Saariaho’s two days later. The ACLS Annual Meeting 2015 . . . 12 Belle of Louisville, which turns one hundred Louisville Orchestra, which has a history of Grove Music Advisory Panel . . . 12 this year; a visit to , home championing contemporary music, performs Louisville Preliminary Program . . 13 of the Kentucky Derby, and so on. But down- a free concert at the School 12 November as Louisville Performances . . . . . 25 town Louisville, charming in its own way, is part of the Festival (which runs 10–14 Novem- Louisville Program Selection . . . 25 essentially a mix of the old and the new, with ber). A bonus: visitors to the School can take Committee News ...... 26 tall modern buildings standing not far from a short walk to the steps of Grawemeyer Hall Study Group News ...... 28 smaller ones built when cast iron facades were to see the very first cast of Rodin’s unfathom- AMS Vancouver 2016 ...... 31 in fashion. It’s also a city for foodies, with able Thinker, recently cleaned of weather wear CFPs, Conferences ...... 33 many fine restaurants downtown and even Obituaries ...... 34 more in the suburbs. A short walk from Galt continued on page  President’s Message: Performing Musicology

There have been many calls recently to teach turn into memorization exercises that drain teaching is needed. Why? “Partly because it’s by doing, to show the research process rather all sense of discovery out of the process. My the only way for a student to get past being a than merely recite results. It is difficult to revelatory moment came when I introduced passive consumer and critic and to become a open a copy of The Chronicle without finding my students in an Early Music class to a creator, someone who reads other historians at least one article along these lines. Take, for musicological text that, in contrast to more in the light of having tried to do what they example, “Is ‘Design Thinking’ the New Lib- traditional textbooks, openly engaged with do.” In other words, just as one can move be- eral Arts,” by Peter N. Miller (The Chronicle gaps and dissent within our knowledge base. yond being a passive listener by understand- Review, 3 April 2015). In describing design The students’ reaction stunned me: why, they ing something about the kinds of choices thinking, Miller offers a series of “easy-to- asked, weren’t such readings regularly made Schubert faced, one also can engage with the grasp principles,” such as “Show Don’t Tell,” the basis of music courses; in fact, they pre- work of a scholar by following the research “Embrace Experimentation,” and “Bias To- viously had thought that musicology was path to the results and seeing how informa- ward Action.” Although Miller’s article per- “done.” Think about that—musicology as tion is gleaned and decisions made. tains to a graduate program in the School of I can’t think of any aspect of musicology Engineering at Stanford, it also resonates with that couldn’t be made intrinsically interest- musicology. Given that music is a perform- Musicology isn’t obscure, ing to students or a wider public through the ing art, the idea of “performing musicology” esoteric, or “done” “performance” of its process. Cultural studies doesn’t seem like much of a stretch. I did a (context), meaning and interpretation (semi- Google search to see if this phrase is in com- otics), connoisseurship (analysis and aesthet- mon use and found only two significant ex- done, finished, over, nothing more to learn. ics) seem obvious choices for this kind of 2011 amples: a Study Day in co-sponsored by It had never occurred to me that by teaching exploration. But what about, say, rastrology? the Royal Musical Association, City Univer- the “history” of music (when this happened, I actually have seen audiences intrigued to sity, and the Guildhall School of Music and when that composer lived, how this piece is learn how music paper was prepared for and Drama on the “fusion of musicology and organized, what that composition means—all by composers, how and what information performance,” along with many references to integral to a strong foundation in musicol- is embedded in the layout of the paper, and performing the song “Musicology” by Prince! ogy) we risk imparting an absence of explo- what different kinds of rastrals look like. (For There is also the book Performing Ethnomusi- ration and discovery in the research that we some, an immediate and nostalgic connection cology, edited by Ted Solis, which focuses on love. can be made to the old chalk rastrals used in teaching world music performing ensembles. In the Schubert example, which explores many elementary schools years ago—when All of these instances of “performing musicol- compositional options within a specific his- music was a regular part of the curriculum.) ogy” emphasize some aspect of music perfor- torical period, the idea of performing mu- Rastrology, like source studies more broadly mance. In this essay, I would like to repurpose sicology, or opening up the compositional and archival research, represents a form of the phrase from the sole purview of music process, seems natural enough, but what of musicological-historical detective work. Far performance and redefine “performing musi- other activities a musicologist undertakes? from being esoteric and difficult, it reso- cology” as performing the processes of musi- The range of topics and research methods in nates with great fiction by Umberto Eco and cological research. our field is very broad. The books supported The Woman in White, Of course, as musicologists, we have a natu- by the AMS that have been published so far in Charles Dickens. In by ral advantage in terms of “showing” rather 2015 (see the front page of the AMS web site) Wilkie Collins, the resolution hinges on dis- than “telling,” since we study a performing provide a glimpse: Beethoven, Schumann, entangling falsified and original documentary art. Rather than merely explaining the struc- and Wagner; the castrato; the late medieval evidence (birth certificate, marriage contract, ture of a deceptive cadence or chromatic de- motet; music during the Cold War; tuk mu- confinement papers). Some sense of this nar- flection, for example, we play examples to sic in Barbados; Johanna Beyer; and French rative excitement belongs in the research sto- give the harmonic motion its aural manifesta- pop music. How might such historical re- ries we tell. tion. But we can go further. In a class on the search be “performed”? In a thoughtful article The repeated calls for showing rather than history of the art song or Romantic music, we by Anthony Grafton and James Grossman, telling pertain as much or more to musicol- can take Schubert’s “Ständchen” and not only “Habits of Mind” (The American Scholar, ogy as any field. Many of you already do this demonstrate how Schubert slides chromati- Winter 2015), the authors describe the cur- in the classroom and are undoubtedly ahead cally from a four-bar dominant pedal in D rently-popular narrative that defines research of me. Dealing with difficult suppositions and Minor to an Fv e chord, but also give alterna- in the humanities as narrowly focused and, challenging music almost demands it. More- tives: what does the passage sound like if it compared to STEM subjects (science, tech- over, as we work on “performing musicol- moves to the tonic (triumphalism on the part nology, engineering, math), “useless.” Then ogy” in front of our students, we also lay the of the lover!) or directly to the submediant they dismiss this continuing discussion about groundwork for an enhanced public musicol- (too hesitant?). Deconstructing and re-engi- the humanities, arguing that “generalizations ogy that will demonstrate the discovery pro- neering familiar music can give the beginning . . . do violence to the facts on the ground,” cess and excitement of what we do to a wider listener a you-are-there sense of composition- and they choose to “talk about one discipline audience. Musicology isn’t obscure, esoteric, al decisions in light of an historical toolbox of instead”—history, a field “born in research.” or “done,” and we have an obligation to our stylistic possibilities. They emphasize the importance of going into field and society at large to find ways of mak- Given the necessity of transmitting a heavy the archives to teach. Although they rightly ing that clear. load of information, however, or a large reper- point out many places where this is already —Ellen T. Harris tory of music, music assignments can quickly happening, they believe more of this kind of [email protected]  AMS Newsletter AMS Louisville 2015 versity) presents the fascinating background the upper 50s to the lower 40s. The chance of to Mildred Hill’s most famous composition, light rain is about 40 percent. 1 continued from page “Happy Birthday,” showing relations among Ancillary Meetings. Since the New Music and more. Who would have guessed that this African American street cries, Dvořák, and Festival runs concurrently with the AMS remarkable piece of art would be in Louisville! the cultural and intellectual ferment in wom- meeting, shuttles between campus and the The Program. American music is front and en’s circles in Louisville in the 1890s. Saturday hotel will be provided for those interested center in this year’s program, with eleven ses- noontime, Teddy Abrams, the Louisville Or- in attending seminars and other events. Or- sions ranging from “African American Music chestra’s Music Director, will discuss the film ganizations with ties to the AMS continue Criticism” to “1940s/50s America.” Addition- Music Makes a City and explore further the to participate enthusiastically. This year, al American-music activities include evening city’s unique relationship with its orchestra the fifth International New Beethoven Re- panels devoted to the music and lyrics of over the last seventy years. And on Saturday search Conference is scheduled immediately Cole Porter and “‘Making History’: An AMS afternoon, a session with invited speakers prior to the meeting (11 and 12 November); Oral History,” hosted by the Committee on will consider the topic of opera composed other participating organizations include the the History of the Society. But the program by women, in recognition of Kaija Saariaho, American Bach Society, the American Brahms committee has worked hard to highlight the special guest of the New Music Festival (see Society, the American Handel Society, Early full range of musicological scholarship. Top- p. 22). Saariaho plans to attend, making for a Music America, the Haydn Society of North ics span from chant to hip hop, the ars nova very special session indeed. America, the Lyrica Society for Word-Music to twentieth-century colonialism and exoti- A first this year is the Saturday evening pre- Relations, the Mozart Society of America, the cism, and the Renaissance Mass and motet to sentation of three papers sponsored by the North American British Music Studies Asso- music and sound in Disney animation. One recently launched Ludomusicology Study ciation, the Society for Christian Scholarship session is devoted to Mahler (“Allusion, Re- Group (see p. 29). Evening panels include in Music, the Society for Eighteenth-Century membrance, and Interpretation”), Johannes explorations of the musical thought of Ernst Music, and the Society for Seventeenth-Cen- Ciconia and Philipoctus de Caserta are “to- Bloch, “Music and Emotion in Televised Po- tury Music. Additionally, a large array of re- gether at last,” and Charles Burney, Felix litical Ads,” and “Prima Donnas and Lead- ceptions and parties will take place over the Mendelssohn, post–World War I musicol- ing Men on the French Stage, 1830–1900.” the weekeend. Details may be found in the ogy, and Donald Jay Grout cross paths in the Browse the Preliminary Program (pp. 13–24) Preliminary Program; meeting updates and session “Historiography.” Interdisciplinarity to discover all that awaits you in Louisville! events are posted at the web site. is well represented, with sessions devoted to Dance. The AMS Dance revived in 2014 is Interviews. A limited number of rooms at music and philosophy, “Music and the Nerves scheduled for Friday night at the Hard Rock the conference hotel will be available for job in the Nineteenth Century,” and World War Café (half a mile from the hotel). Players are interviews during the meeting. To reserve a II politics and resistance. Opera enthusiasts again warmly invited! See p. 18 for further de- room, please consult the web site or contact will find much on hand, including sessions tails. the AMS office. Job candidates can sign up on eighteenth- and nineteenth-century Ital- Riverboat cruise. For those ready for a little via the web or (if spots are still available) at ian opera, French opera and politics, and a relaxation following the daytime sessions Fri- the interview desk in the hotel. AMS policy “reframing” of the genre. And two sessions day, we have arranged for a river boat cruise prohibits interviews in private rooms without involve local musical history. Friday noon- on the Ohio River. The Spirit of Jefferson will appropriate sitting areas. time, Michael Beckerman (New York Uni- provide spectacular views of downtown Lou- Registration. Conference registration fees: isville while cruising the beautiful Ohio River Early (until 5 p.m. ET 30 September): $105 for dinner. It will also provide a sense of what ($45, student/retired); Regular (by 6 Novem- river travel was like in the nineteenth century, ber): $135 ($75, student/retired); Late/Onsite: and is led by knowledgeable guides who dis- $155 ($85 student/retired). AMS members re- cuss historical aspects of river travel and the ceive a conference registration form via U.S. Louisville region. Sign up when registering, mail; a PDF version, as well as online registra- or at the web site. tion, is available at the web site after 1 August. Special Performances. The AMS Perfor- Child Care. If a sufficient number wish to ar- mance Committee has arranged for special range child care, the AMS office will assist in concerts and lecture recitals at both the hotel coordinating it. Please contact the AMS office and the nearby Frazier History Museum at if this is of interest. noontime on Friday and Saturday (see p. 25). Scheduling. Please contact the AMS office to In addition to the extraordinary options of reserve rooms for private parties, receptions, the University of Louisville New Music Fes- or reunions. Space is limited, so please com- tival, Kentucky Opera will stage Three Decem- municate your needs as soon as possible. The bers, an opera in two acts by Jake Heggie and Louisville meeting web site provides further Gene Scheer, on Friday 13 November. The information. Louisville Orchestra presents a pops concert Student Assistants. The AMS seeks students on Saturday 14 November featuring the mu- to help during the conference in return for sic of Led Zeppelin. The AMS has arranged free registration and $11 per hour (six hours discounted tickets for both the opera and the minimum). If this is of interest, please see the orchestra. web site or contact the AMS office. 2012 David (inspired by Michelangelo) ( ) by Turkish con- Weather. —Seow-Chin Ong ceptual artist Serkan Özkay, outside Louisville’s Louisville is pleasantly cool in mid- 21c Museum Hotel November, with temperatures ranging from Local Arrangements Chair

August 2015  President-Elect Martha Feldman Martha Feldman has been elected Presi- the American Philosophical Society, dent of the Society for the term 2017–18. and the Franke Institute for the Hu- She has served the Society on the Board manities. She is the 2001 winner of the of Directors, as chair of the Howard Dent Medal of the Royal Musical As- Mayer Brown Fellowship Committee, as sociation, and in 2012 was elected fel- chair of the Program Committee, and as low of the American Academy of Arts a member of the JAMS Editorial Board. and Sciences. She is also winner of a After completing her freshman year of 2009 Faculty Award for Excellence in college at Tel Aviv University, Feldman Graduate Teaching. received her B.A. and Ph.D. from the Credit: Jimmy and Dena Katz Currently Feldman is Co-principal University of . Her teaching Investigator on a collaborative research career began in 1986 at the University of venture sponsored by the Neubauer Southern . She has been at the Collegium for Culture and Society since 1991, where called “The Voice Project,” which in- she chaired the Department from 2008 vestigates voice as an aesthetic, ethical, to 2012. She has also taught as a visitor Martha Feldman communicative, philosophical, and at the University of California, Berkeley, Solie Award of the AMS (2007). In 2007, psychoanalytic object, with the goal and at the University of Pavia at Cremona. she published Opera and Sovereignty: Trans- of creating conversations among theories Feldman has published in a variety of forming Myths in Eighteenth-Century Italy, and practices of voice. Her current work in- areas involving early modern Italy and ver- winner of the 2010 Gordon J. Laing Prize volves singers as diverse as Nina Simone and nacular singing. Her first book, City Culture of the University of Chicago Press for the Maria Callas. She has collaborated as associ- and the Madrigal at Venice (1995), explored faculty book in any field published in the ate producer on recordings and given talks the relationships among civic myth, urban previous three years that “brings the Press together with her partner, jazz artist Patricia culture, literary academies, and polyphonic the greatest distinction.” She gave the Bloch Barber. She is also collaborating with Steven madrigals in Venice during the 1530s and Lectures at the University of California, Rings on a voice project dealing with Jeff 1540s, winning the Bainton Prize from Berkeley, on the castrato in the same year. Buckley and notions of interiority. the Sixteenth Century Studies Conference Those talks have just been published as The Next year she will continue work on two and the Centre for Reformation Research. Castrato: Reflections on Natures and Kinds books: an edited volume of essays on voice While completing it she contributed sev- (2015). as a material entity and a monograph on the eral volumes to the Garland series on Ital- Feldman’s research has been supported last castrato, his legacy descending to the ian madrigals. In 2006, she coedited with by the NEH, the ACLS, a Guggenheim Fellini family, and the problems of memo- Bonnie Gordon The Courtesan’s Arts: Cross fellowship, the Gladys Krieble Delmas ry, masculinity, and mourning that interlace Cultural Perspectives, winner of the Ruth A. Foundation, the Getty Research Institute, these spheres.

AMS / Library of Congress Lecture Series

The next AMS/Library of Congress Lecture newly considered fair-copy manuscript re- Leonard Bernstein—also a part of the Music will take place in Washington D.C., in the li- casts our understanding of the compositional Division holdings—on the larger reception of brary’s Madison Building, Montpelier Room contributions of arranger Ferde Grofé to the Rhapsody in Blue. Ultimately, this talk eluci- at 7 p.m. on Wednesday, 14 October 2015. Rhapsody—a debate that has occupied critics dates the significant role of musicians beyond Ryan Raul Bañagale (Colorado and scholars since the Rhapso- Gershwin in the lifespan of the Rhapsody, College) will present “The On- dy’s 1924 premiere. This source prompting the question of who is ultimately going Composition of Rhap- document affords insight into responsible for one of the best-known ‘com- sody in Blue.” the individual creative pro- positions’ of the twentieth century.” Bañagale describes his lec- cesses of Gershwin and Grofé, Ryan Raul Bañagale is Assistant Professor ture as follows: “On paper their collaboration, and the sig- of music at Colorado College. He received George Gershwin remains the nificantly larger role of Grofé his Ph.D. from in 2011 sole ‘composer’ for Rhapsody in the genesis of the work. It with support from the American Musicologi- in Blue, but the compositional also establishes the Rhapsody as cal Society’s Alvin H. Johnson AMS 50 and history and cultural iconicity of an arrangement from its point Howard Mayer Brown Fellowships. His first the work emerge only over time of origin. The second part of book, Arranging Gershwin: Rhapsody in Blue and through the contributions Ryan Raul Bañagale my talk illuminates the ongo- and the Creation of an American Icon, was of a multitude of musicians, ing contributions of Grofé and published by Oxford University Press in 2014. specifically arrangers. Using documents held countless other arrangers to the Rhapsody up Bañagale currently sits on the editorial board in the Music Division of the Library of Con- to the present day. In particular, I focus on the of the George Gershwin Critical Edition, and gress, my talk begins with an exploration of role of a little-known arrangement prepared is slated to edit at least three separate arrange- the complex creative origins of the work. A for summer camp musicians by a teenaged ments of Rhapsody in Blue.  AMS Newsletter George E. Lewis to Deliver Third Annual Plenary Lecture work, analysis of musical practice, and critical member of the Association for the Advance- examination. The results are serving in turn ment of Creative Musicians (AACM) since as the impetus for my musicological writ- 1971, and his widely acclaimed 2008 book, ing—on the works themselves, on histories of A Power Stronger Than Itself: The AACM and larger networks of musical practice that these American Experimental Music (University of works draw upon, and on still larger socio- Chicago Press) received the American Book technological networks and practices that Award and the American Musicological Soci- all of us encounter every day. Thus, the talk ety’s first Music in American Culture Award. affirms the fact that the world continues to His oral history is archived in Yale Universi- draw critically important lessons from mu- ty’s collection of “Major Figures in American sic—often cryptically, and despite an ongo- Music,” and he has recently served as Ernest ing and deleterious trope that portrays music Bloch Visiting Professor, University of Cali- as peripheral to American intellectual life. In fornia, Berkeley, and Resident Scholar, Cen- staunch opposition to this trope, musicologist ter for Disciplinary Innovation, University of Jann Pasler has proposed that ‘music can serve Chicago. Lewis’s work as composer, improvi- George E. Lewis as a critical tool, activating and developing sor, performer, and interpreter explores elec- The AMS President’s Endowed Plenary Lec- multiple layers of awareness . . . I invite the tronic and computer music, computer-based ture will be delivered at 5:30 p.m. on Thurs- reader to listen for music’s resonance in the multimedia installations, text-sound works, day 12 November, immediately preceding world and, through music, to help us imag- and notated and improvisative forms, and is ine our future.’ My talk makes common cause documented on more than 140 recordings, the traditional opening reception. George E. with Professor Pasler’s view, echoing philoso- performed by the BBC Scottish Symphony Lewis will present the lecture “Putting Schol- pher Pierre Hadot’s understanding that ‘in Orchestra, London Philharmonia Orchestra, arship into (Art) Practice: Four Cases.” Lewis philosophy, we are not dealing with the mere Radio-Sinfonieorchester Stuttgart, Interna- describes it as follows: creation of a work of art: the goal is rather to tional Contemporary Ensemble, and shown “This talk troubles the bright line separat- transform ourselves.’” at the Cité des Sciences et des Industries La ing creative work from academic research, George E. Lewis is the Edwin H. Case Pro- Villette, Contemporary Art Museum Hous- through an examination of four cases from fessor of American Music at Columbia Uni- ton, the Studio Museum in Harlem, and the my own work as a composer and interactive versity. A fellow of the American Academy of 2010 Vancouver Cultural Olympiad. Lewis artist. The works themselves are diverse in Arts and Sciences, Lewis has received a Mac­ and Benjamin Piekut are co-editors of the content and affect, and range from computer Arthur Fellowship (2002), a Guggenheim Fel- forthcoming two-volume Oxford Handbook music performance and interactive installa- lowship (2015), a Artists Walker of Critical Improvisation Studies (2016). In tions to opera. Each of these works, however, Fellowship (2011), an Alpert Award in the Arts 2015, Lewis received the degree of Doctor of was developed through a combination of (1999), and fellowships from the National Music (honoris causa) from the University of ethnographic method, historical and archival Endowment for the Arts. Lewis has been a Edinburgh. AMS / Rock and Roll Hall of Fame and Museum Lecture Series The next AMS/Rock and Roll Hall of Fame of female performers in . While doing so, Maddox carved out a performance and Museum (RRHOFM) Lecture will Maddox engaged with and expanded upon space for honky-tonk singer Jean Shepard and take place in the library and archives of the the conventions of western swing to a spe- the ‘Queen of Rockabilly,’ Wanda Jackson. RRHOFM, Cleveland, Ohio at 7 p.m. on 16 cific audience of displaced whites, she moved Thus Maddox created sonic versions of wom- September 2015. Stephanie Vander Wel (Uni- away from the ‘sweet’ renderings of the sing- anhood that not only resisted gendered and versity at Buffalo, SUNY) will present “Rose ing cowgirl to develop what I term a ‘road- class norms in the 1950s but also served as im- Maddox’s Roadhouse Vocality house’ vocality. Within the ar- portant models for female performers within and the California Sound of chitectural space of California’s the production of California country music.” 1950s Rockabilly and Honky- nightspots, Maddox’s vocal Tonk.” technique combined the use of Vander Wel describes her lec- a resonating chest voice with ture as follows: “The Maddox southern vernacular idioms in Brothers and Rose came to the rockabilly-inflected songs like Spring 2016 Lectures forefront of California country ‘George’s Playhouse Boogie’ AMS/LC Lecture: R. Larry Todd (Duke music after World War II with (1949) and ‘Pay Me Alimony’ University), “Revisiting Mendelssohn’s their dynamic live performances (1951). Maddox’s performances Octet, or the Maturing of Precocity” that bridged the transition from beckoned migrants in general, AMS/RRHOFM Lecture: Jacqueline western swing to rockabilly and Stephanie Vander Wel and women migrants in partic- Warwick (Dalhousie University), “Dad honky-tonk. I argue that the ular, to the social and physical Rock and Child Stars” stage manner and vocal style of Rose Maddox pleasures of the dance hall, where she evoked Further details will be published at the (the lead singer of the family ensemble) were the aural vestiges of southern culture to high- web site and in the February 2016 AMS essential to the musical and social context of light the cultural tensions of displacement Newsletter. dance-hall culture and the emerging presence in relation to the shifting roles of gender. In August 2015  “What I Do in Musicology”: Thoughts from the Field In this issue’s installment of our series of essays thinking skills. This requires finding multi- by AMS members who have pursued careers ple pathways to learning while maintaining outside the traditional tenure-track faculty line, analytical rigor and being mindful to keep Jason Hanley reflects on his work as Director important musical and historical issues at the of Education at the Rock and Roll Hall of Fame forefront of the rock and roll story. and Museum, in Cleveland, Ohio. More infor- This rigor informs the work I do when mation about their education programming is working directly with artists, especially available at rockhall.com/education. those inducted into the Rock and Roll Hall As musicologists, one of our greatest challeng- of Fame. Artists are interviewed in front of es is developing and sustaining a meaningful a live audience, and the footage is archived dialogue with diverse listeners and learners. for later use at the Rock Hall’s Library and While public musicology is a step in the right Archives. These interviews become a way of direction, we need to establish what we mean digging deeper into the history of rock and when we say “public,” over and above the roll and preserving it for the future. A few word simply signaling “not employed in aca- Jason Hanley examples include Peter Hook of New Order demia.” Every day for the past eleven years, as discussing the use of step-time recording in Each of the book’s fifty-two labs contains a Director of Education at the Rock and Roll the song “Blue Monday”; Spooner Oldham full listening guide for a specific song. The Hall of Fame and Museum, I have engaged a talking about writing and performing as a School Library Journal wrote: “Though books wide-ranging and changing audience through session musician at Fame Studios in Muscle introducing pop and rock and roll artists to public musicology. the younger generation are legion, this at- The Hall’s mission is to “engage, teach, and Shoals; and Alan Parsons explaining how he inspire through the power of rock and roll.” worked to effectively translate live music into tractive volume, aimed at families, sets itself In the Education Department, we fulfill this the studio while recording Dark Side of the apart through its focus on the music itself.” mission through a variety of programs for Moon with Pink Floyd. I was happy to read this, given that focusing both students and adults, while always keep- For me, public musicology extends beyond on the music was my primary goal in writing ing rock and roll at the core. These include my work at the Rock Hall. This year I pub- the book. numeracy- and literacy-building programs lished a book on rock music history, Music I chose to work outside academe, even for toddlers, multi-disciplinary classes for Lab: We Rock! A Fun Family Guide for Explor- though, when I did, it seemed like walking K–12 students, free lecture series for college ing Rock Music History (Quarry, 2015). From into the great unknown. I’m glad I did. I’m students and adults, as well as numerous pub- the start, I envisioned the book as a work also glad the AMS promotes public musicol- lic and community events. All reach a diverse of public musicology using aspects of the ogy. I hope this will lead to a time when such array of learners while fostering artful critical- pedagogy I helped design at the Rock Hall. work is central to our field. Conference Report: The Past, Present, and Future of Public Musicology Editor’s note: Amanda Sewell, academic editor lege of Rider University for “The Past, Pres- ultimately involving hundreds of members (In the Write), kindly allowed us to share the ent, and Future of Public Musicology” (30 of the Ghanaian community and including following from her conference report, which ap- January–1 February 2015). The talks presented a lecture by V. Kofi Agawu, a symposium, a pears in a fuller version at Musicology Now at the conference addressed some of the myr- drumming/dance workshop, and jam ses- (musicologynow.ams-net.org). iad ways public musicology is conceptualized sions. Jennifer Kelly (Lafayette College) com- and enacted. Impeccably organized by Rider missioned a new work from composer Gabri- Musicologists and scholars from around the Associate Professor Eric Hung, the conference ela Lena Frank, a process that featured artist world convened at Westminster Choir Col- featured keynote speaker Susan Key of the residencies, a composer concert, the premiere Star Spangled Music Founda- concert, and a score published by G. Schir­ tion (see the August 2013 AMS mer, as well as interdisciplinary, campus-wide Newsletter for more information student involvement. about her work) and present- Another theme that emerged was engaging in music and musicology beyond “day job” ers from both academe and the academic pursuits. Rebecca Dirksen (Indiana larger music community. University) helped to start a record label in A number of presenters de- post-earthquake Haiti, a label that boasts Bou- scribed how they use their insti- lo Valcourt as its first signee. Carl Leafstedt­ tutional positions to bring mu- (Trinity University) encouraged musicologists sic and musicology to a wider to become involved in non-profit and com- audience. For example, Felicia munity arts leadership boards. Elissa Harbert Sandler (New England Conser- (DePauw University) teaches hour-long mu- vatory) organized a concert and sic appreciation courses in a local elder-care pre-concert talk honoring the community. Honey Meconi (Eastman School Ghanaian composer Ephraim Conference organizer Eric Hung with keynote speaker Susan Key Amu, and the event snowballed, continued on page   AMS Newsletter Awards, Prizes, and Honors lating, Adapting, and Performing Opera in Cosmopolitan Europe: Lorenzo da Ponte’s 1780 1800 AMS Awards and Prizes 2015 A grant from the Jan LaRue Travel Fund was Librettos for the London Stage, – .” awarded to Erica Levenson (Cornell Univer- Scott Cave (Pennsylvania State Univer- Four doctoral candidates in musicology re- sity) for research on her dissertation “Travel- sity) received the 2015 AMS-Newberry Li- ceived Alvin H. Johnson AMS 50 Disserta- ing Tunes: French Comic Opera and Theater brary Short Term Fellowship for the proj- tion Fellowship Awards for 2015–16: Samuel in London, 1714–1745.” ect “Cross-Cultural Communication in the Brannon (University of North Carolina at Spanish Atlantic Frontier, 1470–1570.” Chapel Hill), “Writing about Music in Early Grants from the Janet Levy Fund for inde- Modern Print Culture: Authors, Printers, pendent scholars were awarded to Lily E. AMS Chapter Student Awards and Readers”; Clare Carrasco (University of Hirsch (Bakersfield, Calif.) for research on North Texas), “All Art is Under the Spell of The Capital Chapter presented the 2015 Ir- her project “Her Way in Music: Anneliese ving Lowens Award for Student Research to Music: Music and Expressionism in Critical Landau’s Musical Journey from Weimar Ger- 1918 1925 Brian MacGilvray Robert Lintott (University of Maryland) for Discourse, c. – ”; many and Hitler’s Reich to California Exile” (Case Western Reserve University), “From “‘What passing bells?’ Time and Memory in and Paul Christiansen (Gorham, Me.) for Universal Harmony to Universal Inconstan- Benjamin Britten’s War Requiem.” research on his project “Orchestrating Public cy: The Subversion of Neoplatonic Theory in The Midwest Chapter presented the A-R Edi- Opinion: How Music Works in Television Po- Claude Le Jeune’s Octonaires de la vanité et in- tions Award to Derek Stauff (Indiana Uni- litical Ads for U.S. Presidential Campaigns.” constance du monde”; and Anne Searcy (Har- versity) for “The Political Context of Schütz’s vard University), “‘It was not merely success, A grant from the Harold Powers World Concerto ‘Saul, was verfolgst du mich’.” but something furious’: Soviet and American Travel Fund was awarded to Eric Bianchi The Northern California Chapter and Pacific Cold War Ballet Exchange, 1959–1962.” (Fordham University) to conduct research Southwest Chapter presented the Ingolf Dahl The Howard Mayer Brown Fellowship is for his book “Prodigious Sounds: Music and Memorial Award to Charissa Noble (Univer- presented by the Society to promising mi- Learning in the World of Athanasius Kircher.” sity of California, Santa Cruz) for “‘They’re nority graduate students pursuing a doctoral A grant from the Ora Frishberg Saloman freaks, they’re phenomena . . . but I can really degree in music. The 2015–16 fellowship re- Fund for musicological research was award- sing’: Canonicity, Legibility, and the Politics cipients are Anaar Desai-Stephens (Cornell of Music and Gender in Joan La Barbara’s ed to Davide Ceriani (Rowan University) to University) and Lauren Eldridge (University Cathing.” of Chicago). conduct research for his article “Toscanini, Mussolini, and the Teatro Reale dell’Opera in The Pacific Northwest Chapter presented the Grants from the M. Elizabeth C. Bartlet Rome During the Fascist Period.” Best Student Paper Prize to Kimberly Beck Fund for research in France were awarded (University of British Columbia) for “Em- to Jacek Blaszkiewicz (Eastman School of A grant from the AMS Teaching Fund was blematic Scordatura: Heinrich Biber’s Hic est Music, University of Rochester) for research awarded to Estelle Joubert (Dalhousie Uni- panis and Eucharistic Devotion.” on his dissertation “Sounding Modern Life: versity) for the project “Music in the Global The South-Central Chapter presented the Rey Music and Urbanism in Second-Empire Par- Eighteenth Century: A New Course Propos- M. Longyear Paper Award to Mary Helen is” and Andrea Recek (University of North al.” Hoque (University of Georgia) for “Scoring Texas) for research on her dissertation “Con- Eugene K. Wolf Travel Timbre in Caroline Shaw’s Partita for Eight structing Identity Through Liturgy: Music for Grants from the Voices.” the Saints in Medieval Aquitaine.” Fund were awarded to Michelle Urberg (Uni- versity of Chicago) to conduct research for The Southeast Chapter presented the Student A grant from the Virginia and George her dissertation “The New Vineyard: Origins, Jennifer Walker Bozarth Fund for musicological research Presentation Award to (Uni- Development, and Flourishing of Birgittine versity of North Carolina at Chapel Hill) for in Austria was awarded to Rosamund Cole Musico-Devotional Practices (c. 1350–1545)” “‘A Frenchman from Provence by Birth and a (Library of Congress) for research on her and Lily Kass (University of Pennsylvania) to Jew by Religion’: Darius Milhaud, Esther de dissertation “Lilli Lehmann.” conduct research for her dissertation “Trans- A grant from the William Holmes/Frank continued on page  D’Accone Endow- ment for travel and research in the his- tory of opera was awarded to John Romey (Case West- ern Reserve Universi- ty) for research on his dissertation “From the Street to the Stage: Popular Song and the Construc- tion of Parisian Spec- tacle, 1648–1713.” Samuel Brannon Clare Carrasco Brian MacGilvray August 2015  Awards, Prizes, and Honors Fulbright U.S. Student Grant to conduct re- ness, Composition, and the Conceptualiza- search for his dissertation “Sounding Modern tion of Music in Early Modern Italy.” continued from page  Life: Music and Urbanism in Second-Empire Thomas Christensen (University of Chi- Paris.” Carpentras, and the French Interwar Identity cago) has been awarded fellowships from the Crisis.” Mark Evan Bonds (University of North Guggenheim Foundation and the ACLS for The Southern Chapter presented the award Carolina at Chapel Hill) will be in residence “Fétis and the Tonal Imagination: French for best paper read by a student to Michael at the Institute for Advanced Study in Princ- Discourses of Musical Tonality in the Nine- Vincent (University of Florida) for “Goya, eton, New Jersey for his book project “Mu- teenth Century.” Boccherini, and Majismo in Enlightenment sic as Autobiography: Connections between Regina Compton (Eastman School of Mu- Madrid.” Composers’ Lives and Their Works.” sic, University of Rochester) received the 2015 The Southwest Chapter presented the 2014 Elise L. Bonner () re- Internationaler Händel-Forschungspreis from Hewitt-Oberdoerffer Award to Robert Mi- ceived a 2015 Mellon/ACLS Dissertation the Halle Händel-Gesellschaft for her disser- chael Anderson (University of North Texas) Completion Fellowship for “Catherine the tation “The Recitativo Semplice in Handel’s for “Lateness and the Death of the Poetic Great and the Origins of Russian Opera in Operas for the First Royal Academy of Music, Idea: Beethoven’s Funeral March in Richard Late Eighteenth-Century St. Petersburg.” 1720–1728.” Strauss’s Metamorphosen.” Louis Armstrong: Master of Modernism, by Hermann Danuser (Humboldt University Other Awards, Prizes, and Honors Thomas Brothers (Duke University), has of Berlin) was elected to the American Acad- been selected as a Finalist for the Pulitzer emy of Arts and Sciences. Charles M. Atkinson (Ohio State Universi- Prize (biography/autobiography). ty) received the Medieval Academy of Amer- Mark Davenport (Regis University) received ica’s Charles Homer Haskins Medal for his Chelsea Burns (University of Chicago) re- a 2015–16 Northwestern University Library book The Critical Nexus: Tone-System, Mode, ceived a 2015 Mellon/ACLS Dissertation John Cage Research Grant for “Cage and the and Notation in Early (Oxford Completion Fellowship for “Listening for Gate Hill Cooperative Artist Community.” University Press, 2009). Modern Latin America: Identity and Repre- sentation in Concert Music, 1920–1940.” Ryan Dohoney (Northwestern University) Gabriel Alfieri (Boston University) received received an ACLS Fellowship for “Abstrac- the Music Library Association’s 2015 Dena In June, Joy H. Calico (Vanderbilt Univer- tion as Ecumenism in Late Modernism: Epstein Award in support of American music sity) delivered the German Studies Associa- Morton Feldman and the Rothko Chapel.” archival and library research. tion Berlin Program Distinguished Lecture at Berlin’s Freie Universität. Nina Sun Eidsheim (University of Califor- Michael Bane (Case Western Reserve Uni- nia, Los Angeles) has been awarded an ACLS versity) received a Fulbright U.S. Student Clare Carrasco (University of North Texas) Charles A. Ryskamp Fellowship for “Measur- Grant to conduct research for his dissertation received a Deutscher Akademischer Aus- ing Race: Listening to Vocal Timbre and Vo- “Honnêtes Gens as Musicians: The Amateur tauschdienst research grant for the project cality in African-American Music.” Experience in Seventeenth-Century Paris.” “All Art is Under the Spell of Music: Music He also received the Society for Seventeenth- and Expressionism in Critical Discourse, c. Annegret Fauser (University of North Caro- Century Music’s 2015 Irene Alm Memorial 1918–1925.” lina at Chapel Hill) was awarded a 2015–16 Prize for an outstanding student paper for National Humanities Center Fellowship for Tim Carter (University of North Carolina at “The Art of Singing Well: Bertrand de Bacilly “The Politics of Musical Thought, 1918–1939.” Chapel Hill) was awarded a 2015–16 National and Issues of Amateur Performance Practice Humanities Center Fellowship for “Let ’Em The American Bach Society has named Don in Seventeenth-Century France.” Eat Cake: Political Musical Theater in 1930s O. Franklin (University of Pittsburgh) an Lorenzo Bianconi (University of Bologna) America.” Honorary Member in recognition of distin- was elected to the American Academy of Arts guished service to the Society. and Sciences. Leon Chisholm (University of California, Berkeley) received a Fellowship from Colum- Daniel Goldmark (Case Western Reserve Jacek Blaszkiewicz (Eastman School of bia University’s Italian Academy for “Blind- University) received an ACLS Fellowship for Music, University of Rochester) received a “Musical Stereotyp- ing American Jewry in Early Twentieth- Century Mass Me- dia.” In recognition of life- time achievement, Jane Gottlieb (The Julliard School) re- ceived the Music Library Association’s 2015 Citation. James A. Grymes (University of North Anne Searcy Anaar Desai-Stephens Lauren Eldridge  AMS Newsletter Carolina at Charlotte) received the National Alban Berg’s Second Opera, Lulu: Vienna and through Liturgy: Devotion to the Saints in Jewish Book Award, Holocaust category, for Berlin, 1934 and Zurich, 1937.” Medieval Aquitaine.” Violins of Hope: Violins of the Holocaust—In- Stephen Rose struments of Hope and Liberation in Mankind’s Melinda Latour O’Brien (University of Cali- (Royal Holloway, University of London) has been awarded a British Academy Darkest Hour (Harper Perennial). fornia, Los Angeles) received a 2015 Mellon/ ACLS Dissertation Completion Fellowship Mid-Career Fellowship for “Musical Author- Virginia Christy Lamothe (Belmont Uni- for “Music and Moral Repair in Early Mod- ship from Schütz to Bach.” versity) received a SAI International Faculty ern France.” Caitlin Schmid Fellows Grant for lecturing and research in (Harvard University) re- ceived a 2015–16 Northwestern University Rome for her project on seventeenth-century Carol Oja (Harvard University) received the Library John Cage Research Grant for “Ex- Roman opera associated with the Barberini Distinguished Service Award from the Soci- perimental music Festivals in the 1960s.” court. ety for American Music in recognition of her Mandy Smith (Case Western Reserve Uni- George E. Lewis (Columbia University) was many outstanding contributions as a scholar versity) won the 2015 David Sanjek Memorial elected to the American Academy of Arts and of American music and exemplary service to Graduate Student Paper Prize from the Inter- Sciences. He also has been awarded a Gug- the Society. national Association for the Study of Popu- genheim Fellowship for music composition. Anna Parkitna () lar Music for her paper “‘Drumming Is My Christopher Lynch (Indiana University) received fellowships from the German His- Madness’: The Primitive in Late 1960s Rock received a Kurt Weill Foundation for Music torical Institute in Warsaw and the Herzog- Drumming.” Ernst Stipend of the Gotha Research Center, Research and Travel Grant for “The Mozart David Trippett (University of Bristol) re- Erfurt University, for her dissertation “Opera Revival at the Metropolitan Opera House: ceived a five-year Starting Grant from the in Warsaw, 1765–1830: Operatic Migration, How Broadway Shaped the Operatic Canon.” European Research Council for “Sound and Adaptation, and Reception in the Enlighten- Materialism in the Nineteenth Century.” Michelle Meinhart (Martin Methodist Col- ment.” lege) was awarded a NEH 2015 Summer Sti- Josephine Wright (Wooster College) received pend for “Music, Healing, and Memory in Anne Walters Robertson has been elected to the Lifetime Achievement Award from the the English Country House During the First the American Philosophical Society. Society for American Music in recognition of World War.” her efforts to help the Society reflect the full Andrea Recek (University of North Texas) re- range of the American musical experience. The American Philosophical Society awarded ceived a Social Science Research Council In- Margaret Notley (University of North Texas) ternational Dissertation Research Fellowship Carla Zecher has been named Executive Di- a Franklin Research Grant for “Contexts for for her dissertation “Constructing Identity rector of the Renaissance Society of America.

Public Musicology Several speakers hold Ph.D.s in musicol- Finally, some presenters offered historical continued from page  ogy but are employed outside academe, us- perspectives of public musicology. Freder- of Music, University of Rochester) guides The ing their musicological skills and training in ick Reece (Harvard University) spoke of the Choral Singer’s Companion, a web site with a variety of ways. Naomi Barrettara (Metro- conflicts that can arise between antiquarians information for conductors and singers. Dor- politan Opera Guild) coordinates and teaches and musicologists, using the Haydn piano classes at the Guild. Christine Kyprianides sonatas that were “newly discovered” in 1994 othy de Val (York University) and Susanna (IndyBaroque) is a performer and musicolo- (and later proved to be forgeries) as a case McCleary presented a lecture-recital of music gist who assists non-profits with grant writing study. Christian Thorau (University of Pots- from the time of Jane Austen, music which and program notes. I discussed how academia dam) gave a brief history of musical tourism, they frequently perform at Jane Austen balls and musicology prepared me for a career as noting parallels between nineteenth-century in the area. a professional academic editor and entrepre- travel guides and program notes. Philip Gen- A third theme of the conference was peda- neur. Nola Knouse (Moravian Music Founda- try (University of Delaware) analyzed the gogy. Su Yin Mak (Chinese University of tion) works to preserve, share, and celebrate role of music in Cold War-era promotional Hong Kong) demonstrated how she “stages” the musical culture of the Moravians. films from Colonial Williamsburg. Chris- pieces in a narrative style for audiences of vari- Musicology and curation are a fruitful pair- tine Kyprianides shed light on John Hullah, ous levels of understanding. Jessica Stanislaw- ing for a number of conference participants. a librettist, teacher, conductor, and concert czyk and Katherine Caughlin, undergradu- Allison Portnow (Ackland Art Museum) orga- organizer in nineteenth-century London. ates at Westminster Choir College, presented nizes gallery concerts, sonic installations, and Kate Galloway (Memorial University of New- excerpts from the final projects they had de- partnerships with local ensembles. Thomas foundland) presented two case studies about veloped in a public musicology course taught Patteson (Bowerbird) curates new music pro- technology and local soundscapes in Vancou- by Eric Hung (and supported in part by the gramming in a Philadelphia non-profit arts ver. Jonathan Waxman (Hofstra University) AMS Teaching Fund). Felicia Miya­kawa organization. Michael Alan Anderson (East- discussed the changing role of program notes (academic consultant) and Michael Fauver man School of Music, University of Roches- in the last century, observing the increasing (W. W. Norton) described their work on The ter) and Nancy Norwood (Memorial Art Gal- role of new media and the decreasing role Avid Listener, a blog-like approach featuring lery) spoke of the many ways in which their of musicologists in the creation of program weekly topical posts by musicologists that also two institutions have successfully dovetailed notes. include discussion questions for students. music and art in recent years. —Amanda Sewell August 2015  AMS Fellowships, Awards, and Prizes Robert M. Stevenson Award for outstanding scholarship in Iberian music Descriptions and detailed guidelines for all Harold Powers World Travel Fund Deadline: 1 May AMS awards appear on the AMS web site. for research anywhere Publication subventions are drawn from the Deadline: 1 April Eileen Southern Travel Fund AMS 75 PAYS, Anthony, Brook, Bukofzer, to attend the Annual Meeting Hanson, Hibberd, Jackson, Kerman, Picker, Ora Frishberg Saloman Fund Deadline: 1 June Plamenac, and Reese Endowments. Applica- for research anywhere 15 15 Deadline: 1 April tion deadlines are February and August MPD / Keitel-Palisca Travel Fund each year. Eugene K. Wolf Travel Fund to attend the Annual Meeting 30 AMS-Newberry Library for European research Deadline: June Short Term Fellowship Deadline: 1 April for research at the library Philip Brett Award Alfred Einstein Award Deadline: 15 January of the LGBTQ Study Group for for an outstanding article by a scholar in the outstanding work in gay, lesbian, bisexual, early stages of her or his career Claude V. Palisca Award and transsexual/transgender studies Deadline: 1 May for an outstanding edition or translation Deadline: 15 August 31 Deadline: January Otto Kinkeldey Award Janet Levy Travel and Research Fund for an outstanding book by a scholar beyond Thomas Hampson Fund for independent scholars the early stages of her or his career for research and publication in classic song Deadline: 2 March Deadline: 1 May Deadline: 15 August Teaching Fund Lewis Lockwood Award Noah Greenberg Award for innovative teaching projects for an outstanding book by a scholar in the for outstanding performance projects Deadline: 2 March early stages of her or his career Deadline: 15 August Deadline: 1 May M. Elizabeth C. Bartlet Fund for research in France Music in American Culture Award Paul A. Pisk Prize Deadline: 1 April for outstanding scholarship in music for an outstanding paper presented by a of the United States graduate student at the Annual Meeting Virginia and George Bozarth Fund Deadline: 1 May Deadline: 1 October for research in Austria Deadline: 1 April H. Colin Slim Award Howard Mayer Brown Fellowship for an outstanding article by a scholar William Holmes/Frank D’Accone Fund for minority graduate study in musicology beyond the early stages of her or his career for research anywhere Deadline: 15 December Deadline: 1 April Deadline: 1 May Jan LaRue Travel Fund Ruth A. Solie Award Alvin H. Johnson AMS 50 for European research for an outstanding collection of essays Dissertation Year Fellowships Deadline: 1 April Deadline: 1 May Deadline: 15 December

Guidelines for Announcements Additional Grants and Fellowships • Deutscher Akademischer Austauschdienst of Awards and Prizes • Emory University, Fox Center for Human- Many grants and fellowships that recur on istic Inquiry annual cycles are listed at the AMS web site: • French Ministry of Foreign Affairs: Cha- Awards and honors given by the Soci- www.ams-net.org/grants.php. teaubriand Scholarship ety are announced in the Newsletter. In Grants range from small amounts to full- • Fulbright U.S. Scholar Program addition, the editor makes every effort year sabbatical replacement stipends. The list • Institute for Advanced Study, School of to announce widely publicized awards. of programs includes the following: Historical Studies Other announcements come from in- • American Academy in Berlin • Kurt Weill Foundation for Music dividual submissions. The editor does • American Academy in Rome • Monash University, Kartomi Fellowship not include awards made by the re- • American Antiquarian Society • National Endowment for the Humanities cipient’s home institution or to scholars • American Brahms Society • National Humanities Center Fellowships who are not currently members of the • American Council of Learned Societies • Newberry Library Fellowships Society. Awards made to graduate stu- • American Handel Society • Rice University, Humanities Research dent members as a result of national or • Berlin Program for Advanced German and Center international competitions are also an- European Studies • Social Science Research Council nounced. The editor is always grateful • Camargo Foundation • University of London, Institute of Musical to individuals who report honors and • Columbia Society of Fellows in the Hu- Research awards they have received. manities • Yale Institute of Sacred Music  AMS Newsletter Recent Board Actions Internet Resources RISM has added two of its major publica- tions to the free online catalog: the entire News contents of A/I, Individual Prints before Former president Jim Webster is the new 1800, and a portion of B/I, printed collec- Society delegate to the Grove Advisory tions, covering the years 1500–50. Details: Board (see p. 12). The Center for Popular Music at Middle Tennessee State University, in partnership bit.ly/1NR8wIP. Board member Jeffrey Magee is the new with the American Antiquarian Society, Society delegate to the National Associa- has launched the American Vernacular The Society for Seventeenth-Century tion of Schools of Music. Music Manuscripts web site. Funded Music has announced the completion of Revised guidelines for AMS Study Groups by a three-year NEH grant, the project its first anthology in the series Monuments were approved in March, and are available makes available for the first time hundreds of Seventeenth-Century Music. Volume 1: at www.ams-net.org/studygroups. of American music manuscripts from the Keyboard Arrangements of Music by Jean- 1730s to 1910. Details: popmusic.mtsu. Baptiste Lully, edited by David Chung, Society guidelines and policies that accord edu/ManuscriptMusic. presents nearly 250 arrangements of Lully’s with the goals of the Coalition on the Aca- music from dozens of seventeenth-century demic Workforce are in preparation, and The Cantum pulcriorem invenire: Thir- manuscripts. In addition to detailed criti- will be ready for publication in the fall. teenth-Century Music and Poetry (CPI- cal notes, performance suggestions, and I) project has announced the release of its Provisions for AMS committees and Study a comprehensive works list, the edition is database of the twelfth- and thirteenth- Groups to apply for funding to bring in- accompanied by several audio recordings century conductus, edited by Gregorio vited speakers from outside the usual mu- of pieces in the collection. Details: www. Bevilacqua and Mark Everist. It inventories sicological circles are in progress now. The sscm-wlscm.org/index.php/monuments- 956 poems, of which 866 include musical AMS plans to make three grants for guest of-seventeenth-century-music. settings ranging from monodies to four- speakers to attend the Vancouver 2016 An- The Web Library of Seventeenth-Cen- part works, and is grounded in the analysis nual Meeting. Further information will be tury Music (ISSN 2330-2429) is a service of 565 manuscript and printed sources. It forthcoming in the fall. offered by the Society for Seventeenth- unifies and updates the existing printed Century Music to its members and to the The Board approved revised guidelines for catalogues by Gröninger (1939), Falck musical community at large. It presents accessibility at the Annual Meeting: see (1970–81) and Anderson (1972–75). The new scholarly editions of seventeenth- www.ams-net.org/louisville/accessibility. database contains digital editions of all 956 century compositions that have remained conductus poems. Details: catalogue.con- unpublished or that are not available com- ductus.ac.uk. News Briefs mercially. Editions are peer-reviewed on a The recently published database catalogue continual basis. Submissions are welcome Boston University has established a new of the Choir Library of St. Mary’s in at any time. Please send inquiries to info@ Center for Beethoven Research, co-di- Lübeck, 1546–1674 is now available at sscm-wlscm.org. rected by Jeremy Yudkin and Lewis Lock- goart-vas-1.it.gu.se/webgoart/goart/ wood. Activities of the Center will include Snyder.php. While Petrus Hasse, Franz The lectures for the 2014–15 University ongoing scholarship, a regular conference Tunder, and Dietrich Buxtehude were serv- of Rochester Institute for Popular Mu- series, lectures by visiting scholars, research ing as organists of St. Mary’s Church, its sic Lecture Series are now available for symposia, performance practice work- cantors assembled a choir library of some streaming online at the UR IPM site: www. shops, and a database of information about 2,000 works, which are catalogued here for rochester.edu/popmusic/conference.html. sketches and autograph sources. Further the first time. The videos include “Classical Music for information: Jeremy Yudkin, yudkinj@ People Who Hate Classical Music: Ar- bu.edu. The international research network on eigh- thur Fiedler and the Boston Pops” (Ayden teenth-century Italian music pedagogy and AMS President Ellen T. Harris is guest Adler, New World Symphony); “The theory led by Nicholas Baragwanath at the curator of the exhibition “Handel: A Life Sound Is the Song: Revisiting the Great University of Nottingham has established with Friends,” on view at London’s Handel Cover Debate” (Albin Zak, University at the Historical Music Pedagogy email dis- House 1 July 2015 to 10 January 2016. De- Albany, SUNY); “What Remains After the cussion list. Details: jiscmail.ac.uk­/lists/ tails: www.handelhouse.org/whats-on/ex- Song: Led Zeppelin, Inc.” (Dave Head- historicalmusicpedagogy.html. hibitions/handel-a-life-with-friends. lam, Eastman School of Music); “Hip William H. Scheide bequeathed his col- Humanities Open Book: Unlocking Hop Diplomacy: Opportunities and Chal- lection of some 2,500 rare printed books Great Books, a new joint grant program by lenges” (Mark Katz, University of North and manuscripts, including important ex- the National Endowment for the Humani- Carolina at Chapel Hill); and “‘We Can’t amples by J. S. Bach, Beethoven, Schubert, ties and the Andrew W. Mellon Founda- Rewind­—We’ve Gone Too Far’: New and Wagner, to Princeton University. With tion, seeks to give a second life to outstand- Wave As the Inheritor of ‘No Future!’” an appraised value of nearly $300 million, ing out-of-print books in the humanities by (Cevin Soling, filmmaker and musician). this is the largest gift in Princeton’s history. turning them into freely accessible e-books. This Virtual Conference page features all Details: www.princeton.edu/main/news/ Details: www.neh.gov/news/press-release/ of the past lectures that have been featured archive/S41/62/60E77/. 2015-01-15/humanities-open-book. in the series as well. August 2015  ACLS Annual Meeting 2015

The Annual Meeting of the American of the print-digital question, noting that In his first ACLS lunchtime lecture, NEH Council of Learned Societies took place in the hard copy of GDAM is intended in part Chair William (“Bro”) Adams reminded us Philadelphia, 7–9 May 2015. AMS members to help spur creation of the digital version. of the reasons for the creation of the NEH in attendance included Edward Jurkowski James J. O’Donnell had a different take in 1965: to protect and guard human ide- (SMT delegate), Richard Leppert (ACLS altogether on scholarship and the public. als, to serve as a counterweight to the tech- Board), Susan McClary (ACLS Board chair Recalling that he had heard historians Ar- nological sphere, and to help fill the “abyss emerita), Robert Walser (Case Western Re- nold Toynbee and John Kenneth Galbraith of leisure” (!) that was predicted to result serve University), Charles Hiroshi Garrett at Texas Tech University in El Paso while from technological advances of the postwar (SAM President), and Mariana Whitmer a high school student, he opined that for period. Like the preceding speakers, Adams (SAM Executive Director). As your new many it is the campus itself—particularly advocated a more open and public practice AMS delegate to the ACLS, I attended for those in cities and towns centered on large of the humanities; to this end, he noted the first time. state institutions and small colleges—that that the NEH Public Scholar Program, first A recurring theme of this meeting was brings scholarship to the public. announced in fall 2014, supports outstand- one that has been discussed recently in ACLS President Pauline Yu began her an- ing humanities books intended for broad numerous AMS venues, including our nual report by posing the question, “How readership. Musicologists take note: this Musicology Now blog, and various presi- fares the spirit of free inquiry in the face is the first new grant opportunity to come dential messages and efforts of the Com- of so many cutbacks?” Insisting that the along in quite a while, and it echoes our at- munications Committee: how can scholars humanities should find a permanent place tempts to practice “public musicology” on convey their work to larger audiences? In in federal efforts to provide for the com- many fronts. a wide-ranging evening session, Douglas mon good, Yu announced that the ACLS Wendy Doniger, author of some forty Greenberg (Rutgers University) pointed to has recently made its first foray into under- books on Hinduism and mythology, de- databases such as the American National graduate education by partnering with the livered the Charles Homer Haskins Prize Biography Online, which has brought re- Mellon Foundation in the Mellon-Mays Lecture. In a highly personal and moving search on more than 20,000 prominent Undergraduate Fellowship Program, which narrative that mirrored, at times, the very figures into the public consciousness. Ste- encourages underrepresented minorities texts that she has brilliantly elucidated over phen Kidd (National Humanities Alli- to pursue careers in academia. Director the course of her career, Doniger interwove ance) challenged us to look for important of ACLS Fellowship Programs Matthew events in her life and education with a fasci- scholarship in works that are disseminated Goldfeder followed up with the welcome nating account of her trajectory as a schol- through non-print means. Substantive re- news that the ACLS awarded $16 mil- ar. The applause that erupted afterward search with broad public engagement, he lion in fellowships this year—the largest suggested that her talk had affected others said, whether print or digital, should find amount ever—to 320 scholars in a dozen as it had myself, providing a most inspir- a home in a scholar’s tenure portfolio. Our distinct programs. Three fellowships from ing conclusion to the meeting. The text and own Charles Hiroshi Garrett, in his capac- the ACLS Central Program and three from video of the talk is available at the ACLS ity as editor-in-chief of Grove Dictionary of the Dissertation Fellowship Program went web site (www.acls.org/pubs/haskins/). American Music, pointed to another aspect to AMS members (see p. 8). —Anne Walters Robertson Grove Music Advisory Panel The biennial meeting of the Grove Music bers who corresponded with me about it. American and Iberian Music, and a proposal Advisory Panel at the Milwaukee Annual Another concern of our members was ad- for a new Grove Dictionary of Music Theory. Meeting was not the adventure in technol- dressed directly by Grove and announced Regarding Grove Music Online, as recent ogy that the last one was (in New Orleans at the Society’s Annual Meeting. With an visitors to the GMO website will know, the in 2012 we had the fallout from Hurricane eye toward independent scholars without coverage of Southeastern and East-Central Sandy to contend with), but technology of institutional access to Grove Music Online, Europe, under the direction of Jim Sam- a more positive sort was a dominant theme. Grove decided to extend a special offer to son, has expanded substantially, including $100 Grove is currently developing a new web AMS members of a limited-time dis- a number of new articles as well as updated platform, which they hope to have in place count on a one-year individual subscription versions of older ones. The question of up- by November 2016. It will include “index to GMO. The discounted rate is renewable dating remains a crucial one. At present, cards” at the top of each article that provide and will be offered again in the fall of 2015. 46 citation information, authors’ names, etc.; Further discussion at the meeting cen- percent of all articles require updating. an improved search engine with a substan- tered upon both print and online projects, Many of the original authors are no lon- tial amount of added metadata; expanded as well as consideration of the process of ger available to revise their articles; schol- linking capability; embedded audio and updating Grove Music Online. On the print ars who wish to suggest updates to articles video; and improved tables of works that front, the Grove Dictionary of Musical In- or volunteer to provide them should visit provide additional functionality and are struments has now appeared; additional www.oxfordmusiconline.com or contact easier to navigate. The latter had been a projects underway include Grove Music in the editors at [email protected]. source of concern for several AMS mem- Global Perspective, Grove Dictionary of Latin —Charles M. Atkinson  AMS Newsletter AMS ANNUAL MEETING Louisville, 12–15 November 2015 Preliminary Program (as of 4 September 2015) Mobile app available 1 October

WEDNESDAY 11 November Alexis Luko (Carleton University), “Musical Encoding in Metadiegetic Space in Ingmar Bergman’s From the Life of the Marionettes” 8:00–5:00 New Beethoven Research Conference 2015 Daniel Bishop (Indiana University), “Myth and the Pop Score in Butch 2:00–8:00 AMS Board of Directors Cassidy and the Sundance Kid ” Stephen Meyer (Syracuse University), “Sonic Elision and Fantastic Desire: The Ring of Power in Jackson’s Lord of the Rings Films” THURSDAY 12 November Eighteenth- and Nineteenth-Century Italian Opera Melina Esse (Eastman School of Music, University of Rochester), 9:00–7:00 Registration Chair 11:00–7:00 Speaker Ready Room Matthew Franke (Raleigh, N.C.), “Massenet’s Werther and the Emergence 1:00–6:00 Exhibits of the homme fragile in Italian Opera, 1894–1901” 7:30–9:00 Meeting Worker Orientation Christopher Nickell (), “When Big Boys Cry: Male Lament in Early Opera” 8:00–12:00 AMS Board of Directors Francesco Izzo (University of Southampton), “Old Age and Aging in Early 8:00–12:00 New Beethoven Research Conference 2015 Verdi” Claudio Vellutini (Indiana University), “Donizetti and Viennese Cosmo- 9:00–1:00 Editorial Board of The Works politanism” of Giuseppe Verdi Listening beyond Hearing: Music and Deafness 11:00–1:30 Society for Seventeenth-Century Music Governing Board Andrew Dell’Antonio (University of Texas at Austin), Chair 12:00–2:00 Membership and Professional Anabel Maler (University of Chicago), “Music and the Deaf Experience in Development Committee Nineteenth-Century America” Jessica Holmes (McGill University), “‘How to Truly Listen’? Resisting an 12:00–2:00 Mozart Society of America Board Idealized Sense of the Deaf Body” 1:00–2:00 National Endowment for the Humanities Katherine Meizel (Bowling Green State University), “Two Voices: Singers Grant program information and in the Hearing/Deaf Borderlands” individual consultations Jeannette Jones (Boston University), “‘Hearing Deafly’: Reshaping the Geo­graphy of Sound in the Body” THURSDAY AFTERNOON SESSIONS “Listening to the Din” in Early Twentieth-Century 2:00–5:00 Europe Blackface Legacies Steven Whiting (University of Michigan), Chair Christopher Smith (Texas Tech University), Chair Melanie Gudesblatt (University of California, Berkeley), “Elektra and the Ambiguity of the Scream” Henry Stoll (Harvard University), “Peau blanche, masques noirs: Operatic Blackface in Colonial Haiti” Kassandra Hartford (Stony Brook University), “Listening to the Din of the Great War” Sarah Gerk (Oberlin College), “The Popularization of Syncopation: Black- face Minstrelsy, 1843” Clare Carrasco (University of North Texas), “Das ungleiche Paar modern­ ster Kammersymphonien: Expressionism, Impressionism, and Politics in Meredith Juergens (University of Michigan), “‘Double Masked’ Min- Critical Reception of Schoenberg’s and Schreker’s Chamber Symphonies, strel Performance in the Metropolitan Opera’s 1929 Production of Ernst c. 1918–23” Krenek’s Jonny spielt auf” Joy H. Calico (Vanderbilt University), “Schoenberg Reception and Fin- Julia Chybowski (University of Wisconsin-Oshkosh), “Blackface Min- de-siècle Anti-Noise Movements” strelsy and the ‘Black Swan’” Decoding Film Music Music, Gender, and Sacred Landscapes Julie Hubbert (University of South Carolina), Chair Helena Kopchick Spencer (University of North Carolina at Wilmington), Chair William O’Hara (Harvard University), “Atonality in Monterey: Leonard Rosenman’s Score for East of Eden and the Sound Worlds of Cinematic Lori Kruckenberg (University of Oregon), “Songscapes in the Paradies­ Modernism” gärtlein of the Upper Rhenish Master (1410/20)” August 2015  Jonathan Kregor (University of Cincinnati), “Gender, Nature, and Religi- Deborah Kauffman (University of Northern Colorado), “Nivers’s pe­ osity in Liszt’s Musical Landscapes” tits motets: Styles and Adaptations” Maribeth Clark (New College of Florida), “Amy Beach, Agnes Woodward, Evan Cortens (Calgary, Alberta), “‘Works of Darkness, Condemned and the Performance of Birdsong as an Act of Modern Listening” by the Church Fathers’: Graupner, Darmstadt, and the Operatic Denise Von Glahn (Florida State University), “Libby Larsen and the Un- Church Cantata” Gendered/All-Gendered Spiritual Environment” Jeffrey Sposato (University of Houston), “The Kantor and the Ka- New Readings of Renaissance Mass and Motet pellmeister: Church and Concert Life in Early Nineteenth-Century Leipzig” David Rothenberg (Case Western Reserve University), Chair Underestimated Instrumentalists Aaron James (Eastman School of Music, University of Rochester), “Ab- salom in Augsburg: The Reformation Context of the ‘Absalon’ Motets” Victoria Von Arx (University at Albany, SUNY), Chair Naomi Gregory (Eastman School of Music, University of Rochester), “The David Kendall (La Sierra University), “‘This Mistaken Idea Threatens Curious Case of Compère’s ‘Sola caret monstris’: the Pope, the King, and to Gain General Currency’: The Debate over the ‘Bach Trumpet’ the ‘fera pessima’” in the English Musical Press during the Late-Nineteenth Century Derek Stauff (Hillsdale College), “The Political Context of Schütz’s Saul, Baroque Revivals” was verfolgst du mich” Jessica Wood (Durham, N.C.), “Lady Keyboardists and the Bach- Anne Walters Robertson (University of Chicago), “Obrecht, Boethius, Boogie Divide” and the Fortuna Desperata Masses” Brian F. Wright (Case Western Reserve University), “‘A Bastard In- Religious Contexts strument’: The Electric Bass, Jazz, and the Stigmatization of Musical Daniel R. Melamed (Indiana University), Chair Practice” Melanie Batoff (Luther College), “From Exegesis to Epic to Liturgical Drama: The German Visitatio sepulchri Reconsidered” 4:15–5:15 Development Committee

Travel Information 4:30–5:30 Committee on Career-Related Issues Conference Buddy Mixer TheGalt House Hotel, 140 N. Fourth Street, is a twenty-five-story, 1,300-room hotel in Louisville, Kentucky built in 1972, and is the 5:30–6:30 AMS President’s Endowed Plenary Lecture $155 city’s only hotel on the Ohio River. Rates for attendees are George E. Lewis (Columbia University), “Putting Scholarship into (Art) (plus $24.91 tax) per night for one to four adults. Executive suites Practice: Four Cases” (two queen beds with pull-out sofa, bar area with refrigerator) are available for $175 (plus $28.13 tax) per night for one to four adults. 6:00–8:00 Opening Reception Basic Wi-Fi is available for $5.95; enhanced Wi-Fi $9.95. 7:00–8:00 Journal of Seventeenth-Century Reservations may be made either through the meeting web site or Music Editorial Board by telephone: (800) 843-4258 (ask for group code “American Mu- sicological Society”). Conference rates are valid through Friday 30 9:30–11:00 Student Reception October, subject to availability. Staying at the Galt House helps the AMS meet its contractual obligations as well as keeping you close to all conference activites. Air Travel. Louisville International Airport (SDF) is served by THURSDAY EVENING SESSIONS American Airlines, Delta, Southwest, United, and US Airways. The airport is located 6.5 miles south of the Galt House Hotel. The 8:00–11:00 hotel has arranged airport transportation with your reservation via Sandollar Limousine: to take advantage of this service, visit www. Ecomusicology and the History of Science sandollarlimo.com or www.galthouseshuttle.com and provide your Sponsored by the Ecocriticism Study Group flight information and details. Payment can be attached to room billing: $15 one-way, $25 round-trip, per person. Taxi fares from Sabine Feisst (Arizona State University), Chair SDF to the hotel are about $18. TARC (Transit Authority of River Stephen Meyer (Syracuse University), Aaron S. Allen (Univer- City) is the local bus system. It is inexpensive to ride and provides sity of North Carolina at Greensboro), Holly Watkins (Eastman a stop one block from the hotel. A bus leaves the airport every forty School of Music, University of Rochester), Justin D. Burton minutes for the forty-two-minute trip. (Rider University), Respondents Trains and Buses. Louisville is served by Amtrak and Grey- Jonathan Hicks (King’s College London), “Fingal’s Basaltic Cavern: hound. The bus and train station is located at720 W. Muhammad Early Gothic Melodrama and Late Georgian Geology” Ali Blvd., 0.9 miles from the hotel. Driving directions. A downtown area map and links to detailed Kirsten Paige (University of California, Berkeley), “Richard Wagner driving directions are available at the Travel Information web page. as Ecocritic: Wagnerian Climate Theory and the Anthropocene” Self-service parking at the hotel is $15 per day, valet parking for $25 Juan Velásquez (University of Pittsburgh), “The Acousmatic Whale: per day. Immersion, Transduction and Transmission of Underwater Sounds Additional information. TheHotel and Travel Information page in ‘Pacificanto’” (www.ams-net.org/louisville/travel-info.php) provides additional Kate Galloway (Memorial University of Newfoundland), “The travel information. Soundscapes and Technologies of Energy Industries”

 AMS Newsletter The Hills Are Alive with the Sound of Music: Musical Theater at Girls’ Jewish Summer Camps in Maine Sponsored by the Jewish Studies and Music Study Group Amy Lynn Wlodarski (Dickinson College), Chair Joshua Walden (Peabody Conservatory, Johns Hopkins Univer- sity), Organizer Stacy Wolf (Princeton University) “Making History”: An AMS Oral History Panel Sponsored by the Committee on the History of the Society Kay Kaufman Shelemay (Harvard University), Chair Michael Beckerman (New York University), J. Peter Burkholder (Indiana University), Annegret Fauser (University of North Carolina at Chapel Hill), Bonnie Gordon (University of Virginia), Richard Taruskin (Uni- The Galt House Hotel versity of California, Berkeley) What Is Accessible Musicology? The Making of an American Symphonic Repertoire Sponsored by the Music and Disability Study Group Brian Hart (Northern Illinois University), Chair Samantha Bassler (Westminster Choir College of Rider Univer- Katherine Baber (University of Redlands), E. Douglas Bomberger (Eliza- sity) and Blake Howe (Louisiana State University), Co-chairs bethtown College), Matthew Mugmon (University of Arizona), Drew Jeannette Jones (Boston University ), Organizer Massey (Schubertiade Music LLC), Douglas Shadle (Vanderbilt Univer- sity) James Deaville (Carleton University), “A Matter of Class? Music­ Music and Philosophies of Race and Ethnicity ology and Us” William Cheng (Dartmouth College), “Sounding Good: Musicol- Sponsored by the Music and Philosophy Study Group ogy, Rhetoric, Repair” Popular Music and Social Mobility Meghan Schrader (University of New Hampshire), “Tasting The Sponsored by the Popular Music Study Group Forbidden Fruit: Verbal Learners and the Construction of New Music Pedagogy at the Crossroads of Music History and Theory” Theo Cateforis (Syracuse University), Chair Daniel Barolsky (Beloit College), “Excluding Audiences: The Peda- Noriko Manabe (Princeton University), “Playing through Space: Analyz- gogy of Inclusive Listening” ing Urban Space, Soundscape, and Performance in Japanese Street Dem- Andrew Dell’Antonio (University of Texas at Austin), “Public Mu- onstrations” sicology as Accessible Musicology: Reflections on The Avid Lis­ Virginia Christy Lamothe (Belmont University), “Social Mobility and the tener’s First Year” Wonderful Women of the Stage Musical The Wizard of Oz (1902–04)” Benjamin Court (University of California, Los Angeles), “The ‘Social Mo- bility’ of Johnny Rotten’s T-Shirt: Countering Class Narratives of Punk” Prima Donnas and Leading Men on the French Stage, FRIDAY 13 November 1830–1900 8:30–6:00 Registration & Speaker Ready Room Sarah Hibberd (University of Nottingham), Chair 8:30–6:00 Exhibits Hilary Poriss (Northeastern University), Co-organizer 7:00–8:45 Chapter Officers Kimberley White (University of Southampton), Co-organizer 7:00–8:45 Committee on Career-Related Issues Sean Parr (Saint Anselm College), Clair Rowden (Cardiff University), Sar- 7:00–8:45 Committee on Communications ah Fuchs Sampson (Eastman School of Music, University of Rochester), Claudio Vellutini (Indiana University) 7:00–8:45 Committee on the History of the Society Strategies and Opportunities For Greater Inclusion of 7:30–8:45 Alvin H. Johnson AMS 50 Dissertation Ibero-American Music in the Curriculum Fellowship Committee Sponsored by the Ibero-American Music Study Group 7:30–8:45 Graduate Education Committee Susan Thomas (University of Georgia), Chair 7:30–8:45 Program Committees for the 2015 and 2016 Annual Meetings Ana Alonso Minutti (University of New Mexico), Jacqueline Avila (Uni- versity of Tennessee), Walter Clark (University of California, Riverside), 7:30–8:45 Student Representatives to Council Drew Edward Davies (Northwestern University), Alejandro L. Madrid 7:30–9:00 American Brahms Society Board ()

August 2015  Jason Rosenholtz-Witt (Northwestern University), “Beyond the Score: FRIDAY MORNING SESSIONS Charlotte Moorman and John Cage’s 26'1.1499" for a String Player” 9:00–12:00 Ivan Raykoff (The New School), “Embodied Listening through Tactility in La Monte Young’s Dream House” Albums Patrick Nickleson (), “Transcription, Recording, and Albin Zak (University at Albany, SUNY), Chair Authority in ‘Classic’ Minimalism” Melvin Backstrom (McGill University), “Ned Lagin’s Seastones and the “It Goes Like This”: Performance Practice Crossover of High Art and Popular Music within the San Francisco Rock Neal Zaslaw (Cornell University), Chair Music Scene” Joshua Duchan (Wayne State University), “Composing Billy Joel’s The Álvaro Torrente (Universidad Complutense de Madrid), “‘The Demoniac Nylon Curtain” Tune of the Sarabande’: Erotic Dance-Songs in Early Modern Spain” Kenneth Gloag (Cardiff University), “Bill Frisell’s Disfarmer: Music and Michael Bane (Case Western Reserve University), “The Art of Sing- Photography” ing Well: Bertrand de Bacilly and Amateur Performance Practice in Vilde Aaslid (Columbia University), “Improvising Musicopoetics in Vijay Seventeenth-Century France” Iyer and Mike Ladd’s In What Language” Mary Hunter (Bowdoin College), “Werktreue and the Rhetoric of Agency in Classical Music Performance” Contemporary “Classical” Music Cindy L. Kim (Burlington, Mass.), “In Defense of a Performers’ Art: Daniel M. Callahan (Boston College), Chair Nineteenth-Century Singers’ Discourse on Ornamentation” Marianna Ritchey (University of Massachusetts, Amherst), “Contempo- “Nationalism is Back” rary Classical Music as Capitalist Mythology” David Schneider (Amherst College), Chair Frederick Reece (Harvard University), “How to Forge a Missing Link: Winfried Michel’s ‘Haydn’ and the Style-Historical Imagination” Timothy Love (Louisiana State University), “The National Bard of Ire- Tiffany Ng (University of Michigan), “Classical Music in the Chinese land: Thomas Davis and His Songs Fit for a Nation” Global City: Constructing New Performing Arts Centers and Cosmo- Peter Schmelz (Arizona State University), “‘Nationalism is Back’: Valentin politan Publics” Silvestrov on the Maidan” Michael Broyles (Florida State University), “Sinfonie in Bildern or Photo- Virginia Whealton (Indiana University), “Imagining a Nationalist Future choreography: New Art or Hanslickian Heresy” through Polish Music: Franz Liszt’s F. Chopin” Early Modern Italy Laura Moore Pruett (Merrimack College), “Une Fête sous les tropiques: Tourist Nationalism in Gottschalk’s Symphonie Romantique” Roger Freitas (Eastman School of Music, University of Roches- ter), Chair Nineteenth-Century Piano Culture Lester Brothers (University of North Texas), “Visual Stars and Aural Steps: Jonathan Bellman (University of Northern Colorado), Chair Illuminating Sistine MS 93 (Mass for Pope Clement VIII by Curzio Man- cini)” Shaena Weitz (Graduate Center, CUNY), “Monochromatic and ‘Poly- chromatic’ Performance: Piano Improvisation in Early Nineteenth-Cen- Laurie Stras (University of Southampton), “Ferrara’s Musical Legacy to tury France” Mantua Reconsidered” Sarah Clemmens Waltz (University of the Pacific), “[E-flat Minor]” Valerio Morucci (Davis, Calif.), “Baronial Patronage and Secular Music in Early Baroque Rome: The Case of Paolo Giordano II Orsini” Paul Berry (Yale University), “Casualties of Scholarship in Brahms’s Piano Trio, op. 8” Eric Bianchi (Fordham University), “Scholars, Friends, Plagiarists: Angelo Berardi and the Composer as Writer in the Seventeenth Century” Jeffrey Kallberg (University of Pennsylvania), “Homosocial Exchange and the Trio of Chopin’s March” “Gems of Exquisite Beauty”: Topics in Nineteenth-Cen- tury America Twentieth-Century Music Colonialism and Exoticism Katherine Preston (College of William and Mary), Chair George E. Lewis (Columbia University), Chair Peter Mercer-Taylor (University of Minnesota), “‘Gems of Exquisite Beau- Peter Graff (Case Western Reserve University), “Portal to the Orient: Lob- ty’: Baker and Southard’s 1850 Haydn Collection and American Hymno- by Spectacles and The Thief of Bagdad” dy’s Path toward a Classical Music Aesthetic” Lindsay Jones (University of Toronto), “The Sounds of the Jungle: Exoti- Molly Barnes (University of North Carolina at Chapel Hill), “‘Safe in the cism, Representation, and Identity in Agustín Barrios’s Performances as Hands of Mozart and Beethoven’: The Rhetoric of Musical Uplift and the Mangoré, 1930–34” Realities of Cultural Stratification in Antebellum America” Catherine Hughes (University of North Carolina at Chapel Hill), “‘Con- Bethany McLemore (University of Texas at Austin), “The Lady Managers’ golese’ Musical Idioms and Expressions of Belgian Identity” Mixed Modernism: Examining Women’s Performances of Modernity at Jann Pasler (University of California, San Diego), “Colonial Governance the Chicago World’s Columbian Exposition” as ‘Heard’: Forming New Identities through Music on French Colonial Mary Natvig (Bowling Green State University), “Samuel Golden Rule Radio” Jones: Music and Reform in the Progressive Era” Interpreting Twentieth-Century Avant-garde Music 12:00–1:30 Committee on Cultural Diversity: Reception for Travel Fund Recipients, Jeremy Grimshaw (Brigham Young University), Chair Associates, and Alliance Representatives Nicholas Emmanuel (University at Buffalo, SUNY), “Meaningless Mecha- nized Situations of Disrelation: Ligeti’s Poème Symphonique as a Comic Reflection of Modernity”  AMS Newsletter 12:00–2:00 Music Research in the Twenty-First Century: Aaron Fruchtman (University of California, Riverside), “Jewish Identity in MGG, RILM, and Expanding Reference Max Steiner’s Symphony of Six Million” Resources Lunch and presentation of EBSCO Devora Geller (Graduate Center, CUNY), “‘If It’s Good Enough for platform: RSVP [email protected] Mama . . .’: Representing the Jewish Mother in American Yiddish The- ater Songs, 1900–50” 12:15–1:15 Alvin H. Johnson AMS 50 Fellowship Forum Naomi Graber (University of Georgia), “Between Bach and Wagner: Kurt 12:15–1:15 Committee on Career-Related Issues, Weill’s ‘Answer to Hitler’” Session I: “Public Musicology: Career Paths Alongside and Outside of the Academy” Music and Philosophy Felicia M. Miyakawa (freelance editor and academic consultant), Holly Watkins (Eastman School of Music, University of Roches- Chair ter), Chair Jason Hanley (Director of Education, Rock and Roll Hall of Fame and Mu- James Parakilas (Bates College), “From Hesiod’s Muses to Plato’s seum), Kendra Leonard (Director, Silent Film Sound and Music Archive) Music” Allison Portnow (Public Programs Manager, Ackland Art Museum) Amanda Sewell (In the Write), Karen Shadle (Assistant Director of Cath- Kimary Fick (University of North Texas), “‘They Decorate their Heads olic Worship and Campus Ministry, Bellarmine University) with Many Beautiful Things’: Herzogin Anna Amalia’s Aesthetics and 12:15–1:15 LGBTQ Open Board Meeting the Ideal Musical Kennerin” Noel Verzosa (Hood College), “Victor Cousin and the Reception of 12:15–1:45 Louisville’s “Unconscious Composers”: Meyerbeer” Mildred Hill, the Courier’s Women’s Edition, and how Julian Johnson (Royal Holloway, University of London), “‘Vertige!’: “Happy Birthday” was made From African American Debussy, Mallarmé, and the Margins of Language” Street Cries Michael Beckerman (New York University) Musical Adaptations 12:15–1:45 Music and Dance Study Group Charleston Rebecca Harris-Warrick (Cornell University), Chair and Lindy Hop Lesson John Romey (Case Western Reserve University), “Bellérophon in Christopher J. Wells (Arizona State University), Vaudevilles: Appropriation of Street Culture by the Comédie-Ital- leader ienne” 12:15–1:45 JAMS Editorial Board Devin Burke (University of Louisville), “The Veiled Art of Musical 12:15–1:45 Mozart Society of America Adaptation: Jean-Philippe Rameau and Le Triomphe des arts (1700)” Jeremy Coleman (King’s College London), “Through Babel’s Arcades: 12:15–1:45 Society for Seventeenth‑Century Wagner’s Paris Translations, 1839–42” Music Business Meeting Jennifer Ronyak (University of Texas at Arlington), “Intimate Con- 3:30–5:00 AMS/MLA Joint RISM Committee fession, Public Exhortation: Andreas Romberg’s Setting of Friedrich Schiller’s ‘Die Sehnsucht’ and the Orchestral Lied at the Start of the FRIDAY AFTERNOON CONCERTS Nineteenth Century” Frazier History Museum Politics and Resistance during World War II 12:30–1:30 Joy H. Calico (Vanderbilt University), Chair Tampering with Nature: Music in Pure and Tempered Timothy Jackson (University of North Texas), “Richard Strauss and Tunings Japanese Fascism” John Schneider, guitar Karen Painter (University of Minnesota), “Unsung Requiems: Music and Mourning in Germany at War (1939–45)” 2:00–3:00 Kristofer Matthias Eckelhoff (Graduate Center, CUNY), “A Space for “They Offer Their Hands to One Another as Sisters”: Death: Narrative Techniques in Viktor Ullmann’s ‘Säerspruch’” Fortepiano-Harpsichord Duos in the Circle of Sara Levy Anna Catherine Greer (University of Tennessee), “‘It Was as if I Were (1761–1854) Playing for My Life’: Misrepresentation of Brundibár” Rebecca Cypess, harpsichord, Yi-heng Yang, fortepiano Tape: An Archaeology of the Twentieth Century FRIDAY AFTERNOON SESSIONS Peter McMurray (Harvard University), Chair Joseph Auner (Tufts University) and Brian Kane (Yale University), Re- 2:00–5:00 spondents Jewish Topics in American Music/Culture Andrea Bohlman (University of North Carolina at Chapel Hill), Amy Ci- mini (University of California, San Diego), Michael Heller (University Klára Móricz (Amherst College), Chair of Pittsburgh), Martha Sprigge (University of California, Santa Barbara) Randall Goldberg (Youngstown State University), “TheKishineff Massacre and Domestic Musical Practice in America” August 2015  FRIDAY AFTERNOON SHORT SESSIONS Medieval Genres Susan Boynton (Columbia University), Chair 2:00–3:30 Sean Curran (University of Cambridge), “Fragmentation, Recombination, African American Music Criticism and Hockets in the Early Motet” Mark Burford (Reed College), Chair Gregorio Bevilacqua (University of Southampton), “Benedicamus Domino, Conductus, and the ‘Notre-Dame’ Manuscripts” Stephanie Doktor (University of Virginia), “How Virginia’s Most Promi- nent White Supremacist Became Famous for His Symphonic Jazz: John Spain and New Spain 1917 Powell’s Rhapsodie nègre ( )” Walter Clark (University of California, Riverside), Chair Christopher J. Wells (Arizona State University), “DuBoisian Black Sepa- ratism as Populist Jazz Criticism: Porter Roberts’s Columns for the Pitts­ Andrew Cashner (University of Southern California), “Rhythm as Rep- burgh Courier, 1936–39” resentation of Society in an Ensaladilla from Colonial Puebla, Mexico (1652)” Dethroning King Theodore: A Reassessment of America’s Michael Vincent (University of Florida), “Goya, Boccherini, and Majismo Conductor in Enlightenment Madrid” Patrick Warfield (University of Maryland), Chair The Tasso in Music Project (Poster Session) Katherine Preston (College of William and Mary), “‘A German for the Germans’: Theodore Thomas as Musical Director of the American Opera Emiliano Ricciardi (University of Massachusetts, Amherst), “The Tasso in Company” Music Project: A Digital Edition of the Madrigals on Torquato Tasso’s Poetry” Douglas Shadle (Vanderbilt University), “‘I Played All There Were’: Theo- dore Thomas and American Orchestral Music” 3:30–5:00 American Composers Howard Pollack (University of Houston), Chair AMS Dance @ Hard Rock Café Daniel E. Mathers (University of Cincinnati), “Copland’s Studies with The 2015 AMS Dance takes place on Friday 13 November at the Hard Rubin Goldmark” Rock Café, the anchor venue of Fourth Street Live!, a few minutes’ Emily T. Abrams Ansari (University of Western ), “Americanist walk from the Galt House Hotel (9 p.m. to 1 a.m.). We are very grate- Nationalism in the Cold: The Case of Roy Harris” ful for the support of the University of Rochester Institute for Popular Composers of Chant Music (IPM) and its director, John Covach. Music will be supplied by a rock band from the IPM. The main purpose of the band, however, is Susan Boynton (Columbia University), Chair to provide a group that attendees can join for a couple of songs. If you James Grier (University of Western Ontario), “De rebus incertis: Stephen are a rock musician, this may be your big break! There is no need to of Liège and the Divine Office” bring your own guitar or drum kit, since you will borrow one from the James Blasina (Swarthmore College), “Rehabilitating Ainard of Dives as 9 11 band. The band plays from to , after which DJs Attic Bat, Bit Faker, an Early Creator of Chant: The Ste-Catherine-du-Mont office for St. 1 Cat Whisperer, and Super Squirrel will take over until . Katherine of Alexandria” Admission is $5, tickets to be purchased in advance (conference reg- istration form, AMS web site, or at the registration desk in Louisville). Hip Hop The charge covers the cost of a buffet that includes sliders, mashed Mark Burford (Reed College), Chair potatoes, and dessert. A cash bar is available. Additional details, including instructions for reserving playing time J. Griffith Rollefson (University College Cork, National University of Ire- with the band, will be announced in early September: see www.ams- land), “‘Got a Freaky, Freaky, Freaky, Freaky Flow’: Theorizing ‘Illness’ net.org/louisville. in Hip Hop” S. Alexander Reed (Ithaca College), “What You Hear Is Not a Test: Shini- ness, the Genre Demo, and Early Hip Hop” Music Theory Thomas Christensen (University of Chicago), Chair Nicholas Attfield (Brunel University London), “From Luxuskunst to Volks­ kunst: August Halm and the German Youth Movement” Patrick Fitzgibbon (University of Chicago), “Fétisian Affinities: Legal, Chemical, Tonal”

5:00–6:00 Journal of Musicology Board 5:00–6:30 Graduate Education Committee Reception for Prospective Graduate Students 5:00–6:30 Rice University Alumni Reception

Fourth Street Live!, Louisville 5:00–7:00 Ecocriticism Study Group Business Meeting

 AMS Newsletter 5:00–7:00 Friends of Stony Brook Reception FRIDAY EVENING SESSIONS 5:15–6:15 Committee on Career-Related Issues, Session II: “Capitalizing on Adjunct Employment as a 8:00–10:00 Career Opportunity” New Musicological Scholarship on Dance Aaron Ziegel (Towson University), Chair Sponsored by the Music and Dance Study Group Patrick Warfield (University of Maryland), Eileen Hayes (Towson Univer- Maribeth Clark (New College of Florida), Chair sity), Thomas Kernan (Roosevelt University) Dana Terres (Florida State University), “Integrating Black Culture into 5:30–6:30 Early Music America Presents: Singing from Modern Dance: Alvin Ailey’s Revelations” Renaissance Notation with Valerie Horst Alexandre Abdoulaev (Boston University), “‘So Shout and Feel It’: Count Basie’s Savoy Broadcasts and the Last Great Swing Revolution, 1937–38” 5:30–7:30 University of North Carolina at Chapel Hill Alumni Reception Anne Searcy (Harvard University), “‘Ballet is Flowers’: Balanchine and the Ballet in the Soviet Union, 1962” 6:00–7:00 Society for Eighteenth-Century Elia Andrea Corazza (John W. Kluge Center, Library of Congress), “Dia­ Music, General Meeting ghilev’s Time Travelling Italian Scores” 6:00–7:30 W. W. Norton Reception A Serious Effort Not to Think Straight: Suzanne G. Cu- 6:00–8:00 CUNY Graduate Center Reception sick in Conversation with Emily Wilbourne 6:00–8:00 Boston University Reception Sponsored by the LGBTQ Study Group Stephan Pennington (Tufts University) and Emily Wilbourne 6:00–7:00 Journal of Musicology Board Reception (Queens College and the Graduate Center, CUNY), Co-chairs for Marian Green LaRue 6:30–8:00 Oxford University Press Reception Teaching Writing in the Music History Classroom 6:45–7:45 Committee on Career-Related Issues, Sponsored by the Pedagogy Study Group Session III: “Master-Teacher Roundtable: Teaching James Briscoe (Butler University), Chair Without Technology” Colin Roust (University of Kansas), Everette Smith (Southeastern Loui- Elizabeth Wells (Mount Allison University), Chair siana University), John Spilker (Nebraska Wesleyan University), Jeffrey Wright (Indiana University, South Bend) Marjorie Roth (Nazareth College), Mary Natvig (Bowling Green State University) What Must a Musicologist Know? Form and Content of the Musicology PhD Curriculum 7:30–8:00 Music and Dance Study Group Business Meeting Sponsored by the Graduate Education Committee 8:00 Kentucky Opera Presents Three Decembers Dianne Goldman (University of Maryland), Catherine Saucier (Arizona State University), Co-chairs 8:00–10:00 History of Music Theory Study Group Organizational Meeting Joseph Auner (Tufts University), Travis Jackson (University of Chicago), Richard Will (University of Virginia), Ysabel Sarte (University of Ken- 9:00–11:00 Eastman School of Music Alumni Reception tucky), Elisabeth Le Guin (University of California, Los Angeles) 9:00–11:00 Juilliard Party 8:00–11:00 9:00–11:00 New York University Reception Cold War Nostalgias 9:00–12:00 University of Chicago Alumni Reception Sponsored by the Cold War and Music Study Group 9:00–12:00 University of Michigan Reception Elaine Kelly (University of Edinburgh), Chair 9:00–12:00 University of Pittsburgh Reception Ewelina Boczkowska (Youngstown State University), Martha Sprigge (Uni- versity of California, Santa Barbara), Peter Kupfer (Southern Methodist 9:00–1:00 AMS Dance (Hard Rock Café, S. Fourth Street) University), Ulrike Präger (University of Illinois Urbana-Champaign) 10:00–10:30 Pedagogy Study Group Business Meeting Feminist Musicology and Contingent Labor 10:00–12:00 Case Western Reserve University Reception Sponsored by the Committee on Women and Gender 10:00–12:00 Florida State University College Bonnie Gordon (University of Virginia), Chair of Music Alumni Reception Clara Latham (Harvard University), “Adjunct Teaching in Musicology” 10:00–12:00 Columbia University Department Elias Krell (Vassar College), “Genealogies of Contingency: Academy, In- of Music Reception timacy, Resistance” Samantha Bassler (Westminster Choir College of Rider University), 10:00–12:00 Harvard Music Reception “(Dis)ability and the Crisis of Contingent Faculty” 10:00–12:00 LGBTQ Study Group Party Margarita Restrepo (Walnut Hill School for the Arts), “Contingent Labor 10:00–12:00 Society for Christian Scholarship and Exclusion” in Music Reception Nina Treadwell (University of California, Santa Cruz), “Questioning Au- thority in the Labor of Graduate Student Recruitment” August 2015  Matilda Ann Butkas Ertz (University of Louisville), “Motherhood, Fear, Marida Rizzuti (IULM University of Milan), “From Broadway to Holly- and Fairness in the World of Contingent Work in Musicology” wood: The Role of the Arranger in Film Adaptations by Weill and Loewe” Cari E. McDonnell (University of Texas at Austin), “Parenting a Special- Christopher Lynch (Franklin & Marshall College), “The Popular Theater Needs Child in Academe: Should I Stay or Should I Go?” and the New York City Opera’s American Seasons (1958–60)” “I Concentrate on You”: Contemplating the Music and Elizabeth Hopkins (University of Chicago), “Science Fiction, Lounge Mu- Lyrics of Cole Porter sic, and Mid-century Domestic Utopia” James Hepokoski (Yale University), Chair; Tim Carter (University (During and After) World War II of North Carolina at Chapel Hill), Respondent Lily Hirsch (Bakersfield, Calif.), Chair Don M. Randel (New York, N.Y.), Matthew Shaftel (Westminster Choir Danielle Stein (University of California, Los Angeles), “The Norden College of Rider University), Wilfried Van den Brande (Antwerp), Simon Broadcasts: Wagner’s Flying Dutchman Overture and the Demoralization Morrison (Princeton University), Eric Davis (University of Southern of the German U-boat Fleet” California), James O’Leary (Oberlin College), Joshua Walden (Peabody Conservatory, Johns Hopkins University), Michael Buchler (Florida State Cindy Bylander (San Antonio, Tex.), “Clichés Revisited: Poland’s 1949 University), Mitchell Morris (University of California, Los Angeles), Su- Łagów Composers’ Conference as a Symbol of Hope” san Forscher Weiss (Peabody Conservatory, Johns Hopkins University) Emily Richmond Pollock (Massachusetts Institute of Technology), “Rank and File: The Everyday Autobiographies of German Opera after World “The Vibrating Tone Travels Onward”: Ernst Bloch’s War II” Musical Thought Beth Snyder (New York University), “Verdammt und Verbannt: The 1959 John Deathridge (King’s College London), Chair Festwoche and the Rehabilitation of Felix Mendelssohn-Bartholdy in the German Democratic Republic” Michael Gallope (University of Minnesota), Benjamin Korstvedt (Clark University), Sherry Lee (University of Toronto), Beth Snyder (New York Historiography University), Stephen Decatur Smith (Stony Brook University) Barbara Russano Hanning (The Juilliard School), Chair SATURDAY 14 November Zdravko Blažeković (Graduate Center, CUNY / Répertoire International de Littérature Musicale), “Visualizing Antiquity: Iconographical Meth- 8:30–5:00 Registration & Speaker Ready Room ods in Charles Burney’s General History of Music” 8:30–6:00 Exhibits Linda Shaver-Gleason (University of California, Santa Barbara), “‘It 7:00–8:45 Committee on Women and Gender Sounds like Mendelssohn, It Must Be Sterndale Bennett’: Acknowledg- ing German Influence in English Historiography” 7:00–8:45 Publications Committee Annegret Fauser (University of North Carolina at Chapel Hill), “Picking 7:00–9:00 A-R Recent Researches Series Up the Pieces: Musicology after World War I” Editors’ Breakfast Kristy Swift (University of Cincinnati), “‘Explaining Hell to the Savages’: Middleground A History of Western 7:00–9:00 Journal of Music History The Origins and of Donald Jay Grout’s Music from 1950 to 1960” Pedagogy Editorial Board 7:30–8:45 Committee on Cultural Diversity Music and Sound in Disney Animation 7:30–8:45 Haydn Society of North Daniel Goldmark (Case Western Reserve University), Chair America Board Meeting Daniel Batchelder (Case Western Reserve University), “With a Smile and a 7:30–8:45 Music and Disability Study Group Meeting Song: Audiovisual Synchronization in Disney’s Early Animation” 7:30–9:00 Journal of Musicological Research Raymond Knapp (University of California, Los Angeles), “Medieval Editorial Board Meeting ‘Beauty’ and Romantic ‘Song’ in Animated Technirama: Pageantry, Action, and Musical Comedy in Disney’s Sleepwing Beauty” 7:30–9:00 Society for Eighteenth-Century Colleen Montgomery (University of Texas at Austin), “Vocal Performance Music Board of Directors and Industrial Strategy in Pixar Franchises” 7:30–9:00 Web Library of Seventeenth- Robynn Stilwell (Georgetown University), “Giving Voice to Girls’ Stories Century Music Editorial Board in Brave and Frozen” 7:45–8:45 American Bach Society Editorial Board Singing in America 7:30–8:45 U.S. RILM Governing Board 9:00–12:00 Committee on Career-Related Issues, Ryan Raul Bañagale (Colorado College), Chair C.V. and Cover Letter Workshop John Koegel (California State University, Fullerton), “Mexican Immigrant Musical Theater in Los Angeles, 1910–40” SATURDAY MORNING SESSIONS Esther Morgan-Ellis (University of North Georgia), “May Garrettson Ev- ans and Community Singing in Baltimore, 1915–16” 9:00–12:00 Christina Gier (University of Alberta), “‘Music in the Camps’ and the 1940s/50s America Song Leaders of the AEF, 1917–18” Mark Clague (University of Michigan), Chair John Michael Cooper (Southwestern University), “Music and Cultural Transfer in the Utopian Community of La Réunion, Texas (1855–58), Eric Davis (University of Southern California), “Buck Washington’s Blues: with a Little-Known Songbook” A Private Recording in Homage to Gershwin and Its Implications for the Score of Porgy and Bess”  AMS Newsletter Topics in Dance Rachel Mundy (Rutgers University-Newark), “Collecting the Sonic Speci- men: Music, Difference, and Natural History” Samuel Dorf (University of Dayton), Chair Matilda Ann Butkas Ertz (University of Louisville), “What Salvatore Vi- 12:00–2:00 American Bach Society Advisory Board ganò’s Pastiche Ballet Scores Can Tell Us about Dance-Mime Drama and Musical Dramatic Associations from Rossini to Haydn” 12:00–2:00 American Handel Society Board Damien Mahiet (Boston, Mass.), “‘A Ballet of Children for Children’: The Unbearable Lightness of the Nutcracker” 12:00–5:00 Committee on the Publication Chantal Frankenbach (California State University, Sacramento), “The Pol- of American Music itics of Dancing to Beethoven: Isadora Duncan in Wilhelmine Germany” 12:15–1:15 North American British Music Wayne Heisler, Jr. (College of New Jersey), “Choreographing Mahler Songs at the Centenary” Studies Association Twentieth-Century Voices 12:15–1:45 Committee on Career-Related Issues, Ses- Benjamin Piekut (Cornell University), Chair sion IV: “Beyond the Printed Page: Electronic Publishing and its Implications for Musicology” Katherine Kaiser (Stony Brook University), “Listening and Voice in Early Musique Concrète” James V. Maiello (University of Manitoba), Chair Joseph Pfender (New York University), “Taped Together: Anaïs Nin and Michael Cuthbert (Massachusetts Institute of Technology), Margot Fassler the ‘Capture’ Barrons” (University of Notre Dame), Mary C. Francis (University of California 1969 Delia Casadei (University of Pennsylvania), “I fatti di Milano, : Re- Press), Chris Freitag (W. W. Norton, Inc.), Walter Frisch (Columbia Uni- cording a Milanese Riot” versity) Kerry O’Brien (Indiana University), “‘Machine Fantasies into Human Events’: Steve Reich and Technology in the 1970s” 12:15–1:45 AMS Council

12:15–1:45 Popular Music Study Group SATURDAY MORNING SHORT SESSIONS 12:15–1:45 Haydn Society of North America 9:00–10:30 12:15–1:45 “Music Makes a City,” Then and Now Johannes Ciconia and Philipoctus de Caserta: Together Teddy Abrams, Andrew Kipe (Louisville Orchestra) at Last Anne Stone (Graduate Center, CUNY), Chair SATURDAY AFTERNOON CONCERTS Giuliano Di Bacco (Indiana University), “Philipoctus de Caserta: Decon- struction of an Identity” 12:30–1:30 Katherine Hutchings (Eastman School of Music, University of Rochester), “‘The Matter of France’: Ciconia, the Carolingians, and the Legacy of Reconsidering the Role of Improvisation in Beethoven’s Antiquity” Violin Sonatas Nineteenth-Century Romantic Opera Katharina Uhde, violin, R. Larry Todd, piano Stephen Meyer (Syracuse University), Chair 2:00–3:00 Marie Sumner Lott (Georgia State University), “‘Who is the Knight?’ Rights and Responsibilities in Three Crusader Operas from the Early Romantic Era” Kairos as Paradigm: Timing as Structured Improvisation Alison Mero (Bloomington, Ind.), “‘Genius, Power, and Originality’ or in François Couperin’s L’Art de Toucher le Clavecin ‘Stolen Wholesale’: The Concepts of Originality and Plagiarism in the Robert S. Hill, harpsichord Criticism of Two English Romantic Operas” 10:30–12:00 SATURDAY AFTERNOON SESSIONS Music and Humanism Anne Stone (Graduate Center, CUNY), Chair 2:00–5:00 Patrick Kaufman (University of Chicago), “Feasting on Music Theory” Ars nova in Flux Giovanni Zanovello (Indiana University), “‘You Will Take This Sacred Karl Kuegle (University of Utrecht), Chair Book’: The Musical Strambotto as a Humanistic Gift” Karen Desmond (McGill University), “When Was the ars nova?” Music, Race, and Music History Lawrence M. Earp (University of Wisconsin-Madison), “Tradition and Inno­vation in ars nova Motet Notation” Charles Hiroshi Garrett (University of Michigan), Chair Anna Zayaruznaya (Yale University), “New Voices for Vitry” Nicol Hammond (University of California, Santa Cruz), “Vocal Frontier: Jason Stoessel (University of New England, Armidale), “Philippe de Vitry: Song, Race, and Civilization in Early Twentieth-Century South Africa” Inventor of ars nova?”

August 2015  Austria and Germany, c. 1800 Thomas Patteson (Curtis Institute of Music), “The Trautonium: Electro- Music and Steel Romanticism” Keith Chapin (University of Cardiff), Chair W. Dean Sutcliffe (University of Auckland), “Resisting Boredom through Twentieth-Century France Repetition: Repeated Notes as Creative Capital in Later Eighteenth- Century Instrumental Music” Eric Drott (University of Texas at Austin), Chair Mark Ferraguto (Pennsylvania State University), “Beethoven’s Fourth Megan Sarno (Princeton University), “The Mystery of Le Martyre: Inter- Symphony as Haydn Commemoration” textuality and Symbolism in Debussy’s 1911 Theater Music” Tom Beghin (McGill University), “Beethoven’s ‘Hammerklavier’ Sonata Sarah Gutsche-Miller (University of Toronto), “Lifestyle Modernism from op. 106: Legend, Difficulty, and the Gift of a Broadwood Piano” the Music Hall to the Ballets Russes” Laura Stokes (Brown University / Indiana University), “Imagining His- Elizabeth Dister (St. Louis, Mo.), “Appropriations Left and Right: Con- torical Prussia through Lebende Bilder” flicting Musical Claims on Joan of Arc in the 1930s and 1940s” Defining Jazz Steven Huebner (McGill University), “Faith and Ideology in Francis Pou- lenc’s Dialogues des Carmélites” David Ake (University of Miami), Chair Ken Prouty (Michigan State University), “‘The Road to Successful Jazz- Women Composing Modern Opera The Jazz Trombonist ing’: Henry Fillmore’s and the Elusiveness of Early Suzanne Cusick (New York University), Chair Jazz” David Gutkin (Columbia University), “Jazz, Opera, and the Signifier, Marcia J. Citron (Rice University), “New to Opera: Gabriela Lena Frank 1924–86” and Amy Scurria” Sarah Provost (University of North Florida), “Jack Kleinsinger’s ‘High- Caroline Ehman (University of Louisville), “Reconceiving the Maternal lights in Jazz’ and the Reception of Jazz Revivalism” Subject in Saariaho’s Adriana Mater ” Sarah Suhadolnik (University of Michigan), “‘Coming Out of My Trom- Alejandro L. Madrid (Cornell University), “Mythology, Nostalgia, and the bone’: Troy Andrews and the Musical Revitalization of New Orleans” Post-Mortem Imagination in Gabriela Ortiz’s Únicamente la verdad ” Eighteenth-Century Opera Susan McClary (Case Western Reserve University), “Kaija Saariaho and Peter Sellars: Staging Feminism” John Rice (Rochester, Minn.), Chair W. Anthony Sheppard (Williams College), “Exoticism: Do Women Do Martin Nedbal (University of Arkansas), “Censoring the Harem: ‘Hand- It Differently?” kerchief’ Moments in Eighteenth-Century Viennese Operas and the Moralistic Conceptions of (German) National Theater” SATURDAY AFTERNOON SHORT SESSIONS Christine Jeanneret (University of Copenhagen), “Italian Opera in Migra- tion: Sarti’s Observations on Opera in Copenhagen, 1763” Regina Compton (Eastman School of Music, University of Rochester), 2:00–3:30 “How to Enrage Alexander, or towards an Understanding of Handel’s Recitativo semplice and Theatrical Gesture” The Sound of Early Modern Italy Keith Johnston (Stony Brook University), “Towards an Understanding Mauro Calcagno (University of Pennsylvania), Chair of René Rapin’s Influence on the Poetics of Eighteenth-Century Italian Bonnie Gordon (University of Virginia), “Sound Studies, Monteverdi, Musical Comedy” and the Death of a Cicada” Music and the Nerves in the Nineteenth Century Shawn Marie Keener (Newberry Library), “Calmo’s Counterpoint: Musi- Benjamin Walton (University of Cambridge), Chair cal Lazzi and Contrappunto alla mente in Sixteenth-Century Venice” Roger Moseley (Cornell University), Respondent 3:30–5:00 Thomas Christensen (University of Chicago), “Fétis and Pathologies of Early Modern Theater Tonality” Carmel Raz (Columbia University), “Hector Berlioz’s Neurophysiological Mauro Calcagno (University of Pennsylvania), Chair Imagination” Tim Carter (University of North Carolina at Chapel Hill), “The Staging Sarah Hibberd (University of Nottingham), “The Vibrating Spirit of of Peri’s Euridice (1600)” Meyer­beer’s Nuns” Jeremy Smith (University of Colorado), “Music, Death, and ‘Uncomfort- Francesca Brittan (Case Western Reserve University), “The Electrician, the able Time’: William Byrd’s O that most rare breast and Shakespeare’s ‘Ex- Magician, and the Nervous Conductor” cellent Conceited Tragedy’ of Romeo and Juliet” Technologies Joseph Auner (Tufts University), Chair Special Session: Women Composing Modern Opera Mackenzie Pierce (Cornell University), “‘To Write with the Rapidity of The Louisville Program Committee (Daniel Goldmark, Chair), Inspiration’: Technologies of Inscription and Sound Recording before the was given the opportunity to create a session on a topic of its Phonograph” own choosing, with invited speakers. They quickly determined Daniel Walden (Harvard University), “Schoenberg’s Typewriter: The to make direct connection with the New Music Festival’s guest Notenschreibmaschine and Musical Composition” composer, Kaija Saariaho. She plans to be in attendance for the Elliott Cairns (Columbia University), “The Berliner Phonogramm-Archiv: session, which takes place Saturday afternoon. Where Musicology Met Anthropology”  AMS Newsletter 5:30–7:00 AMS Business Meeting and Getting “Into the Groove”: Teaching Students How to Awards Presentation Listen to Temporality in Popular Music Colin Roust (University of Kansas), Chair 8:00 Louisville Orchestra Eric Hung (Westminster Choir College of Rider University), “The Music of Led Zeppelin” Respondent Brent Havens, conductor Randy Jackson as Robert Plant Robert Fink (University of California, Los Angeles), Jason Hanley (Rock Whitney Hall, Kentucky Center and Roll Hall of Fame and Museum), Jocelyn Neal (University of North Carolina at Chapel Hill), John Covach (Eastman School of Music, Uni- 8:00–10:00 Viola da Gamba Society of America versity of Rochester), Mandy Smith (Case Western Reserve University) presents: Come play consort music! Ludomusicology Study Group Inaugural Meeting 9:00–10:30 Duke University Reception William Cheng (Dartmouth College), Chair 9:00–11:00 AMS Dessert Reception Neil Lerner (Davidson College), “Garry Schyman’s Music for Destroy All Humans! (2005) and the Hybridity of Cinema and Video Game Scoring” 9:00–11:00 Indiana University Reception Dana Plank-Blasko (Ohio State University), “Paging Dr. Mario: Physical Impairment, Illness, and Disability in the Video Game Soundscape” 9 30 11 00 McGill University Reception : – : Roger Moseley (Cornell University), “Play and Display: Representations 9:00–12:00 Stanford Reception of Musical Recreation” 8:00–10:30 10:00–12:00 University of Cincinnati, College- Conservatory of Music Reception Music and Emotion in Televised Political Ads Paul Christiansen (Gorham, Me.), Chair 10:00–12:00 Yale Party Ted Brader (University of Michigan), James Deaville (Carleton Univer- 10:00–1:00 Cornell Reception sity), Ron Rodman (Carleton College) 10:00–1:00 University of California, Berkeley Alumni Reception SUNDAY 15 November 10:00–1:00 University of California, Los Angeles Musicology Alumni Reception 8:30–12:00 Registration & Speaker Ready Room

10:00–1:00 University of North Texas Alumni Reception 8:30–12:00 Exhibits 10:00–1:00 University of Pennsylvania Party 7:00–8:45 AMS Board of Directors 10:00–1:00 Princeton University Department 7:00–8:45 Performance Committee of Music Reception SUNDAY MORNING SESSIONS SATURDAY EVENING SESSIONS 9:00–12:00

7:30–9:30 Allusion, Remembrance, and Interpretation in Mahler’s Music New Perspectives on Fidelio at Its Bicentenary Nicholas Mathew (University of California, Berkeley), Chair Sponsored by the Lyrica Society for Word-Music Relations Morten Solvik (IES Vienna), Respondent Peter Laki (Bard College), Chair Anna Stoll Knecht (University of Oxford), “Mahler’s Parsifal ” Paul-André Bempéchat (Harvard University), Respondent Jeremy Barham (University of Surrey), “The Ghost in the Machine:volk ­ John David Wilson (University of Vienna), “For the ‘Friends of Art’ or stümlich Appropriations in Mahler’s Fifth Symphony” ‘Beethoven’s Admirers?’ Popular and Learned Elements in the 1814 Finale Thomas Peattie (University of Mississippi), “A Composer Listens: Luciano of Fidelio” Berio’s Mahler” Abby Anderton (Baruch College, CUNY), “‘An Anti-Concentration Arved Ashby (Ohio State University), “Mahler’s Manner of Musical Re- Camp Opera’: Beethoven’s Fidelio in the Ruins of Postwar Germany” membrance” Michael Tusa (University of Texas at Austin), “Dramatic Expression and French Opera and Politics: Royalty and Empires Compositional Process: The Sketches for ‘In des Lebens Frühlingstagen’” Georgia Cowart (Case Western Reserve University), Chair 8:00–10:00 Julia Doe (Columbia University), “The Comedians of the Queen: Ma- America and the Interwar European Imagination rie Antoinette, Opéra-Comique, and the Representation of Monarchy Tamara Levitz (University of California, Los Angeles), Chair (1770–89)” Jonathan Hicks (King’s College London), Respondent Hedy Law (University of British Columbia), “The Limits of Censorship: Salieri’s Tarare (1787) as Malware” Laura Tunbridge (University of Oxford), Harriet Boyd-Bennett (Univer- August 2015  sity of Oxford), Kate Guthrie (University of Southampton), Christina Baade (McMaster University) Douglas L. Ipson (Southern Utah University), “Deadly Tableau: David’s Tong C. Blackburn (Indiana University), “Transcultural Hybridity and Horatii, Porta’s Horaces, and the Plot to Assassinate Napoleon, 1800” Chinese Literati Practice in Zhou Long’s Madame White Snake” Mark Everist (University of Southampton), “The Empire Strikes Back: Pa- Nancy Rao (Rutgers University), “Tan Dun’s The First Emperor: Racial risian Politics, Stage Music, and the Second Empire” Imagination, Chinese Theater, and the Trope of ‘Chinese Opera’” Karen Olson (Washington University in St. Louis), “Farewell, Stromness – Medieval and Renaissance Composition Hello, Will and Kate!: Nostalgia, Environmentalism, and Sir Peter Max- Bonnie Blackburn (University of Oxford), Chair well Davies’s The Yellow Cake Revue” Solomon Guhl-Miller (West Windsor, N.J.), “Text Painting and Structure Resituating Russia in Aquitanian Polyphony: An Examination of Works from MS London Peter Schmelz (Arizona State University), Chair Add. 36.881 (StM-D)” Alessandra Ignesti (McGill University), “The regula del grado and cantus Susan Filler (Chicago, Ill.), “Alexander Glazunov and the Early Jewish Na- planus binatim in the Venetian Area” tionalist Composers in Russia” Alexis Risler (McGill University), “From Vocal to Instrumental: stretto fuga Kirill Zikanov (Yale University), “Music without Content: Balakirev Re- in the Lute Fantasias of Albert de Rippe (1500–51)” ception in the 1860s” Julie Cumming and Peter Schubert (McGill University), “Traces of Impro- Rebecca Perry (Yale University), “Textbook Models: Prokofiev’s Thematic vised Practice in Composed Music, 1425–1610” Simultaneities and the Russian Sonata Tradition” Olga Panteleeva (Utrecht University), “Of Friendship and Formalism: Music, Place, and Identity Music Scholars and Soviet Power in the 1920s” Philip Gentry (University of Delaware), Chair SUNDAY MORNING SHORT SESSIONS Samuel Parler (Harvard University), “Americanizing the First Americans: Assimilating Indians in Three Late Gene Autry Films” 9:00–10:30 Olivia Lucas (Harvard University), “Black Metal and Appalachian Coal Culture: Sound, Environment, and History in Panopticon’s Kentucky” Johnies, Tommies, and Sammies: Music and Transna- Zhuqing (Lester) Hu (University of Chicago), “Porcelain Thing: Beyond tional Identities Orientalism in Mandopop” Dale Cockrell (Vanderbilt University), Chair Politics and the Stage in the 1960s William Brooks (University of York), Christina Bashford (University of Jim Lovensheimer (Vanderbilt University), Chair Illinois Urbana-Champaign), Gayle Sherwood Magee (University of Illi- nois Urbana-Champaign), Justin Vickers (Illinois State University), Lau- Graham Raulerson (University of California, Los Angeles), “‘There Is a rie Matheson (University of Illinois Press) Brotherhood of Man’: Cold War Politics in How to Succeed in Business 10:30–12:00 Without Really Trying” Heather Wiebe (King’s College London), “Confronting Opera in 1968: Novel Approaches to Music for General Students: Adopt- Birtwistle’s Punch and Judy” ing and Teaching from New Textbooks Susanne Scheiblhofer (Haid, Austria), “‘The Spirits That I Called’: Con- struction of Nazi Mythology in Cabaret’s ‘Tomorrow Belongs To Me’” Daniel Barolsky (Beloit College), Chair Scott Warfield (University of Central Florida), “Off-Broadway and the Robin Wallace (Baylor University), Chris Freitag (W. W. Norton, Inc.), Rock Musical” Jennifer L. Hund (Indianapolis, Ind.), Reeves Shulstad (Appalachian Psychological Speculations State University) Kevin Karnes (Emory University), Chair Alexandra Kieffer (Rice University), “‘Music That Is a Psychology:’ The Revue wagnérienne and the Making of the Modern Self” Laurie McManus (Shenandoah Conservatory), “Brahms among the Freudians: Pathologizing the Pure Style” Lindsey Macchiarella (Florida State University), “‘I Am God, I Am Noth- ing’: Psychology, Religion, and ‘Free Creation’ in the Journals of Alexan- der Skryabin” Matthew Buchan (University of California, Riverside), “‘Ecstatic Audi- ences Leave Aspiring British Opera Composer Horrified’: Investigating the Unspeakable in Postwar British Culture through the Reception of Rutland Boughton’s The Immortal Hour” Reframing Opera W. Anthony Sheppard (Williams College), Chair Maria Virginia Acuña (University of Toronto), “The Crying Game: Fe- male Masculinities and Cross-Dressing in Spanish Musical Theater (1690–1720)”

 AMS Newsletter Performances in Louisville “Reconsidering the Role of Improvisation in Beethoven’s Violin Sonatas.” They are cur- AMS Louisville 2015 is shaping up to be an mer president of the Guitar Society of Amer- rently recording the complete Beethoven especially exciting year for performances, ica and the leading expert in microtonal gui- sonatas. While in the absence of earwitness with concurrent events presented by the tar, John Schneider won the 2015 Grammy reports or recordings we cannot ascertain University of Louisville’s New Music Festival for Best Classical Compendium for produc- the degree to which Beethoven might have and the Louisville Orchestra in addition to a ing Partch: Plectra and Percussion Dances, the improvised during performances of his full slate of conference performances chosen first complete recording of the three-part violin sonatas, Uhde and Todd explore the from a wealth of fine applicants. cycle by the maverick American composer tantalizing hints he left behind in his scores Since 1985, the University of Louisville Harry Partch (1901–74) on reproductions of that might bring us closer to understanding has championed contemporary music instruments designed by Partch. nineteenth-century performance practice as through the Music Composition category In their 2:00 p.m. lecture-recital “‘They it relates to improvisation. of the Grawemeyer Awards and since 2002 Offer Their Hands to One Another as Sis- Our 2:00 p.m. Saturday presentation fea- with its New Music Festival, which will run ters’: Fortepiano-Harpsichord Duos in the tures well-known American harpsichordist from Tuesday to Saturday of the conference Circle of Sara Levy (1761–1854),” Rebecca Robert S. Hill, Freiburg Musikhochschule week. Free composition seminars by past Cypess, harpsichord, and Yi-heng Yang, Professor of Historical Keyboard Instru- Grawemeyer Award winners Krzysztof Pen- fortepiano,­ focus on C. P. E. Bach’s Concerto ments, in “Kairos as Paradigm: Timing as derecki and Kaija Saariaho will be held on for Harpsichord and Fortepiano (1788). In Structured Improvisation in François Cou- Wednesday and Friday afternoons, and each this composition, commissioned by Sara perin’s L’Art de Toucher le Clavecin.” Hill con- evening brings a performance, including a Levy, Cypess and Yang demonstrate that the fronts the thorny issue of the unconventional free Thursday night concert by the Louisville instruments’ unique idiomatic capabilities notation in Couperin’s unmeasured preludes Orchestra. Transportation between the con- are complementary rather than merely curi- by viewing the whole notes as members of ference and the New Music Festival will be ous and form a diverse yet unified ensemble independent but complementary voices provided. that is “integrally linked with the ideals of within a polyphonic matrix, their contra- Friday’s conference performances will take Enlightenment Berlin.” Both the American puntal function providing clues as to their place in a lovely space at the nearby Frazier Bach Society and the Hadassah-Brandeis relative importance and therefore length, all History Museum, as a component of the Institute have supported Rebecca Cypess within an improvisational rhythmic context. museum’s educational programming. At (Rutgers University) and her research on Committee members Catherine Gordon, 12:30 p.m., Grammy Award winner John Sara Levy. Steven Zohn, Christina Baade, Seow-Chin Schneider will present “Tampering with Na- Two lecture-recitals devoted to improvisa- Ong, and I encourage you to take advantage ture: Music in Pure and Tempered Tunings,” tion are scheduled at the Galt House Hotel of this year’s particularly bountiful offerings which coincides with the release of the re- on Saturday. At 12:30 p.m. Katharina Uhde of performances and lecture-recitals. vised and enlarged edition of his landmark (Valparaiso University), violin, and R. Larry —David Dolata 1985 volume The Contemporary Guitar. For- Todd (Duke University), piano, will present Performance Committee Chair

Louisville Program Selection The second change affects the Louisville program in a more explicit manner: the This year’s program committee—Jonathan “film” (39/12) appeared the most often, with Board empowered the Program Commit- Bellman, Roger Freitas, Daniel Goldmark, frequent appearances by other broad terms tee to create an invitational session, which Daniel Melamed, Anne Stone, Holly Wat- including “politics” (28/13), “performance” involved devising a theme and crafting the kins, and Albin Zak—received a total of 621 (26/9), “theory” (25/6), “nationalism” panel of speakers. Since the Louisville New proposals; our task was to select the most (23/11), “jazz” (22/11), “reception” (21/8), Music Festival will be taking place at the promising ones to fill the 216 slots for day- “war” (19/8), and “gender” (19/6). University of Louisville simultaneously with time sessions (as well as proposals for eve- There were two changes to the Program the AMS Annual Meeting, we took the an- ning sessions). We met on the campus of Committee’s charge which affected the 2015 nounced presence of Kaija Saariaho at the Case Western Reserve University in Cleve- program, both driven by decisions made by festival for inspiration, and decided to cre- land over two and a half days in early April, the AMS Board. The first is that the Pro- ate a session on modern opera composed by having already spent the better part of an gram Committee may now choose a range, women. Chaired by Suzanne Cusick (New especially severe winter reading and ranking from 0 to 24, of paper slots to reserve for York University), the session will take place the proposals. The committee worked very the time in the deliberations when author Saturday afternoon; participants include well together; our diverse backgrounds and names are revealed (which comes at the very Marcia J. Citron (Rice University), Caroline overlapping (and occasionally unsuspected) end of the process). Stated another way: the areas of expertise meant that all topics had committee can now opt to fill all 216 paper Ehman (University of Louisville), Alejandro at least one advocate. And the proposals slots without revealing the names, or can L. Madrid (Cornell University), Susan Mc- we received covered quite a range of peri- determine a number to leave open until the Clary (Case Western Reserve University), ods, genres, and themes. Of the hundreds names are revealed. The Louisville commit- and W. Anthony Sheppard (Williams Col- of keywords provided by authors along with tee chose to keep the maximum number of lege). See p. 22 for details. their abstracts, the terms “opera” (79 pro- slots (24) open, which were filled after the —Daniel Goldmark posals/30 accepted), “American” (43/14), and authors’ names were revealed. Program Committee Chair

August 2015  Committee News Committee on the History of the Society Committees regularly update their news and tees to make things run smoothly, and to help information at the web site: for further infor- create an exciting and noteworthy event. My first, pleasant responsibility is to acknowl- mation on committees, see www.ams-net.org/ One question we considered in depth re- edge the achievements of my predecessor, committees. cently: should the Annual Meeting be ex- Jane Stevens, whose energetic leadership pro- panded or lengthened? The membership was duced important results, especially in regular- Alvin H. Johnson AMS 50 surveyed on this question in fall 2014, and the Fellowship Committee results published in the February 2015 AMS izing the functioning of the Society’s archives Newsletter. The survey suggested a slight ma- and advancing the oral history project. The committee received sixty-three appli- Leadership transitions are opportunities for cations for the Society’s Alvin H. Johnson jority in favor of expansion, but since a strong consensus or mandate was not evident, CAM taking stock, and in preparation for chairing AMS 50 Dissertation Fellowships for the the committee I consulted continuing com- 2015–16 academic year—the same number as has recommended not to expand the Annual mittee members and those of the Society at last year—covering a wide range of musical Meeting at this time. However, we should all large. These discussions sparked renewed scholarship. We were very impressed by the continue to think about this question. 2015 commitment to ongoing committee activities fine work being done by students in graduate The Louisville meeting will also feature programs across the nation, and we faced a a special inaugural session created directly by and identification of possible new initiatives. number of tough choices in making our final the Program Committee. The invitational ses- Of the activities in place, the functioning of recommendations. sion is entitled “Women Composing Modern the AMS Archives at the University of Penn- The best applications contained a cogent Opera,” and includes a panel of distinguished sylvania has been greatly enhanced, thanks to 22 prospectus broadly situating the project, and guests (see p. ). Much of the discussion will a committee task force and the talents and en- a persuasive sample chapter demonstrating consider the work of Finnish composer Kaija ergies of our AMS Archivist Richard Griscom. innovative ideas, new materials, and nuanced Saariaho, guest of the New Music Festival at The oral history project continues, thanks to argument. Committee members were more the University of Louisville; she has indicated the work of those who have agreed to conduct convinced by texts that demonstrated careful that she will attend our session. interviews with distinguished members of the attention to matters of styling and presenta- In the spirit of the Friday noontime short Society; recent interviewees include John sessions about locally relevant themes that tion than by those that appeared not to do so: Walter Hill (University of Illinois Urbana- CAM has organized in the past, Michael such things matter at this high level of com- Champaign) and Leo Treitler (CUNY). See Beckerman will present a Friday noontime petition. www.ams-net.org/administration/archives.php special session on the origins of the song The process this year did not require letters for full details on the archives, including a list of recommendation; we also treated applica- “Happy Birthday” in African American street cries from Louisville. The woman who wrote of oral history interviews recorded to date. tions as anonymously as possible: names and Among possible initiatives are two that have institutions were removed from application the song, Mildred Hill, was a well-regarded historian, composer and local ethnographer already begun. We have revamped the com- materials and replaced by random identifica- mittee’s web page, where documents relating tion numbers. We will retain these practices who was a lifelong champion of the power to the committee and more general docu- next year. of Black music and a serious student of street ments relating to the history of the Society Applications for 2016–17 are due Tuesday 15 cries. reside: www.ams-net.org/committees/history. December 2015; see www.ams-net.org/fellow- CAM has also begun a program for guest ships/ams50.php for details. We will hold an speakers. Study Groups and Standing Com- I would like to thank committee member information session for prospective applicants mittees may now apply for support (up to James L. Zychowicz for his work in getting it $1 500 and interested parties at the Louisville Annual , ) to bring guest speakers to their ses- up and running. We welcome suggestions for 2014 Meeting (Friday noontime). sions at the Annual Meeting. At the Mil- additional materials to add to the web page. —Tim Carter waukee meeting, the Committee on Women The Committee also endorsed the idea of a and Gender featured composer Chaya Czer- session at the Annual Meeting to occur regu- Committee on the Annual Meeting nowin, and for the 2015 Louisville meeting, larly—perhaps every other year—devoted to the Jewish Studies and Music Study group has the history of the discipline and its construc- There are so many things that go into an AMS invited theater historian Stacy Wolf. tion as an intellectual enterprise. Thanks to Annual Meeting: formal papers (selected by 2016 Three awards will be available in . Ap- committee member Kay Kaufman Shelemay, the Program Committee), evening sessions plications are due by 15 November; a decision the first of these will take place in Louisville. organized by study groups and committees, will be made by 1 January. Full details regard- It is entitled “‘Making History’: An AMS special noontime sessions, the plenary lecture, ing application procedures will be posted at Oral History Panel,” and includes Michael meetings of dozens of societies and editorial the web site in the fall. boards, concerts, and the book exhibit, not CAM regularly evaluates possible locations Beckerman (New York University), J. Peter to mention numerous receptions and parties, for the Annual Meetings in 2020 and beyond. Burkholder (Indiana University), Annegret and, back again by popular demand—The The AMS is committed to holding meetings Fauser (University of North Carolina at Cha- Dance. Many of the Society’s members work in environments in which all our members pel Hill), Bonnie Gordon (University of Vir- tirelessly to bring this about, above all the will feel welcome and will enjoy full legal ginia), and Richard Taruskin (University of Program, Performance, and Local Arrange- protections. We continue to take this precept California, Berkeley). This and future sessions ments Committees, as well as the AMS office into account as we think about other factors, will be recorded and transcribed, the docu- staff. The Committee on the Annual Meeting among which are geographic diversity, cul- ments to be placed in the Society’s Archives. (CAM) is responsible for overseeing the An- tural life, and price range. Additional initiatives are under consider- nual Meeting, working with all these commit- —Anne C. Shreffler ation, such as critical analyses and histories of  AMS Newsletter the principal vehicles for the dissemination of primary responsibility, but the committee is site. The AMS/LC subcommittee has select- musicological scholarship, including journals, also looking toward other means to support ed the next two speakers: in October, Ryan dictionaries, and encyclopedias. We welcome American music “publication.” These include Bañagale (Colorado College) will speak on your suggestions and comments. audio publication (recordings), web publica- Gershwin’s Rhapsody in Blue (see p. 4), and in —Anthony M. Cummings tion, or other avenues leading to more tradi- spring 2016, R. Larry Todd (Duke University) tional paper-based publication. As COPAM will present “Revisiting Mendelssohn’s Oc- Committee on the Publication of looks beyond MUSA, we invite scholars with tet, or the Maturing of Precocity” (see www. American Music American music publication projects to send ams-net.org/LC-lectures for details). We’d us their ideas for how we can best advance our like to thank our liaison at the Library, Dan- We are de- shared goals. We might, for example, provide iel Boomhower, newly appointed director of lighted to wel- critical review, endorsement, or financial sup- Dumbarton Oaks Research Library and Col- come Andrew port. How can we help? Write to us c/o ams@ lection. For upcoming lectures in the series, Kuster as the ams-net.org to begin the conversation. we are moving to a new time (early evening) new Execu- MUSA’s work continues apace. To date, and location (The Madison Building, home tive Editor of twenty-five of the forty projected volumes of the Music Division). Music of the have been published, with two nearing pro- At the Rock and Roll Hall of Fame and United States duction: Machito: Transcriptions and Arrange- Museum last March, Mark Clague (Univer- of America, the ments of Afro-Cuban Jazz (ed. Paul Austerlitz sity of Michigan) presented “‘This Is Ameri- forty-volume and Jere Laukkanen) and George W. Chad- ca’: Jimi Hendrix’s Reimaginings of the ‘The series of schol- wick’s opera The Padrone (ed. Marianne Betz). Star-Spangled Banner’ as Social Comment for arly editions Some nine additional projects are under de- Woodstock and Beyond.” Attendance was the Andrew Kuster of American velopment. For a complete listing, see www. largest thus far in the series: forty-eight in per- music sponsored by the AMS, with the sup- ams-net.org/MUSA. son, and twenty-six live stream viewers. The port of the National Endowment for the Hu- —Dale Cockrell webcast is now available. Our fall speaker in manities. In addition to managing the MUSA the series is Stephanie Vander Wel (University office, Kuster’s chief responsibilities include at Buffalo, SUNY), who will present “Rose coordinating, developing, and copyediting all Committee on Women and Gender Maddox’s Roadhouse Vocality and the Cali- MUSA editions in collaboration with schol- fornia Sound of 1950s Rockabilly and Honky- ars from around the world. With a D.M.A. The Committee on Women and Gender Tonk” (see p. 5); in spring 2016, Jacqueline in Choral Music from the University of Colo- (CWG) announces an evening panel session Warwick (Dalhousie University) will pres- rado at Boulder, his dissertation on Stravin- on “Feminist Musicology and Contingent ent “Dad Rock and Child Stars” (see www. sky’s twelve-tone works was awarded the 2001 Labor” at the Louisville Annual Meeting. ams-net.org/RRHOFM-lectures for details). Julius Herford Prize for Distinguished Doc- The panel will include short presentations by The committee thanks Rock and Roll Hall of toral Research from the American Choral Di- Clara Latham (New York University), Elias Fame and Museum liaison Jason Hanley. rectors Association. In addition to conduct- Krell (Vassar College), Samantha Bassler The AMS blog Musicology Now continues ing and composing, he possesses considerable (Westminster Choir College of Rider Univer- successfully under the guidance of D. Kern music editorial experience, having served on sity), Margarita Restrepo (Newton, Mass.), Holoman. From the site’s tag cloud one the staff of the Kurt Weill Edition (2006–09), Nina Treadwell (University of California, learns that anniversaries figure largely among as well as editing (or co-editing) Amy Beach’s Santa Cruz), Matilda Ann Butkas Ertz (Uni- topics—as with the bicentenary of Boston’s The Sea-Fairies (A-R Editions), Heinrich versity of Louisville), and Cari E. McDonnell Handel and Haydn Society and the centena- Schütz’s Geistliche Chor-Music, Kurt Weill’s (University of Texas at Austin). We addition- ries of UC Berkeley’s carillon and the term Zaubernacht, and The Star-Spangled Songbook ally have arranged for several senior women “musicology” itself. Other highlights include (forthcoming). Please send MUSA inquiries scholars to be available for an informal dutch a report on the public musicology conference and project ideas to him at MUSAedition@ treat mentoring breakfast on Friday morning. held earlier this year at Westminster Choir umich.edu. If you are interested in attending and are a College of Rider University (see p. 6), posts For a long, wonderful time, Richard Craw- scholar who has completed her doctorate but on newly published books (e.g., Danielle and ford both chaired the Committee on the is untenured (e.g. assistant professor, adjunct Eric Fosler-Lussier on musicological data- Publication of American Music (COPAM) instructor, independent scholar), please con- mining, and Martha Feldman on “The Trans- and was Editor-in-Chief of MUSA. Now that tact [email protected]. As space is actional Castrati”), and several takes on the he has stepped down, it takes three people to limited, please don’t delay. “Blurred Lines” verdict. fill his shoes. Dale Cockrell chairs COPAM, —Honey Meconi In other business, committee members are while Gayle Sherwood Magee and Mark Communications Committee continuing to refine the AMS web site (as Clague are MUSA’s co-Editors-in-Chief. with a forthcoming brief reply to the ques- The new division of labor has encouraged The committee’s main business following the tion “What is musicology?”), exploring a pro- COPAM to reexamine its relationship with Society’s November meeting has been the co- posal to hire a dedicated staff person for AMS MUSA and the structures and procedures ordination of two AMS-sponsored lectures. communications, and considering a possible governing the Committee’s organization. Last April, Paul Laird (University of Kan- public-musicology event at the Louisville fall The exercise has resulted in COPAM look- sas) gave a talk at the Library of Congress, meeting—stay tuned. ing afresh at its original AMS charge, which “‘A Hint of West Side Story ’: The Genesis of AMS-L continues to function smoothly was to encourage, support, and help develop Bernstein’s Chichester Psalms as Seen in the under the guidance of Tim Crain. Engaging the “publication of American Music.” Of Library of Congress Bernstein Collection.” A course, MUSA will continue to be COPAM’s webcast will appear shortly on the AMS web continued on page 

August 2015  Committee News ney of an American Song (Oxford University mation on study groups, see www.ams-net.org/ Press); supported by the Dragan Plamenac studygroups. continued from page  Endowment Thomas Patteson, Instruments for New Mu- Cold War and Music Study Group and popular recent threads include “What is sic (University of California Press); supported the opposite of music?”; the cost of RILM; a At the Louisville Annual Meeting the Cold by the AMS 75 PAYS Endowment centenary Scriabin “happening” in the Hima- War and Music Study Group (CWMSG) Bryan Proksch, Reviving Haydn: New Ap- layas; and the 300th-birthday Google Doodle will host an evening panel exploring themes preciations in the Twentieth Century (Universi- for Bartolomeo Cristofori. All are welcome to of nostalgia in Cold War musical cultures. ty of Rochester Press); supported by the AMS participate in the conversation; see the web Taking as its starting point Svetlana Boym’s 75 PAYS Endowment 2001 site for details on joining. The Future of Nostalgia ( ), the panel com- Jesus A. Ramos-Kittrell, Playing in the Ca- —Bruce Alan Brown prises four short position papers by Ewelina thedral: Music, Race, and Social Status in Eigh- Boczkowska (Youngstown State University), Publications Committee teenth-Century Mexico City (Oxford Univer- Martha Sprigge (University of Michigan), sity Press); supported by the AMS 75 PAYS Peter Kupfer (Southern Methodist Univer- In spring 2015, the Publications Committee Endowment sity), and Ulrike Präger (University of Illinois awarded subventions to twenty-three books Paul Rice, Venanzio Rauzzini in Britain: Urbana-Champaign), after which the session for a total of $44,000: Castrato, Composer, and Cultural Leader (Uni- will be opened to the floor. We conclude with V. Kofi Agawu, The African Imagination in versity of Rochester Press); supported by the an informal social event at which current and Music (Oxford University Press); supported Margarita M. Hanson Endowment prospective study group members will have by the Manfred Bukofzer Endowment Arman Schwartz, Puccini’s Soundscapes: the opportunity to network. The papers for Tim Carter, Understanding Italian Opera Realism and Modernity in Italian Opera the session will be circulated in advance to (Oxford University Press); supported by the (Olschki); supported by the AMS 75 PAYS CWMSG members. If you wish to join the Lloyd Hibberd Endowment Endowment CWMSG or learn more about our activities, Rebecca Cypess, “Curious and Modern In- Douglas Shadle, Orchestrating the Nation: please visit www.ams-net.org/cwmsg. ventions”: Music and Instrumentality in Early The Nineteenth-Century American Symphony —Elaine Kelly Modern Italy (University of Chicago Press); (Oxford University Press); supported by the supported by the AMS 75 PAYS Endowment AMS 75 PAYS Endowment Jewish Studies and Music Study J. Martin Daughtry, The Amplitude of Vio- Don M. Randel et al., ed., A Cole Porter Group lence: Sound, Music, Trauma, and Survival in Companion (University of Illinois Press); sup- Wartime Iraq (Oxford University Press); sup- ported by the Donna Cardamone Jackson The Board of the Jewish Studies and Music ported by the AMS 75 PAYS Endowment Endowment Study Group (JSMSG) is delighted to an- Nina Sun Eidsheim, Sensing Sound: Singing Benedict Taylor, Towards a Harmonic Gram- nounce that the group is the recipient of and Listening as Vibrational Practice (Duke mar of Grieg’s Late Piano Music: Nature and the AMS’s inaugural fund for guest speak- University Press); supported by the AMS 75 Nationalism (Ashgate Publishing); supported ers. With this generous support, we pres- PAYS Endowment by the Endowment ent Stacy Wolf at the Louisville meeting Jean R. Freedman, Peggy Seeger: Music and Benedict Taylor, The Melody of Time: Mu- 12 Life (University of Illinois Press); supported sic and Temporality in the Romantic Era (Ox- at our November Thursday evening ses- by the Manfred Bukofzer Endowment ford University Press); supported by the John sion. Wolf is professor of theater at Prince­ Ronnie Gilbert, Ronnie Gilbert: A Radical Daverio Endowment ton University and director of the Art Life in Song (University of California Press); Stephanie Vander Wel, Hillbilly Maidens Fellows Program, and a scholar of theater supported by the Gustave Reese Endowment and Cowboys’ Sweethearts: Country Music and history and its music, which she has exam- Thomas H. Greenland, Jazz in New York: the Gendering of Class (University of Illinois ined from the perspectives of Jewish, gen- The Unseen Scene (University of Illinois Press); Press); supported by the AMS 75 PAYS En- der, and LGBTQ studies. Her talk, “The supported by the AMS 75 PAYS Endowment dowment Hills Are Alive with the Sound of Music: Sarah Gutsche-Miller, Parisian Music-Hall In accordance with the Society’s proce- Musical Theater at Girls’ Jewish Summer Ballet, 1871–1913 (University of Rochester dures, these awards were recommended by Camps in Maine,” examines issues of Jew- Press); supported by the AMS 75 PAYS En- the Publications Committee and approved ish identities and gender in American ama- dowment by the Board of Directors. Funding for AMS teur musical theater. Drawing on extensive John Hajdu Heyer, The Lure and Legacy subventions is provided through the National ethnographic, historical, and performance- of Music at Versailles: Louis XIV and the Aix Endowment for the Humanities, the Andrew oriented sources, the presentation consid- School (Cambridge University Press); sup- W. Mellon Foundation, and the generous ers the performances of musicals at girls’ ported by the James R. Anthony Endowment support of AMS members and friends. Those Jewish summer camps, long a camp activ- Marian Wilson Kimber, Feminine Enter- interested in applying for AMS publication ity staple. Wolf asks such questions as how tainments: Women, Music, and the Spoken subventions are encouraged to do so. See the do musicals contribute to girls’ sense of Word (University of Illinois Press); supported program descriptions for full details (www. identity? How do they foster Jewishness in by the AMS 75 PAYS Endowment ams-net.org/pubs/subvention.php). Dead- Alejandro L. Madrid, In Search of Julián lines are 15 August and 15 February each year. a wilderness setting? Do such productions Carrillo and Sonido 13 (Oxford University —Walter Frisch affect Broadway? A response by Amy Lynn Press); supported by the Otto Kinkeldey En- Wlodarski (Dickinson College) follows, dowment Study Group News and the session concludes with questions Felicia Miyakawa, “Sometimes I Feel Like Study groups regularly update their news and and answers. The Board will also announce a Motherless Child”: The Transformative Jour- information at the web site: for further infor- the recipient of its first annual Award of  AMS Newsletter Recognition for an excellent book, article, to support under-explored areas of musical commodations for Members with Dis- edition, recording, or online resource from research and to provide emerging scholars abilities (see www.ams-net.org/administra- 2013 or 2014 in the field of Jewish Studies an opportunity to advance their research. tion/accessibility.php), and the creation and Music. All are welcome to join us in Speakers are Dana Terres (Florida State of presentation guidelines by Jeannette Louisville, as well as to join our email list University), Alexandre Abdoulaev (Boston Jones, “Tips for Creating the Accessible and visit our web site for information about University), Anne Searcy (Harvard Univer- Conference Presentation” (www.academia. archives, resources, and upcoming events in sity), and Elia Andrea Corazza (John W. edu/9098718/Tips_for_Creating_the_Ac- the field. Kluge Center, Library of Congress). Ma- cessible_Conference_Presentation). We —Joshua Walden ribeth Clark (New College of Florida) will thank the AMS Board and President Ellen moderate. T. Harris for their careful consideration of Ludomusicology Study Group We will also host a class on historical so- the MDSG proposals, which will provide AMS Louisville 2015 will feature the in- cial dances. Come learn the Charleston and AMS members with greater clarity on ac- augural convening of the Ludomusicol- the Lindy Hop with Christopher Wells! commodations and accessibility at national ogy Study Group: all conference attendees All are welcome to join us for this Satur- meetings. are welcome to come and explore music, day noontime event, which will be acces- Finally, we encourage members to visit games, and play in diverse perspectives. The sible for beginners while also informative our Wordpress blog (musicdisabilitystud- Saturday evening session includes a brief for those more advanced and promises to ies.wordpress.com), which features a biblio­ organizational meeting (electing officers be great fun. As always, we would appre- graphy of research in music and disability, a and future program committee members) ciate ideas for MDSG activities, as well database of musical representations of dis- followed by papers by Neil Lerner (David- as contributions to our growing database ability, information about our mentorship son College), Dana Plank-Blasko (Ohio of bibliographic sources relating to music program, and guest blog posts. Interested State University), and Roger Moseley (Cor- and dance (atom.lib.byu.edu/dancemus). members are welcome to submit guest blog nell University). If you would like to join our email list, posts. Examples of past guest blog posts The expressly interactive qualities of vid- please contact Samuel Dorf (sdorf1@uday- include short essays on research in music eo game music can inspire new vocabularies ton.edu). Information about conferences, and disability, reports on conference ses- and methods of musical analysis, criticism, cross-society liaisons, and ideas for future sions featuring papers on music and dis- and ethnography. With the rapid rise in events and conferences should be sent to ability, and reviews of recent publications. ludomusicological work over the last de- the MDSG chair, Sarah Gutsche-Miller For more information about the activities cade, the study group will provide an annu- ([email protected]). of the MDSG or to join our listserv, please al forum for eager voices. In coming years, —Sarah Gutsche-Miller visit our blog. Please also visit us at www. we will be playful with programming and facebook.com/groups/musicanddisability. formats, which may include papers, key- Music and Disability Study Group —Samantha Bassler and Blake Howe notes, round tables, demos, tournaments, At the 2015 Louisville Annual Meeting, composer workshops, and mentoring pan- Pedagogy Study Group the Music and Disability Study Group els. Beyond these activities, we seek to em- (MDSG) will sponsor a special session, The tenth Teaching Music History Confer- brace AMS members who are curious about “What Is Accessible Musicology?” Daniel ence took place at the University of Cin- the subject, but do not (yet) work directly Barolsky (Beloit College) will speak on the cinnati 5 and 6 June. The conference was in this area. Such curiosity—a head pok- pedagogy of inclusive listening; William again a two-day event, which has increased ing through an open door, a spontaneous Cheng (Dartmouth College) on rhetorical its scope and participation, raising it from onlooker staying for a paper (or more)—is proficiency and accessibility in music re- a regional workshop to a national meet- how a subfield like this one will bloom and search); Andrew Dell’Antonio (University ing. This year presenters represented eleven flourish. of Texas at Austin) on public musicology of the fifteen AMS chapters. The keynote —William Cheng as accessible musicology; James Deaville panel—Gayle Sherwood Magee (Universi- Music and Dance Study Group (Carleton University) on social class and ty of Illinois Urbana-Champaign), Douglas accessibility in music academia; and Me- Shadle (Vanderbilt University), and Travis The Music and Dance Study Group gan Schrader (North Andover, Mass.) on Stimeling (West Virginia University)—pre- (MDSG) is pleased to announce its third verbal learners and accessibility in music sented a follow-up discussion to the PSG’s annual evening panel, “New Musicological pedagogy. This session will define accessible Milwaukee Annual Meeting session “End Scholarship on Dance,” to be held in Lou- musicology, how it positively benefits each of the Undergraduate Music History Se- isville Friday 13 November at 8:00 p.m., af- member of our Society, and how it leads to quence?”, in which they discussed issues ter our business meeting at 7:30 p.m. The greater inclusion in our discipline’s mem- relating to a skills-based musicology cur- panel will complement our Pittsburgh and bership. riculum. Milwaukee sessions, which explored the The special session is the culmination of All are invited to join the PSG for three place of dance scholarship in music stud- recent important work by the MDSG Ad sessions at the Louisville Annual Meeting. ies and examined ways to bring dance into Hoc Committee on Accessibility, chaired Friday evening, the PSG annual meeting— the music curriculum. This year’s program by Kendra Leonard and Jeannette Jones. including the election of a new study group will showcase new scholarly work at the in- Other initiatives include revisions to the chair—will follow a session on strategies tersection of music and dance. Our aim is AMS Guidelines on Accessibility and Ac- continued on page 

August 2015  Study Group News fifteen years have advocated for alternative The PMSG Business Meeting takes place approaches. This session will discuss the Saturday at 12:15 p.m. This year, the group continued from page  history of music appreciation textbooks, will hold an election for Secretary/Treasur- for teaching writing. Panelists Colin Roust followed by a panel round table represent- er. A call for nominations will be sent to (University of Kansas), Everette Smith ing the perspectives of publishers, textbook all dues-paying Study Group members in (Southeastern Louisiana University), John authors, and instructors. September. During the business meeting’s Spilker (Nebraska Wesleyan University), Please visit the most recent issue of the second half, we hope to hold a roundtable and Jeffrey Wright (Indiana University, Journal of Music History Pedagogy (www. on an issue facing popular music scholars. South Bend) will discuss their experiences ams-net.org/ojs/index.php/jmhp). Much If you have an idea for a roundtable, please teaching writing at a variety of institutions of the issue is devoted to curricular discus- contact Eric Hung (msumeric@gmail. ranging from small liberal arts colleges and sions about jazz history courses and the un- com). regional state universities to master’s- and dergraduate music history sequence. On Saturday evening, the Pedagogy doctoral-granting universities. Much of the —Colin Roust Study Group and PMSG will co-sponsor a panel on how popular music scholars teach session will feature a decentered discussion Popular Music Study Group with small breakout groups. On Saturday rhythm. Speakers include John Covach evening, we are co-sponsoring, with the At the AMS Louisville meeting, the Popu- (Eastman School of Music, University of Popular Music Study Group, a session en- lar Music Study Group will host or co- Rochester), Robert Fink (University of Cal- titled “Getting ‘Into the Groove’: Teaching host three events. Our Thursday evening ifornia, Los Angeles), Jason Hanley (Rock Students How to Listen to Temporality in study session, “Popular Music and Social and Roll Hall of Fame and Museum), Joce­ Popular Music.” Sunday morning, Chris Mobility,” will feature presentations by lyn Neal (University of North Carolina Freitag (W. W. Norton), Jennifer Hund Noriko Manabe (Princeton University), at Chapel Hill), and Mandy Smith (Case (Indianapolis, Ind.), Mary Natvig (Bowling Virginia Christy Lamothe (Belmont Uni- Western Reserve University). Colin Roust Green State University), Reeves Shulstad versity), and Benjamin Court (University (University of Kansas) will serve as the chair (Appalachian State University), and Robin of California, Los Angeles). Theo Cateforis and Eric Hung (Westminster Choir Col- Wallace (Baylor University) will lead an al- (Syracuse University) will serve as the chair lege of Rider University) as the respondent. ternative-format session, “Novel Approach- and respondent. I would like to thank the We hope to see you at these events. es to Music for General Students: Adopt- program committee—Joanna Love (chair), To contact PMSG’s officers and to join, ing and Teaching from New Textbooks.” Mike D’Errico, Marissa Steingold, Jarryn please visit www.ams-net.org/studygroups/ Although music appreciation textbooks Ha, and Sarah Provost—for completing pmsg/officers_and_membership.html. We are predominantly structured around the the difficult task of selecting three of the will post updates about the study group canon of Western art music, with supple- twenty-one excellent proposals we received. and popular music at www.facebook.com/ mental chapters on other musics, present- Session details are available at www.ams- AMSpop. ers at various events and panels over the last net.org/studygroups/pmsg. —Eric Hung

Matthew Balensuela, Founding Editor of JMHP The 2010 debut of the Journal of Music History Pedagogy ( JMHP) ect, but with the support of helped satisfy an important scholarly need: despite substantial in- the editorial board, Bob Judd, creases in music history pedagogy discourse at conferences in the first and DePauw University, Mat- decade of the new century, few venues existed where musicologists thew produced the journal’s could publish about teaching. Now entering its sixth year of publica- entire first issue. In fall 2010, tion, JMHP has successfully established a forum for pedagogy publi- Matthew launched JMHP, as- cation, broadened the audience for that subject, and raised the pres- suming the role of Editor-in- tige of music history pedagogy as a serious form of scholarly inquiry. Chief for the first nine issues. Yet none of this would have been possible without the ambitious Matthew routinely exceed- vision and indefatigable work of the journal’s founder and inaugural ed his required duties during editor, Matthew Balensuela. his tenure, often collaborating An active participant in the growing pedagogy community ten closely with authors during Matthew Balensuela years ago, Matthew recognized the need for a stable outlet to pre- the publication process to en- serve the increasing quantity of pedagogy discourse. He saw that a sure high-quality journal content. As he passes the reins to Stephen peer-reviewed, serial publication would help establish pedagogy as Meyer, we would like to acknowledge Matthew for creating a pub- a legitimate area of scholarship, and he chose to use his 2009–10 lication that will have a profound effect on teachers and students sabbatical to investigate the possibility of starting a music history in music history classrooms for years to come. On behalf of these pedagogy journal. teachers, students, and the AMS, the Pedagogy Study Group offers a We are indebted to Matthew for the substantial risk he took in pur- heartfelt thanks to Matthew Balensuela for his extraordinary service suing this project and the work he invested in it. Matthew initially and important contribution to the field of music history pedagogy. only set out to develop a journal feasibility study as a sabbatical proj- —Scott Dirkse  AMS Newsletter Annual Meeting, Vancouver, British Columbia, 3–6 November 2016 Call for Papers length: 350 words for the rationale, and 350 will be considered as a unit by the program Deadline: 5 p.m. EST words for each constituent abstract. committees of the AMS and the SMT, and 15 January 2016 Length of presentations: Forty-five min- will be programmed only if accepted by both utes are allotted for each individual proposal committees. Proposals must include 1) a ses- and constituent Formal Session proposal. The sion rationale, and 2) abstracts for each pa- The 2016 Annual Meeting of the AMS will length of presentations is limited to thirty per on the session. The session rationale must be held held jointly with the Society for minutes in order to allow ample time for dis- identify the proportion of participants from Music Theory (SMT) in Vancouver, British cussion. each society. Paper abstracts included in a Columbia, from Thursday 3 November to Evening panel discussions. Evening panel joint session proposal are components of the Sunday 6 November. The Program Commit- discussions are intended for more informal ex- session proposal as a whole, and will not be tee welcomes proposals for individual papers change of ideas. They can cover a wide range considered for individual presentation. All or poster presentations, formal sessions, eve- of topics: for example, they may examine a proposals will be evaluated anonymously and ning panel discussions, and sessions using central body of scholarly work, investigate a should contain no direct or indirect signal of alternative formats in all areas of scholarship methodology or critical approach, or lay the authorship. Maximum length: 350 words for on music, and sessions held jointly with the groundwork for a new research direction. the rationale, and 350 words for each con- SMT. Please read the guidelines carefully: Evening panels should comprise participants’ stituent paper. proposals that do not conform will not be brief (no more than ten minutes) position Papers will be allocated forty-five minutes considered. statements, followed by general discussion each, thirty minutes for the paper and fifteen Proposals will be accepted in one of the fol- among panelists and audience. Evening panel minutes for discussion. Proposals may be for lowing five categories: proposals should outline the rationale and is- sessions of ninety minutes (two papers) or Individual and Poster proposals. Propos- sues behind the proposal, identify the panel- three hours (which in addition to a maximum als should represent the presentation as fully ists and describe the activities envisioned, ex- of four paper proposals may include one or as possible. A successful proposal typically plain why each panelist has been chosen, and two respondents.) articulates the main aspects of the argument identify the duration of the session (ninety Joint sessions of Alternative Format are or research findings clearly, positions the au- minutes or three hours). Maximum length: also encouraged. Alternative Format sessions thor’s contribution with respect to previous 500 words. might include: performance and scholarship, scholarship, and suggests the paper’s signifi- Daytime sessions using alternative for- discussion of an important publication, a cance for the musicological community, in mats. Examples of alternative formats in- debate on a controversial issue, “flipped” pa- language that is accessible to scholars with a clude, but are not limited to, sessions com- pers, “lightning talks,” or the like. Proposals variety of specializations. bining performance and scholarship, sessions for Alternative Format joint sessions should Proposals for posters should follow the discussing an important publication, sessions outline the intellectual content of the session, guidelines for submission of individual pro- featuring debate on a controversial issue, the participants and their society affiliations, posals, and include an explanation of the and sessions devoted to discussion of papers and the structure of the session. As with the content and goals of the graphic presentation. posted online before the meeting. Sessions joint session Paper Panels, joint sessions of Al- Technical guidelines for posters will be dis- may be proposed by an individual or group ternative Format should include a balance of tributed with acceptance information. of individuals, a Study Group, a smaller so- participants from the two societies. Proposals Proposals will be evaluated anonymously ciety that has traditionally met during the will be considered as a unit by the two pro- and should contain no direct or indirect sig- Annual Meeting, or an AMS committee gram committees and will be programmed nal of authorship. Maximum length: 350 wishing to explore scholarly issues. Position only if accepted by those committees. Propos- words. papers delivered as part of alternative-format als may be for sessions of ninety minutes or Formal Sessions. An organizer represent- sessions should be no more than ten minutes three hours. Maximum length: 1000 words. ing several individuals may propose a Formal long. Proposals for alternative-format sessions Proposals for joint session Paper Panels and Session, either a full session of four papers, or should identify the participants, outline the joint sessions of Alternative Format should a half session of two papers. For this proposal, intellectual content of the session, describe be submitted via a shared web site to be an- organizers should prepare a rationale, ex- the structure of the session, and identify the nounced closer to the submission deadline. plaining the importance of the topic and the duration of the session (ninety minutes or Program Committee procedures: The proposed constituent papers. The organizer three hours). Maximum length: 1000 words. Program Committee will evaluate and discuss should also include an abstract for each paper, Joint sessions. For this meeting the Pro- Individual, Formal Session, and Poster pro- which conforms to the guidelines for individ- gram Committees of the two societies invite posals anonymously (i.e., with no knowledge ual proposals above. Formal Session propos- proposals for joint sessions, bringing together of authorship). All proposals are evaluated on als will be considered as a unit and accepted participants from both societies. These may a scale from zero to five by the entire com- or rejected as a whole. The proposed session’s take the form of a joint session Paper Panel or mittee. The scores are collated, averaged, and consistency and coherence is an important a joint session of Alternative Format. Guide- ranked accordingly, after which the commit- part of the evaluation process. All proposals lines for both are set out below. tee meets to discuss final selections. During will be evaluated anonymously and should A joint session Paper Panel is a session this meeting, the committee selects the most contain no direct or indirect signal of author- that includes a balance of participants from promising proposals and forms sessions for ship. Paper abstracts included in a Formal the two societies and in which multiple ap- presentation. The committee may choose to Session proposal will not be considered for proaches, methodologies, or framing dis- separate individual presentation. Maximum courses are presented. Joint session proposals continued on page 

August 2015  AMS Vancouver CFP sion ceases precisely at the deadline. In order AMS office or at www.ams-net.org/vancou- to avoid technical problems with submission ver); 2) a proposed program listing repertory, continued from page  of a proposal, it is strongly suggested that performer(s), and the duration of each work; reserve from zero to twenty-four slots in the proposals be submitted at least twenty-four 3) a list of audio-visual and performance program to be filled at the end of the process, hours before the deadline. Due to the volume needs; 4) a short (100-word) biography of after the authors of the abstracts are identi- of proposals received, proposals received after each participant named in the proposal; 5) fied. Knowledge of authorship can facilitate the deadline cannot be considered. A FAQ on for concerts, a one-page explanation of the the work of the committee in forming topi- the proposal submission process is available at significance of the program or manner of cally balanced sessions and improving the the web site, and those planning to submit performance; for lecture-recitals, a descrip- balance between senior and junior scholars proposals are encouraged to review the infor- tion (two pages maximum) explaining the on the program. mation posted there. Those unable to submit significance of the program or manner of Authors for all submissions that are cho- a proposal electronically should contact the performance, and a summary of the lecture sen will be invited to revise their proposals AMS office by 10 January 2016 regarding ac- component, including information pertain- for the Program and Abstracts, distributed at commodation procedures. ing to the underlying research, its methodol- the meeting; the version read by the Program Receipts will be sent to all who submit pro- ogy, and conclusions; 6) representative audio Committee may remain confidential. posals by the beginning of February 2016. or visual materials pertaining to the program Application restrictions. No one may ap- AMS committees and study groups; af- and performers (twenty minutes maximum). pear on the Vancouver program more than filiated societies.Sessions organized by such An individual may not present both a paper twice. An individual may deliver a paper groups are not reviewed by the Program Com- and a performance (or lecture-recital) at the and appear one other time on the program, mittee. They should contact Robert Judd at meeting. If proposals are submitted to both whether participating in a Joint Session, an the AMS office to schedule their meetings. the Program and Performance Committees, evening panel discussion or alternative format —Anne Stone proposers must indicate which should take session, functioning as a chair-organizer of a Program Committee Chair priority should both be accepted. Although formal session, or serving as a respondent, but the AMS is unable to offer a fee to artists, may not deliver a lecture recital or concert. modest subsidies are occasionally available Participation in extra-programmatic offer- Call for Performances for performance-related expenses. Please see ings such as study group meetings or standing Deadline: 5 p.m. EST the application cover sheet for proposal sub- committee presentations (e.g., the Commit- 15 January 2016 mission details. Materials must arrive at the tee on Career-Related Issues) does not count AMS office no later than 5 p.m. EST, 15 Janu- as an appearance for this purpose. Only one The AMS Performance Committee invites ary 2016. Exceptions cannot be made to this submission per author will be accepted. Au- proposals for concerts, lecture-recitals, and deadline, so please plan accordingly. Receipts thors who presented papers at the 2015 AMS other performances and performance-related will be sent to those who have submitted pro- meeting may not submit proposals for the events during the 2016 Vancouver Annual posals by the deadline, and the committee will 2016 meeting. Organizers of evening panel Meeting. We encourage proposals that dem- communicate its decisions by 15 April 2016. discussions or alternative-format sessions may onstrate the Society’s diversity of interests, —Steven Zohn not also present a formal paper in the same range of approaches, and geographic and Performance Committee Chair year or in the preceding one, but participants chronological breadth inspired by or comple- may do so. Authors may not submit the same menting new musicological finds that develop proposal to both the AMS and SMT program a point of view or offer a programmatic focus. Call for Nominations: committees. If applicable, authors must indi- Performances related to the meeting’s venue Session Chairs, AMS/SMT cate that they have submitted different pro- are especially welcome. posals to the AMS, the SMT, and/or a Joint Freelance artists as well as performers and Vancouver 2016 Session, and indicate which proposal should ensembles affiliated with colleges, universi- Nominations are requested for Session take priority, should more than one be ac- ties, or conservatories are encouraged to sub- Chairs at the AMS Annual Meeting in cepted by the respective committees. mit proposals. Available presentation times Vancouver, 3–6 November 2016. Please Submission procedure. Proposals must be include lunch hours, afternoons, and Thurs- visit the web site (www.ams-net.org/van- received by 5 p.m. EST, 15 January 2016. Elec- day evening, 3 November 2016. couver) for full details. Self-nominations tronic proposal submission is encouraged. Required application materials include: 1) are welcome. Deadline: 15 March 2016. Please note that electronic proposal submis- an application cover sheet (available from the

Exhibitors in Louisville Broude Brothers Limited Pendragon Press University of California Press Répertoire International de Littérature Musi- 23 2015 (as of July ) Cambridge University Press (USA) cale (RILM) A-R Editions, Inc. University of Chicago Press Retrospective Index to Music Periodicals American Institute of Musicology Eighteenth-Century Societies Routledge Ashgate Publishing Company Hal Leonard Corporation Rowman & Littlefield (Scarecrow Press) Bärenreiter University of Illinois Press The Scholar’s Choice Bedford/St. Martin’s Indiana University Press Society for American Music Bloomsbury Publishing Naxos of America Theodore Front Musical Literature Boydell & Brewer / University of Oxford University Press W. W. Norton & Company Rochester Press The Packard Humanities Institute­ – C. P. E. Bach: The Complete Works  AMS Newsletter CFPs and Conferences The AMS lists conferences and CFPs at Nineteenth-Century Music Valorizing Clemens non Papa: Towards a musicologyconferences.xevents.sas.ac.uk. The CFP deadline: 16 October 2015 Polycentric Model for Renaissance Music site includes further details concerning these 11–13 July 2016 6–7 November 2015 listings, as well as additional conference list- University of Oxford Boston University ings. Analytical Approaches to World Music New Music Conference To subscribe to email notification regarding CFP deadline: 1 December 2015 and Festival NUNC! musicology conferences, see www.ams-net. 8–11 June 2016 6 8 2015 org/announce.php. – November New York Northwestern University, Evanston North American British Music CFPs Popular Music and Public Diplomacy Studies Association 6–8 November 2015 CFP deadline: 22 January 2016 “Putting It Together”: Investigating Technische Universität Dortmund Sources for Musical Theatre Research 4–7 August 2016 CFP deadline: 1 September 2015 Syracuse University Visual Manifestations of Power 10–12 May 2016 and Repression in Music, University of Sheffield Conferences Dance, and Dramatic Arts 9–10 November 2015 The Hidden Musicians Revisited Ohio State University, Columbus CFP deadline: 14 September 2015 For Cryin’ Out Loud: Music and Politics 11–12 January 2016 6–8 September 2015 Teaching and Learning Popular Music Open University, Milton Keynes Utrecht 18–21 November 2015 György Kurtág Music Since 1900 University of Michigan, Ann Arbor 15 2015 CFP deadline: September 7–9 September 2015 The Centennial of Billy Strayhorn 2–3 June 2016 Glasgow 20–21 November 2015 Budapest Mozart Society of America Cleveland State University Music History and Cosmopolitanism 11–13 September 2015 30 2015 Tyranny and Music CFP deadline: September Tufts University, Medford 1–3 June 2016 21–22 November 2015 Sibelius Academy, Helsinki Sounding Czech: Towards an Aural Middle Tennessee State University, Murfrees- History of Bohemia and Moravia boro The New and the Novel in the 18–19 September 2015 19th Century / New Directions The Enterprise of Musicology: New York University, Prague in 19th-Century Studies Trends in our New Age CFP deadline: 30 September 2015 Musicological Society of Australia 4–6 December 2015 13–16 April 2016 1–4 October 2015 Hong Kong Lincoln, Nebr. Sydney Conservatorium of Music Jazz Education Network Popular Music and Communities American Bach Society 6–9 January 2016 2 3 2015 CFP deadline: 1 October 2015 – October Louisville 7–10 April 2016 Case Western Reserve University, Cleveland University of Notre Dame Who Pays? Who Plays?—Patronage and IMS Regional Association for Latin America and the Caribbean Bodies of Art: Music, Entrepreneurship in American Music 12–16 January 2016 Literature, and Disability 28–30 October 2015 Universidad Alberto Hurtado, Santiago, CFP deadline: 1 October 2015 University of Redlands Chile 9 April 2016 Where Rivers Meet: A Symposium Misericordia University, Dallas, Pa. 29 October–1 November 2015 EZ MUSIC OM: Orient in Music-Music of the Orient University of the Incarnate Word, San An- 4–6 March 2016 CFP deadline: 1 October 2015 tonio University of California, Berkeley 10–11 March 2016 Italian Musicological Society Utopian Listening: the Late Academy of Music, Łódź, Poland 30 October–1 November 2015 Electroacoustic Music of Luigi Society for Christian Scholarship in Music Perugia Nono: Technologies, Aesthetics, CFP deadline: 1 October 2015 New Zealand Musicological Society Histories, Futures 11–13 February 2016 31 October–2 November 2015 23–26 March 2016 Boston University Victoria University of Wellington Tufts University, Medford Society for Seventeenth-Century Music What Does Democracy Sound Like? Renaissance Society of America CFP deadline: 1 October 2015 Actors, Institutions – Practices, Discourses 31 March–2 April 2016 14–17 April 2016 5–7 November 2015 Boston Miami Philharmonie de Paris

August 2015  Obituaries (1960–67) and The Verdi Newsletter (1976– 91); directed opera (e.g., both versions of The Society regrets to inform its members of the deaths of the following members: La forza del destino, using the contemporary staging manual); wrote librettos (The Tempest, Gordon W. Atkinson, 5 May 2015 4 2015 Roland Jackson, June John Eaton, 1985; The Song of Majnun, Bright Clyde W. Brockett, 23 June 2015 21 2015 Owen Jander, January Sheng, 1992); and accepted visiting professor- Alan Curtis, 15 July 2015 Robert S. Lord, 24 July 2014 ships at the University of California, Irvine Kerry S. Grant, 6 September 2014 Jocelyn Mackey, 27 October 2013 and the University of California, Berkeley (as David G. Hughes, 20 April 2015 Andrew Porter, 4 April 2015 Ernest Bloch Professor). David Grattan Hughes (1926–2015) Andrew Porter (1928–2015) Porter brought all this to bear in his re- views: they tended to emphasize the work’s David Hughes, Harvard University Fanny Andrew Porter, “the most formidable classi- history, including its entire performance his- Peabody Mason Professor of Music, emeritus, cal-music critic of the late twentieth century” tory. Thanks to this historical outlook and died in Paris on 20 April 2015; he was 88. (Alex Ross), died in London on 3 April. Born his elegant literary style, one can still read the Born in Norwalk, Connecticut on 14 June and raised in Cape Town, South Africa, he five volumes of collected New Yorker reviews 1926, Hughes was a lifelong Harvard man. went to University College, Oxford as an or- for pleasure and enlightenment long after the After his A.B. (summa cum laude, 1949), he gan scholar to read English and Music. He performance under review. served with the U.S. Army in Japan before soon became a music critic for numerous In 1993 Porter was elected a Corresponding returning to take the A.M. (1954) and Ph.D. publications in England, the most impor- Member of the AMS, the only music critic to (1956) with a dissertation on music in the tant being The Financial Times (1953–72). be so acknowledged, an honor which rightly fourteenth century. He was appointed to the Thereafter he spent two decades as music recognizes the breadth of his interests and the faculty in that year, remaining there until critic for The New Yorker, generally writing a vigor of his contributions. retirement. He served as Department Chair substantial review every week. In 1992 he re- —David Rosen (1961–65) and as Head Tutor, advising genera- turned to London as music critic of The Ob- tions of undergraduates; and he mentored a server and later The Times Literary Supplement Norman E. Smith (1931–2014) series of distinguished dissertations. He also (1997–2009); he continued to write reviews taught for many years in the Harvard Exten- for Opera until his death. Opera was central Norman E. Smith died on 5 March 2014 af- sion School. to his interests, yet he was also a passionate ter a valiant battle with pulmonary disease. Masterly articles, dealing mainly with is- advocate of contemporary music.The index Norman was born in Benton, Arkansas on sues of transmission and filiation in medieval of his selected writings in his 2003 Festschrift 4 November 1931. He earned his doctorate chant, especially in the area of tropes, estab- Words on Music: Essays in Honor of Andrew in 1964 at Yale University, where he studied lished Hughes as an authority in his field. Porter on the Occasion of His 75th Birthday, ed. with William Waite and Leo Schrade. He With John R. Bryden, he published An Index David Rosen and Claire Brook, fills fourteen first taught at Yale and then at the University to Gregorian Chant (Harvard, 1969); his text- single-spaced pages. of Pennsylvania, remaining there until his re- book, History of European Music, was pub- “A music critic,” he wrote, “is a mixture tirement in 2000. lished by McGraw Hill in 1974. in varying parts of musicologist, historian, Few scholars could match the depth of In 1959 Hughes assumed editorship of chronicler, enthusiast, and other things. (In Norman’s understanding of early medieval JAMS. The journal had fallen behind in pub- my case, those ‘other things’ include trans- polyphony. His widely cited corpus of articles lication, and it was vitally important to the lating, editing, and occasional episodes of on this repertory treats its sources, notation, Society that it resume its regular schedule. coaching, directing, and conducting to keep style, compositional process, and the rela- Hughes took it over, collected and edited a me in touch with the realities of actual per- tionship between text and music—all at an wide range of material, and oversaw a Sum- formance.)” Verdi was the principal focus of extraordinary level of ingenuity and meticu- mer-Fall double issue in 1959, marking the his research. After learning at a Verdi confer- lous care. His work shed important light on twenty-fifth anniversary of the founding of ence that Don Carlos had undergone substan- the forces that gave rise to the emergence of the Society in 1934. This helped to putJAMS tial cuts before its 1867 première, Porter the polyphonic music in the Western world and back on its feet, and was a welcome step in musicologist was off to the Bibliothèque de to the motet in particular. restoring the organization to good health and l’Opéra, where he reconstructed the excised At Penn, Norman gained an unrivaled future prosperity. He was made an Honorary music by examining the orchestral material. reputation as a star teacher. He taught his Member of the Society in 2006. Later archival research in Paris led to im- survey of the history of music in a way that Hughes lived in Belmont, Mass., for many portant discoveries about the genesis of Les engendered correspondence with dozens of years, later retiring to coastal Maine; his an- Vêpres siciliennes. He wrote the Verdi entry students that often continued for decades. nual trips to Paris combined research with for the 1980 New Grove, and together we Among them are a few who went on to be- rejuvenation. He was a real polymath. There edited Verdi’s Macbeth: A Sourcebook, which come widely known early music scholars — were few subjects in music on which he could included all the relevant available letters and Thomas Brothers, Jesse Rodin, and David not enrich and enliven a conversation; he was documents. We had long discussed preparing Rothenberg, to mention three. All of them a fluent pianist, able to play almost anything a revised and expanded edition, but it was had gained their initial exposure to medieval from memory, vocal, instrumental, or orches- not to be. and Renaissance music in this course. Nor- tral. Those whom he taught will long remem- As for the “other things,” there are about man’s graduate courses were equally influen- ber his lively conversation, his challenging forty English singing translations of libret- tial. His two-semester paleography seminar seminars, and his self-effacing sense of humor. tos: mostly Italian, but also French and Ger- achieved legendary status; students returned —Thomas Forrest Kelly man. Moreover, he edited The Musical Times to audit it years after having first taken it.  AMS Newsletter Norman’s extraordinary aptitude for teach- ing manifested itself very early in his career: 75 Years Ago: 1940 program [see JAMS 18 (1965), 435], the witness the remarkable fact that in 2013 he Board agreed that “there should be an • Roughly thirty members attended the equable division between papers by es- received the Class of 1963 Teaching Award Annual Meeting, held in conjunction at Yale for a course he taught in 1959. The tablished scholars and those by ‘fledg- with the Music Teachers National As- lings.’ Papers by younger scholars would members of the awarding committee retained sociation in Cleveland, December 1940. a sense of the importance of this course more be integrated into the program, not iso- Eleven papers were presented during lated in a special session.” than fifty years after they had taken it. the one-day meeting. Tensions regard- Norman served as Graduate Chair in Mu- ing membership requirements surfaced: sic at Penn for nearly fifteen years. He shep- some preferred election to Society mem- 25 Years Ago: 1990 herded students through the program and bership, some an open acceptance of all sustained the curriculum with the same care those interested. At the business meet- • Paul A. Pisk bequeathed $20,000 to the that distinguished his scholarly work. Many ing, members voted to require election Society to be used to support a prize for graduate students perceived Norman as the to Society membership. a student paper presented at the Annual backbone of their sanity at a vulnerable stage • Treasurer Paul Henry Láng reported Meeting. of their lives. that the 1939 New York Congress ran a • The AMS Archives at the University of Norman was a quiet but passionate man $400 deficit, and members were assessed Pennsylvania were established, under who loved music, travel, and people. Indeed, a $3 dues surcharge in 1941 to make up the direction of archivist Marjorie Has- his deep-rooted love of people was a funda- the difference. sen. mental aspect of his persona. It helped to • The Society supported initiatives from make him a distinguished teacher, provided 50 Years Ago: 1965 the Committee on the Status of Women the foundation for his considerable success • At their spring meeting, the AMS Board to publish a multi-society directory of as an advisor, and brought a remarkable level unanimously agreed to pursue closer women in music scholarship, and from of graciousness to his demeanor. Those quali- collaboration with the American Insti- the Committee on Career Options to ties remained in place to the end. Norman tute of Musicology. establish a network to support members always made a point of entertaining his visi- • The dialogue between Joseph Kerman interested in non-academic music-relat- tors, regaling them with subtle humor and and Edward Lowinsky regarding the ed employment. well-crafted anecdotes. It must have been a place of criticism in musicological study • H. Colin Slim delivered a unique Presi- struggle for him to have done so, but he nev- continued in the Summer and Fall issues dential Address that included a tableau er gave a hint of this, leaving us, instead, with of JAMS. vivant (with some twenty participants) recollections of him as the kindest of men. • The AMS Board demurred Editor-in- depicting Maerten van Heemskerck’s —Lawrence F. Bernstein Chief Lewis Lockwood’s recommenda- Apollo and the Muses, including singing tion that professional editorial assistance and dancing. Successor president Wiley for JAMS be obtained. Hitchcock described it as “surprising, • Lloyd Hibberd bequeathed $10,000 to savory, subtle, witty . . . the very best in Policy on Obituaries the Society for publication purposes. our discipline and a vivid embodiment • In response to concerns regarding the of some of our concerns today as mu- The Society wishes to recognize the content of the 1965 Annual Meeting sicologists.” accomplishments of members who have died by printing obituaries in the Newsletter. Obituaries will normally not exceed 400 words and will focus on Musicology Now: the AMS Blog Annual Meeting Hotel and Travel music-related activities such as teaching, musicologynow.ams-net.org Information: see p. 14 research, publications, grants, and ser- vice to the Society. The Society requests Doctoral Dissertations in Musicology that colleagues, friends, or family of a deceased member who wish to see him The DDM database maintained by the AMS is successful and growing. Most members or her recognized by an obituary com- have a direct connection between their in-progress or completed dissertation record municate that desire to the editor of the and their member directory entry; if yours is missing, send a note to the AMS and we Newsletter. The editor, in consultation will create it. with the advisory committee named be- The database includes over 16,200 records of dissertations dating from the late nine- low, will select the author of the obitu- teenth century to today. Updates may be sent to the AMS office at any time. Recently ary and edit the text for publication. completed dissertations are also added to the AMS New Dissertations RSS feed (www. A committee has been appointed to ams-net.org/feeds/ddm). Dissertations range broadly across all topics and subdisci- oversee and evaluate this policy, to com- plines that pertain to musicology, from all countries and in all languages—lacunae mission or write additional obituaries as occur only because authors have not requested an entry. Records include references necessary, and to report to the Board of to dissertation-vendor sites, publications, and online access, when this information is Directors. The committee comprises the available. executive director (chair), the secretary The DDM database is consistently one of the most popular pages of the AMS web of the Council, and one other member. site, receiving thousands of visits each month.

August 2015  American Musicological Society Bowdoin College Nonprofit org. 6010 College Station U.S. Postage PAID Brunswick ME 04011-8451 Mattoon, IL Permit No. 217 Address service requested

Society Election Results Changes at the AMS Meetings of AMS and Related 15 Societies Office The results of the  election of AMS officers and the Board of Directors: 2015: After nine years, the AMS office will President: Martha Feldman CMS: 5–7 Nov., Indianapolis, Ind. be moving from Bowdoin College, in Secretary: Michael C. Tusa SMT: 29 Oct.–1 Nov., St. Louis, Mo. Brunswick, Maine. SEM: 3–6 Dec., Austin, Tex. The AMS came to Bowdoin in July Directors-at-Large: 2016: 2006, when Cristle Collins Judd (Execu- Mark Katz CMS: 27–29 Oct., Santa Fe, N.M. tive Director Robert Judd’s wife) was ap- Elisabeth Le Guin AMS/SMT: 3–6 Nov., Vancouver, B.C. pointed Dean of the Faculty. The AMS John A. Rice SAM: 9–13 March, Boston, Mass. Board knew at the time that the move SEM: 10–13 Nov., Washington, D.C. would likely be for a relatively short du- 456 votes were cast (389 electronically, 67 ration, so the present change is not un- via mail): 14% of the membership Newsletter Address and Deadline expected. Cristle soon begins a position AMS By-laws Amendments as Program Officer for the Andrew W. Items for publication in the next issue of Mellon Foundation, in New York City, Approved the AMS Newsletter must be submitted and the AMS hopes to relocate there as by 1 December to the editor: well. This is apt, since the Society was or- Two proposed by-laws amendments (see the ganized in New York City in 1934, and is August 2014 AMS Newsletter, p. 40) were ap- James Parsons incorporated in the state of New York. Its proved by the membership in spring 2015: AMS Newsletter Editor first president, Otto Kinkeldey, led the Student members of AMS Council now have Missouri State University Music Division of the New York Public voting privileges, and the Council term-year [email protected] Library for many years. extends from 1 August to 31 July. See the front Practically, nothing will change for the of the 2015 AMS Directory or www.ams-net. The AMS Newsletter (ISSN 0402-012X) immediate future: Bowdoin College has org/bylaws.php for the revised by-laws (ar- is published twice yearly by the Ameri- graciously granted a full year of transi- ticles IV.A.2 and IV.A.3). can Musicological Society, Inc. and tion time, so many AMS office activities mailed to all members and subscribers. and communications will continue to Next Board Meetings Requests for additional copies of current emanate from Maine. The membership The next meetings of the Board of Direc- and back issues of the AMS Newsletter will receive updates when more news is tors will take place 11 November in Louis- should be directed to the AMS office. available. ville, and 2–3 April 2016 in Orlando. All back issues of the AMS Newsletter are available at the AMS web site: AMS New Books www.ams-net.org/newsletter Claims for missing issues must be Interested in AMS Committees? 153 titles have been added to the AMS made within 90 days of publication New Books in Musicology list since the The president would be pleased to hear (overseas: 180 days). from members who wish to volunteer for beginning of the year. See www.ams-net.org/feeds/newbooks/ Moving? Please send address changes assignments to committees. Send your as- for details and information on submitting to: AMS, 6010 College Station, Bruns- signment request and C.V. to Ellen T. Har- titles. wick, ME 04011-8451 ris: [email protected].  AMS Newsletter