AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLVII, NUMBER 2 August 2017 ISSN 0402-012X AMS Rochester 2017 9–12 November www.ams-net.org/rochester We welcome you this November to the AMS Annual Meeting in Rochester, New York. Rochester is a special place: the confluence of the Erie Canal and the Genesee River cre- ated an industrial boom in the early-to-mid nineteenth century and still provides “gorges” views today. Home to both Susan B. Anthony and Frederick Douglass, Rochester was at the forefront of social justice in the United

States more than a century ago, a point to be Credit:Rochester Visit celebrated in more than one offering during the Annual Meeting. The Eastman School of Music, one of the world’s top institutions for both music research and performance, will play an important part in many of the meet- ing’s activities, as the Preliminary Program Rochester at night (pp. 11–25) reveals. While the AMS and Eastman may well porary art. The Italian organ replica housed traditional daytime performances (p. 26), but engage you 24/7, there’s plenty to do around there is played every Sunday at 1 and 3 p.m. we also have arranged concerts in connection Rochester if you need a respite. The Univer- For edgier art, you may wish to visit the with the Eastman School of Music, the artis- sity of Rochester’s Memorial Art Gallery has Rochester Contemporary Art Center (www. tic epicenter of our gathering. On Thursday an impressive collection that includes works rochestercontemporary.org). Ludomusicolo- night, Eastman’s contemporary ensemble by Rembrandt and Monet as well as contem- gists and others interested in games won’t Musica Nova will present works of Iannis Xe- want to miss the Strong Museum of Play nakis, György Ligeti, and Bernhard Gander. (www.museumofplay.org), a highly interac- On the following night, the Eastman Phil- In This Issue… tive, collections-based museum devoted to harmonia will offer a performance of Edward President’s Message ...... 2 the history and exploration of play that hous- Elgar’s Enigma Variations and Brahms’s first Major Funding for Coral/RILM . . .4 es the world’s largest and most comprehen- piano concerto. Both are free and open to the President’s Endowed Plenary Lecture 5 sive collection of historical materials related public. We have also scheduled a free interac- Women & Gender Endowed Lecture 5 to play. The Strong Museum is also home to tive demonstration with Eastman’s Balinese AMS Public Lectures ...... 6 the International Center for the History of Gamelan Sanjiwani, entitled “Gambol on the ACLS McClary-Walser Fellowship . 7 Electronic Games, the National Toy Hall of Gamelan.” Awards, Prizes, Honors ...... 8 Fame, the World Video Game Hall of Fame, In addition to the Eastman offerings, the By-laws Changes ...... 10 the Brian Sutton-Smith Library and Archives AMS will be sponsoring two special musical Rochester Preliminary Program . . 11 of Play, and the American Journal of Play. events during the annual meeting. First, we AMS Dance ...... 20 If you are more inclined to open spaces, will witness the debut of Rochester’s new pe- Rochester Performances . . . . . 26 the Genesee Gateway Park is nearby, and is riod orchestra Ensemble Perihipsous, which Rochester Program Selection . . . 26 part of the Riverway Trail. The city has 12,000 specializes in music from 1750 to 1850 and Committee News ...... 27 acres of parkland, including areas near Lake draws its members from the Eastman com- Study Group News ...... 31 Ontario (five miles north of central Roch- munity. The group’s founder and director is AMS San Antonio 2018 . . . . . 34 ester). The Finger Lakes, Iroquois National Michael Ruhling, professor of performing arts News Briefs ...... 36 Wildlife Refuge, and Letchworth State Park in the College of Liberal Arts at the Rochester CFPs and Conferences . . . . . 37 are within fifty miles. Institute of Technology and editor of Haydn: Grants, Awards, Fellowships . . . 38 Special performances. Not only do we have The Online Journal of the Haydn Society of 39 Obituaries ...... an exciting slate of musicians for the AMS’s continued on page  President’s Message

I hope everyone is enjoying summer, a time February 2015 AMS Newsletter, www.ams- at about 700–800 or more, and acceptance when academic life is often the envy of oth- net.org/newsletter/AMSNewsletter-2015–2. rates have plummeted accordingly, despite ers. I write to bring you up to date on some pdf, p. 19). Responses to the subquestion gradual expansions of the annual meeting. recent business of the Board of Directors as “Should the AMS meeting be changed to It’s clear that if we are to be the inclusive it concerns our annual meetings. enable more participation?” were strongly Society that we need to be, we simply have Much of the focus in recent board meet- positive. By contrast, three specific propos- to open the gate more widely by making ings has been on issues of inclusivity and als—expand to include Thursday morning; shorter papers part of the solution. Happi- diversity, as we continually ask ourselves add concurrent sessions; shorten session ly, the increase in the number of concurrent how the Society can be more welcoming of length to two hours and shorten presenta- sessions brings our acceptance percentage 20 new ideas and different voices. The Annual tions to minutes plus Q & A for a total up to nearly 40% for 2017, but that is just a 30 Meeting is the place where such change of minutes—each yielded much weaker one-time and partial fix for a longer-range seems most attainable and necessary. Yet approval. Perhaps one can chalk the dis- problem. An optimal mix of paper lengths, our acceptance numbers of late would crepancy up to human nature, inasmuch formats, and concurrent sessions is some- suggest otherwise. Despite having added as the principle of change is evidently more thing we will be working to achieve over concurrent sessions in recent years, our ac- attractive than what it takes to effect it. But the coming years. ceptance numbers for papers and sessions it nevertheless suggests that there will be no Further changes in 2018 will likely in- have hovered in the 25–30 percent range. uniform agreement about future changes Complaints about rejections run rampant to ameliorate a problematic situation, and clude a shift toward more session-based among the membership, understandably so serves as a caution that growing pains are initiatives, in keeping with trends that are as such numbers seem incompatible with inevitable no matter what route we take. already being set by our membership, even our goal of making the meeting a rich mo- In response to these various conundrums as we continue to retain a distinct place for saic of activity for people who share a seri- and facts, and in the spirit of turning a individual paper submissions. The benefit ous commitment to music research. challenge into an opportunity, the board should be the capacity to present more new In a first effort to remedy the problem, decided at its April 2017 meeting that it was work by more of our constituency with a we have begun looking at some of our sib- vital to roll up our sleeves and begin the consequent widening of perspectives. ling societies. Measured against five ACLS The board will continue to discuss these societies of comparable size that responded issues and explore solutions at its fall 2017 to our recent request for data about annual we simply have to open meetings, and will also make the annual meetings, the AMS turns out to have a low- the gate more widely meeting the focus of a board retreat in er acceptance rate than any of the others, spring 2018. There is much to be done in and most societies have acceptance rates hard work of initiating change. Thus, at the order to reach stable solutions. We will con- that are much higher than ours. upcoming 2017 Annual Meeting in Roches- tinue working with the Society for Music Two other facts gleaned from this infor- ter, the Society will host eleven concurrent Theory on how best to coordinate at our bi- mal survey are equally striking. One, other sessions rather than the nine that have been annual joint meetings. We will be thinking societies surveyed hold many more con- customary recently. We were fortunate that about the evaluation process for submis- current sessions than AMS does, ranging the flexible set-up of the Rochester venue sions and what can be done to improve it. from a third again as many at the low end allowed for this increase. We will be working with venues to explore to almost nine times as many at the high The board is currently discussing ways to ways to open up space. And broadly speak- end. The numbers can’t be parsed in sim- experiment with shortening at least some ing, we will continue to gather data on oth- ple terms because each society has its own papers at the 2018 joint meeting with the er societies, collect feedback, and consider mix of different formats. (Indeed, remark- Society for Music Theory, albeit with joint a variety of ways to make the meeting as ably, most have many more seminar-type AMS/SMT panels retaining the 30-minute intellectually stimulating, cohesive, dialogi- sessions than the AMS does and organize paper with 15-minute Q and A format. Lest cal, varied, and rewarding as possible. Ulti- meetings predominantly around submitted shorter papers strike some as a relinquish- mately, our goal is that changes be driven sessions.) Two, none of the sibling societies ing of ideals, let me add another fact to we surveyed had a paper length longer than the set of realities that we face. According by the need for more voices to sound in the 20 minutes (plus 10-minute Q and A), and to data collected by the Committee on the Society, helping to support the community some were as short as 15 minutes. The math Annual Meeting, chaired by Vice President and build morale. driving this is clear: shorter papers mean Georgia Cowart, the numbers of submis- By around 1 October the SMT and AMS more papers can be programmed. sions to the annual meeting hovered in the will each be issuing electronic calls for To be sure, expanding our Annual Meet- 100s and 200s during the years 1973–1992 papers for the 2018 Annual Meeting and ing will not be an easy task. To see why this and the acceptance rate ranged from a low meanwhile will be working to coordinate is so, we need only glance at a recent AMS of about 43% to a high of about 66%. In our mutual goals. I look forward to exciting survey of the membership, which produced recent years, running up to 2016, the num- collaborations in the years ahead. some markedly contradictory results (see the bers of submissions have broken the ceiling —Martha Feldman

 AMS Newsletter AMS Rochester 2017 day of our conference the city’s professional Groups this year, bringing their number to theater company, Geva Theater, will present thirteen. continued from page  the world premiere of The Agitators: The Story Dance. The AMS Dance takes place Friday 10 North America. The program is entitled “Si- of Susan B. Anthony and Frederick Douglass. November at the Radisson Hotel, Riverview gismund’s Cathedral” and includes solo organ Written by Mat Smart, the play tells of the Ballroom (9 p.m. to midnight; see p. 20). works on the Craighead-Saunders organ, a forty-five-year “enduring but tempestuous” Players are again warmly invited! stunning copy of the best-preserved late Ba- friendship between the two. Tours of Musicological Interest. Two spe- cial tours showcasing some of the riches of roque organ in Northern Europe. The second The Program. Inclusivity—above all, topics the Eastman School of Music will be offered event celebrates George Eastman’s contribu- devoted to gender, diversity, and race—will free of charge to conference participants. On tions to the motion picture industry with a be front and center at our eighty-third An- Thursday,9 November, before the start of the showing of the newly restored silent block- nual Meeting. Women’s studies are especial- first session, there will be a special open house buster A Fool There Was (1915), starring Theda ly prominent with seven sessions, ranging at the Sibley Music Library, the largest aca- Bara. Philip Carli has been commissioned to from “Antebellum Women” to “Composing demic music library in North America. De- compose a new score to accompany the res- While Female.” Four sessions will focus on tails about the holdings of the Ruth T. Wata- toration, and the United States premiere of race: “Racializing,” “Race, Transnationalism, nabe Special Collections Department can be the restored film with musical accompani- and Central European Art Music in the Jim found below (p. 4). The second tour will take ment will take place on Eastman’s estate, the Crow Era,” “Voicing Blackness, from Re- place on Saturday morning and highlights George Eastman Museum. construction to the Era of Black Lives Mat- Rochester’s enviable collection of pipe organs. Other performances of note include two ter,” and “Re-Migrant and Returning Musi- Each stop on the tour will be accompanied concerts (Thursday and Saturday night) by cal Diasporas in Post-Totalitarian Context.” by brief demonstrations at each instrument the Rochester Philharmonic Orchestra. Ward The overarching theme of music and politics by faculty and students in Eastman’s Depart- Stare conducts at the Kodak Hall at East- threads its way through six sessions that con- ment of Organ, Sacred Music, and Historical man Theater, the city’s foremost performance sider “Back in the U.S.S.R.,” “Postwar Col- Keyboards. Transportation will be provided. space. The RPO will play Beethoven’s Piano laborations,” “US Radio Practices in Early 5 Ancillary Meetings and Receptions. Orga- Concerto No. (the “Emperor”) with guest Cold War Asia,” “Music, Politics, and Place,” pianist Olga Kern, and different arrange- nizations with ties to the AMS continue to World War II,” and “Teaching Democratic participate enthusiastically. The seventh In- ments of Mussorgsky’s iconic Pictures at an Principles.” Mindful that this year marks the Exhibition, including that of Ravel. AMS ternational New Beethoven Research Con- five hundredth anniversary of Martin Luther’s ference takes place immediately prior to the member Emily Frey will deliver pre-concert Ninety-Five Theses, sessions are included that remarks with Director Stare for the Thursday meeting (8 and 9 November); This now-regu- consider religious reform, spirituality, “Refor- lar gathering is joined this year by pre-confer- performance. mation,” and “Music in the Long Protestant I would be remiss not to mention a perfor- ences sponsored by the History of Music The- Reformations.” mance of a different sort that will take place ory Study Group (see p. 31) and the Franco- New this year will be two seminar sessions during the annual meeting in Rochester— phone Music Criticism Network (see p. 27). in which papers will not be read aloud, but one that celebrates the city’s unusually strong Other participating organizations include the circulated beforehand and discussion taking position at the forefront of social justice in the American Bach Society, the American Brahms place at the meeting. Topics to be addressed United States. Frederick Douglass spent al- Society, the American Handel Society, Early are “New Intellectual Histories of Music” most half of his life in Rochester speaking out Music America, the Haydn Society of North and “The Rubble Arts: Music after the Urban against slavery, and Susan B. Anthony like- America, the Mozart Society of America, the Catastrophe.” wise fought for women’s suffrage in the city. North American British Music Studies Asso- As always, the program committee has Both towering figures are buried in Roches- ciation, the Society for Christian Scholarship worked hard to include the full range of mu- ter’s historic Mount Hope Cemetery. On each in Music, the Society for Eighteenth-Century sicological scholarship. Topics range from Music, and the Society for Seventeenth-Cen- “Late Medieval Musical Meanings” to “Elec- tury Music. Additionally, a large array of re- tronic Organologies,” “Jews and Judenthum” ceptions and parties will take place over the to “Masculinity and its Discontents,” and weekend. “Chant and Liturgy” to “Lateness.” A session Interviews. A limited number of rooms at each is devoted to Rossini, Anton Rubin- the conference hotel will be available for job stein, David Tudor, and “Mendelssohn and interviews during the meeting. To reserve a the Lied.” Interdisciplinarity makes a strong room, please consult the web site or contact showing with sessions devoted to “Glamo(u)r the AMS office. Job candidates can sign up on TV,” “Controlling Time,” “Cross-Cultural via the web or (if spots are still available) at Encounters,” and “Things are People Too.” the interview desk in the hotel. AMS policy Evening panels in Rochester will take up a prohibits interviews in private rooms without variety of topical concerns, including “Music appropriate sitting areas. and the Discourses of Liberalism” “Electoral Registration. Conference registration fees: Echoes and Musical Reverberations,” and Early (until 5 p.m. ET 30 September): $105 “Confronting the Public in Public Musicol- ($45, student/retired); Regular (by 6 Novem- ogy,” and many sessions sponsored by AMS ber): $135 ($75, student/retired); Late/Onsite: Study Groups and committees. Two new $155 ($85 student/retired). AMS members Study Groups, Music and Media and His- National Susan B. Anthony Museum & House tory of Music Theory, join the ranks of Study continued on page  August 2017  Coral/RILM Endowment AMS Quilt Raffle Receives Major Funding The AMS Name Quilt, created by the AMS Feminist Quilting Judy Tsou (Head, Music Library; Affiliate Professor of Music History Quartet (Annegret Fauser, Lydia Hamessley, Honey Meconi, and at the University of Washington) has made a leadership gift of $10,000 Mary Natvig), will be displayed and raffled at the Rochester An- to support the AMS Lenore Coral/RILM Fund. nual Meeting. The90 " x 72" quilt consists of 134 blocks, each The AMS Lenore Coral/RILM Fund was established through a be- bearing the name of a donor or an individual the donor wished quest by Lenore Coral (1939–2005), a distinguished musicologist and to honor. Names include those of composers from Hildegard of long-time director of the Sidney Cox Library of Music and Dance at Bingen to Libby Larsen, authors and editors of classic texts in Cornell University, to support the US-RILM office at Cornell. This feminist music scholarship, every female AMS president, every office, overseen by Bonna J. Boettcher, is responsible for submitting chair of the Committee on Women and Gender/Committee on abstracts for publications by scholars in the United States to the inter- the Status of Women back to Jane Bernstein, and many other national RILM office (www.rilm.org). Tsou’s contribution recognizes individuals. Sponsorship of blocks on the quilt raised the money the importance of RILM for music scholarship. Jessie Ann Owens to endow the new annual AMS Lecture on Women and Gender, (UC Davis) and Jane Gottlieb (Juilliard School) spearheaded a com- and all raffle proceeds will contribute to the endowment. Tickets plementary effort to strengthen the Coral/RILM endowment. An ad- for this historical artifact are $10 apiece and can be purchased ditional $20,000 has been raised, increasing the Lenore Coral/RILM online at www.ams-net.org/quilt, via the Annual Meeting regis- Fund overall from roughly $45,000 to $75,000. tration form, and at the exhibits in Rochester. The raffle will take For more information about Lenore Coral and the Coral/RILM place after the lecture, about 11:45 a.m. Saturday 11 November. Fund, see www.ams-net.org/endowments/coral.php. Can’t fit a quilt into your carry-on bag? The AMS will ship it to —Jessie Ann Owens your home. Not a quilt lover? Consider donating it to the AMS AMS Delegate, US-RILM Governing Board Office if you are the winner. —Honey Meconi AMS Rochester 2017 continued from page  receive a conference registration form via U.S. mail; a PDF version, as well as online registration, is available at the web site after 1 August. Tours of The Sibley Music Library at Eastman Child Care. The AMS offers a networking service and financial sup- port for conference attendees who need child care. The AMS will sub- The Sibley Music Library, one of the great resources of the Eastman sidize fifty percent of the child care expenses incurred by registered at- School of Music, is the largest academic music library in North Amer- tendees, up to a maximum amount of $200. Information about avail- ica. Moreover, through extensive digitization the Sibley collections able onsite child care and how to apply for reimbursement is available serve scholars and performers worldwide. Conference attendees are at the web site. welcome to visit the Library at any time: see www.esm.rochester.edu/ Scheduling. Please contact the AMS office to reserve rooms for private sibley. parties, receptions, or reunions. Space is limited, so please communi- Of particular interest may be the holdings of Sibley’s Ruth T. Wata- cate your needs as soon as possible. The Rochester meeting web site nabe Special Collections Department, which will hold a special open provides further information. house for attendees on Thursday, 9 November from noon to 1:30 p.m. Student Assistants. The AMS again seeks students to help during the Founded in 1904 as a public library “for the use of all music-lovers conference in return for free registration and $11 per hour (six hours in Rochester,” the collection provided scores for amateurs wishing to minimum). If this is of interest, please see the web site or contact the make music in their homes. As George Eastman and University of AMS office. Please regularly check the Rochester web site for addition- Rochester President Rush Rhees began to work toward adding a pro- al opportunities and updates as the conference approaches (ams-net. fessional music school to the University, the library was reconceived org/rochester). See you in Rochester! for a new role. Entire collections, such as that of Oscar Sonneck, were —Michael Alan Anderson purchased in order to provide greater depth and breadth in support Local Arrangements Chair of university-level instruction, study, and performance. Similarly, the first Sibley Librarian, Barbara Duncan, made regular trips to European sales and auctions during the late 1920s and early 1930s, thus putting in place the core of our rich Special Collections holdings. In the years prior to widespread facsimile publishing, and now digitization, Sibley’s extensive holdings of theoretical treatises, early printed works, and chamber music supported music scholarship and performance both within the Eastman School and on a national and even global basis. The Special Collections of the Sibley Music Library continue to expand, now primarily through archival collections more than rare books and scores (recently acquired archival collections in- clude, for example, the personal libraries of the jazz pianist Marian Credit: Erik Fleischer McPartland, and the founder of the Eastman Wind Ensemble, Fred- erick Fennell). If you wish to consult materials in depth during your time in Rochester, please contact our Special Collections Librarian David Peter Coppen ([email protected]) to make an ap- pointment for research consultation. Rochester’s Lower Falls —Daniel Zager  AMS Newsletter Elaine Sisman to Deliver Plenary Lecture in Rochester The AMS President’s Endowed Plenary Lec- reopens the issues arising from Haydn’s pow- her department and the Society of Fellows in ture will be delivered at 5:30 p.m. on Thurs- erfully expressive but diversely titled Andante the Humanities, receiving the Great Teacher day, 9 November, immediately preceding the with Variations in F minor (1793), called both Award and the award for Distinguished Ser- traditional opening reception. Elaine Sisman ‘Sonate’ and ‘Un piccolo divertimento’ by the vice to the Core Curriculum. Sisman’s nu- will present “Working Titles, Sticky Notes, composer and ‘almost a free Fantasy’ by its merous publications include the recent ar- 1799 Red Threads.” Sisman describes her talk as first reviewer ( ). Newly identified threads ticles “Haydn’s Solar Poetics: The Tageszeiten follows: connect the work as an Symphonies and Enlightenment Knowledge” “I have found the titles exemplar of Haydn’s late in JAMS and “Music and the Labyrinth of that composers bestow style to Müller’s Kunstgal- Melancholy” in the Oxford Handbook of Mu- or that their composi- erie in Vienna with its me- sic and Disability Studies. tions acquire an irresist- chanical music by Mozart, Some influential ible stimulus to research. to Burney’s social circle older studies include “Small and Expanded Because musical titles, and the didactic poetry Forms” (Einstein Award, 1983), “Haydn’s score inscriptions, and of the London scene, to Theater Symphonies” (1990), Haydn and the genres themselves are by Beethoven’s funeral­ march- Classical Variation (1993), Mozart: The ‘Jupiter’ no means transparent to es, ‘Moonlight’ sonata, and Symphony (1993), “Pathos and the Pathétique” the work, they have always Pastoral Symphony, as (1994), “Variations” (New Grove), “Memory been contested terrain for well as to Schubert’s late and Invention at the Threshold of Beethoven’s studying meaning and re- Elaine Sisman music and beyond. What Late Style” (2000), and “The Marriages of ception: philosopher Arnold Berleant even emerges, I propose, might be termed ‘thick Don Giovanni” (2006). In addition to serv- argues that ‘Instead of titles telling us what the inscription.’” ing as Vice President (2001–02) and President music means, the music tells us what the titles Elaine Sisman studied piano and modern of the AMS (2005–06), Sisman has chaired mean.’ The sometimes entertainingly nasty dance at the Juilliard School’s pre-college divi- the Kinkeldey Award Committee, had an in- contributions to the field of ‘title theory’ from sion, studied with Malcolm Bilson and James strumental role in the OPUS campaign, and the eighteenth century (e.g. Diderot, Lessing, Webster at Cornell (B.A. 1972), and in 1978 served as AMS delegate to the ACLS. The So- D’Israeli) to the present (e.g. Adorno, Hol- became the first woman to receive the PhD ciety elected her to Honorary Membership in lander, Levinson, Ferry, Yeazell) have yielded in music history from Princeton, working 2011 highly divergent results not entirely explained with Kenneth Levy, Harry Powers, and Lewis . A member of the Joseph Haydn-Insti- by differences in the forms of art, while recent Lockwood. After five years of teaching at the tut, Cologne, and the Akademie für Mozart- title-inflected studies in music (e.g. Cypess, University of Michigan, she came to Co- forschung, Salzburg, she was elected a Fellow Brittan, Ossi) have uncovered an extraordi- lumbia, where she is now the Anne Parsons of the American Academy of Arts & Sciences nary range of desires and practices. This talk Bender Professor of Music. She has chaired in 2014.

Inaugural AMS Women and Gender Endowed Lecture: Susan McClary The inaugural AMS Women and Gender En- in ways that simulated experiences related to drawing on examples from artists such as Kai- dowed Lecture will be given at the Annual gender. My timing was bad: Judith Butler’s ja Saariaho, Beyoncé, Kate Soper, and Jlin.” Meeting on Saturday, 11 November 2017, by Gender Trouble had just alerted everyone to McClary’s research focuses on the cultural Susan McClary, Professor of Music at Case the dangers of essentialism, and scholars as criticism of music. Her books include Femi- Western Reserve Univer- well as musicians—still nine Endings: Music, Gender, and Sexuality; sity and Distinguished marginalized and battling Georges Bizet: Carmen; Conventional Wisdom: Professor Emerita, UCLA. imperatives to sound la- The Content of Musical Form; Modal Subjec- The lecture will be fol- dylike—quickly put the tivities: Self-Fashioning in the Italian Madri- lowed by responses from kibosh on that line of gal; Reading Music: Selected Essays; Desire and Ruth Solie (Professor inquiry. Pleasure in Seventeenth-Century Music; and Emerita, Smith College), “Today’s scene, however, Structures of Feeling in Seventeenth-Century Ellie Hisama (Professor of features women who win Cultural Expression. McClary received a Mac­ Music, Columbia Univer- Grammy Awards, have sity) and Jacqueline War- their work performed at Arthur Foundation “Genius” Fellowship in wick (Associate Professor the Metropolitan Opera, 1995, and her work has been translated into of Music, Dalhousie Uni- and receive star billing in some twenty languages. She is now complet- versity). The lecture, en- New Yorker articles. They ing a book titled The Passions of Peter Sellars: titled “Da Capo: Women garner this attention in The Staging of Music Drama. Representing Women in Susan McClary part because they choose AMS members who wish to nominate the Music,” is described by McClary as follows: to foreground gender, thereby widening the speaker for the 2018 AMS Lecture on Women “Some years ago, I stirred up a hornet’s nest range of structures of feeling that might be and Gender should do so at www.ams-net. by suggesting that women composers might shared through the medium of music. In this org/committees/cwg/ by 15 October 2017. consider shaping their musical procedures talk, I will return unrepentant to this topic, —Honey Meconi August 2017  AMS / Library of Congress Lecture Series The next AMS/Library of Congress Lecture to provide musical works that reacted to the the work’s dual function as a tool for raising will take place in Washington D.C., in the li- event, transmitted Zionist messages, and Jewish consciousness and as an exercise in brary’s Madison Building, Montpelier Room sought to raise money for the victims. entertaining, domestic music. Shapiro’s Mas- at 7 p.m. on Thursday, 24 October 2017. “Herman Shapiro composed his Kishineff sacre also may have served as a model for later Randall Goldberg (Youngstown State Uni- Massacre for solo piano (1904) to bring the musical descriptions of the pogrom, includ- versity) will present “The horrors of the pogrom into ing an enigmatic orchestral work recorded by Kishineff Massacre and Do- the living rooms of Jewish the International Concert Orchestra (1924).” mestic Musical Practice in families. The work borrows Randall Goldberg is associate professor of America.” heavily from solo piano Musicology and Director of the Dana School Goldberg describes his ‘battle pieces,’ which were of Music at Youngstown State University. His lecture as follows: “The popular in America dur- current research focuses on the music of Jew- Kishineff (Chişinău) Po- ing and after the Civil War. ish immigrants in America, and he has pre- grom is one of many events Not relying on journalistic sented on this topic at public and academic memorialized in Judaism’s accounts, Shapiro incorpo- forums, including the Conference on Jewish tragic past. Although the rates stock material from Music and Jewish Identity, which he hosted number of casualties does battle pieces. Contrasting in Youngstown in 2014. He has published in not compare with other po- with the attack music and Musica Judaica, Journal of Jewish Identities, groms, the massacre had a Randall Goldberg bugle calls of the ‘battle’ and Notes. In addition to Jewish musical stud- great influence on Jewish activism, even for tradition, Shapiro’s foregrounding of stereo- ies, Goldberg is a contributor to C. P. E. Bach: those who had already immigrated to Amer- typically Jewish musical gestures and his em- The Complete Works and The Oxford Diction- ica. Furthermore, Jewish artists were quick phasis on the plight of the victims highlight ary of the Middle Ages.

AMS / Rock and Roll Hall of Fame and Museum Lecture Series The next AMS/Rock and Roll Hall of Fame these events shaped the lyrical context of late tended the sacred-secular interchange in black and Museum Lecture will take place in the sixties/early seventies black popular music. I popular music. More importantly, they uti- library and archives of the RRHOFM, Cleve- argue that the privileging of black male mu- lized the black religious practices of ‘sermon- land, Ohio, 19 October 2017. Tammy L. sicians has narrowed our sonic awareness of izing’ and ‘testifying’ to transfer knowledge as Kernodle (Miami University of Ohio) will how blackness and the themes of resistance well as create the context of a communal or present “Hope for a New Tomorrow: Tran- and transcendence were framed in popular shared experience between performer and lis- scendence and Resistance in the Gospel Blues music during this period. Brown and Stone tener. This discussion illuminates how black of Nina Simone, Aretha situated their expressions of women musicians created sonic contexts Franklin, Mavis Staples sonic blackness in the genre through which listeners could interpret, con- and Roberta Flack.” Ker- of funk, which was scripted textualize, and transcend the violence of the nodle describes her lecture as ‘masculine,’ ‘transgres- late 1960s and early 1970s.” as follows: “Nina Simone, sive,’ and ‘black.’ However, Tammy L. Kernodle, a specialist in African Aretha Franklin, Mavis Simone, Franklin, Flack, American music and gender studies in music, and Staples advanced a dif- Staples, and Roberta Flack is professor of musicology at Miami Univer- emerged in the late 1960s ferent type of sonic black- sity (Ohio). Her teaching and research has as voices that used musi- ness that was a synthesis focused on many different genres of African cal performances to medi- of black sacred music, jazz, American music and has appeared in a number ate audiences through one and blues. It too was trans- of anthologies and journals, including Journal of America’s most chaotic gressive in sound and at of the Society for American Music, Black Mu- and violent periods. Songs Tammy L. Kernodle times antithetical to public sic Research Journal American Studies Jour- such as Mavis Staples’ ‘I’ll Take You There’ use of the term ‘soul.’ , and Aretha Franklin’s ‘Bridge Over Troubled “Through an analysis of Nina Simone’s ‘I nal, U.S. Catholic Historian, and Musical Water’ served as the intermediary between Wish I Knew How It Would Feel to Be Free,’ Quarterly. Her book Soul on Soul: The Life the warring political ideologies of non-vio- Aretha Franklin’s ‘Bridge Over Troubled Wa- and Music of Mary Lou Williams is the most lence, Black Nationalism, and black militan- ters,’ Mavis Staples’s ‘I’ll Take You There,’ and current full-length biography on the jazz pia- cy. They also channeled the pain generated Roberta Flack’s ‘Trying Times,’ this presenta- nist/arranger. In 2011 she served as co-editor by the assassinations of Martin Luther King, tion will explore how these performances in- of the three-volume Encyclopedia of African Jr. and Robert Kennedy, the destruction of terweaved ideologies associated with the civil American Music (ABC-CLIO), which is the urban cities through riots, and the violence rights campaigns of the 1960s (e.g. equality, first work of this genre to address all forms associated with the anti-war movement (e.g. self-empowerment, black nationalism) and of African American music from 1619 un- Kent State, Jackson State). Music scholarship the experiences of black women in America til 2010. She also served as senior editor in from this period has privileged the voices of to expand the musical and sociological con- the area of African American music for the black male musicians, most notably James text of black popular music. The ‘gospel blues’ revision of New Grove Dictionary of American Brown and Sly Stone, as examples of how aesthetic advanced in these performances ex- Music (2013).  AMS Newsletter ACLS Establishes McClary-Walser Fellowship The American Council of Learned Soci­eties will support both emerging and established has established the Susan McClary and Rob- researchers as they conduct the most promis- ert Walser Fellowship in Music Studies, made ing and innovative scholarship in music stud- possible by a $1.6 million gift, partly a bequest ies for generations to come. and partly an outright contribution. McClary The fellowship will be awarded annually to and Walser are longtime members of the scholars who apply through the central ACLS ACLS community, and McClary served on Fellowship program and is intended as sal- the Board of Directors for ten years, includ- ing a term as chair from 2003 to 2006. ary replacement to help scholars devote six to The ACLS will begin naming McClary- twelve months to teaching and writing. For Robert Walser and Susan McClary Walser/ACLS Fellows in 2018. The fellowship more information, see www.acls.org.

The Spring 2017 AMS/LC Lecture Was a First ACLS Annual Meeting 2017 The AMS/Library of Congress Lecture last spring featured Christina The annual meeting of the American Council of Learned Societies was Bashford, William Brooks, Gayle Sherwood Magee, Laurie Matheson, held in Baltimore, 11–13 May. Representatives of seventy-six societies Justin Vickers, and Geoffrey Duce in a program titled “Johnnies, Tom- gathered to hear talks and panels as well as to participate in an after- mies, and Sammies: Music and the WWI Alliance.” The format was noon of breakout sessions. In addition to AMS representation from a first for the series: an interweaving of speech, live performances of Bob Judd and myself, several music scholars were present, including song, contemporary recordings, film, and visual images. With Bash- Elaine Sisman (American Academy of Arts and Sciences), Susan Weiss ford, Magee, and Brooks representing their countries of origin (Brit- (Renaissance Society of America), Sandra Graham (SAM), Gregory ain, Canada, and the U.S.), the narrative considered how each country Barz (SEM), and Severine Neff (SMT). $20 used music to express responses to the conflict, as well as to forge the President Pauline Yu proudly announced that because of the million in grants that it awards, the ACLS is the largest single source idea of the Anglophone transatlantic allies. The vocal music, sung by of funding in the humanities. She also, with obvious pleasure, revealed Matheson and Vickers with pianist Duce, included several rarely per- the most dramatic news of the meeting: a new $1.6 million endow- formed numbers, among them Jack Frost and James White’s “Neutral- ment to establish the Susan McClary and Robert Walser Fellowship in ity Rag” and Frank Tours’s remarkable setting of “In Flanders Fields.” Music Studies (see above). To close the presentation, the speakers documented significant events Panels and speakers repeatedly emphasized ways in which human- in the decades after the war from the British, Canadian, and American istic studies were engaged socially and politically, beginning with the perspectives; this was followed by Charles Ives’s November 2, 1920, a opening panel moderated by Rosemary Feal, in which John DeGioia, musical-poetic commentary on the result of the 1920 U.S. election president, Georgetown University; Denise Griffin Johnson, cultural and the retreat from progressive thinking, performed as a duet (in an agent, US Department of Arts and Culture; and Nicole King, chair arrangement by Brooks). Audience feedback afterwards was very posi- of American Studies and director of the Orser Center for the Study of tive, suggesting that the treatment of the topic and the nature of the Place, Community, and Culture, at the University of Maryland, Bal- presentation had made an effective and informative contribution to timore County, discussed how Baltimore has engaged in community the growing field of public musicology. partnerships and how Georgetown has confronted the issues of its his- toric ties to slaveholders. As much as the discussion of community and Spring 2018 Lectures justice, I enjoyed the way in which the annual meeting highlighted a local theme with local voices and wondered if AMS programming AMS/LC Lecture: Daniel M. Callahan (Boston College), “Bernstein could find a way to do something similar. Conducting Himself” I enjoyed most the Friday morning panel, “Emerging Themes and Methods: Discussion with ACLS Fellows.” Three recent recipients of AMS/RRHOFM Lecture: Joshua S. Duchan (Wayne State ACLS fellowships spoke on their disparate work, vividly demonstrat- University),“Billy Joel and the American Musical Landscape” ing the impact of ACLS funding. Again I wondered if this was not a model for how we could showcase and celebrate recipients of AHJ Further details will be published at the web site and in the February AMS 50 funding. A panel that brought together AHJ AMS 50 win- 2018 AMS Newsletter. ners to talk about their work would be more meaningful than the Interested in presenting a lecture at one of the AMS series? Informa- customary handshake at our business meeting. For additional details, tion on how to apply is available at the respective web sites, where visit www.acls.org/about/annual_meeting/. webcasts of all past lectures may also be found. —Christopher Reynolds

What I Do in Musicology Are you a musicologist who is working in a nonacademic environment? We’d like to hear your story! If you are interested in contributing to the AMS Newsletter column “What I Do in Musicology,” please contact AMS Newsletter editor James Parsons ([email protected]). For previous columns, see www.ams-net.org/WhatIDo.

August 2017  Awards, Prizes, and Honors on her dissertation, “Richard Wagner’s Polit- ical Ecology” and Qingfan Jiang (Columbia AMS Awards and Prizes 2017 The inaugural grant from the H. Robert University) for research on her dissertation, Cohen Fund for research based on “Toward a Global Enlightenment: Mission- Three doctoral candidates in musicology the musical press was awarded to Oren aries, Musical Knowledge, and the Making Alvin H. Johnson AMS 50 Dis- received Vinogradov (University of North Carolina at of Encyclopedias in Eighteenth-Century sertation Fellowship Awards 2017 18 for – : Chapel Hill) for research on his dissertation, France and China.” Jacek Blaszkiewicz (Eastman School of Mu- “Theorizing Program Music: Schumann, sic, University of Rochester), “City Myths: Liszt, and Wagner as Critic-Composers.” Other Awards, Prizes, and Honors Music and Urbanism in Second-Empire Robert Michael Anderson Paris”; Peter Graff (Case Western Reserve Grants from the William Holmes/Frank (University of North Texas) received an Ernst Mach Grant University), “Music, Entertainment, and D’Accone Endowment for travel and re- from the Austrian Federal Ministry of Sci- the Negotiation of Ethnic Identity in Cleve- search in the history of opera were awarded ence, Research and Economy for research land’s Neighborhood Theaters, 1914–1924”; to Paul Abdullah (Case Western Reserve on his dissertation, “‘Ideale Hausmusik’: The and Frederick Reece (Harvard University), University) for research on his dissertation, Aesthetics of Sociability in Brahms’s Vocal “Ringing False: Music Analysis, Forgery, and “Singing Shakespeare on the Continent: Quartets.” the Technologies of Truth.” Aesthetics, Politics, and Cultural Transfer in Romantic Opera” and Megan Steiger- Paul-André Bempechat (Harvard Univer- The Howard Mayer Brown Fellowship is wald (Eastman School of Music, University sity) has been named Chevalier de l’Ordre des presented by the Society to promising mi- of Rochester) for research on her disserta- Arts et des Lettres by the French government. nority graduate students pursuing a doctoral tion, “Bringing Down the House: Situating 2017 18 Christopher Campo-Bowen (University of degree in music. The – fellowship and Mediating Opera in the Twenty-First Nadia Chana North Carolina at Chapel Hill) received a recipients are (University of Century.” Chicago) and Zhuqing (Lester) Hu (Uni- Mellon / Council for European Studies Dis- versity of Chicago). A grant from the Jan LaRue Travel Fund sertation Completion Grant for “‘We Shall was awarded to Joanna Helms (University Remain Faithful’: The Village Mode in Czech M. Elizabeth C. Bartlet Grants from the of North Carolina at Chapel Hill) for re- Opera, 1868–1928.” Fund for research in France were awarded search on her dissertation, “Electronic Mu- to Katie Chapman (Indiana University) The Society for Seventeenth-Century Mu- sic History Through the Everyday: The RAI sic has named Tim Carter (University of for research on her dissertation, “Heresy, Studio di Fonologia (1954–83).” Politics, and the Transmission of Trouba- North Carolina at Chapel Hill) an honor- ary member. dour Song”; Jessica Grimmer (University of A grant from the Harold Powers World Michigan) for research on her dissertation, Travel Fund was awarded to Zhuqing (Les- The Country Music Foundation received a “Provincial Conservatoires under the Vichy ter) Hu (University of Chicago) for research NEH Humanities Collections and Reference Regime and Nazi Occupation”; and Jenni- on his dissertation, “Music and Qing Impe- Resources Grant for its project “Audio Tape fer Walker (University of North Carolina at rial Formations, c. 1680–1820: Negotiating Collection Preservation and Digitization.” Chapel Hill) for research on her dissertation, Historiography and Ethnography.” Sarah J. Eyerly (Florida State University) re- 1900 “The Church on Stage: Music at the ceived an ACLS Collaborative Research Fel- A grant from the Ora Frishberg Salo- Exposition Universelle de Paris and the Reli- lowship for the project “Songs of the Spirit: man Fund for musicological research gious Republic.” The Collaborative Hymnody of the Mohican was awarded to John Kapusta (University Virginia and George Moravian Missions.” A grant from the of California, Berkeley) for research on his Bozarth Fund for musicological research book George Rochberg, Groovy Science, and Jessie Fillerup (University of Richmond) re- in Austria John Gabriel was awarded to the Discourse of “Postmodernism.” ceived a two-year fellowship from the Insti- (Peabody Conservatory at Johns Hopkins tute for Advanced Studies at Aarhus Univer- University) for research on his book The Grants from the Eugene K. Wolf Travel sity (Denmark) for the project “Enchanted: Music Theater of theNeue Sachlichkeit in Fund were awarded to Kirsten Paige (Uni- Music and Conjuring in the Long Nineteenth Weimar Republic Berlin. versity of California, Berkeley) for research Century.”

Jacek Blaszkiewicz Peter Graff Frederick Reece Nadia Chana  AMS Newsletter AMS Chapter Student Awards The following student awards for best paper presented at a chapter meeting were given last academic year. For full details regarding all chapters and their student awards and prizes, see www.ams-net.org/chapters/. Allegheny Woodrow Steinken “From the Depths: The Invented Interiority of Alban Berg’s Lyric Suite” Capital Elizabeth Massey “An American Bach at War” Cody Jones “Composed in the Closet: Ingolf Dahl and A Cycle of Sonnets” Midwest Alyssa Mehnert “‘A Constant Stream of Requests’: McKinney’s Cotton Pickers on the Radio 1927–1931” Devora Geller “Navigating the Jewish Noise Complaint in Yiddish Films of the 1930s” New England Eric Elder “‘Surface and Depth’: Beneath the Reception of Rudolph Reti’s Thematic Process, a Mid-Century Interdisciplinary Theory of Music” New York State- Patrick Nickleson “Inside the Theatre of Eternal Music: Collective Composition, Archives, and the St. Lawrence Historiography of Drones” N. Calif. / Pac. SW Bernard Gordillo “The Raja’s Nicaraguan Dream: Exoticism, Commemoration, and Nostalgia in Luis A. Delgadillo’s Romance Oriental ” Pacific NW Holly Chapman “Approximation and Identity: Appropriation in the Music of George Crumb” South-Central Megan Murph “Sounds of the Junk Yard for Noise Rockers” Southeast Kirsten Santos “Folksong Against the National Grain: Inventing Pan-Scandinavian Identity” Rutschman Southern Warren Kimball “National Identity and the Oratorio in New Orleans, 1836–1861”

Andrew Hicks (Cornell University) has been project “Sounds, Sights, and Silences: Dis- James Owen (University of Georgia) received awarded The Berlin Prize from the American ability in Musical Theater.” the 2017 Newberry Library-AMS Fellowship Academy in Berlin for the project “The Bro- for the project “Singing the Holy Ghost: Anne MacNeil (University of North Caro- ken Harp: Musical Metaphor in Classical Per- Hymn-Singing and Hymn Interpretation at lina at Chapel Hill) received an Andrew W. sian Literature.” Moravian Missions, 1740–1840.” Mellon / National Endowment for the Hu- Thomas Forrest Kelly (Harvard University) manities Digital Publications Fellowship for Jessica Gabriel Peritz (University of Chica- received the honorary doctor of humane let- the project “Italian Songs from the Time of go) has been awarded the Marian and Andrew ters degree from the University of North Car- Christopher Columbus.” Heiskell Pre-Doctoral Rome Prize Fellowship olina at Chapel Hill. in Modern Italian Studies for research on her Alejandro L. Madrid (Cornell University) dissertation, “The Lyric Mode of Voice: Song Edward Klorman (McGill University) re- received the Royal Musical Association’s 2017 and Subjectivity in Italy, 1769–1815.” ceived an Association of American Publishers Dent Medal. PROSE Award (Music and Performing Arts) Dolores Pesce (Washington University in St. Sasha Metcalf (University of California, San- for his book Mozart’s Music of Friends: Social Louis) received the Alan Walker Book Award ta Barbara) received a Mellon / ACLS Public Interplay in the Chamber Works. for Liszt’s Final Decade. Fellowship as Program Analyst for Education Kendra Preston Leonard (Silent Film Sound and Community Engagement at the Brook- Andrea Recek (University of North Texas) re- and Music Archive) received the 2017 Ru- lyn Academy of Music. ceived a Mellon / Council for European Stud- dolph Ganz Long-Term Fellowship from the ies Dissertation Completion Grant for “Con- The Museum of the City of New York was Newberry Library for the project “Female structing Identity Through Liturgy: Music for awarded a NEH Humanities Collections and Musicians in the American Silent Cinema.” the Saints in Medieval Aquitaine.” Reference Resources Grant for the project James Leve (Northern Arizona University) “Discovering the Yankee Doodle Boy: Digi- Jesse Rodin (Stanford University) received received a 2017 NEH Summer Stipend for the tization of the Edward B. Marks Music Com- a Guggenheim Fellowship, a Frederick Bur- pany Collection on George M. Cohan.” khardt Residential Fellowship for Recently Tenured Scholars at the Villa I Tatti, Florence Luisa Nardini (University of Texas at Austin) (American Council of Learned Societies), received an ACLS Fellowship for the project and a Harvard University Center for Italian “Liturgical Hypertexts: Prosulas for the Prop- Renaissance Studies postdoctoral fellowship er of the Mass in Beneventan Manuscripts.” (declined) for the project “Giving Form to Northwestern University received a NEH Fifteenth-Century Music.” Humanities Collections and Reference Re- John A. Romey (Case Western Reserve Uni- sources Grant for “The Digital Berkeley Folk versity) received a Mellon / ACLS Disserta- Music Festival Collection.” tion Completion Fellowship for “Popular Kate van Orden (Harvard University) re- Song, Opera Parody, and the Construction of ceived a Stanford Humanities Center Fellow- Parisian Spectacle, 1648–1713.” ship for the project “Songs in Unexpected Zhuqing (Lester) Hu Places.” continued on page  August 2017  Awards, Prizes, and Honors bring it into conformity with NYNPCL. continued from page  The Society’s By-laws Changes: Redux Those changes are presented below: Natasha M. Roule (Harvard University) received a Mellon / ACLS Dissertation The AMS has determined that its process ARTICLE XII: AMENDMENTS. Completion Fellowship for “Reviving Lully: for amending the Society’s by-laws does not conform to New York Not-for-Profit Amendments to these By-Laws may be Opera and the Negotiation of Absolutism in proposed to by the Board of Directors, by the French Provinces, 1685–1750.” She also Corporation Law (NYNPCL). The Soci- ety is required to hold a physical public a Constitutional Committee, by the an- received the Irene Alm Memorial Prize from nual business meeting of members, by the the Society for Seventeenth-Century Music meeting at which a formal vote is to be taken; paper or electronic voting on by- Council, or by a petition of fifty or more for the paper “Who’s Judging Whom? Civic members. Amendments thus proposed Identity, Royal Praise, and a Newly Found laws amendments is not permitted (NYN- PCL §602b). shall be made known to the membership Libretto from the Académie de Musique of through one of the Society’s publications Marseille.” Since the Society has acted in good faith in its more recent by-laws amendment or by other means at least six weeks be- Peter Schmelz (Arizona State University) procedures, and since the changes have fore the next annual business meeting; received the Berlin Prize from the American been overwhelmingly approved by the and they shall be placed on the agenda of Academy in Berlin for a book-length study membership, the Society has been pro- the annual business meeting or a plenary that considers unofficial networks of musical fessionally advised that it may allow the session at the same annual meeting for exchange during the Cold War between Rus- present by-laws to stand. However, for the discussion and possible revision consider- sia, Ukraine, and West Germany. changes currently under consideration (all ation. Two-thirds of the ballots cast in a ballot submitted to the entire membership Stephen Shoemaker (University of Oregon) members may vote in Council elections; shall be required for the acceptance of an received a NEH Summer Stipend for the Council Secretary to have voting privi- amendment. The ballot shall state whether project “A Translation of the First Christian leges at Board meetings; see the August the amendment has the endorsement of Hymnal: The Songs of the Ancient Jerusalem 2016 AMS Newsletter, p. 6), for which an the Board of Directors. Church.” electronic ballot was sent to members in February 2017, the Society must conform 608 Richard Taruskin (University of California, to New York law. Accordingly, a meeting NYNPCL stipulates elsewhere (§ ; 609 613 Berkeley) has been named the 2017 Kyoto of the membership will take place at the § ; § ) that Prize Laureate (Arts and Philosophy: Music). Rochester Annual Meeting. • a meeting’s quorum may be set at ten percent of the membership (per AMS Kristen Turner (North Carolina State Uni- In addition to the proposed by-laws By-Laws, IX.A.3) versity) received a NEH Summer Stipend for changes that were published in August • the affirmative votes cast must be at the project “Opera on the American Popular 2016, the by-laws “Amendments” clause least equal to the quorum Stage, 1890–1915.” (Article XII) must itself be amended to • voting by proxy is permitted. The University of Illinois, at Urbana- Champaign received a NEH Digging into Data Grant for the project “Analyzing Large- AMS Board Workshop on Cultural tance of empathy and openness in the ongo- Scale Data for Patterns in Jazz.” Difference and Conflict Resolution ing process of building a diverse, inclusive, and welcoming Society—a process to which At their Spring meeting members of the AMS the Board is fully committed. A bibliography Board participated in a workshop focusing on of resources on Unconscious Bias may be methods of approaching and resolving situa- found on the AMS web site: www.ams-net. Guidelines for Announcements of tions of conflict surrounding cultural diver- org/committees/cre/unconsciousbias.php. sity. The workshop was guided by Autumn —Georgia Cowart Awards and Honors Fiester, Executive Director of the Program Awards and honors given by the Soci- in Clinical Conflict Resolution and a faculty Recent Board Actions ety are announced in the Newsletter. In member in the Department of Medical Ethics 2017 addition, the editor makes every effort and Health Policy at the University of Penn- At their Spring meeting, the Board of Directors approved the following: to announce widely publicized awards. sylvania. As preparation for the workshop • the cessation of paper production of the Other announcements come from indi- our members read Blindspot: Hidden Biases of AMS Directory (paper copies can be sup- vidual submissions. The editor does not Good People by Mahzarin R. Banaji and An- 2013 plied to members on request) include awards made by the recipient’s thony G. Greenwald ( ). The workshop itself went beyond uncovering hidden biases • establishing a subcommittee of the Com- home institution or to scholars who are (a valuable and humbling exercise in itself) mittee on Career-Related Issues dedicated not currently members of the Society. to offer ways of communicating across cul- to the concerns of contingent and part- Awards made to graduate student mem- tural divides and disparate value systems in time faculty bers as a result of national or interna- ways that encourage open expression of each • funding to improve and publish more sta- tional competitions are also announced. person’s feelings, thoughts, values, and per- tistics regarding the membership and the The editor is always grateful to individ- spectives. Participants asked hard questions discipline uals who report honors and awards they of themselves and each other and came away • establishing two new study groups: Music have received. with a deeper understanding of the impor- and Media, and History of Music Theory.

 AMS Newsletter AMS ANNUAL MEETING Rochester, 9–12 November 2017 Preliminary Program (as of 26 July 2017) Mobile app available 1 October

Sergio Ospina-Romero (Cornell University), “Itinerant Phonographs and WEDNESDAY 8 November the Pursuit of Musical Novelty: Recording Expeditions through Latin America during the Acoustic Era” 8:00–5:00 New Beethoven Research Conference 2017 Eric Rice (University of Connecticut), “Orlando di Lasso’s Musical Repre- sentations of Black African Slaves in Sixteenth-Century Munich” 9:00–5:00 Critics and Contexts: Music Journalism, the French Press and the Writing of Music International Music Festivals in Interwar Europe: Ques- History, 1789–1914 (see p. 27) tions of Aesthetics, Diplomacy, and Identity 2:00–8:00 Board of Directors Annegret Fauser (University of North Carolina at Chapel Hill), Chair Barbara Kelly (Royal Northern College of Music / Keele University), “Fes- tivals of Contemporary Music in Interwar Paris and London” THURSDAY 9 November Martin Guerpin (Evry-Val d’Essonne University), “Folk Music and Cul- tural Diplomacy: The Political Ambiguities of Nice’s ‘Fêtes des Nations’ 7:30–9:00 Meeting Worker Orientation (1932–1933)” 8:00–12:00 Board of Directors Anaïs Fléchet (University of Versailles-Paris Saclay / Institut Universitaire de France), “‘Creating an atmosphere for world peace’: The First Interna- 8:00–12:00 New Beethoven Research Conference 2017 tional Folk Festival, London, 1935” 9:00–7:00 Registration Philippe Gumplowicz (Evry-Val d’Essonne University-Paris Saclay), “The International Congress of Popular Arts (Prague 1928) and the Politics of 9:00–12:00 Editorial Board of The Works Folklore” of Giuseppe Verdi Mendelssohn and the Lied 9:00–1:00 Critics and Contexts: Music Journalism, Angela Mace Christian (Washington, D.C.), Chair the French Press and the Writing of Music History, 1789–1914 Susan Youens (University of Notre Dame), “‘Time is, Time was, Time is past’: Felix Mendelssohn’s Songs of Travel” 11:00–1:30 Society for Seventeenth-Century Stephen Rodgers (University of Oregon), “Fanny Hensel’s Sechs Lieder op. Music Governing Board 9: A Brother’s Elegy” 11:00–7:00 Speaker Ready Room Harald Krebs (University of Victoria), “Changes of Pace: Expressive Ac- 12:00–2:00 Workshop: Implicit Bias, Cultural celeration and Deceleration in Felix Mendelssohn’s Vocal Rhythms” Humility, and Microaggression Jennifer Ronyak (University of North Texas), “Reassessing Felix Men- delssohn’s Song Aesthetic through the Lens of Religion: The Case of M. K. Gandhi Institute for Nonviolence ‘Entsagung’” University of Rochester Spain 12:00–2:00 Membership and Professional John Koegel (California State University, Fullerton), Chair Development Committee Maria Virginia Acuna (Kwantlen Polytechnic University), “Transvestism 1 00 6 00 : – : Exhibits and Allegory during Times of War: Representations of Cupid and Philip V in the Spanish Zarzuela (ca. 1700)” THURSDAY AFTERNOON SESSIONS—2:00–5:00 Daniel Jordan (University of Cambridge), “Musicology and Folklore in Cross-Cultural Encounters Early Francoist Spain” Samuel Llano (University of Manchester), “Socialism, Sound, and Spaces Danielle Kuntz (Baldwin Wallace University), Chair of Resistance in Madrid: The Orfeón Socialista, 1900–1936” Brian Barone (Boston University), “Atlantic Counterpoint: Sailors, Song, Carlos Ramirez (Cornell University), “Keyboarding Song: the Libro de and Slavery in Early Modern Africa and Europe” Cifra Nueva (1557) and Keyboard Pedagogy in Sixteenth-Century Spain” Ireri Chavez-Barcenas (Princeton University), “Indian Workers and Black Theory and Analysis Slaves as Models for Christian Piety in Christmas Villancicos from Pueb- la in the Early Seventeenth Century” Thomas Christensen (University of Chicago), Chair Sheryl Chow (Princeton University), “Remaking Music Theory: Seven- teenth-Century Speculative Music in China”

August 2017  Craig Comen (University of Virginia), “At the Origins of Music Analysis” Annual Meeting Hotel and Travel Information Lindsey Macchiarella (University of Texas at El Paso), “Skryabin’s Mod- ernism: Process and Style in the Prefatory Action Sketches” The Joseph A. Floreano Riverside Convention Center (123 E. Alexandra Monchick (California State University, Northridge), “The Craft 125 Main Street, Rochester), Hyatt Regency Rochester ( E. Main of Paul Hindemith’s Electronic Compositions” Street), and Radisson Hotel Rochester Riverside (120 E. Main Street) will host this year’s Annual Meeting. The three venues are Things are People Too conveniently located adjacent to each other and connect by a sky- Timothy Cochran (Eastern Connecticut State University), Chair way. The venues have beautiful views overlooking the Genesee Maria Murphy (University of Pennsylvania), “Voicing the Clone: Laurie River. Anderson and Technologies of Reproduction” Both hotels offer standard rooms starting at $149 (plus $20.86 Hayley Fenn (Harvard University), “Highly Strung Vocalities: Marionette tax) per night and include complimentary internet access in all Opera, Sound Technologies, and the Poetics of Synchronization” guest rooms. See below for information on the various room up- grades available at each hotel. Using the conference room blocks Timothy Coombes (University of Oxford), “Feeling Thinghood through Debussy’s Toys” at these hotels helps us meet our contractual obligations and keeps you close to all conference activities. Jeff Warren (Quest University), “On the ‘Instrumental’: Music, Bodies, and Objects” Hyatt Regency Rochester. Rates for attendees are $149.00 (plus $20.86 tax) per night for one or two adults, and $174.00 (+$24.36 Voice tax) for three or four adults. Executive Kings ($159+$22.26 tax), Deirdre Loughridge (Northeastern University), Chair Riverview Kings ($179+$25.06 tax), and one bedroom suites ($299+$41.86 tax) are also available. Melanie Gudesblatt (University of California, Berkeley), “Giving Soul to a Radisson Hotel Rochester Riverside. Rates for attendees are Music Box: Character and Voice in fin-de-siècle Vienna” $149.00 (plus $20.86 tax) per night for one to four adults. Club Ellen Lockhart (University of Toronto), “Voice Boxes” access is available for an additional $40 per night. One-bedroom Sean M. Parr (Saint Anselm College), “Giovanni Sbriglia’s Belt, Stau- suites ($399+$55.86 tax) and two-bedroom suites ($599+$83.86 prinzip, and the Wagnerian Voice” tax) are also available. J. Griffith Rollefson (University College Cork, National University of Ire- Reservations for either hotel may be made online through the land), “‘Soul Craft’: Bad Brains, H.R.’s Throat, and the Instrumentaliza- meeting web site, or by telephone: Radisson (800) 333-3333; Hyatt tion of Human Resources” (585) 546-1234. Be sure to ask for the “American Musicological Society room block”. Conference rates are valid Tuesday, 7 No- THURSDAY AFTERNOON SESSIONS—2:00–3:30 vember through Tuesday, 14 November, subject to availability. Antebellum Women Air Travel. Greater Rochester International Airport (ROC) is served by Air Canada, Allegiant Air, American Airlines, Delta, Elizabeth Morgan (Saint Joseph’s University), Chair JetBlue, Southwest, and United Airlines. The airport is located Bonny Miller (Bethesda, Md.), “From Russia to Paris via New York: An approximately five miles southwest of the Riverside Convention Antebellum Fantasia” Center. Candace Bailey (North Carolina Central University), “Performing Paris in The Hyatt and Radisson Hotels both offer complimentary Antebellum Charleston: Music as Cultural Capital” shuttles to/from the ROC airport. The Hyatt’s shuttle is available French Religious Reform 6 a.m.–11 p.m. Call upon arrival to request pick-up. The Radis- son’s shuttle runs every 30 minutes. Taxis from the airport take Jacqueline Waeber (Duke University), Chair about fifteen minutes and cost $19 to $25 (plus tip). Ride sharing Benedikt Leßmann (Universität Wien), “The Cathedral’s Voice: Alfred companies such as Uber and Lyft are expected to begin operating Bruneau’s Le Rêve and the French Reception of Gregorian Chant” in Rochester in July 2017. Maria Josefa Velasco (University of Chicago), “Restoring Religious Prac- Trains and Buses. Service to Rochester is available by Amtrak, tice and Musical Devotion in Southwest France, 1800–1830” Greyhound, and Trailways of New York bus service. The Amtrak Reformation Repertories station is located at 320 Central Ave. and the bus station is lo- cated at 186 Cumberland St. The train and bus stations are 0.6 Gregory Johnston (University of Toronto), Chair miles north of the Convention Center and hotels. The Hyatt and Mary E. Frandsen (University of Notre Dame), “Sacred Music in the Lu- Radisson both offer free shuttle service to/from the train and bus theran Marketplace, ca. 1600–1670” stations. Call upon arrival to request pick-up. Alanna Ropchock (Shenandoah University), “To the Glory of Whom? Driving directions and parking. An area map and links to Josquin’s Missa de Beata Virgine and Its Gloria in Catholic and Lutheran detailed driving directions are available at the Hotel and Travel Ritual Contexts” Information web page. Self-service parking is available at two Sexual Expression as Freedom in Carl Orff’s Trionfo di nearby garages. The South Avenue Garage adjoins the Hyatt and Afrodite and Die Bernauerin Convention Center with rates of $13 per day. The Radisson’s at- tached parking garage also offers self-service parking at $15 per Elizabeth L. Keathley (University of North Carolina at Greens- day. Both garages offer unlimited in/out privileges. boro), Chair Additional information. TheHotel and Travel Information Kirsten Yri (Wilfrid Laurier University), “Empty Ceremonies and Impas- page found at the AMS web site (www.ams-net.org/rochester/ sioned Desires in Orff’s Trionfo di Afrodite” travel-info.php) provides additional travel information. Andrew S. Kohler (University of Michigan), “Martyred for Love and Free- dom: Sexual Repression and Tyranny in Carl Orff’s Die Bernauerin”  AMS Newsletter THURSDAY AFTERNOON SESSIONS—3:30–5:00 THURSDAY EARLY EVENING SMALL MEETINGS French Parody 4:15–5:15 Development Committee 7:00–8:00 Journal of Seventeenth-Century Christina Fuhrmann (Baldwin Wallace University), Chair Music Editorial Board John Romey (Case Western Reserve University), “Parody Chaconnes as Subversive Discourse at the Comédie-Italienne” Richard Sherr (Smith College), “Two Revues de Fin d’Année at the Théàtre THURSDAY EVENING SESSIONS—8:00–11:00 des Variétés during the Second Empire: Ohé! les p’tits agneaux! (1857) and 1858 As-tu vu la comète, mon gas? ( )” Confronting the Public in Public Musicology From Motown to Hip Hop Amanda Sewell (Interlochen Public Radio), Organizer Vincent Benitez (Pennsylvania State University), Chair Naomi Barrettara (Metropolitan Opera Guild), William Gibbons (Texas John Covach (University of Rochester / Eastman School of Music), “It’s a Christian University), Allison Portnow-Lathrop (Ackland Art Museum) Man’s World? The Supremes in 1964” Defining Russia Musically Today Daphne Carr (New York University), “Woop! Woop!: Listening to the Po- licing of Black Life through Hip Hop” Peter Schmelz (Arizona State University), Chair Modern Spiritualities Margarita Mazo (Ohio State University), Respondent Christopher Scheer (Utah State University), Chair Pauline Fairclough (University of Bristol), Marina Frolova-Walker (Uni- versity of Cambridge), Olga Manulkina (St. Petersburg University), Abigail Shupe (Colorado State University), “‘Drift off to Sleep’: The Sonic Klára Móricz (Amherst College), Simon Morrison (Princeton Universi- Uncanny and Death in Crumb’s ‘Beautiful Dreamer’” ty), Svetlana Savenko (Moscow Conservatory), Elena Dubinets (Seattle Sarah Provost (University of North Florida), “Spirituality and Jazz Histori- Symphony) ography in Mary Lou Williams’s Classroom Presentations” A Dialogue on Current Directions in Ecomusciology Seminar: New Intellectual Histories of Music Sponsored by the AMS Ecomusicology Study Group Tomas McAuley (University of Cambridge) and David Trippett (University of Cambridge), Conveners Jessica A. Schwartz (University of California, Los Angeles), Chair Alexander Wilfing (Austrian Academy of Sciences), “Constructing Antag- Kerry Brunson (University of California, Los Angeles) and Jacob onists: Eduard Hanslick, Heinrich Schenker, and the ‘New Musicology’” A. Cohen (Macaulay Honors College, CUNY), Respondents Alexandra Kieffer (Rice University), “Hearing Modernism: Entanglements Aaron S. Allen (University of North Carolina at Greensboro), Eric Drott of Intellectual History and Reception History” (University of Texas at Austin), James Rhys Edwards (SINUS-Institut, Michael Puri (University of Virginia), “The Rise of the Humanimal: From Berlin), Mark Pedelty (University of Minnesota), Denise Von Glahn Schumann to Ravel, via Barthes” (Florida State University) Jeremy Coleman (University of Aberdeen), “Musical Discourse and the Intersectionality Topics Production of Ideology” Sponsored by the Popular Music Study Group THURSDAY EARLY EVENING SESSIONS Albin Zak (University at Albany, SUNY), Chair Stephan Pennington (Tufts University), invited speaker 5:30–6:30 AMS President’s Endowed Plenary Lecture Samuel Dwinell (University of Akron), “Queer Outta Compton: Hip Elaine Sisman (Columbia University), “Working Titles, Sticky Hop Historiography and the Cultural Politics of Homovisibility” Notes, Red Threads” John Klaess (Yale University), “Listening for the Nation of Islam in Early 7:00–9:00 Diversity through the Pipeline Hip Hop” Jillian Fisher (University of California, Santa Barbara), “‘They Start the Sponsored by the Committee on Cultural Diversity, Committee War and We Paid the Dues:’ Heavy Metal and Traumatic Coping During on Women and Gender, and Pedagogy Study Group the Iraq War” Remi Chiu (Loyola University Maryland) and Erika Honisch Laura Nash (Fairfield University) and Andrew Virdin (Fairfield Univer- (Stony Brook University), Coordinators sity), “From New York to Chicago and Back Again: The Influence of the Blues and Gospel on Hip Hop: Pebblee Poo, Sha-Rock, and Roxanne Suhnne Ahn (Peabody Institute, Johns Hopkins University), Charles Car- Shanté” son (University of Texas at Austin), Annegret Fauser (University of North Carolina at Chapel Hill), Michael Figueroa (University of North Carolina Jewish Studies, Music, and Biography at Chapel Hill), Jessica Holmes (University of California, Los Angeles), Zhuqing (Lester) Hu (University of Chicago), Travis A. Jackson (Univer- Sponsored by the AMS Jewish Studies and Music Study Group sity of Chicago), Alejandro L. Madrid (Cornell University), John Spilker Amy Beal (University of California, Santa Cruz), Chair (Nebraska Wesleyan University) Howard Pollack (University of Houston), David Josephson (Brown Uni- versity), Evan Rapport (New School), Ralph Locke (Eastman School of THURSDAY EARLY EVENING OPEN MEETING Music, University of Rochester), Amy Lynn Wlodarski (Dickinson Col- 5:10–5:30 Committee on Career-Related Issues lege), Lily E. Hirsch (California State University, Bakersfield) Conference Buddy Meet-Up Mozart Society of America Study Session

August 2017  Music, Disability, and Intersectionality Thirty Years Forward: The Past, Present, and Future of Sponsored by the Music and Disability Study Goup Film Music Scholarship Samantha Bassler (New York University and Rutgers University Joan Titus (University of North Carolina at Greensboro), Chair at Newark) and Jessica Holmes (University of California, Los James Buhler (University of Texas at Austin), Krin Gabbard (Stony Brook Angeles), Co-chairs University), Daniel Goldmark (Case Western Reserve University), Julie William Cheng (Dartmouth College), Respondent Hubbert (University of South Carolina), Frank Lehman (Tufts Univer- sity), Neil Lerner (Davidson College), Martin Marks (Massachusetts In- Steven Moon (University of Pittsburgh), “The Deep Velvet of Your stitute of Technology), Jeff Smith (University of Wisconsin-Madison), Mother” Robynn Stilwell (Georgetown University) Pamela H. Pilch (Westminster Choir College of Rider University), “Libby Larsen’s ‘Five Days’: A Maternal Accommodation Narrative” THURSDAY EVENING PERFORMANCES Beth Keyes (Graduate Center, CUNY), “‘Miss Misery’ and the Mythos of Authenticity: Intersections of Whiteness, Masculinity, and Depression in 7:30 Rochester Philharmonic Orchestra the Singer-Songwriter Tradition” Beethoven, “Emperor” Concerto; Mussorgsky, Pictures at an Exhibition John Bagnato (University of Pittsburgh), “Blindness, Race Records, and Ward Stare, conductor, Olga Kern, piano Cultural Memory” Eastman Theatre, Kodak Hall New Spanish Music Studies: Challenges in Early Modern 6:30 Pre-concert remarks by Emily Frey (Swarthmore College) and Historiography Conductor Stare Sponsored by the Ibero-American Music Study Group 8:00 Eastman’s Musica Nova Ensemble Susan B. Thomas (University of Georgia), Chair Eastman School of Music, Kilbourn Hall Ireri Chavez-Barcenas (Princeton University), “Rediscovering the New 7:30 The Agitators World: Narratives of New Spanish Music in the Seventeenth Century” The Story of Susan B. Anthony and Frederick Douglass John Swadley (Universidad de Guanajuato), “Women’s Voices: Gender Geva Theater Center Confrontation in Eighteenth-Century Puebla” Andrew A. Cashner (University of Rochester), “Musical Texts as a Source THURSDAY EVENING RECEPTIONS for Understanding Racial Attitudes in New Spain” 6:00–8:00 Opening Reception Jesús Ramos-Kittrell (University of Connecticut), “Music, Knowledge, and Difference: Racial Dimensions of Modern Music in New Spain” 9:30–11:00 Student Reception Playful Identities Sponsored by the Ludomusicology Study Group Sarah Teetsel (University at Buffalo, SUNY), Chair FRIDAY 10 November Kate Galloway (Wesleyan University), “Playing and Performing Digital 8:30–6:00 Registration & Speaker Ready Room Naturalism: The Ludic Video Game Soundscape and Composing Spatial Identity in Proteus and Flower” 8:30–6:00 Exhibits Kate Rogers (Case Western Reserve University), “‘He’s Hooked, He’s 7:00–8:00 Yoga Flow with Samantha Bassler Hooked, His Brain is Cooked’: Technomasculine Display in Video Game Novelty Songs of the Early 1980s” 7:00–8:45 Chapter Officers Brent Ferguson (University of Kansas) and T. J. Laws-Nicola (Texas State 7:00–8:45 Committee on Career-Related Issues University), “Pipe Organ in the Japanese Video Game as Antagonization 7:00–8:45 Communications Committee of the West” 7 00 8 45 Rancière : – : Committee on the History of the Society 7:00–9:00 Committee on Technology Sponsored by the Music and Philosophy Study Group 7:30–8:45 Alvin H. Johnson AMS 50 Dissertation Jairo Moreno (University of Pennsylvania), Chair Fellowship Committee Delia Casadei (University of California, Berkeley), “Ignorant Readers” 7:30–8:45 Graduate Education Committee Patrick Nickleson (Mount Allison University), “The Low Music” Katharina Clausius (University of Cambridge), “Triangulating Rancière” 7:30–8:45 Program Committees for the 2017 Benjamin Court (University of California, Los Angeles), “Music’s and 2018 Annual Meetings Singularity” 7:30–8:45 Student Representatives to Council 7:30–9:00 American Brahms Society Board of Directors 7:30–9:00 BACH: Journal of the Riemenschneider Bach Institute Board Meeting

 AMS Newsletter Alexander Rothe (Columbia University), “On the Bildungsroman in FRIDAY MORNING SESSIONS—9:00–12:00 George Lewis’s Afterword ” Lisa Cooper Vest (University of Southern California), “The Devil Made Composing while Female Her Do It: Penderecki’s The Devils of Loudun (1968–9) and the Crisis of Alexandra Amati-Camperi (University of San Francisco), Chair the Subject” Janet Page (University of Memphis), “Musical Authorship in Female Com- The Other Within: Confluences of Exoticism and Indi- munities: The Case of Maria Anna von Raschenau and Vienna, ca.1700 ” genism in Early Twentieth-Century Latin America Tonia Passwater (Graduate Center, CUNY), “Contesting Ideologies of Leonora Saavedra (University of California, Riverside), Chair Womanhood: The Great Depression and the Reception of American Women Modernists” Daniel Castro Pantoja (University of California, Riverside), “From Euro- Julie Pedneault-Deslauriers (University of Ottawa), “Clara Wieck- philia to Indigenismo: Uribe Holguín’s Bochica and the Construction of Schumann and the Piano Romance in the Early Nineteenth Century” an Indigenous Imaginary in Colombian Art Music” Elizabeth Weinfield (Graduate Center, CUNY), “Leonora Duarte (1610– Juan Velásquez Ospina (University of Pittsburgh), “Music, Noise, and 1903 1950 1678): Converso Composer in Antwerp” Space: Music and Urbanization in Colombia, – ” Alejandro García Sudo (University of California, Los Angeles), “‘What Late Medieval Musical Meanings Talent Mayans Have!’: Pre-Columbian Invocations and Primitive Self- Laurenz Lütteken (University of Zürich), Chair Fashioning at Mexico City’s Pan-American Chamber Music Festival (1937)” Rachel McNellis (Case Western Reserve University), “Notating the Bernard Gordillo Brockmann (University of California, Riverside), “The Sounding Spheres: Baude Cordier’s Tout par compas as Diagram, Image, Raja’s Nicaraguan Dream: Exoticism, Commemoration, and Nostalgia in and Transformative Space” Luis A. Delgadillo’s Romance Oriental ” Jamie Reuland (Princeton University), “Form and Matter in the Long Trecento: Salimbene, Dante, da Firenze” Pauline Oliveros and Meredith Monk Jennifer Saltzstein (University of Oklahoma), “From the Meadows to the Leta Miller (University of California, Santa Cruz), Chair Streets: Encountering Landscape in Medieval Song and the Motet” Kate Doyle (Case Western Reserve University), “Radical Intelligence: Emily Zazulia (University of California, Berkeley), “Out of Propor- Consciousness and Communication in Pauline Oliveros’s Sonic Medita- tion: Nuper rosarum flores, Cathedralism, and the Danger of False tions (1974) and Meredith Monk’s Dolmen Music (1979)” Exceptionalism” Ryan Ebright (Bowling Green State University), “Scoring the Body: Mer- Listening edith Monk’s Atlas as Operatic Work” Gurminder Bhogal (Wellesley College), Chair Theodore Gordon (University of Chicago), “Excavating Pauline Oliveros’s ‘Expanded Instrument System’” Davinia Caddy (University of Auckland), “Making Moves in Reception Kerry O’Brien (Yale University), “Pauline Oliveros’s Sonic Meditations and Studies: Models of Sensory-Perceptual Experience on the belle-époque Experimentalisms of the Self” Stage” James Deaville (Carleton College), “The Well-Tempered Listener: Man- Playing and Dancing ners, Music, and Class in the Domestic-Public Sphere of the Nineteenth Rebecca Cypess (Rutgers University), Chair Century” Anne Holzmueller (Musikwissenschaftliches Seminar, Freiburg), “Musical Lynette Bowring (Rutgers University), “Chirographic Cultures of the Immersion in the Late Eighteenth Century” Sixteenth-Century Instrumentalist: Orality, Literacy, and Compositional Consciousness” Feng-Shu Lee (Tunghai University), “Discrediting Sight: Visual Percep- tion and Romantic Music” Rebecca Harris-Warrick (Cornell University) with Hubert Hazebroucq (Les Corps Eloquents), “Surprises from the Suitcases: Dance Music from Music and War Eighteenth-Century Grotteschi” Michelle Meinhart (Durham University), Chair Ana Lombardia (Instituto Complutense de Ciencias Musicales, Madrid), “Matching Melodies and Poetry: Popular Songs and Dances in the Earli- Peter Graff (Case Western Reserve University), “Staging Dual Patriotism: est Spanish Violin Manuscript (Salamanca, 1659)” Cleveland’s German-Language Theater and the Great War” Mark Rodgers (Yale University), “Replicating the Romanesca” Kelsey McGinnis (University of Iowa), “‘Americanism is to be plugged!’: Music, POW Reeducation, and the United States’s ‘Intellectual Diversion Politics, Performance, and Style in Jazz Program’ during World War II” David Ake (University of Miami), Chair Julie VanGyzen (University of Pittsburgh), “Music for Liberté: Musical 2017 Mobilization in Nazi-Occupied Paris 1940–1944” Vilde Aaslid (University of Rhode Island), “Speaking Truth to : Jazz and the Poetry of Black Lives Matter” Kimberly White (Université de Montréal) and Kathleen Hulley (Québec City, Québec), “Singing the Nation: Amiati, Bordas, and the chanson Jonathan Gomez (Michigan State University), “This is Their Music: The patriotique of the Café-Concert” Politics of Blackness in Postwar Jazz Styles” Darren Mueller (Eastman School of Music, University of Rochester), “At Opera and Subjectivity the Margins of Music: Miles Davis, Sound Reproduction, and the Art- Nina Sun Eidsheim (University of California, Los Angeles), Chair istry of Mistakes” Justin Williams (University of Bristol), “Stylistic Adaptation and the ‘Pro- Carmel Raz (Columbia University), “Operatic Fantasies in Early gressive’ in 1970s Jazz-Rock” Nineteenth-Century Psychiatry” Knar Abrahamyan (Yale University), “‘Nosological’ Investigations of the Postmodern Grotesque” August 2017  Teaching Democratic Principles James Gabrillo (University of Cambridge), “Constructing the Philippine Lowbrow: The Musical Variety Program Eat Bulaga! ” David Blake (SUNY Potsdam), Chair Dani Osterman (University of Rochester), “Disentangling the Sound of Robert Adlington (University of Huddersfield), “What Kind of Democrat Modern China: The Reappropriation of the Guqin in Hero” Was Elliott Carter?” Benjamin Court (University of California, Los Angeles), “Teaching Musi- 12:15–1:45 Navigating the Tenure Process cal Democracy: Cornelius Cardew’s Pedagogical Hierarchy and the Poli- Sponsored by Committee on Career-Related Issues tics of Musical Knowledge” Jessie Fillerup (University of Richmond) and Sarah Fuchs Samp- Naomi Graber (University of Georgia), “Of the People, For the People: son (Syracuse University), Moderators Kurt Weill, Olin Downes, and the Democratization of Opera” Kevin Salfen (University of the Incarnate Word), “Britten’s Classroom: Gurminder Bhogal (Wellesley College), Amanda Eubanks Music Rhetoric as Pedagogy in Postwar Britain” Winkler, (Syracuse University), Jessie Ann Owens (University of California, Davis), and Andrew Granade (University of Missouri– FRIDAY MORNING SESSION—9:00–10:30 Kansas City) Western Art Music and China: A Chapter in Global 12:15–1:45 Victoria Bond’s Mrs. President: Celebrating Music History One Hundred Years of Women’s Suffrage in Rochester Gavin Lee (Soochow University), Chair Sponsored by AMS Committee on the Annual Meeting Nancy Yunhwa Rao (Rutgers University), Respondent Denise Von Glahn (Florida State University), Convener Victoria Bond, Composer/conductor Hong Ding (Chinese University of Hong Kong), Deng Jia (Soochow Uni- versity), Zhu Huanqing (Soochow University) Susan McClary (Case Western Reserve University), McKenna Milici (Florida State University) FRIDAY MORNING SESSION—10:30–12:00 The Familiar and the Exotic FRIDAY NOONTIME RECEPTIONS AND OPEN MEETINGS Ralph Locke (Eastman School of Music, University of Rochester), Chair 12:00–1:30 AMS Committee on Cultural Diversity Reception For Southern Travel Grant Recipients, Associates, and W. Anthony Sheppard (Williams College), “Exotic Models in Glass” Alliance Representatives Matthew Richardson (University of Wisconsin-Madison), “Familiarizing the Foreign: Images of European Instruments in Japanese Yokohama-e 12:15–1:15 Alvin H. Johnson AMS 50 Fellowship Forum 1860 Prints, ca. ” 12:15–1:45 Pedagogy Study Group Business Meeting FRIDAY NOONTIME SESSIONS 12:15–1:45 Popular Music Study Group Business Meeting 12:00–2:00 Breaking Barriers for Music Research 12:15–1:15 Music and Disability Study Group in the Twenty-First Century: MGG Online and Business Meeting RILM’s Newest Reference Resources 12:15–1:45 Society for Seventeenth‑Century Music Laurenz Lütteken (MGG Online), Barbara Dobbs Mackenzie (Editor-in- Chief), Tina Frühauf (Associate Executive Editor), and Georg Burgstaller Business Meeting (Editor), Répertoire International de Littérature Musicale, Barry S. Brook 12:30–1:30 Cold War and Music Study Group Center for Music Research and Documentation, Graduate Center, CUNY Brown Bag Open Lunch 12:15–1:15 The Dissertation and Your Job Sponsored by the Graduate Education Committee FRIDAY NOONTIME & AFTERNOON Berthold Hoeckner (University of Chicago), Chair SMALL MEETINGS Daniel DiCenso (College of the Holy Cross), Alex Ludwig (Berklee Col- 12:00–2:00 A-R Online Music Anthology lege of Music), Raina Polivka (University of California Press), Rachel Van- Board Meeting (by invitation) dagriff (San Francisco Conservatory of Music), Reba Wissner (Montclair 12:00–2:00 Mozart Society of America Board State University) 12:15–1:45 JAMS Editorial Board 12:15–1:45 Musical Transitions and Reclamations Sponsored by the Music and Media Study Group 3:30–5:00 AMS/MLA Joint RISM Committee Kendra Preston Leonard (The Silent Film Sound & Music Ar- chive), Dana M. Plank (The Ohio State University), and Jessica FRIDAY AFTERNOON CONCERTS Getman (University of Michigan), Co-chairs 12:30–1:30 Recital: “Uncovering Two Lost Virtuoso Fan- Paula Bishop (Bridgewater State University), “Performing the Perfor- tasias by Joseph Joachim” (Eastman School of Music) mance: From Country Music Radio to Rock ’n’ Roll Television in the Early Career of the Everly Brothers” Katharina Uhde (Valparaiso University), violin R. Larry Todd (Duke University), piano  AMS Newsletter 2:00–3:00 Lecture-Recital: “The Proleptic Cosmonaut: Yves Balmer (Conservatoire national supérieur de musique et de danse de Toward Reconstructing Scriabin’s Music, Mysticism, and Paris), “Listening in Görlitz: The Quartet for the End of Time in Context” Russian Identity” (Eastman School of Music) Thomas Lacôte (Conservatoire national supérieur de musique et de danse de Paris), “Sound Without Text? Reenacting Messiaen’s Registrations” Becky Lu (Cornell University), piano Christopher Dingle (Birmingham Conservatoire), “Middle-Aged Style: On Messiaen, Edward Said, and Lateness” FRIDAY AFTERNOON SESSIONS—2:00–5:00 Music, Politics, and Place Avant Garde and New Music Andrea F. Bohlman (University of North Carolina at Chapel William Robin (University of Maryland, College Park), Chair Hill), Chair Brett Boutwell (Louisiana State University), “Keller’s Zak, Duchamp’s Benjamin Doleac (University of California, Los Angeles), “Taking It to the Mutt, and the Art of the Ruse” Streets: Music and Resistance in Post-Katrina New Orleans” Kirsten L. Speyer Carithers (Ohio State University), “Realization, Transla- Austin Richey (Eastman School of Music, University of Rochester), “Black tion, Performance: Interpretive Labor in Stockhausen’s Plus Minus” Atlantic Dialogues: Detroit, Zimbabwe, and Performative Cultures in the Michael Palmese (Louisiana State University), “John Adams and the New Global South” Avant-garde, 1971–72” Marianna Ritchey (University of Massachusetts, Amherst), “Selling Ian Power (University of Baltimore), “The New Musical Imaginary: De- Drones with Beethoven’s Fifth: Neoliberalism, Corporate Marketing, and scription as Distraction in Contemporary Classical Music” Classical Music in the U.S.” Criticism and Discourse Marian Wilson Kimber (University of Iowa), “Women Composers at the White House: Phyllis Fergus and the Concerts of the National League of Jennifer Shaw (University of Adelaide), Chair American Pen Women” Kristin Franseen (McGill University), “Edward Prime-Stevenson’s Queer Musical Forensics Repertory” Jacquelyn Sholes (Boston University), Chair Ken Prouty (Michigan State University), “‘Not for Morons Only: Paul Eduard Miller and the Rise of the ‘Serious’ Jazz Writer’” Mark Davidson (Bob Dylan Archive, University of Tulsa), “Silk, Rayon, Joshua Navon (Columbia University), “The Leipzig Conservatory and the and ‘That Late 70s Feel’: The ‘Blurred Lines’ Copyright Infringement Pedagogical Production of Werktreue” Case and the Ethics of Forensic Musicology” Lindsay Wright (University of Chicago), “‘A New Species of Musical Ge- Barbara Milewski (Swarthmore College) and Bret Werb (United States nius’: Blind Tom, Black Musicality, and Discourses of Talent” Holocaust Memorial Museum), “Chopin’s ‘Little Jew’” Frederick Reece (Harvard University), “Schubert’s ‘Untrue’ Symphony: Early Modern Women Fragments, Forensics, Forgery” Linda Austern (Northwestern University), Chair Shaena Weitz (New York, N.Y.), “Plagiarism and the Napoleonic K. Dawn Grapes (Colorado State University), “For Death of Her: An Potpourri” Early English Remembrance through Song” Opera Productions Sigrid Harris (University of Queensland), “Dangerous Beauty: Stories of Kristi Brown-Montesano (Colburn Conservatory of Music), Singing Women in Early Modern Italy” Chair Laurie Stras (University of Southampton), “Preserving Repertoire, Pre- serving Practice: The Musical Heart of a Mid-Sixteenth-Century Floren- David Gutkin (Peabody Institute, Johns Hopkins University), “Universal tine Convent” History, Posthistory, and Globality in Robert Wilson’s the CIVIL warS” Miriam Tripaldi (University of Chicago), “Seeking Independence: The Ca- Juliana Pistorius (University of Oxford), “Resistance through Complicity: reer Adventures of Maria Rosa Coccia, First Female Maestra di Cappella, Opera and Race in Apartheid South Africa” from Rome to Saint Petersburg” Laura Protano-Biggs (Peabody Institute, Johns Hopkins University), “En- Intellectual Roots Reviewed closed in the ‘golfo mistico’: the Orchestra Pit at the Teatro alla Scala, 1907” James Currie (University at Buffalo, SUNY), Chair Megan Steigerwald (Eastman School of Music, University of Rochester), Annie Yen-Ling Liu (Soochow University) and Blake Stevens (College of “Opera as Verb: Liveness and Labor in Alternative Opera” Charleston), “Silence and Shapelessness in the Acousmatic Experience: Poster Session Signs of Taoism in Chinese Electroacoustic Music” Vivian Luong (University of Michigan), “Philosophies of the Body in Fem- Nico Schüler (Texas State University), “Jacob J. Sawyer (1856–1885): Redis- inine Endings: The Feminist Roots of Music Theory’s Embodied Turn” covering a Pioneer of Black Minstrel Music” Benjamin McBrayer (University of Pittsburgh), “Musicology as Mysteriol- Alexander Ludwig (Berklee College of Music), “‘The Rhythm of Life is a ogy: Jankélévitch and Brelet in Post-World War II France” Powerful Beat’: Following Fosse’s Musical, Physical and Visual Rhythms” Miriam Piilonen (Northwestern University), “Charles Darwin vs. Herbert Molly Cryderman-Weber (Central Michigan University), “Cultural Musi- Spencer: Reinterpreting a Historic Debate About the Evolutionary Ori- cal Codes in Baby-Boomer Era Social Guidance Films” gins of Music” Sound Strategies in Film Messiaen Research in Light of the Composer’s Archive Kendra Preston Leonard (Silent Film Sound & Music Archive), Andrew Shenton (Boston University), Chair Chair Christopher Brent Murray (Université Libre de Bruxelles), “On the Emer- Richard Brown (Warner/Chappell Music, Inc.), “Sound Art or Sound De- gence of Messiaen’s Musical Language” sign? Ontology and Copyright in the Contemporary Filmic Soundscape” August 2017  Berthold Hoeckner (University of Chicago), “Remembering Atticus, Re- Mary Natvig (Bowling Green State University), “Choosing the Right membering Boo: Racial Subtexts in Elmer Bernstein’s Music for To Kill Textbook” a Mockingbird” 5:30–6:30 Amherst Early Music Festival Matthew McDonald (Northeastern University), “Stop Playing It, Sam: Musical Interruption in Film” Singing from Renaissance Notation with Valerie Horst Mary Simonson (Colgate University), “Giving Voice: Stage Prologues and 5:30–7:00 Perspectives on Critical Race Theory and Music Interludes in American Silent Cinema” Sponsored by the Planning Committee on Race, Ethnicity, and Whither “the Cold War” in Music Studies Today? the Profession Sponsored by the Cold War and Music Study Group George E. Lewis (Columbia University) and Judy Tsou (Univer- Nicholas Tochka (University of Melbourne), Chair and Respon- sity of Washington), Co-chairs dent Cheryl I. Harris (University of California, Los Angeles), “The Sound and the Fury: From Colorblindness to White Nationalism” Masha Kowell (Loyola Marymount University), Ian MacMillen (Oberlin College), Marysol Quevedo (University of Miami), Peter Schmelz (Ari- William Cheng (Dartmouth College) and Alisha Lola Jones (Indiana Uni- zona State University), Anne Searcy (University of Miami), Kira Thur- versity, Respondents man (University of Michigan), Rachel Tollett (City Colleges of Chicago / 6:30–7:45 When Extra-Curricular Activities Northwestern University) Are Anything But: “Work-Life Balance” in Performance-Centered Disciplines FRIDAY AFTERNOON SESSION—2:00–3:30 Sponsored by Committee on Career-Related Issues Rethinking the Conductus Shawn Keener (A-R Editions) and Susan Key (Chapman University and Thomas B. Payne (College of William and Mary), Chair Pacific Symphony), Moderators Nigel Maister (University of Rochester International Theatre Program), Mary Channen Caldwell (University of Pennsylvania), “Seeking Song: Lo- Steven Rozenski (University of Rochester), Nathan Bakkum (Dean, cating the Conductus between Orality and Literacy” School of Fine and Performing Arts at Columbia College Chicago) Mark Everist (University of Southampton), “Anonymous IV and the Conductus” FRIDAY EARLY EVENING OPEN MEETINGS

FRIDAY AFTERNOON SESSION—3:30–5:00 5:00–7:00 Ecocriticism Study Group Business Meeting Fifteenth-Century Finds 5:00–7:00 Music and Philosophy Study Group Joseph Sargent (University of Montevallo), Chair Business Meeting Paul Kolb (University of Salzburg), “Gaspar van Weerbeke and Mass 7:30–8:00 Music and Dance Study Group Business Composition ca. 1500: Implications of a New Mass” Meeting Robert Nosow (Jacksonville, N.C.), “Hobrecht and His Singers: The Mu- sical Economy of a Flemish Church” FRIDAY EARLY EVENING SMALL MEETING

FRIDAY EARLY EVENING SESSIONS 5:00–6:30 Journal of Musicology Board

5:15–6:30 Pedagogical Approaches, Strategies, FRIDAY EVENING SESSIONS—8:00–11:00 and Engagement in the Twenty-First Century General Education Music History Classroom “...but we can use new music to fix that problem” Sponsored by Committee on Career-Related Issues Andrea Moore (Smith College), Moderator Naomi Perley (RILM) and Reba Wissner (Montclair State Uni- versity), Moderators Judith Lochhead (Stony Brook University), Tiffany Kuo (Mt. San Anto- nio College), John Pippen (Colorado State University), Marianna Ritchey Kristen Turner (North Carolina State University), “More Than Just a Test: (University of Massachusetts, Amherst), Kenneth Ueno (University of The Quiz as a Pedagogical Tool” California, Berkeley) Reba Wissner (Montclair State University), “Speaking Their Language: Caring for the Twenty-First-Century Music Student Using Popular Music to Teach the Basics in General Education Music History Courses” (and Professor) Alexander Ludwig (Berklee College of Music), “Large Enrollment? Try Sponsored by the Pedagogy Study Group Twitter” Denise Von Glahn (Florida State University), Chair Devora Geller (Graduate Center, CUNY), “Block Grading in the General Music Classroom” Trudi Wright (Regis University), “Cura personalis: Caring for Ourselves?” Samantha Bassler (New York University and Rutgers University at New- John Spilker (Nebraska Wesleyan University), “Cultivating Resilience ark), “Disability in the General Music Classroom” Through Courage, Compassion, and Connection in the Musicology Classroom” Matthew Baumer (Indiana University of Pennsylvania), “The Live Musical Event Report for Online Intro Courses”

 AMS Newsletter Sara Haefeli (Ithaca College), “From Structure to Agency: Addressing Identity and Otherness in the Curriculum” FRIDAY EVENING PERFORMANCES Instruments, Diagrams, and Notation in the History of 8:00 Sigismund’s Cathedral Music Theory Music by Michael Haydn Sponsored by the History of Music Theory Study Group Perihipsous, Rochester’s period orchestra, Michael Ruhling, conductor With guests Christ Church Schola Cantorum, Brian Shaw, trumpet, Andrew Hicks (Cornell University), Chair and Eastman School of Music organ faculty Lars Christensen (University of Minnesota), “Musical Diagrams as Instru- Christ Church ments of Strategic Simplification in the Northern Song Dynasty” 8:00 Eastman Philharmonia Stephanie Probst (Harvard University), “Following the Lines on Percy A. Elgar, Enigma Variations; Brahms, Piano Concerto no. 1 Scholes’s ‘AudioGraphic’ Piano Rolls” Eastman School of Music, Kodak Hall Jennifer Iverson (University of Chicago), “At the Intersection of Acoustics, Phonetics, and Music: The Mixtur-Trautonium as Boundary Object” 8:00 The Agitators Siavash Sabetrohani (University of Chicago), “The Oud as the Transmitter The Story of Susan B. Anthony and Frederick Douglass of Ancient Greek Music Theory in the Middle East” Geva Theater Center Alexander Bonus (Bard College), “Refashioning Rhythm: Hearing, Act- ing, and Reacting to Metronomic Sound in Nineteenth-Century Obser- FRIDAY EVENING RECEPTIONS vatories, Laboratories, and Beyond” Mapping the Musical City: Geospatial Analysis and 5:00–6:30 Graduate Education Committee Reception Musicology for Prospective Graduate Students Danielle Fosler-Lussier (Ohio State University), Chair 5:00–6:30 Rice University Alumni Reception Todd Decker (Washington University in St. Louis), Respondent 5:00–7:00 University of North Texas Reception Louis Epstein (St. Olaf College), Organizer 5:30–7:30 University of North Carolina at Nicole Vilkner (Arizona State University), Eleanor Cloutier (University of Chapel Hill Alumni Reception Notre Dame), Jonathan Hicks (Newcastle University) 6:00–7:30 W. W. Norton Reception with live music Music and the Discourses of Liberalism 6:00–8:00 Boston University Reception Dana Gooley (Brown University) and Sarah Collins (University of Western Australia / Durham University), Co-chairs 6:00–8:00 Friends of Stony Brook Reception Celia Applegate (Vanderbilt University), Esteban Buch (Ecole des hautes 6:30–8:00 Oxford University Press Reception études en sciences sociales), Jane Fulcher (University of Michigan), Phyllis Weliver (Saint Louis University), Bennett Zon (Durham University) 8:00–11:00 Bienen School of Music, Northwestern University Reception Panel, Keynote, and Roundtable: “Queering Dance Musics” 8:00–11:00 University of Michigan Alumni Reception Sponsored by the Music and Dance Study Group and LGBTQ 9:00–11:00 Eastman School of Music Alumni Reception Study Group 9:00–11:00 Juilliard Party Music and Dance Study Group Panel: “Queering Dance Musics” Samuel Dorf (University of Dayton) and Daniel Callahan (Bos- 9:00–12:00 University of Pittsburgh Reception ton College), Panel Chairs 9:00–12:00 AMS Dance Kyle Kaplan (Northwestern University), “Graham and Cowell at San 9:00–10:00 Remembrance of Philip Gossett Quentin” Lisa Barg (McGill University), “Billy Strayhorn, Queer Collaboration, and 10:00–12:00 University of Chicago Alumni Party Black Dance” Lauron Kehrer (College of William and Mary), “Sissy Style: Gender, Race, 10:00–12:00 Brandeis University Alumni Reception and Sexuality in New Orleans Bounce” 10:00–12:00 Case Western Reserve University Reception Keynote: Clare Croft (University of Michigan), “Learning Queer- ness or ‘I’d Rather be Sitting in the Dark’” 10:00–12:00 Columbia University Department of Music Reception LGBTQ Study Group Roundtable: “Queer Social Dance Sounds, Practices, and Spaces” 10:00–12:00 Florida State University College Stephan Pennington (Tufts University), Moderator of Music Alumni Reception Louis Niebur (University of Nevada, Reno), Sarah Hankins (University of 10:00–12:00 Harvard Music Reception California, San Diego), Tiffany Naiman (Stanford University), Gavin Lee (Soochow University) 10:00–12:00 Society for Christian Scholarship in Music Reception 11:00–1:00 LGBTQ Study Group Party August 2017  7:30–9:00 Society for Eighteenth-Century Music SATURDAY 11 November Board of Directors Meeting 7:30–9:00 Web Library of Seventeenth-Century Music 8:30–5:00 Registration & Speaker Ready Room Editorial Board Meeting

8:30–6:00 Exhibits 7:45–8:45 American Bach Society Editorial Board Meeting 7:00–8:45 Committee on Women and Gender 8:00–8:45 Study Group Chairs 7:00–8:45 Publications Committee 9:00–12:00 Committee on Career-Related Issues, 7:00–8:45 Planning Committee on Race, Ethnicity, Career Bootcamp and the Profession TBA Rochester Pipe Organ Tour 7:00–9:00 A-R Recent Researches Series Editors’ Breakfast Meeting SATURDAY MORNING SESSIONS—9:00 7:00–9:00 Journal of Music History Pedagogy Editorial Board Classic Hollywood 7:30–8:30 RILM Governing Board James Parakilas (Bates College), Chair Gina Bombola (Texas Christian University), “Turning a Prima Donna 7:30–8:45 Committee on Cultural Diversity into a ‘Female Tarzan’: Hollywood, Opera, and Race in Hitting a New 1937 7:30–8:45 Haydn Society of North High ( )” America Board Meeting Jonathan Lee (University of Nevada, Las Vegas), “‘Contrast Conceptions’: (Alex) North and the South” 7:30–9:00 Journal of Musicological Research Anna Nisnevich (Palm Beach Gardens, Fla.), “Classical Music, Cultural Editorial Board Meeting Diplomacy, and Recirculated Affect in MGM’s Song of Russia (1944)” Charles Youmans (Pennsylvania State University), “‘A Fine, Good Place to Be’: Race and Redemption in Max Steiner’s Score for The Searchers The AMS Dance (1956)” The 2017 AMS Dance takes place on Friday 10 November at the Radisson Hotel, Riverview Ballroom (9 p.m. to midnight). We are Early Modern Spiritualities very grateful for the support of the University of Rochester Institute Janette Tilley (Lehman College, CUNY), Chair for Popular Music (IPM) and its director, John Covach. Music will be supplied by a rock band from the IPM. The main purpose of the band, Catherine Gordon (Providence College), “‘The Natural’ in Jean-Joseph Cantiques Spirituels however, is to provide a group that attendees can join for a couple of Surin’s as Reflections of Celestial Harmony” songs. If you are a rock musician, this may be your big break! There is Erika Honisch (Stony Brook University), “Beyond the Pietas Austriaca: no need to bring your own guitar, bass, keyboard, or drum kit, since Marian Music and Local Religious Culture in Early Modern Bohemia” you will borrow one from the band. Melinda Latour (Tufts University), “The Uses of Pleasure: Moral Song Admission is $5, tickets to be purchased in advance (conference reg- Between Ethics and Aesthetics” istration form, AMS web site, or at the registration desk in Rochester). Jonathan Shold (University of Pittsburgh), “Old Testament Patriarchs and Additional details, including instructions for reserving playing time Popular Sublimity in Neapolitan Lenten Sacred Dramas” with the band, will be announced in early September: see www.ams- net.org/rochester. Electronic Organologies Erinn Knyt (University of Massachusetts, Amherst), Chair Kelly Hiser (Pittsburgh, Pa.), “Beyond Noise: Listening to Clara Rock- more’s Theremin Performances to Reshape Electronic Music History” Peter Asimov (University of Cambridge), “‘L’instrument de l’avenir’: Exhib- iting the Ondes Martenot at the 1937 Exposition” Michael M. Kennedy (University of Cincinnati), “The ‘Death’ of Live Musical Theater? ‘Virtual Orchestras’ and the 2003 Broadway Musicians’ Strike” William Mason (Oberlin College), “French Spectralism’s Technological Legacy in DiCastri and Adamcyk’s Phonobellow”

Lateness Edgardo Salinas (The Juilliard School), Chair Tom Beghin (Orpheus Institute / McGill University), “Feeling, Seeing, and Hearing His Broadwood: A Multi-Sensory Approach to Beethoven’s John Covach (left) and friends at the AMS Louisville 2015 Dance Three Last Piano Sonatas”  AMS Newsletter Paul Berry (Yale University), “In Search of Schumann’s Last Musical Zarlino at 500: A Roundtable on Current Scholarship Thought” and Future Directions Joe Davies (University of Oxford), “Grotesquerie in Schubert’s Late In- strumental Works” Cristle Collins Judd (Sarah Lawrence College), Chair Nicholas Emmanuel (University at Buffalo, SUNY), “‘Living Within the Bonnie Blackburn (Wolfson College, Oxford), Respondent Truth’: Formal Expressions of Dissent in Lutosławski’s Late Period” Gregory Barnett (Rice University), Samuel Brannon (Richmond, Va.), Masculinity and Its Discontents Rebecca Edwards (Los Angeles, Calif. / Rome, Italy), Jessie Ann Owens (University of California, Davis), Alexander Rehding (Harvard Univer- Margaret Notley (University of North Texas), Chair sity), Katelijne Schiltz (University of Regensburg) Amanda Hsieh (University of Toronto), “Lyrical Tension and Collective Voices: Masculinities in Alban Berg’s Wozzeck” SATURDAY MORNING SESSIONS—9:00–10:30 David Rugger (Indiana University), “Alfred Deller, the Countertenor Voice, and English Masculinity” American Women’s Voices Douglas Ipson (Southern Utah University), “‘Credo Negativo’: On Jago’s Lisa Barg (McGill University), Chair Heresies in Verdi and Boito’s Otello” Adeline Mueller (Mount Holyoke College), “Caliban Hero” Lydia Hamessley (Hamilton College), “Elizabethan Traces in Appalachia?: How Music Critics (Mis)Understand Dolly Parton’s Songs and Voice” Music and Memory, Oppression and Suppression Stephanie Doktor (University of Utah), “Finding Florence: A Recording Karen Painter (University of Minnesota), Chair of Florence Mills in the Music of Edmund Thornton Jenkins and Wil- liam Grant Still” Marie-Hélène Benoit-Otis (Université de Montréal), “Song, Memory, and Resistance at Ravensbrück: Germaine Tillion’s Le Verfügbar aux Enfers as Women in Contemporary Pop a (Virtual) Musical Work” Sharon Mirchandani (Westminster Choir College of Rider Uni- Gabrielle Cornish (Eastman School of Music, University of Rochester), versity), Chair “Sounding the Gulag: Toward a Sonic History of the Soviet Labor Camps” William Cheng (Dartmouth College), “Indignation, Indifference, or Whatever: A Slacktivist’s Guide to the Diva’s Leaky Voice” Karen Uslin (Rowan University), “Reviewing Music of the Abyss: The Ter- ezin Music Critiques of Viktor Ullmann” Tiffany Naiman (Stanford University), “Selling Sex from Over the Hill: Matthew Vest (University of California, Los Angeles), “Clandestine Com- Madonna, Aging, and the Value of Female Labor in Popular Music” poser: Ernst Bachrich, Musical Legacy, and Nazi suppression” On the Radio SATURDAY MORNING SESSIONS—10:30–12:00 Justin Burton (Rider University), Chair Committee on Women and Gender Endowed Lecture Amy Coddington (Amherst College), “Rap on the Radio: How Hip Hop Honey Meconi (Eastman School of Music, University of Roches- Became Mainstream” ter), Chair Emily Lane (Northwestern University), “Shifting Hues of Blackface: Investigating Racialized Performances in Radio Adaptations of Mass- Susan McClary (Case Western Reserve University), “Da Capo: Mediated Musicals” Women Representing Women in Music” Mili Leitner (University of Chicago), “Separate But Equal? The Palestine Ellie Hisama (Columbia University), Ruth Solie (Smith College), Broadcasting Service and the Musical Racialization of Zionism in Man- Jacqueline Warwick (Dalhousie University), Respondents datory Palestine” Victor Szabo (Hampden-Sydney College), “Tuning into the New Audi- Controlling Time tory Consciousness: Music from the Hearts of Space’s Ambient Archive, Robert Fink (University of California, Los Angeles), Chair 1973–83” Karen Desmond (Brandeis University), “Fourteenth-Century Dots and Re-Migrant and Returning Musical Diasporas in Totali- the Line of Musical Time” tarian and Post-Totalitarian Contexts Landon Morrison (McGill University), “Stumbling onto the Grid: A Margarita Mazo (Ohio State University), Chair Loose History of Rhythm Quantization” Andrea F. Bohlman (University of North Carolina at Chapel Hill), Editing Respondent James Cassaro (University of Pittsburgh), Chair Susan B. Thomas (University of Georgia), “Prodigal Returns: The Repa- Kerry Murphy (University of Melbourne), “Louise Dyer: Lully to triation of Musicians and the Changing Politics of Cuban Citizenship” Couperin” Brigid Cohen (New York University), “Performing Sabotage: George Jennifer DeLapp-Birkett (Aaron Copland Fund for Music), “The Six Basic Maciunas’s German Remigration and the Insider/Outsider Politics of Versions of Appalachian Spring” Fluxus” Laura Jordán González (Universidad de Chile), “Andean Music Paths: The (Electrified) Return of Illapu” Alejandro L. Madrid (Cornell University), “Tania León and the Perfor- mance of Diasporic Subjectivity in Post-Communist Cuba”

August 2017  SATURDAY NOONTIME SESSIONS SATURDAY AFTERNOON CONCERTS 12:15–1:45 Maintaining a Research Agenda 12:30–1:30 Workshop-Demonstration: “Improvised at Teaching-Intensive Institutions Polyphony by Civic Wind Bands in Court” Sponsored by AMS Committee on Career-Related Issues (Eastman School of Music) Keith Clifton (Central Michigan University), Moderator Forgotten Clefs: A Renaissance Wind Band Charles Wines, shawm and recorder, artistic director Samuel Dorf (University of Dayton), Christine Gengaro (Los Angeles City College) Christopher Armijo, recorder; Adam Dillon, sackbut; Sarah Huebsch, shawm and recorder; Kelsey Schilling, shawm and recorder 12:15–1:45 Musicology and Digital 2:00–3:00 Recital: “Singen und Sagen: Praetorius’s Technologies: Access, Sustainability, Education, Polyhymnia Caduceatrix et Panegyrica” and Scholarly Communication A Concert for Hope in a Time of War Sponsored by the AMS Committee on Technology (Christ Church) Margot Fassler (Notre Dame University), Kimberly Francis Stephen Kennedy (Music Director, Christ Church, Rochester), Director (University of Guelph), Mary C. Francis (University of Michigan Editions prepared by Liza Malamut (Boston University) Press), Richard Freedman, Chair (Haverford College), Mark Katz, Christ Church Schola Cantorum and Consort (University of North Carolina at Chapel Hill), David M. Kidger with Students and Faculty from the Eastman School of Music (Oakland University), Debra S. Lacoste (University of Water- loo), Jesse Rodin (Stanford University), Caitlin Schmid (Harvard TBA Mrs. President Open Rehearsal University), James V. Maiello (University of Manitoba), Michael Accinno (University of California, Riverside), Christine Suzanne SATURDAY AFTERNOON SESSIONS—2:00–5:00 Getz (University of Iowa), Wendy Heller (Princeton University), Susan Thomas (University of Georgia) Chant and Liturgy Thomas Forrest Kelly (Harvard University), Chair SATURDAY NOONTIME OPEN MEETINGS Benjamin Brand (University of North Texas), “The Numerical Office as 12:00–2:00 RIPM Lunch Biblical Exegesis: St. Jerome, St. Augustine, and the Matins Antiphons Beatus Stephanus iugi legis” 12:15–12:30 AMS Business Meeting Mitchell Brauner (University of Wisconsin-Milwaukee), “The Papal Cha- pel’s Repertory of Lamentation Lessons before and after the Council of 12:15–1:45 LGBTQ Study Group Open Board Meeting Trent: Some Revisions and Clarifications” Elsa De Luca (NOVA University), “The Neumes of the León Antiphoner: 12 15 1 45 : – : Haydn Society of North America Written and Oral Transmission in Old Hispanic Chant” General Meeting Katherine Steiner (Wycliffe College), “The Lady of St. Andrews: Evidence 12:15–1:45 Music and Dance Study Group Eighteenth- of Lady Mass Cycles in W1” Century Social Dance Workshop Music in the Long Protestant Reformations 12:15–1:15 North American British Music Dianne McMullen (Union College), Chair Studies Association Daniel Trocmé-Latter (University of Cambridge), “‘Thou hast heard the TBA Rochester Lyric Opera desire of the humble’: Psalm Singing in Basel at the Beginning of the Mrs. President, Open Rehearsal Reformation” Samantha Arten (Duke University), “Protestant Advocacy for Musical Lit- eracy: The Whole Booke of Psalmes as Music Textbook and Theory Treatise” SATURDAY NOONTIME & AFTERNOON Joseph Herl (Concordia University, Neb.), “How the Latin Liturgy SMALL MEETINGS Formed Sixteenth-Century Lutheran Children in the Faith” 12:00–2:00 American Bach Society Advisory Nationalism Board Luncheon Steven Whiting (University of Michigan), Chair 12:00–2:00 American Handel Society Board Katharine Ellis (University of Cambridge), “French Nationalism, Ethnic 12:00–5:00 Committee on the Publication of Nationalism, and the Third Republic’s Folk Music Problem” American Music Luncheon Warren Kimball (Louisiana State University), “National Identity and the Oratorio in New Orleans, 1836–1861” 12:30–1:45 AMS Council Martin Nedbal (University of Kansas), “Building the National Opera Mu- 3:30–4:30 Performance Committee seum: Czech and German Approaches to Don Giovanni and Così fan tutte in Early Nineteenth-Century Prague” Megan Varvir Coe (University of Texas at Arlington), “French National- ism in the Reception of Two Salome Operas in Pre-War Paris”

 AMS Newsletter Opera and Musicals on Film Music and Technology Stephen Meyer (University of Cincinnati), Chair Mark Katz (University of North Carolina at Chapel Hill), Chair Michael Buchler (Florida State University), “Making Sky Masterson More Alyssa Michaud (McGill University), “Automating Musicianship: Ama- Marlon Brando” teur Pianists and the Player Piano, 1898–1920” Sarah Fuchs Sampson (Syracuse University), “Screening the Operatic Angharad Davis (Yale University), “Translation and Transformation: Spectacle: The Marketing and Reception of Gaumont’s Operatic Phono- Philosophies of Technology and Time-Space in George Antheil’s Ballet scènes (1905–6)” Mécanique” Raymond Knapp (University of California, Los Angeles), “Getting Real: U.S. Radio Practices in Early Cold War Asia Stage Musical vs. Filmic Realism in Film Adaptations from Camelot to Cabaret” Hyun Kyong Hannah Chang (Yale University), Chair Marco Ladd (Yale University), “Film Music Avant La Lettre? Disentan- Hye-jung Park (Columbus, Oh.), “‘Liberty Bell’: Music in America’s War- gling Film from Opera in Italy, 1913” time Radio Propaganda in Korea” Rossini Chui Wa Ho (New York University), “‘Dead Air’ and Democracy: Radio Soundscape in U.S.-Occupied Japan (1945–1952)” Helen Greenwald (New England Conservatory of Music), Chair Emanuele Senici (University of Rome La Sapienza), “‘Di tanti palpiti’ as SATURDAY AFTERNOON SESSIONS—3:30–5:00 ‘Popular’ Music” Claire Thompson (University of California, Davis), “La donna del lago Borders Goes to Britain: Of Oysters, Ostrich Plumes, and Other Nonsense” Jesús Ramos-Kittrell (University of Connecticut), Chair Claudio Vellutini (University of British Columbia), “Rossini’s ‘Vernacular Modernism’: Opera Criticism and Ideology in Vienna, 1816–1821” Emily MacGregor (Harvard University), “‘The Bounding Line’: Pan American Imaginaries in Aaron Copland’s Short Symphony” Voicing Blackness, from Reconstruction to the Era of Ana Alonso Minutti (University of New Mexico), “Decolonial Performa- Black Lives Matter tivity and Female Empowerment in Experimental Music from the U.S.- Josephine Wright (College of Wooster), Chair Mexico Border” Sandra Jean Graham (Babson College), “Beyond Fisk: Jubilee Imitators, Music and Women’s Letters in the Early Nineteenth Innovators, and the Concert Spiritual” Century Gwynne Kuhner Brown (University of Puget Sound), “The Serious Spiri- Mark Ferraguto (Pennsylvania State University), Chair tuals of William L. Dawson” Naomi André (University of Michigan), “Embodying Race, Gender, and Yael Sela Teichler (Open University of Israel), “Music and Political Cri- 1800 Performance on Stage” tique in Jewish Women’s Epistolary Writings from Berlin ca. ” Marti Newland (Columbia University), “Singing Concert Spirituals on Rebecca Geoffroy-Schwinden (University of North Texas), “Music as Campus: Performances of Respectability in the Black Lives Matter Era” Feminine Capital in Napoleonic France” Postwar Collaborations SATURDAY AFTERNOON SESSIONS—2:00–3:30 Emily Abrams Ansari (Western University), Chair Back in the U.S.S.R. Gabriel Alfieri (Boston, Mass.), “From ‘Trivial Little Comedy’ to ‘Legiti- mate Magic’: Music and the Making of The Glass Menagerie” Daniil Zavlunov (Stetson University), Chair Monica Hershberger (Central Connecticut State University), “‘Life is Laura Kennedy (Furman University), “Ballet in ‘Proletarian Skin’: The Strife’: Virgil Thomson and Gertrude Stein’s Homage to Susan B. An- Golden Age and the Search for Soviet Dance” thony in the Context of the Cold War” Olga Panteleeva (Princeton University), “Through the Iron Curtain, Dark- Seminar: The Rubble Arts: Music after Urban Catastrophe ly: Smuggling the Western Avant-Garde to Soviet Musicology” Abby Anderton (Baruch College, CUNY) and Martha Sprigge David Tudor (University of California, Santa Barbara), conveners Ryan Dohoney (Northwestern University), Chair Tekla Babyak (Davis, Calif.), “The Rubble of the Other: Beethoven’s Ruins Michael Gallope (University of Minnesota), “David Tudor, Esoteric of Athens” Spectacle—1958” Ariana Phillips-Hutton (Cambridge, UK), “Conjuring Away the Void: You Nakai (Brooklyn, N.Y.), “Untitled: David Tudor’s ‘Never-Ending Se- Rubble, Ruins, and Musical Memorials” ries of Discovered Works’” Emily Richmond Pollock (Massachusetts Institute of Technology), “Re- Glamo(u)r on TV building and Retrenchment at Munich’s Nationaltheater” Jessica A. Schwartz (University of California, Los Angeles), “Listening to Annie Randall (Bucknell University), Chair Voiced Fragments of Global Nuclear Ruination: Cold War Decay and the Ivan Raykoff (New School), “Liberace’s Musical/Material Appeal: Bodily Acoustical Resonance of Nation Building” Hearing and Tactile Seeing via 1950s Television” Amy Lynn Wlodarski (Dickinson College), “Composing After the Ruins: Christina Baade (McMaster University), “Vera Lynn Sings: Domesticity, The War-Inspired Works of George Rochberg” Glamour, and National Belonging on 1950s British Television”

August 2017  Sounding Like Bach 8:00 Rochester Philharmonic Orchestra Ernest May (University of Massachusetts, Amherst), Chair Beethoven, “Emperor” Concerto; Mussorgsky, Pictures at an Exhibition Ward Stare, conductor, Olga Kern, piano Bradley Spiers (University of Chicago), “The Imitation Game: Thinking Eastman Theatre, Kodak Hall Musically in the Age of Artificial Intelligence” Derek Remes (Eastman School of Music, University of Rochester), “Re- SATURDAY EVENING RECEPTIONS considering J. S. Bach’s Figured-Bass Chorale Pedagogy in Light of a New Source” 8:00–10:00 University of Texas at Austin Reception 8:00–10:00 Viola da Gamba Society of America SATURDAY EARLY EVENING PLENARY presents: Come play consort music! Viols, music and stands provided 5:30–7:00 AMS Business Meeting and 9:00–10:30 Duke University Reception Awards Presentation 9:00–11:00 AMS Dessert Reception 9:00–11:00 Indiana University Reception SATURDAY EVENING SESSIONS—8:00–11:00 9:00–12:00 Stanford Reception 2016: Electoral Echoes and Musical Reverberations 9:30–12:00 McGill University Reception Justin Patch (Vassar College), Chair 10:00–11:00 Yale Alumni Reception Emily Abrams Ansari (Western University), James Deaville (Carleton Col- lege), Dana Gorzelany-Mostak (Georgia College), Travis Gosa (Cornell 10:00–1:00 Cornell Reception University) 10:00–1:00 University of California at Los Angeles In Search of New Music Musicology Alumni Reception William Robin (University of Maryland, College Park), Chair 10:00–1:00 Princeton Reception George E. Lewis (Columbia University), Respondent 10:00–1:00 University of California, Berkeley Alumni Reception Emily Richmond Pollock (Massachusetts Institute of Technology), Eduar- do Herrera (Rutgers University), Lisa Jakelski (Eastman School of Music, 10:00–1:00 University of Pennsylvania Party University of Rochester), Andrea Moore (Smith College) 11:00–12:00 Yale Party Music and Forms of Attention in the Long Nineteenth Century Annette Richards (Cornell University), Chair SUNDAY 12 November Francesca Brittan (Case Western Reserve University), Davinia Caddy 8:30–12:00 Registration & Speaker Ready Room (University of Auckland), Alexandra Kieffer (Rice University), Nicholas Mathew (University of California, Berkeley), Carmel Raz (Columbia Uni- 8:30–12:00 Exhibits versity), Benjamin Steege (Columbia University), Melissa van Drie (Uni- versity of Cambridge) 7:00–8:45 Board of Directors Musicology and Trauma Studies: Perspectives for Re- SUNDAY MORNING SESSIONS—9:00–12:00 search and Pedagogy Fairs and Festivals Erin Brooks (SUNY Potsdam), Chair John Rice (Rochester, Minn.), Chair Jillian Rogers (University College Cork), Hyun Kyong Hannah Chang (Yale University), Eric Hung (Rider University), Tamara Levitz (University Elizabeth Dister (St. Louis, Mo.), “In the Footsteps of a Saint: Memory, of California, Los Angeles), Maria Cizmic (University of South Florida) Embodiment, and Music in National Fêtes for Joan of Arc” Abigail Fine (University of Hawai‘i), “Mozart on the Mountaintop: Ma- sonic Pilgrimage to the Magic Flute Cottage in Salzburg” SATURDAY EVENING PERFORMANCES Kirsten Paige (University of California, Berkeley), “On the Politics of Per- 1909 1959 4:00 Eastman’s Balinese Gamelan Sanjiwani forming Wagner Outdoors, – : Open-Air Opera and the Third Reich” “Gambol on the Gamelan” Nathan Reeves (Northwestern University), “‘A Strict Law Bids Us Dance’: Gamelan Room, Eastman Theater Basement Kwakwaka’wakw Performance and the Production of Musical Texts at the 4:00 and 8:30 The Agitators 1893 Chicago World’s Fair” The Story of Susan B. Anthony and Frederick Douglass Humor Geva Theater Center Douglass Seaton (Florida State University), Chair 7:30 Film Screening: A Fool There Was (1915) Robert Crowe (Boston University), “A Female Impersonator in Post- U.S. Premiere with new score by Philip Carli Napoleonic Europe: Karl Blumenfeld, ‘the Effeminate’ and the Mocking George Eastman Museum, Dryden Theatre Falsetto”  AMS Newsletter Don Fader (University of Alabama), “How Giovanni Battista Lulli Be- Kristi Brown-Montesano (Colburn Conservatory of Music), “Monstrous came Jean-Baptiste Lully: The Composer’s Comic Self-Representation in Burden: The Wagnerian Roots of Lars Von Trier’s ‘Depression Trilogy’” His Early Ballets” Racializing Beth Levy (University of California, Davis), “Musical Humor and the Marx Brothers” Larry Hamberlin (Middlebury College), Chair Anna Stoll Knecht (Jesus College, University of Oxford), “‘The Greatest Elizabeth Newton (Graduate Center, CUNY), “Marking Genre: Irony Show on Earth’: Theatricality and Humor in Mahler” and Racialized Musical Metaphor in Melvin B. Tolson’s ‘Dark Sympho- Music and Poetry ny’ (1941)” Alexander Cowan (Harvard University), “Eugenics at the Eastman School: Michael Figueroa (University of North Carolina at Chapel Hill), Music Psychology and the Racialization of Musical Talent” Chair Rethinking Primary Sources for the Music History Amy Beal (University of California, Santa Cruz), “Paradox: Music and Classroom American Sign Language Poetry” John Lawrence (University of Chicago), “Lyricist as Analyst: Rhyme Louis Epstein (St. Olaf College), Chair Scheme as ‘Music-Setting’ in the Great American Songbook” Timothy Cochran (Eastern Connecticut State University), Blake Howe Melissa Ursula Dawn Goldsmith (Westfield State University), “Bob (Louisiana State University), Rebecca Cypess (Rutgers University), J. Dorough’s Settings of Langston Hughes’s Poems in Lawrence Lipton’s Brooks Kuykendall (University of Mary Washington) Jazz Canto: A Musical-Literary Exchange” Urban Soundscapes Yawen Ludden (Georgia Gwinnett College), “Perfidy in the Peony Pavil- ion: Resolving a Four-Century Debate in Kun Opera” Eric Drott (University of Texas at Austin), Chair U.S. Popular Music Jonathan Hicks (Newcastle University), “Ubiquity Organized: Mechanical Musics in Victorian London” Theo Cateforis (Syracuse University), Chair Peter McMurray (University of Cambridge), “Audible Refuge? Sonic Im- Christa Bentley (Oklahoma City University), “‘I Don’t Need Nobody’s possible Worlds and the Syrian Conflict” Help’: Valerie Simpson, Self-Definition, and the Confessional Song” Kate McQuiston (University of Hawai‘i at Mānoa), “Hearing and Healing SUNDAY MORNING SESSIONS—10:30–12:00 Brian Wilson: Atticus Ross’s Score for Love & Mercy” Laura Watson (Maynooth University), “‘Every Day I Write the Book’: After Lutosławski: Trauma, Affect, Emotion, Memory, Popular Musicians and Memoirs in the Twenty-First Century” and Performances of Polish Identity Brian Wright (Fairmont State University), “The Electric Bass in Rock ’n’ Maria Cizmic (University of South Florida), Chair Roll: Practicality, Teenpics, and Live Music-Making, 1956–1958” Nicholas Reyland (Keele University), “The Lutosławski Fugue: Anger and SUNDAY MORNING SESSIONS—9:00–10:30 Trauma vs. Resilience and Regulation” Lisa Jakelski (Eastman School of Music, University of Rochester), “Reviv- Anton Rubinstein ing Lutosławski: Krystian Zimerman in Warsaw, 1988/2013” Olga Haldey (University of Maryland, College Park), Chair Contemporary British Opera Emily Frey (Swarthmore College), “Domestic Demon” Kevin Salfen (University of the Incarnate Word), Chair Kirill Zikanov (Yale University), “Rubinstein’s Symphonic Pictures and the Kuchka” Nick Stevens (Case Western Reserve University), “Divinest Feeling: Popu- Eastern European Transcultural Identities lar Song as Personal Space in Thomas Adès’s Powder Her Face” Karen Olson (Gaylord Music Library, Washington University in St. Lou- Kevin C. Karnes (Emory University), Chair is), “Orcadian Arcadias: Pastoralism and Land Use Policy in Two Pieces Dietmar Friesenegger (Cornell University), “A Musical Statement for Di- by Sir Peter Maxwell Davies” versity in the ‘Half-Asian’ Borderlands” Jews and Judentum Mackenzie Pierce (Cornell University), “Polish Music in Soviet Exile Dur- ing the Second World War” Tina Frühauf (RILM/Graduate Center, CUNY), Chair The Pastoral and the Rural in Opera Vanessa L. Rogers (Rhodes College), “Populism, Patriotism, and the Pub- lic: Musical Theatre in London and the ‘Jew Bill’ of 1753” Gundula Kreuzer (Yale University), Chair Amanda Ruppenthal Stein (Northwestern University), “Sounding Juden- Sarah Hibberd (University of Bristol), “Cherubini’s Elisa: Alpine Virtue tum within Nineteenth-Century Deutschtum” during the Terror” Nineteenth-Century Composers Looking Back Christopher Bowen (University of North Carolina at Chapel Hill), “‘Ex- emplar and Gospel’: The Village Mode in Czech Opera and Smetana’s Styra Avins (New York, N.Y.), Chair The Bartered Bride” Marie Sumner Lott (Georgia State University), “‘Restore the Golden Days Psychology and Film of Paradise’? An Anti-Utopian Approach to Honor and Duty in Brahms’s James Deaville (Carleton College), Chair Cantata Rinaldo (op. 50, 1869)” Steven Huebner (McGill University), “Saint-Saëns and Sophocles” Nancy Newman (University at Albany, SUNY), “Letter(s) to an Unknow- able Woman: Listening to Mahler auf der Couch”

August 2017  Opera and Melodrama in Eighteenth-Century Germany Gregorio Bevilacqua (University of Southampton), “War, Class Struggle, and a Punk Rock Song: Bad Religion’s ‘Let Them Eat War’” Hedy Law (University of British Columbia), Chair Race, Transnationalism, and Central European Art Mu- Jacqueline Waeber (Duke University), “Most German of the Arts? Melo- dramatic Recitation and the Musical Genius of Linguistic Identity” sic in the Jim Crow Era Paul Abdullah (Case Western Reserve University), “Shakespearean Storms Sandra Jean Graham (Babson College), Chair 1798 in German Opera: The Tempest in ” Douglas Shadle (Vanderbilt University), “‘From the Negroes Themselves’: Punk Antonín Dvořák and the Construction of African American Identity” Ken McLeod (University of Toronto), Chair Kira Thurman (University of Michigan), “In Praise of the Great Masters: African Americans and the Construction of German Musical Identity David Pearson (Hunter College & Lehman College), “Sounding Dystopia under Jim Crow” in Extreme Hardcore Punk”

Rochester Program Selection This year’s program committee, made up of Thomas Christensen, of us not experts in the specific field. After all but 24 slots had been Carol Hess, Elizabeth Keathley, James Parakilas, Annie Randall, Anna filled, author names were revealed, helping us to reach agreement on Zayaruznaya, and Jonathan Glixon, reviewed over 700 proposals. That a few proposals previously set aside. It is important to note that all of number includes 545 individual submissions, 8 alternative format pro- the proposals selected “before the reveal” had been locked in. At this posals, 12 two-paper formal sessions, 16 four-paper formal sessions, 14 point, the committee decided to leave open about twenty slots while evening panels, and 4 poster presentations. we began to group papers together to form sessions, drawing from the This year, for the first time, we also reviewed seminar-session pro- best of the remaining unselected papers to complement, as much as posals, in which papers will not be read aloud, but precirculated and possible, those already selected. The result, we believe, is a fascinating discussed at the meeting. The committee considered five seminar and varied array of papers, broadly reflecting the subject matter of the topics, and selected two. Each attracted 8 proposals, from which the submissions. committee, working with session conveners, selected the final partici- The final program includes about40 papers on race, gender, and pants. Our goal was to fill the largest number of slots ever at an AMS ethnicity, 24 on opera, 14 on film,40 on twentieth- and twenty-first- meeting—264—an increase implemented by the Board to allow for century music, 40 on Medieval through Baroque music, 32 on Classic greater participation. The acceptance rate, therefore, was about 40% and Romantic (not including opera) topics, and 10 on Latin America. (at recent meetings, the rate has ranged from 25 to 30%). Over a period Among European cultures represented, this year France was of par- of about three months, the committee individually evaluated all pro- ticular interest. Many papers, of course, fit into none of those cat- posals. (All except for alternative format and evening panel proposals egories or several of them, resulting in a number of sessions that cross were reviewed anonymously.) We then gathered in Philadelphia for boundaries. The Committee was encouraged by the wide range and an intense three days of discussions, enlivened by delightful meals at overall fine quality of the proposals: despite challenges faced by the local restaurants. Our charge was to select those proposals the com- humanities today, music research is thriving. I look forward to seeing mittee, whose members represent widely different fields, agreed were you in Rochester. the best. We looked for clear, well-defined proposals that explained the —Jonathan Glixon problem or issue being considered, the methodology employed, and Program Committee Chair the significance of the results, all expressed comprehensibly to those Performances in Rochester AMS Rochester 2017 will feature a wide array of performances, in- which the audience is invited to try out a “sci-fi hearing” of these cluding several described earlier (see p. 1). In addition, we offer four works. exciting conference performances spanning repertories from the fif- On Saturday at 2 p.m., at Christ Church, conference-goers are teenth to the twentieth centuries. The venues for these events will be invited to “Singen und Sagen,” a special performance of Michael at or near the Eastman School of Music, a ten-minute walk from the Praetorius’s Polyhymnia Caduceatrix et Panegyrica, with performance convention center. continued on page  Katharina Uhde (Valparaiso University), violin, and R. Larry Todd (Duke University), piano, will perform Joseph Joachim’s cur- tain-raising Notturno (1858), along with two newly rediscovered vir- tuoso fantasias, which were composed during the 1850s but became lost during the Second World War. As Uhde and Todd observe, the fantasias “reveal a young virtuoso composing like a violinist” in a style distinct from his later aesthetic. Becky Lu (Cornell University) offers a lecture-recital that explores the possibilities of understanding Alexander Scriabin’s compositions through the lens of science fiction, building on the work of Anindita Banerjee, who argues that the genre functioned as “‘a mode of awareness’ about modern Russia.” She will outline this fascinating line of analysis and perform Scriabin’s Sonata No. 4 in F-sharp major, op. 30, and Sonata no. 5, op. 53, during The Eastman School of Music  AMS Newsletter Committee News Alvin H. Johnson AMS 50 replaced by random identification numbers • Committee on Career-Related Issues Fellowship Committee before any materials were opened to the com- • Graduate Education Committee mittee. This practice will be followed in fu- • Planning Committee on Race, Ethnicity, The committee received fifty-seven com- ture years. The committee reminds prospec- and the Profession plete applications for the Society’s Alvin H. tive applicants to strip all personally identify- • Committee on Technology Johnson AMS 50 Dissertation Fellowships ing features and institutional references from At noon on Friday, CAM itself is sponsor- for the 2017–18 academic year. The propos- their proposal narratives and chapters before ing a panel on Victoria Bond’s Mrs. President, als represented a prolific variety of areas and submitting them. an opera whose Rochester premiere will cel- approaches within musical scholarship. The Applications submitted to the 2018–19 fel- ebrate the centenary of women’s suffrage. committee was impressed by the very high lowship competition are due on Friday 15 AMS members are invited to attend an open quality of dissertation work emerging from December 2017; see www.ams-net.org/fellow- rehearsal of the opera, conducted by the com- North American graduate programs. Some ships/ams50.php for details. Graduate stu- poser, on Saturday afternoon. applications stood out as more fully articu- dents and prospective applicants are warmly Another focus of our work has been to find lated in concept or polished in execution. invited to attend the Alvin H. Johnson AMS and respond to members’ requests for ways of Each of the applications in the highest-ranked 50 Fellowship Forum, an informal discussion making the Annual Meeting more welcom- group explained the dissertation project and and information session, at the Rochester An- ing. Some suggestions slated for implementa- conveyed its significance clearly, through a nual Meeting (Friday, 10 November at noon). tion in Rochester include: a web page entitled detailed prospectus together with an insight- —Louise K. Stein “Attending the AMS on a Budget”; a web ful, persuasively argued chapter grounded in page for first-time Annual Meeting attendees; fresh inquiry with solid research. a quiet space and nursing mothers room for We treated applications as anonymously as Committee on the Annual Meeting attendees; a guide to the Annual Meeting ac- possible in that names and institutions were The Board Committee on the Annual Meet- cessibility information; and in the program, ing (CAM) is charged with oversight of all as- information on handicap-accessible, gender- Rochester Exhibitors pects of the Annual Meeting. Part of our job neutral, and private rest rooms. This year, is to oversee the sessions that are held outside we will also include optional badge identifi- The following publishers and organiza- the regular programming. Committees have cation of first-time attendees, and optional tions will participate in the Rochester Ex- the prerogative of proposing such sessions, badge identification of affiliation. Members hibits. See www.ams-net.org/rochester for and often do. This year the following com- of the Board will make themselves available links to their web sites. mittees will hold sessions (see the respective for chats with members in the Book Exhibit area during times to be announced. Finally, A-R Editions, Inc. committee reports for additional details): Alexander Street, a ProQuest Company • Committee on Cultural Diversity continued on page  American Institute of Musicology Bärenreiter Bloomsbury Publishing Workshop on Implicit Bias 1789–1914,” will include individual papers, Boydell & Brewer / University of groups of papers, and panels that re-examine Rochester Press On Thursday9 November at noon, Roches- the role of the press in the construction of his- C. P. E. Bach: The Complete Works – ter’s M. K. Gandhi Institute (www.gandhiin- tory during the long nineteenth century. The The Packard Humanities Institute­ stitute.org) will conduct a workshop for AMS study of the nineteenth-century French press University of California Press members that considers implicit bias, cultural Cambridge University Press humility, and microagression. is a significant undertaking, not only in terms University of Chicago Press The Gandhi Institute has been a partner of of constructing narratives of music history, Eighteenth-Century Societies (ABS, the University of Rochester since 2007. It was but also as it shaped many ideologies whose HSNA, MSA, SECM) founded in 1991. reach extended beyond musical boundaries Hal Leonard The AMS Board of Directors encourages into the realms of philosophical thought and University of Illinois Press everyone, but especially those serving on contemporary political culture. The myriad Indiana University Press committees or study groups, to attend. Fur- ways in which these processes played out in University of Michigan Press ther information about the workshop will be different cultural spheres, whether through OMI - Old Manuscripts and Incunabula forthcoming nearer the meeting. the musical elite or through everyday, non- Oxford University Press specialist readers, has had major implica- Répertoire International de Littérature Francophone Music Criticism tions on the study of French music during Musicale (RILM) Network in Rochester the nineteenth century, and the FMC invites Retrospective Index to Music Periodicals The Francophone Music Criticism Network, members, colleagues and friends to join them (RIPM) 1789–1914 (FMC) will hold its tenth anniver- in re-evaluating the importance of the role Routledge sary conference in advance of the 2017 AMS of critics in shaping musicological narratives The Scholar’s Choice Annual Meeting, beginning on Wednesday, and historical epistemologies as they celebrate Society for American Music November 8 and ending on Thursday, No- their ten year anniversary. The FMC web site Steglein Publishing vember 9. The conference, entitled “Critics contains a database of several million words Theodore Front Musical Literature, Inc. and Contexts: Music Journalism, the French of press and related material. See www.fmc. W. W. Norton & Company Press, and the Writing of Music History, ac.uk. August 2017  Committee News members to help break some of the formal ice istic disciplines, and we believe its offerings and demystify the meeting in both the social are impressive and will be attractive to AMS continued from page  and professional realms. This is a very impor- members. More information will be coming tant element of the Annual Meeting, and all soon. To learn more now, visit hcommons. a subcommittee will be convening in July to members are encouraged to support the pro- org. consider changes to our system of abstract re- gram by serving as mentor to a newcomer. Notwithstanding these impending changes, view, to ensure that the process addresses the Our biggest change for this year is a new ap- the AMS-L remains active, relying on the growing volume of submissions and the need proach to our Saturday morning CV / cover dedication of its moderators, Blake Howe to ensure the inclusion of a wide variety of letter workshop. In addition to the traditional (lead), Teresa Neff (past), and Nathaniel Lew topics and methodologies. If you have ques- one-on-one advice sessions, we will include (assistant). Indeed, the AMS-L currently has tions, concerns, or suggestions regarding the short roundtable discussions on a range of ca- 2,296 subscribers, a slight increase from last Annual Meeting, please contact me: georgia. reer topics, including cover letters interview- year. The moderators report that the majority [email protected]. ing skills, and career trajectory. The CCRI of submitted posts are forwarded directly to —Georgia Cowart realizes that the time allocated each year at the list, with only occasional posts returned Committee on Career-Related Issues AMS to career development and job seeking to submitters for editing to conform to the skills serves an important function for gradu- guidelines. (Most common: “one-line quips,” The Committee on Career-Related Issues ate students and young professionals. This posts missing the author’s full name, and (CCRI) is busy preparing four sessions for the change is designed to offer more flexibility for posts that include more than one previous Rochester Annual Meeting. They are: attendees and a wider variety of information message.) • “Maintaining a Research Agenda at Teach- and education. The Society’s two semiannual lecture se- ing-Intensive Institutions.” Although mu- Last April the Board of Directors initiated ries—sponsored by the Library of Congress sicologists generally train at institutions a subcommittee of CCRI on contingent la- (LC) and the Rock and Roll Hall of Fame and emphasizing research and scholarship, bor in musicology. Its purpose is find ways Museum (RRHOFM)—continue to be vi- many who secure academic employment the AMS can work with and assist adjunct brant, with the LC presentation in May at the work at teaching-intensive institutions. and nontenure-track faculty—a labor force LC (see p. 7). Also in May at the RRHOFM, This panel will share the challenges and re- who numbers grow ever larger and that repre- Daniel Goldmark offered “Anthologizing wards of careers at schools whose primary sents a real crisis across the profession. Reba Rock and Roll: Rhino Records and the Re- focus is teaching. Wissner has agreed to chair this important packaging of Rock History.” Future LC lec- • “Navigating the Tenure Process.” In the subcommittee; joining her are Margaret But- tures include those by Randall Goldberg and first half of the session tenured faculty ler (CCRI Chair), Matilda Ertz, Deborah Daniel M. Callahan; future presentations at from public and private research institu- Heckert, Virginia Christy Lamothe, and John the RRHOFM will be given by Tammy Ker- tions and small liberal arts colleges will Spilker. nodle and Joshua S. Duchan (spring 2018). share their experiences. Topics include We look forward to reporting on the sub- For further details on both series, see p. 6. identifying external reviewers; strategies committee’s work in the next AMS Newsletter. The Committee strongly encourages inter- for the third-year review; approaches to a —Susan Key ested members to propose talks to either of research agenda. In the second half each these series. They offer wonderful and high- panelist will lead an informal break-out Communications Committee profile opportunities to share what we do session. outside our own Society. Instructions for pro- • “Pedagogical Approaches, Strategies, and As is usual, activities of the Communications posals are available at the web site, and the Engagement in the Twenty-First Century Committee proceed along many fronts. Most General Education Music History Class- noteworthy, the Society will soon launch a deadline for consideration for the next round 16 2018 room.” This panel will provide solutions to new platform for online discussion, initially is January . We are grateful to Caitlin problems commonly encountered in the supplementing and perhaps ultimately replac- Miller (liaison at the LC) and Jason Hanley music appreciation classroom, and to pro- ing the venerable AMS-L (begun in 1994). Al- (liaison at the RRHOFM) for their invaluable vide a forum for discussion of this topic. though our public launch is scheduled for late input into the selection process and for the • “When Extra-Curricular Activities Are summer, here I can report that the new fo- warm welcome they offer our speakers. Anything But: ‘Work-Life Balance’ in rum will be web-based and will fall under the It has now been six months since a new edi- Performance-Centered Disciplines.” This umbrella of the Humanities Commons (HC) torial team took the reins at Musicology Now, panel will explore strategies for manag- web site. Humanities Commons was estab- the Society’s blog. Ryan Bañagale has decided ing the not-so-extra-curricular demands lished by the Modern Language Association to step down due to other commitments, often placed upon music faculty to at- and includes several other academic societies. and we thank him for his hard work in tak- tend departmental events on evenings HC offers a number of interrelated capabili- ing the blog to its current level. We are also and weekends. Our panel includes faculty ties: individual academic profiles (searchable grateful for the work of former editor Drew working in parallel performance-centered by research interests), a repository for open- Massey, whose expertise was invaluable as we disciplines or those in administration access publication (the Common Open Re- made our transition. Editors Susan Thomas, who will offer a broad, cross-disciplinary pository Exchange, or CORE), and—most Andrea Moore, and Robert Fink will soon be perspective. immediately relevant—discussion groups. joined by additional team members, so stay We will also organize the annual “buddy” These functions resemble the for-profit offer- tuned for changes to the masthead. Changing program, designed to extend a warm and ings of such sites as Academia.edu, but in an also will be the look of the blog as we upgrade hearty welcome to new members or those at- open-access, non-profit environment over- to WordPress, which will allow more flexible tending a national meeting for the first time seen by academics themselves. The goal of layouts, more elegant integration of text, im- by pairing them with experienced Society HC is to increase interchange among human- ages, and sound, better fonts and formatting,  AMS Newsletter and a simplified workflow that will speed up to our list; we will be sharing this list with the (1923), edited by Michael Ochs, will be pub- publication rhythms. AMS membership this fall. lished this fall, and George Whitefield Chad- In the last few months, Musicology Now —Remi Chiu and Erika Honisch wick: The Padrone, edited by Marianne Betz, has experimented with new types of repeat- is scheduled to be published this winter. We ing features that shine a light on members Graduate Education Committee have recently obtained the rights to publish in of the Society (dissertation digests, work-in- At the Rochester Annual Meeting the Gradu- MUSA Jon Alan Conrad’s edition of Stephen progress reports); encouraged collaborative ate Education Committee (GEC) will pres- Sondheim: Follies (Orchestrations by Jonathan “quick takes” on major cultural events like ent “The Dissertation and Your Job.” This Tunick)—a unique scholarly edition of a full movie premieres (we seem to be attracted to one-hour session takes place noon Friday 10 score of a Broadway musical by a living com- sci-fi and superheroes: the scores for Rogue November and brings together panelists who poser and orchestrator—and anticipate pub- One, Guardians of the Galaxy, and Wonder will offer different professional perspectives lication in 2019. Woman have entered the first draft of musi- about the logistics of writing, the choice of a Although the well-publicized threat to the cal history); and even used live-blogging and dissertation topic, and how the research can National Endowment for the Humanities Twitter feeds to give real meaning to the Now be used in different professional settings. Pan- has not affected MUSA’s day-to-day work in our title. We remain committed to publish- elists range from dissertation advisors and a in any significant way, should the NEH no ing single-authored think pieces (1,000–1,500 member of a major university press to recent longer support MUSA our plans for the fu- words) on issues of interest to the larger world PhDs in various professional settings, includ- ture will need to be dramatically adjusted. We of music scholarship, connoisseurship, and ing non-academic careers. Each panelist will anticipate hearing the results of our current appreciation. All styles and genres are grist for present for five minutes, leaving thirty min- grant application before the end of the sum- our mill. Anyone who feels the blogging urge, utes for audience questions. Chaired by Ber- mer. Meanwhile, we strongly encourage AMS who has a dissertation, book, or other publi- thold Hoeckner (University of Chicago), the members to communicate with their congres- cation to discuss, or who wants to nominate panel includes Daniel DiCenso (College of sional delegation in support of the NEH. The a scholar for a work-in-progress report should the Holy Cross), Alexander Ludwig (Berklee more messages they receive, the more clearly contact us: [email protected]. College of Music), Raina Polivka (University it demonstrates to them how much their con- Finally, I am happy to report that James of California Press), Rachel Vandagriff (San stituents value the NEH. The Committee’s Parsons has accepted the invitation to serve Francisco Conservatory of Music), and Reba open letter in support of the NEH was sent in for another three years as editor of the AMS Wissner (Montclair State University). May and may be found at our web site. Newsletter. We can all be grateful that this im- In Rochester, the GEC will continue its tra- Full details about MUSA are at our web portant responsibility remains in such capable dition of hosting the annual Graduate Student site, www.ams-net.org/MUSA/, and you can hands. Reception after the Friday afternoon sessions. follow us on Facebook and Twitter: facebook. —Roger Freitas In keeping with feedback received from those com/musaeditions/ and @musaeditions. who attended the reception in Vancouver and —Amy C. Beal Committee on Cultural Diversity 2016 from those who participated in the sur- Publications Committee The Committee on Cultural Diversity (CCD) vey, several new features will be put into place. looks forward to welcoming this year’s nine As before, graduate programs have been asked In Spring 2017, the Publications Commit- Eileen Southern Travel Grant recipients at our to register in advance of the reception so that tee awarded subventions to twenty-eight annual reception (noon Friday, 10 Novem- we can circulate ahead of the conference the books for a total of $46,000. They include ber). We warmly invite current and former list of programs and schools that will be rep- the following: members of the CCD and the Howard Mayer resented at the reception. In response to input from prospective graduate students, we will Olivia Bloechl, Opera and the Political Imagi- Brown Fellowship Committee, past recipients nary in Old Regime France (University of Chi- of the Eileen Southern Travel Grant, past and institute a new practice using name placards to identify programs in attendance so that cago Press); supported by the James R. An- present Howard Mayer Brown Fellows, and, thony Endowment more generally, minority members of the prospective students can navigate the recep- AMS, to join us. tion more easily. In September, information Richard Brown, Through the Looking Glass: We are pleased to announce that the CCD, about how to pre-register for the event will John Cage and Avant-Garde Cinema (Oxford partnering with the Pedagogy Study Group be distributed via AMS-Announce and on University Press); supported by the AMS 75 and the Committee on Women and Gender, the Rochester conference web site. Graduate PAYS Endowment programs that wish to participate are urged to will co-host the panel “Diversity through the Los Romero: The Saga of pre-register at that time. Walter Aaron Clark, Pipeline” at the Rochester meeting Thursday an Andalusian Family of Guitarists in America —Berthold Hoeckner and Daniel DiCenso evening. Speakers will give “lightning talks” (University of Illinois Press); supported by the addressing practical ways to foster diversity Committee on the Publication of Donna Cardamone Jackson Endowment in musicology, from the freshman classroom American Music to the professoriate. In addition to our ongo- Jennifer DeLapp-Birkett, Aaron Copland, Ap- ing work with respect to the Eileen South- MUSA, the AMS-sponsored forty-volume se- palachian Spring (Original Ballet Version) (Mu- ern travel grants, we are building a database ries representing the full range of genres and sic of the United States of America); support- of university-specific scholarships and fel- idioms in American Music, has been under- ed by the Claire and Barry Brook Endowment lowships for students from minority back- way since 1987. It continues strongly under Karen Desmond, Ars nova in Music and Me- grounds. If your institution has any such fel- the guidance of Executive Editor Andrew dieval Thought, 1300–50 (Cambridge Uni- lowships, please don’t hesitate to contact the Kuster. As reported in last February’s AMS versity Press); supported by the Kenneth committee co-chairs so that we can add them Newsletter, Joseph Rumshinsky: Di goldene kale Levy Endowment continued on page  August 2017  Committee News Bethany Beardslee and Minna Proctor, I Sang Planning Committee on the Unsingable: My Life in Twentieth-Century continued from page  Race and Ethnicity Music (University of Rochester Press); sup- Christopher Doll, Hearing Harmony: Toward ported by the John Daverio Endowment Judy Tsou and George Lewis, co-chairs of the a Tonal Theory for the Rock Era (University of Planning Committee on Race and Ethnicity, Gillian M. Rodger, Just One of the Boys: Fe- Michigan Press); supported by the AMS 75 have been working with the AMS Board and male-to-Male Cross-Dressing on the American PAYS Endowment other Society members on the various sugges- Variety Stage (University of Illinois Press); tions by the membership that were made dur- Kimberly Francis, Nadia Boulanger and the supported by the Gustave Reese Endowment ing the Committee’s Vancouver Open Meet- Stravinskys: A Selected Correspondence (Uni- ing. Below are some of them: J. Griffith Rollefson, Flip the Script: European versity of Rochester Press); supported by the Critical Race Theory Session. Our com- Hip Hop and the Politcs of Postcoloniality (Uni- Manfred Bukofzer Endowment mittee is sponsoring a session on critical race versity of Chicago Press); supported by the Michael Gallope, Deep Refrains: Music, theory at the Rochester Annual Meeting with AMS 75 PAYS Endowment Philosophy, and the Ineffable (University of the purpose of assessing and extending the Chicago Press); supported by the AMS 75 Neil V. Rosenberg, Bluegrass Generation: A current state of the scholarly conversation PAYS Endowment Memoir (University of Illinois Press); sup- on this and related topics. That conversation William Gibbons, Unlimited Replays: Classical ported by the Manfred Bukofzer Endowment would necessarily be interdisciplinary, and to Music and the Meanings of Art in Video Games foster this vital interdisciplinary conversation Richard M. Shain, Roots in Reverse: Senegalese we have invited Professor Cheryl I. Harris, (Oxford University Press); supported by the Afro-Cuban Music and Tropical Cosmopolitan- Lloyd Hibberd Endowment the Rosalinde and Arthur Gilbert Professor in ism (Wesleyan University Press); supported by Civil Rights and Civil Liberties at the UCLA Sandra Jean Graham, Spirituals and the Birth the AMS 75 PAYS Endowment School of Law, as our guest speaker. Prof. of a Black Entertainment Industry, 1870–1900 Jacquelyn Sholes, Allusion as Narrative Prem- Harris is an internationally recognized schol- (University of Illinois Press); supported by the ar and activist who pursues interconnections AMS 75 PAYS Endowment ise in Brahms’s Instrumental Music (Indiana University Press); supported by the AMS 75 between racial theory, civil rights practice, Damascus Kafumbe, Tuning the Kingdom: PAYS Endowment politics, and human rights. AMS Council Kawuugulu, Music, Politics, and Storytelling in members William Cheng (Dartmouth Col- Buganda (University of Rochester Press); sup- Elsie Walker, Hearing the Cinema of Michael lege) and Alisha Lola Jones (Indiana Univer- ported by the AMS 75 PAYS Endowment Haneke (Oxford University Press); supported sity) will serve as respondents. The session will by the Lloyd Hibberd Endowment Gundula Kreuzer, Curtain, Gong, Steam: Wag- include time for public discussion following the presentation. It is scheduled for Friday 10 nerian Technologies of Nineteenth-Century Op- Lawrence M. Zbikowski, Foundations of Mu- November, 5:30–7 p.m. era (University of California Press); supported sical Grammar (Oxford University Press); sup- Unconscious Bias Resource Web Page. We by the Dragan Plamenac Endowment ported by the Otto Kinkeldey Endowment have established a resource page for uncon- Erin Lambert, Singing the Resurrection: Body, In accordance with the Society’s procedures, scious bias, available at www.ams-net.org/ Community, and Belief in Reformation in Eu- committees/cre/unconsciousbias.php. Sugges- rope (Oxford University Press); supported by these awards were recommended by the Pub- lications Committee and approved by the tions for additional resources are always welcome. the AMS 75 PAYS Endowment Permanent Committee. Board of Directors. Funding for AMS sub- President Martha Feldman will soon be appointing new mem- Ellen Lockhart, Animation, Plasticity, and ventions is provided through the National 1770 1830 bers for the permanent committee that rep- Music in Italy, – (University of Cali- Endowment for the Humanities, the Andrew resent more segments of the society, includ- fornia Press); supported by the AMS 75 W. Mellon Foundation, and the generous PAYS Endowment ing two student members. New members support of AMS members and friends. will start work at the end of the Rochester Honey Meconi, Hildegard of Bingen (Univer- The AMS subventions program is for two conference. sity of Illinois Press); supported by the Mar- constituents. For individuals, they are intend- Other initiatives. Many more good ideas garita M. Hanson Endowment ed to defray costs not normally covered by came out of the Vancouver meeting. See the Marisol Berríos-Miranda, Shannon Dudley, publishers; examples include costs related to President’s Message (p. 2) on plans to make and Michelle Habell-Pallán, American Sabor: illustrations, musical examples, facsimiles, ac- the Annual Meeting more inclusive. The Latinos in U.S. Popular Music (University of companying audio or audio-visual examples, Board is working hard to implement many Washington Press); supported by the Otto and permissions fees. For publishers, they are more of these excellent suggestions; keep an Kinkeldey Endowment intended to reduce the retail price of the book eye out for periodic announcements and more You Nakai, Reminded by the Instruments: Da- or resource. The application guidelines have reports in future issues of the AMS Newsletter. vid Tudor’s Music (Oxford University Press); recently been revised: the committee now Judy Tsou and George Lewis supported by the AMS 75 PAYS Endowment welcomes applications for collections of es- Planning Committee on Race and Ethnicity says, as well as chapters from essay collections. Luigi Nono, Nostalgia for the Future: Selected Proposals from scholars at all stages of their Writings and Interviews Committee on Technology (University of Cali- careers are welcome. Projects that make use of fornia Press); supported by the Joseph Ker- newer technologies are also encouraged. See The Committee on Technology will sponsor a man Endowment the guidelines for full details (www.ams-net. ninety-minute session at the Rochester Annu- Nathan Platte, Making Music in Selznick’s org/pubs/subvention.php). Deadlines are 15 al Meeting, where we will outline our think- Hollywood (Oxford University Press); sup- August and 15 February each year. ing about developing digital skills in graduate ported by the AMS 75 PAYS Endowment —Caryl Clark and undergraduate programs, accessibility,  AMS Newsletter sustainability and visibility for digital projects, arly dialogue that has informed ecomusi- with the key questions that lie in the spaces and technology at the annual meeting. Small- cology and reflect on future directions, the between disciplines and methods. We intend group discussion of these topics with session interdisciplinary methods and perspectives to provide a vibrant forum for scholars across attendees will follow. Full details will appear that inform the field, and the methodological a wide a range of interests, methodological in the meeting’s Program and Abstracts and frameworks that ecomusicology has left out backgrounds, and career stages, and whose at the web site. We have recently published of this interdisciplinary conversation. We will efforts and scholarship demonstrate the vital “AMS Best Practices in Digital Scholarship,” focus on selections from Parts III (“Critical importance of thinking about theory through which includes useful advice for publishers Directions”) and IV (“Textual Directions”) a historical lens and about history through a and editors, university hiring and promotion of Current Directions in Ecomusicology: Music, theoretical lens. committees, graduate (and undergraduate) Culture, Nature, ed. Aaron S. Allen and Kevin The HTSG will inaugurate its formal rec- program directors, and individual musicolo- Dawe (Routledge, 2016). We will bring to- ognition as a Study Group with two events gists. For more information, please see www. gether questions concerning spatio-temporal during the week of the Rochester Annual ams-net.org/committees/technology. connections, environments, and critical lacu- Meeting. On 8–9 November, the HTSG, to- —Richard Freedman nae in the emergent subfield. James Rhys Ed- gether with SMT’s History of Theory Interest wards (SINUS Institut Berlin) will focus on Group, will host a mini-conference on “In- Committee on Women and Gender critical theory, ecomusicology, and crisis, as struments of Music Theory” at the Eastman The committee has been very busy recently, well as the ethics of listening with particular School of Music. In addition to a wide range as the reports on pp. 4 and 5 (Quilt Raffle, attention to Japan. Mark Pedelty (University of papers from a variety of historical, geo- Endowed Lecture) show. Please buy a raffle of Minnesota) will examine conventions, ac- graphical, and methodological perspectives, ticket and attend Susan McClary’s talk Satur- tivism, and ethical environmental communi- the conference will feature keynote speakers day morning, 11 November! cation regarding global popular music from Alexander Rehding (Harvard University), —Honey Meconi Mexico. Eric Drott (University of Texas at Gabriela Currie (University of Minnesota), Austin) will consider the pastoral landscape and David Catalunya (University of Würz- Study Group News and postcolonial ecocriticsm through Luc burg), as well as a concert by David Catalu- Ferrari’s tape piece, Petite symphonie intui- nya on a newly reconstructed clavisimbalum Cold War and Music Study Group tive pour un paysage de printemps. Denise Von (with music from the Faenza Codex and re- Glahn (Florida State University) will examine cently discovered manuscript fragments). All At the Rochester Annual Meeting the Cold contemporary composer Libby Larsen in the are welcome to attend one or both days of the War and Music Study Group (CWMSG) context of ecofeminism and bioregionalism. event. will sponsor an alternative-format panel Aaron S. Allen (University of North Carolina The discussion will continue at our eve- on 10 November at 2 p.m. to which all are at Greensboro) will investigate nineteenth- ning session on Friday 10 November, “In- heartily invited. This interdisciplinary discus- century opera criticism and soundscapes in struments, Diagrams, Notation in the His- sion responds to an overarching question— the context of ecocriticism and environmen- tory of Music Theory.” To learn more about “Whither ‘the Cold War’ in music studies tal history, especially as they relate to current our activities, join our mailing list, and read today?”—and focuses attention on method- dialogues in ecomusicology. Kerry Brunson or submit blog posts, please visit us at his- ological limitations and intersections among (UCLA) and Jacob A. Cohen (CUNY Gradu- toryofmusictheory.wordpress.com, follow ethnomusicology, historical musicology, and ate Center) will provide responses. us on Twitter (@CorpsSonore), or find us popular music studies. A roster of scholars The ESG provides a forum for exploring the on Facebook (www.facebook.com/groups/ will present new research on two over-arching intellectual and practical connections between historyofmusictheory/). themes: musical multimedia and political the studies of music, culture, and nature. Our —Caleb Mutch geography. web site, www.ams-esg.org, provides many For the first time, the CWMSG is hosting a resources; all are welcome to subscribe to our Ibero-American Music Study Group lunch on Friday afternoon during the confer- email list. The most recent issues of Ecomusi- ence: all are invited! The group’s committee At the Rochester Annual Meeting, the Ibero- cology Review, an online journal co-sponsored hopes the setting will provide an opportunity American Music Study Group (IAMSG) will by the ESG, can be accessed at www.ecomusi- to welcome new and curious scholars, to share sponsor the session “Rediscovering the New cology.info/ecomusicology-review. research informally, and to discuss profession- World: Narratives of New Spanish Music in —Kate Galloway al development challenges and opportunities. the Seventeenth Century,” featuring presen- tations by Ireri Chavez Bárcenas (Princeton If you would like to join our email list and History of Music Theory Study learn more about our activities, please visit University), John Swadley (Universidad de our web site, www.ams-net.org/cwmsg, or Group Guanajuato), Andrew A. Cashner (Univer- sity of Rochester), and Jesús A. Ramos-Kitrell contact the chair, Andrea Bohlman (abohl- The newly inaugurated History of Music The- (University of Connecticut). [email protected]). ory Study Group (HTSG) is delighted to join An important change in the structure and —Andrea F. Bohlman the roster of AMS study groups. We seek both leadership of the IAMSG began at our busi- to build upon and to reinforce the increasingly Ecocriticism Study Group ness meeting last year in Vancouver. In the eclectic and interdisciplinary set of questions past, leadership changes had been handled At the Rochester Annual Meeting on Thurs- now being asked within music studies and the informally, with leadership simply bestowed day evening 9 November, the Ecocriticism humanities more broadly, to which the histo- from one chair to the next. The membership Study Group (ESG) hosts the roundtable ry of music theory, as an inherently interdis- felt that it was important to have a more dem- session “A Dialogue on Current Directions in ciplinary field of study, has already begun to ocratic selection of leaders with a clearer and Ecomusciology,” chaired by Jessica Schwartz make significant contributions. It is our hope (UCLA). Our speakers will survey the schol- that the HTSG will engage the entire Society continued on page 

August 2017  Study Group News LGBTQ Study Group tion about upcoming conferences and ses- sions; or simply send us an email.  continued from page The LGBTQ Study Group will present a joint —Dana Plank collaboration with the AMS Music and Dance more transparent term of service. We decided Study Group (MDSG) at the Rochester An- Music and Dance Study Group to move towards rotating three-year cycles of nual Meeting for a series of events Friday eve- The Music and Dance Study Group (MDSG) leadership, with the idea that there would al- ning exploring intersections of dance studies is looking forward to collaborating with the ways be one outgoing, one active, and one in- and queer studies in music. The joint session LGBTQ Study Group in Rochester for a series coming chair. This will help to share the bur- will begin with a MDSG panel and will end of events Friday evening that explore intersec- den and also broaden the shared institutional with a roundtable discussion hosted by the tions of dance studies and queer studies in knowledge. We are pleased to announce that LGBTQ Study Group featuring Louis Niebur music. Daniel Callahan and Samuel Dorf will Jesús Ramos-Kittrel was elected to serve as (University of Nevada, Reno), Sarah Hankins co-chair a panel titled “Queering Dance Mu- incoming chair, while Susan Thomas will (University of California, San Diego), Tiffany sics” with presenters Lisa Barg, Kyle Kaplan, continue to serve as outgoing chair until Naiman (University of California, Los An- and Lauron Kehrer. This will be followed by 2017 the meeting, when we will elect a new geles), and Gavin Lee (Soochow University). a keynote presentation by Clare Croft, dance incoming chair to share the leadership with Following the collaborative events will be the scholar and editor of Queer Dance: Mean- Ramos-Kitrell. annual LGBTQ Study Group Party. See the ings & Makings. The evening will end with a 19 The IAMSG encourages all scholars in- Preliminary Program (p. ) and the MDSG roundtable discussion hosted by the LGBTQ terested in musics of the Americas and their report below for full details. We will also be Study Group on Queer Social Dance Spaces. trans-Atlantic Iberian connections to join us holding an open board meeting Saturday at The MDSG is also planning a Saturday 12 15 in Rochester! : p.m. We invite one and all to attend! noontime workshop on eighteenth-century —Susan R. Thomas The Study Group encourages nomina- social dance led by Carol Marsh (University tions, including self-nominations, for the of North Carolina at Greensboro), frequent Jewish Studies and Music Study Group 2017 Phillip Brett Award, which honors ex- instructor at early music and dance work- At the Rochester Annual Meeting on Thurs- ceptional musicological work in the field of shops in North America and Europe. Music day evening 9 November, the Jewish Studies gay, lesbian, bisexual, transgender/transsexual for the event will be performed by students and Music Group will present “Jewish Stud- studies completed during the previous two from Eastman. All are welcome! As always, we 1 2015 31 2017 ies, Music, and Biography.” Organized by academic years ( August – July ). invite dance research enthusiasts to join our Lily E. Hirsch and Amy Lynn Wlodarski, Nominations, preferably including a digital Facebook page or our email discussion list: the session will address critical biographies copy of all application materials, should be please contact Megan Varvir Coe (meganvar- 15 2017 about musical figures with Jewish connec- sent by August . For full details and [email protected]). For updates to our web tions with particular reference to the topic of application instructions, see ams-lgbtq.org/ site, please contact Matilda Ertz (Matilda. identity, a thorny one in Jewish studies given the-brett-award. [email protected]). Information about con- —Heather Hadlock and Stephan Pennington the complexities of Jewish identity, self-iden- ferences, cross-society liaisons, and ideas for tification, external identifier, national label, future events can be sent to Sarah.Gutsche. ethnic marker, or racial stereotype. The panel Ludomusicology Study Group [email protected]. seeks to address these and other questions by —Sarah Gutsche-Miller sharing the experiences of scholars who have The Ludomusicology Study Group (LSG) Music and Disability Study Group worked or are working on biographies of Jew- will host a panel at the Rochester Annual ish musicians, defined as such externally and Meeting on Thursday evening, 9 November, The Music and Disability Study Group internally. Panelists include Howard Pollack devoted to Music, Gaming, and Identity. The (MDSG) will host a session at the Rochester (University of Houston), David Josephson session includes papers by Kate Galloway Annual Meeting on Thursday evening9 No- (Brown University), Lily Hirsch (California (Wesleyan University), Kate Rogers (Case vember that considers music, disability, and State University, Bakersfield), Amy Lynn Western Reserve University), and (jointly) intersectionality. The session will investigate Wlodarski (Dickinson College), and Ralph Brent Ferguson (University of Kansas) and the complex and multifaceted relationship Locke (Eastman School of Music, University Torrey-Jeanne Laws-Nicola (Texas State Uni- between music, disability, and other catego- of Rochester). versity). See the Preliminary Program (p. 14) ries of marginalized identity such as race, gen- The Jewish Studies and Music Study Group for more details. During our business meeting der, and sexuality. Four panelists will present fosters the study of the intersections between (held at our session), we will accept nomina- position papers that explore this topic: Steven Jewish culture and music. Its focus is both Jew- tions for a new co-chair to serve a two-year Moon (University of Pittsburgh) will explore ish music—its complex meanings and varied term beginning in 2018 alongside current Beyoncé and histories of black motherhood; roles—and, more broadly, the processes and co-chair William Gibbons. For those who Pamela H. Pilch (Westminster Choir Col- negotiations that condition music in various cannot attend the Rochester meeting, nomi- lege of Rider University) will give a feminist Jewish contexts, including the compositions nations may also be submitted either before reading of pregnancy, death, and personhood and activities of Jewish and non-Jewish musi- the conference or for approximately one week in an art song by Libby Larsen; Beth Keyes cians, responses to those musics and activities, afterwards. Send them to our email address: (Graduate Center, CUNY) will present an and their historical and cultural foundations. [email protected]. analysis of major depression as venerated We maintain a web site and email discussion To learn more about the LSG, please visit through the white male performer in con- list: see www.jewishstudiesandmusic.org for our web site, www.gamemusicstudies.org, temporary popular culture; and John Bagnato full details. All are welcome! which includes features such as calls for pa- (University of Pittsburgh) will take a critical —Mark Kligman pers, write-ups of recent events, and informa- look at the ways in which blindness shaped

 AMS Newsletter African American cultural memory in music sions on the work of Jacques Rancière. The lee College of Music in Boston, a three-day of the 1920s. (See the Preliminary Program, first took place at the sixth Conference of the event this year that led to increased partici- p. 14, for more details.) After a response by Royal Musical Association Music and Philos- pation and greater scope. During the Sunday William Cheng (Dartmouth College), the ophy Study Group at King’s College London, morning session, presentations addressed the session will open up to a larger discussion of 13–14 July. The second will take place at the challenges of teaching during a time when the intersectionality amongst the panel and ses- Rochester Annual Meeting on Thursday eve- country seems divided about important social sion attendees. In this dialogue, the MDSG ning 9 November. We hope to see many of and political issues. The program, abstracts, aims to incorporate perspectives across many you there. and presenter biographies are available at the interdisciplinary fields. At the 2016 AMS/SMT Vancouver An- 2017 TMHC web site. A huge debt of grati- MDSG co-chairs Samantha Bassler and Jes- nual Meeting, the MPSG convened its sixth tude is owed to Simone Pilon and Alex Lud- sica Holmes will also conduct a lunchtime annual evening session on the topic of “Su- wig for coordinating local arrangements. John business meeting on Friday 10 November. We sanne Langer Reconsidered.” The session Spilker and Alex Ludwig served as conference warmly welcome anyone interested in music featured presentations by Anne Pollok (Phi- co-organizers. Many thanks to the TMHC and disability studies and study group busi- losophy, University of South Carolina), Bryan program committee: Trudi Wright (chair), ness to attend! Parkhurst (Music Theory, Oberlin Conserva- Elizabeth Clendinning, Claire Fedoruk, As always, we encourage interested mem- tory), Eldritch Priest (School for Contem- Christopher Macklin, and Colleen Renihan. bers to visit our Wordpress blog, musicdis- porary Arts, Simon Fraser University), and Reflecting on the past year, the PSG is abilitystudies.wordpress.com, a forum that Holly Watkins (Musicology, Eastman School pleased that pedagogy scholarship is reaching includes both blog entries from the MDSG of Music). The MPSG’s 2016 business meet- a wide readership with the Journal of Music executive committee and a catalogue of re- ing was held jointly with the SMT Music History Pedagogy. The next issue (8.1), slated source materials for those interested in music and Philosophy Interest Group and featured for publication in September, will be devoted and disability studies. In an ongoing effort to a lively discussion of Peter Szendy’s Phantom to the pedagogy of the emerging field of eco- expand the reach of this forum, we welcome Limbs: On Musical Bodies (Fordham, 2015). musicology. Looking ahead to issue 8.2, we all members of AMS to submit guest blog The study group is always looking to pro- plan a special focus on teaching music history posts to our site. For more information, please mote new interdisciplinary work on music in a multi-cultural environment. 2017 has visit our blog, join our email list (see the blog and philosophy. We are also interested in seen a notable uptick in both the quantity and for details), and follow us on Facebook: www. assisting with professional development for the quality of submissions to the JMHP, and facebook.com/groups/musicanddisability. those involved in the subfield, particularly for Stephen Meyer, editor-in-chief, very much —Beth Keyes graduate students and those on the academic hopes that we can maintain this trajectory. Music and Media Study Group job market. For more information, please Meyer welcomes not only your submissions, contact the current chair, Michael Gallope, at but also your ideas about new directions for The AMS Music and Media Study Group [email protected]. our publication. (MMSG) is pleased to announce that it has —Michael Gallope Please visit the newly redesigned PSG web been approved by the AMS Board and will site: teachingmusichistory.com. Sienna Wood hold its first stand-alone session at the Roch- Pedagogy Study Group deserves highest praise for her work on the site ester Annual Meeting. Founded by Dana in consultation with Louis Epstein, chair of Plank, Jessica Getman, and Kendra Preston At the Rochester Annual Meeting, we invite the web site committee. If you would like to Leonard, the group began organizing two you to attend the Pedagogy Study Group join the PSG email announcement list, please years ago and shared a session with the Soci- (PSG) Friday noontime business meeting, contact Kimberley Hieb, secretary/treasurer. ety for Music Theory’s Film and Multimedia which will include the election of a new If you are interested in PSG service opportu- Interest Group in Vancouver in 2016. chair. Denise Von Glahn will chair the PSG- nities, please contact John Spilker, chair. The MMSG promotes the study of music sponsored evening session, “Caring for the —John Spilker and all forms of media, including but not Twenty-First-Century Music Student (and limited to radio, television, film, video games, Professor).” To better serve the changing Popular Music Study Group and the internet. The group plans to host a landscape of our college communities, the At the Rochester Annual Meeting, the Popu- regular session at the Annual Meeting, and goal of this interactive session is for colleagues lar Music Study Group will present an eve- maintain a bibliography with useful links at to leave with specific tools and strategies they ning panel focused on intersectionality on musicandmediasg.wordpress.com/. can implement to promote student- and self- Thursday evening 9 November. In addition This year’s inaugural session Friday noon- care within our music communities through to our invited speaker, Stephan Pennington time includes papers presented by Paula modeling, low-stakes risks, and critical inqui- (Tufts University), the session will include Bishop, James Gabrillo, and Dani Osterman; ry. Panelists Trudi Wright, Sara Haefeli, and papers presented by Jillian Fisher (University see the Preliminary Program (p. 16) for full John Spilker will discuss concrete pedagogical of California, Santa Barbara), Samuel Dwi- details. The session will also include a call for examples of their intentional movement to- nell (University of Akron), John Klaess (Yale nominations to the program committee (term ward wellbeing in their music history course University), and Laura Nash and Andrew Vir- 2018–21; two members) and one officer po- design, classroom delivery, faculty culture, din (Fairfield University); see the Preliminary sition (2018–21). We hope many of you will and/or campus outreach. Drawing on the Program (p. 13) for full details. They will be join us. expertise of those in attendance, the panel- followed by an open discussion on intersec- —Kendra Preston Leonard ists will facilitate group discussions to explore tionality in popular music pedagogy. All are Music and Philosophy Study Group strategies, questions, and concerns related to warmly invited to attend: we hope to see you wellbeing and music history pedagogy. there. 2017 2017 In , the Music and Philosophy Study The Teaching Music History Confer- —Albin Zak Group (MPSG) has programmed two ses- ence (TMHC) took place 9–11 June at Berk- August 2017  Annual Meeting, San Antonio, Texas, 1–4 November 2018 The 2018 Annual Meeting of the AMS will ics and announce them on the AMS web site lecture-recitals) at the 2017 AMS meeting be held jointly with the Society for Music and at the Annual Meeting in Rochester on may not submit proposals for the 2018 meet- Theory (SMT) in San Antonio, Texas, from 11 November 2017. ing. Organizers of Formal Sessions, Evening Thursday 1 November to Sunday 4 Novem- After the seminar topics are chosen, the Panel discussions, Alternative Format ses- ber. The Program Committee will be solicit- call for proposals for the seminar papers sions, or Seminars may not submit propos- ing proposals in the following categories: themselves will be published (deadline 16 als, but participants in Evening Panel discus- January 2018). Individual paper proposals are sions and Alternative Format sessions may. • individual papers reviewed anonymously. The Program Com- • poster presentations mittee, in consultation with the conveners, • formal sessions FAQ chooses three to six abstracts for each semi- • evening panel discussions nar topic. If there are not enough abstracts of Why seminars? • sessions using alternative formats sufficient quality to fill a seminar, the semi- • seminar papers The seminar format offers the opportunity nar will not be offered. • sessions held jointly with the SMT for more extended discussion and deeper Submission instructions. Seminar Topic intellectual engagement by a larger group Plans for exact specifications for submission proposals should consist of: of participants than does the standard paper are currently under revision, and scheduled 350 • an abstract of no more than words session. A seminar is an interactive discus- for publication at the web site in early Oc- describing the topic and indicating why sion-oriented session in which participants tober. The submission deadline will be Tues- it would be particularly appropriate for a can learn from each other in addition to day, 16 January 2018. seminar presenting their knowledge. Seminars have The deadline for Seminar Topic propos- • a concise bibliography of pertinent schol- been adopted by an increasing number of als is 9 October 2017; See below for details. arship (no more than fifteen items; not scholarly societies in their annual meetings, Seminar Topics for San Antonio 2018 will be 350 included in the -word count), including the Society for American Music, published on 11 November 2017. • a one-page CV from the conveners or co- German Studies Association, and the Ameri- See www.ams-net.org/sanantonio for full conveners listing recent publications and can Comparative Literature Association. details. indicating their expertise in the proposed topic. How do seminars work? Program Committee: Linda Austern, James Seminar Topic proposals are not reviewed The sessions emphasize group discussion Buhler, Emily Dolan, David Metzer, Jennifer anonymously. (Please note that conveners rather than formal papers. There are one or Saltzstein, and Holly Watkins. should not suggest possible participants.) two conveners for each topic and an addi- —Carol A. Hess, Chair Submission is made through the web site: tional three to six active participants who www.ams-net.org/sanantonio; a form for submit papers. Topics are chosen at stage this purpose will be in place about the begin- Call for Seminar Topic Proposals one, participants at stage two. Approximate- ning of September 2017. Deadline 9 October 2017 ly one month before the Annual Meeting, Submission restrictions. The Program seminar papers will be posted on the AMS The AMS Program Committee invites pro- Committee wishes to give opportunities to web site so that they can be read by seminar posals for seminar topics for its San Anto- participate for as many different people as participants and attendees. At the seminars nio Annual Meeting, 1–4 November 2018. possible and has therefore set a limit on any themselves, participants present only short Seminar sessions are devoted principally one person’s programmatic activity. Only informal summaries of their papers. In ad- to a moderated discussion of a set of papers one proposal per author may be submitted. dition to the selected active participants, the circulated in advance of the meeting. Semi- No one may appear on the San Antonio pro- seminars are open to auditors, as space al- nar topics may address any theme of wide gram more than twice.* An individual may lows. Each of the three seminars will meet relevance to the Society, e.g., current issues deliver a paper or participate in a Seminar once for ninety minutes and will be sched- in the field, interdisciplinary topics, music Session and appear one other time on the uled during the regular daytime sessions. in public life, or new fields of research. Up program, whether participating in an eve- to three seminar sessions will be included ning panel discussion or Alternative Format What kinds of topics are suitable for at the 2018 Annual Meeting. Each seminar session, functioning as a chair-organizer seminars? will meet once for ninety minutes and will of a formal session, or serving as a respon- be scheduled as a regular daytime session. In dent, but may not deliver a lecture recital or Seminar topics may address any themes of addition to the selected active participants, concert. great interest and wide relevance to the So- seminars are open to auditors, as space *Participation in extra-programmatic of- ciety, for example, current hot-button issues allows. ferings such as Study Group meetings or com- in the field, interdisciplinary topics, music in Seminars are developed in two stages: (1) mittee presentations (e.g., the Committee on public life, or new fields of research. selection of the topics (and their conveners) Career-Related Issues) does not count as an ap- and (2) selection of the actual papers related pearance for this purpose. to those topics. The present call is for stage The “alternate years” rule.Those who pre- one. The program committee will select top- sented papers (including Seminar papers or

 AMS Newsletter Who may submit proposals for AFS: whereas the AFS conveners design and written and pre-circulated a substantial pa- seminar topics? propose an entire session, including par- per, so a seminar actually provides a platform ticipants, topics for seminars are chosen in a for more participants than does a regular pa- Anyone with a strong interest and expertise separate process from the selection of partici- per session. in a topic or field, or who wishes to develop pants, and anyone can apply to participate in a new field of inquiry or explore a multidis- a seminar. How large are the seminars, ciplinary perspective. A Study Group or a including auditors? scholarly society may also submit a proposal, How are seminar papers different Based on the experience of other societies, although participation in the seminar is open from regular papers? seminars will vary in size. Some may take to all. Seminar papers are circulated in advance in place in smaller rooms, with participants How are the topics and paper order to facilitate group discussion at the ses- seated around a central table and auditors proposals chosen? sion. Because they are not read aloud, they seated around them; others may attract can be more substantial than orally delivered larger audiences, for which a seating arrange- The Program Committee selects the topics, papers. ment resembling a panel discussion would based on scholarly quality and relevance. The be more appropriate. In all cases, however, proposers of topics that are accepted become Does a seminar paper “count” the the seminar participants, moderated by the the conveners. The Program Committee and same as a regular paper? convener(s), will carry out most of the dis- the conveners together select the seminar pa- cussion. At the convener’s discretion, the Yes; seminar participants write papers, just pers, based on the quality of the proposals as discussion may be opened up to the larger like other presenters. The rules regarding well as their relevance to the seminar topic. group. multiple appearances at the Annual Meeting How are seminars different from equally apply to seminar participants. How many seminar sessions are Alternative Format Sessions (AFS)? planned for the 2018 meeting? Don’t seminars just take up slots Seminars are solely discussion-based, with that would be better used for formal Up to three ninety-minute sessions, each with no papers read. Since papers are circulated in papers? three to six papers. advance to all participants and auditors, they permit greater in-depth discussion than AFS. Seminars are ninety-minute sessions that fea- Seminars are also designed more openly than ture up to six participants, each of whom has

Call for Performances gram listing repertory, performer(s), and the details. Materials must arrive at the AMS of- Deadline: 16 January 2018 duration of each work; 3) a list of audio-visual fice no later than 5 p.m. EST, 16 January 2018. and performance needs; 4) a short (100-word) Exceptions cannot be made to this deadline, The AMS Performance Committee invites biography of each participant named in the so please plan accordingly. Receipts will be proposals for concerts, lecture-recitals, and proposal; 5) for concerts, a one-page expla- sent to those who have submitted proposals other performances and performance-related nation of the significance of the program or by the deadline, and the committee will com- events during the 2018 San Antonio Annual manner of performance; for lecture-recitals, municate its decisions by 16 April 2018. Meeting, 1–4 November. We encourage per- a description (two pages maximum) explain- —Laurie Stras formance proposals that develop a point of ing the significance of the program and/or Performance Committee Chair view, offer a programmatic focus, or explore manner of performance, and a summary of new musicological findings. Performances the lecture component, including informa- related to the meeting’s venue and/or that tion pertaining to the underlying research, its demonstrate the Society’s diversity of inter- methodology, and conclusions; 6) representa- AMS San Antonio 2018 ests, its range of approaches, and its generic, tive audio or audio-visual materials pertain- Session Chairs geographic, and chronological breadth are es- ing to the program and performers (twenty Each year the Program Committee orga- pecially welcome. minutes maximum). nizes session chairs after their program Freelance artists as well as performers and An individual may not present both a pa- selections are made. In 2017 we tried a ensembles affiliated with colleges, universi- per and a performance (or lecture-recital) at new procedure for chair selection: pub- ties, or conservatories are encouraged to sub- the meeting. If an individual’s proposals to lishing the list of sessions and calling for mit proposals. Available presentation times the Program and Performance Committee are nominations directly associated with include lunch hours and afternoons on Friday both selected, the applicant will be given an specific sessions. The procedure for 2018 and Saturday, and evening on Thursday. Pre- early opportunity to decide which invitation will be similar: when the list of sessions sentations are typically from forty-five to sixty to accept and which to decline. Although the is prepared in April 2018, a call for ses- minutes in length. AMS is unable to offer a fee to artists, mod- sion chair nominations will be distribut- 1 Required application materials include: ) est subsidies are occasionally available for per- ed to members. Details will be available an application cover sheet (available from the formance-related expenses. Please see the ap- at www.ams-net.org/sanantonio. AMS office or web site); 2) a proposed pro- plication cover sheet for proposal submission

August 2017  News Briefs ing of open-access tools includes a wide range The online exhibitionPunkfest Cornell: An- of materials, including scanned scores and archy in the Archives is available. Details: Clemson University Press is soliciting book manuscripts, structured databases, audio and rmc.library.cornell.edu/punkfest/exhibition/ proposals on musical subjects, especially those video materials, widely used humanistic col- introduction. lections, as well as maps, recordings, and im- intersecting with literature, print culture, and SAGE Publishing announces a partnership ages. Details: drm.ccarh.org. other arts. We also are interested in transla- with the Society for Education, Music and tions and editions of primary source mate- Psychology Research (SEMPRE) for a new MGG Online has updated—or soon will— rials. Details: clemson.edu/press. For addi- open access online journal, Music & Sci- some one hundred article additions and re- tional information, contact managing editor ence. Details: us.sagepub.com/en-us/nam/ visions, among them “Opernhaus,” “Prince,” Alison Mero: [email protected]. music-science/journal202491. and “YouTube.” Details: mgg-online.com. Internet Resources Two new volumes have recently been pub- The Music Division of the Library of Con- lished in the Society for Seventeenth-Centu- News gress announces that the Schatz opera libretti ry Music’s Instrumenta series: Thematic Cata- collection of 12,253 items is available online. logue of Chamber Cantatas by Marc’Antonio TheCenter for the History of Music Theory Details: loc.gov/collections/albert-schatz/ Pasqualini (vol. 3), compiled by Margaret and Literature at Indiana University Jacobs about-this-collection/. Murata, and A Thematic Locator for the Works School of Music announces a new release of of Jean-Baptiste Lully (vol. 4), compiled by the Thesaurus Musicarum Latinarum, featur- The Musical Festivals Database, a fully- Bruce Gustafson with Matthew Leshin- ing extended capabilities for browsing and searchable index of programs, personnel, en- skie. Details: sscm-jscm.org/instrumenta/ searching. Details: chmtl.indiana.edu. sembles and venues of musical festivals held instrumenta-volumes. Version 1.1 of Digital Resources for Musi- in Great Britain between 1695 and 1940, is cology has recently been released. This list- now available. Details: musicalfestivals.org.

Rochester Performances continued from page 26 editions prepared by Liza Malamut (Boston University). As Mal- amut observes, the work’s “vocal virtuosity, adventurous use of per- formance space, and unfettered orchestration” make it both “a true spectacle” and a challenge to mount. Directed by Stephen Kennedy of Christ Church, this performance will bring together performers from the Christ Church Schola Cantorum and Consort with stu- dents and faculty from the Eastman School of Music, and beyond. It will make full use of the space and the church’s magnificent Craig- head-Saunders organ. Finally, attendees will be able to witness a workshop-demonstra- tion on improvised polyphony by the Bloomington, Indiana-based ensemble Forgotten Clefs, led by artistic director Charles Wines. The Craighead-Saunders Organ at Christ Church, Rochester Informed by fifteenth-century treatises by Johannes Tinctoris and Guiliemus Monachus, the seven-member ensemble will demonstrate The performance committee members, Michael Alan Anderson, how Northern European civic wind bands improvised three- and Laurie Stras, Steve Zohn, and I warmly invite you to participate in this year’s outstanding offerings! four-part polyphonic pieces based on monophonic tunes. The audi- —Christina Baade ence will get to help select the tunes. Performance Committee Chair

National Humanities Alliance The National Humanities Alliance (NHA) has been busy this support your community-based humanities organizations, such year, since the National Endowment for the Humanities (NEH) as historical societies, museums, galleries, archives, and libraries. is under direct threat (the presidential budget has proposed shut- Ask the organizations how you can help. Write a letter or op-ed ting down the NEH). While there is strong bipartisan support for for your local newspaper. The NHA has a broad array of tools and federal humanities programs, the mere existence of the elimina- suggestions to help individuals take action, including samples of tion proposal is worrisome. The rationale behind the proposed op-eds, fact sheets that abundantly demonstrate the good, and cuts are many and complex, and we must not presume that they good value, of humanities funding, easy-to-use forms for writ- are mere bluster. What can we do? ing to your members of congress, and so on. The thirty minutes Here are some suggestions: write to your Washington congres- you take now to support federal funding for the humanities will sional delegation and share with them real stories of how federal help ensure the continued existence of these critically important humanities funding has helped you and those you know; and programs.

 AMS Newsletter CFPs and Conferences The AMS posts Conference and CFP no- Finding Democracy in Music Professor Reicha: Practice and tices at three bulletin boards: see ams- 4–5 September 2017 Legacy of a Composer-Teacher net.org/announce.php for complete list- University of Huddersfield 10–12 November 2017 ings and information about subscribing to American Women Composer- Lucca email notices. Hundreds have been posted Pianists: A Celebration of Amy The Concert in Spain (18th–21st 2017 since the February AMS Newsletter Beach and Teresa Carreño centuries): Historical, Productive, was published; a small selection appears 15–16 September 2017 Performative and Ideological Aspects below. University of New Hampshire, Durham 23–24 November 2017 Madrid Calls for Papers Bluegrass Symposium 29–30 September 2017 Music Publishing and Claude Debussy in 2018: a Raleigh Composers: 1750–1850 Centenary Celebration 24–26 November 2017 The Blues CFP Deadline: 1 September 2017 Lucca 1–3 October 2017 i) Debussy Perspectives, 1918–2018 Delta State University, Cleveland, Miss. Performing History: New 19–21 March 2018 Zealand Musicological Society & Royal Northern College of Music, Singing the Sermon: When the Musicological Society of Australia Message and Music Matter Manchester 8–10 December 2017 4 6 2017 ii) Debussy’s Late Work and the Musical – October University of Auckland Worlds of Wartime Paris Baylor University, Waco Wounded Galaxies 1968: Beneath 22–23 March 2018 Les Femmes Créatrices/Creative Women the Paving Stones, the Beach University of Glasgow at the End of the First World War: 8–10 February 2018 American Society for Eighteenth- Endings and New Beginnings Indiana University, Bloomington Century Studies 5–7 October 2018 When the Music Takes Over: Musical CFP deadline: 15 September 2017 University of Guelph Numbers in Film and Television 22–25 March 2018 Georg Philipp Telemann: Enlightenment 8 10 2018 Orlando – March and Postmodern Perspectives University of Salzburg American Bach Society 11–14 October 2017 Renaissance Society of America CFP deadline: 1 October 2017 Temple University, Philadelphia 22 24 2018 26–28 April 2018 – March A Century of Movement: New Orleans Yale University, New Haven Russian Culture and Global Musicology in the Age of Society for Christian Community since 1917 (Post) Globalization Scholarship in Music 12–13 October 2017 3–6 April 2018 CFP Deadline: 1 October 2017 University of North Carolina at Chapel New York February 8–10, 2018 Hill Southeastern Baptist Theological Semi- 20th- and 21st-Century Song Italian Musicological Society nary, Wake Forest Cycles for Voice and Piano 20 22 2017 – October 20–22 April 2018 Society for Seventeenth-Century Music Lucca CFP Deadline: 1 October 2017 Michigan State University, East Lansing Mozart and Modernity: Mozart 19–22 April 2018 Society of America University of Colorado, Boulder 20–22 October 2017 Opera and Musical Theater University of Western Ontario, London in the United States CFP deadline: 1 November 2017 Italian Madrigal Conference 21–22 October 2017 23–25 March 2018 Meetings of AMS and Related Indiana University, Bloomington Middle Tennessee State University, Societies Murfreesboro Music in Popular Culture 2017: College Music Society 27–28 October 2017 CMS: San Antonio, 26–28 Oct. CFP deadline: 28 November 2017 University of Massachusetts, Amherst SMT: Arlington, 1–5 Nov. 11–13 October 2018 Digital Libraries for AMS: Rochester, 9–12 Nov. Vancouver Musicology Workshop SEM: Denver, 26–29 Oct. 28 October 2017 Conferences Shanghai Conservatory of Music 2018: SAM: Kansas City, 28 Feb.–4 Mar. Sounding Out the Space: Why Look Back? The Seductive CMS: Vancouver, 11–13 Oct. The Spatiality of Sound Power of the Musical Past AMS/SMT: San Antonio, 1–4 Nov. 2–4 November 2017 30 August–1 September 2017 SEM: Albuquerque, 15–18 Nov. Utrecht Dublin School of Creative Arts

August 2017  AMS Grants, Awards, and Fellowships

Descriptions and detailed guidelines for all AMS awards appear at the AMS web site.

Travel and Research Grants Awards Philip Brett (LGBTQ Study Group; (deadlines 1 April except where noted) (deadlines 1 May except where noted) (scholarship in gay, lesbian, bisexual, and transsexual/transgender studies), deadline 15 M. Elizabeth C. Bartlet (research in France) Otto Kinkeldey (book [later career stage]) August Virginia and George Bozarth (research in Lewis Lockwood (book [earlier career Austria) stage]) Fellowships H. Robert Cohen (historical periodical (deadlines 15 December) Claude V. Palisca (edition or translation), litererature) Howard Mayer Brown (minority graduate deadline 31 January William Holmes/Frank D’Accone (history study) of opera) H. Colin Slim (article [earlier career stage]) Alvin H. Johnson AMS 50 (dissertation Jan LaRue (research in Europe) Alfred Einstein (article [earlier career stage]) year) Janet Levy (independent scholars) Music in American Culture (book [music Other Grants Harold Powers (research anywhere) of the U.S.]) Thomas Hampson Fund(research or Ora Frishberg Saloman (criticism and Ruth A. Solie (essay collection) publication in classic song) reception history) Deadline: 15 August Robert M. Stevenson (article or book Eugene K. Wolf Travel Fund (research in [Iberian music]) Publication Subventions Europe) Deadlines: 15 February, 15 August Teaching (pedagogical scholarship) Eileen Southern Travel Fund (Annual Meeting travel [underrepresented Noah Greenberg (outstanding performance 75 Years Ago: 1942 minorities]), deadline 1 June projects), deadline 15 August • About twenty members attended the An- MPD Travel Fund (Annual Meeting travel) Paul A. Pisk (graduate student paper at nual Meeting, held at Schirmer Hall, 3 E. deadline 30 June Annual Meeting), deadline 1 October 43 St., N.Y. on 29 December 1942. At the meeting the Society approved the publica- tion of the second volume of Dragan Pla- Additional Grants and Fellowships • Grammy Foundation menac’s edition of the collected works of • Getty Library Research Grants 1947 Many grants and fellowships that recur on Ockeghem. It appeared in . • Guggenheim Memorial Foundation • The following note appeared in the meet- annual cycles are listed at the AMS web site: Fellowships ing’s minutes: “The Treasurer deplored the www.ams-net.org/grants.php. • Harvard University Center for Italian delays on the part of members in respond- Grants range from small amounts Renaissance Studies ing to his communications.” to full-year sabbatical replacement sti- • Humboldt Foundation Fellowships pends. The list of programs includes the 50 Years Ago: 1967 • Institute for Advanced Study, School of following: Historical Studies • The Society received a bequest of $10,000 • American Academy of Arts & Sciences • Kurt Weill Foundation for Music from the estate of Lloyd Hibberd. • American Academy in Berlin • The inaugural Kinkeldey and Einstein • Liguria Study Center for the Arts and • American Academy in Rome Awards were presented at Annual Meet- Humanities • American Antiquarian Society ing (Santa Barbara, 26 December). Recipi- • Music Library Association • American Brahms Society ents were William W. Austin and Richard • Monash University, Kartomi • American Council of Learned Societies Crocker, respectively. • From the minutes of the Board of Direc- • American Handel Society Fellowship tors meeting: “The structure of the Soci- • Berlin Program for Advanced German • National Endowment for the Humanities ety’s committees was discussed, and the and European Studies desirability of some rotation in member- • National Humanities Center • Camargo Foundation ship was cited.” • Columbia Society of Fellows in the Fellowships Humanities • Newberry Library Fellowships 25 Years Ago: 1992 • Delmas Foundation • Northwestern University Library • Computers first arrived at the AMS office, • Deutscher Akademischer Austauschdienst • Rice University, Humanities Research and credit card payment for overseas mem- • Emory University, Fox Center for Hu- Center bers was instituted. manistic Inquiry • Social Science Research Council • The Board altered the AMS Council’s • French Ministry of Foreign Affairs: • University of London, Institute of Mu- Committee on Cultural Diversity to make Chateaubriand Scholarship sical Research it a society-wide committee. • Fulbright U.S. Scholar Program • Yale Institute of Sacred Music • The Library of Congress closed its stacks to scholars.  AMS Newsletter Obituaries and then in World War II served as a cryptog- rapher in the U.S. Army Signal Corps Intelli- The Society regrets to inform its members of the deaths of the following members: gence. At Columbia University afterwards he earned a B.A. cum laude and M.A. in musi- Luther A. Dittmer, 10 July 2017 cology, and in 1958, working under William Catherine A. Dower-Gold, Opera, Santa Fe Opera, Chicago Lyric Opera, Newman and Glen Haydon at the University 17 February 2017 Teatro alla Scala, and Théâtre des Champs- of North Carolina at Chapel Hill, completed Susan Filler, 7 July 2017 Élysées. His consulting work with singers his PhD with a dissertation on seventeenth- William Harold Fletcher, 27 May 2017 began with a fruitful and lasting relationship Kenneth Gloag, 28 April 2017 with Marilyn Horne, who premiered the orig- century Florentine comic operas. His teach- Tancredi 1955 Philip Gossett, 13 June 2017 inal tragic ending of at the Houston ing began at Catawba College in and in 1979 Peter Kivy, 6 May 2017 Grand Opera in using Gossett’s edition. 1960 continued at George Peabody College Jeremy Noble, 30 June 2017 In addition, he worked with Cecilia Bartoli, until 1975, when he moved to the University Joyce DiDonato, Renée Fleming, Juan Diego of Louisville, where he taught until his retire- Philip Gossett (1941–2017) Flórez, and Samuel Ramey, conductors Clau- ment in 1989. dio Abbado and Riccardo Muti, and stage di- Philip Gossett, Robert W. Reneker Distin- Bob’s interests were wide-ranging. He pub- rectors Jonathan Miller, Jean-Pierre Ponnelle, guished Service Professor Emeritus at the lished articles on twentieth-century music and Francesca Zambello. University of Chicago, died after a long strug- and supervised dissertations in all the his- Gossett received the AMS Einstein Award gle with progressive supranuclear palsy on 13 torical periods. But his scholarship concerned for his article “Rossini in Naples: Some Major June 2017. Born 27 September 1941, he early above all Italian music from the late sixteenth Works Recovered” (Musical Quarterly, 1968). on was drawn to music, but only decided to to the mid-nineteenth century. A passion for His book Anna Bolena and the Artistic Ma- pursue a music history career after giving up the music of Tuscany fueled his research in turity of Gaetano Donizetti (1985) received an a physics major at Amherst College, from ASCAP-Deems Taylor Award, while Divas European libraries over many years, the re- which school he graduated summa cum laude and Scholars: Performing Italian Opera (2006), sults of which were disseminated in books, in music in 1963. His took his PhD in musi- a summation of his life’s work, received the editions, and many articles. Undoubtedly cology from Princeton University after spend- Society’s Otto Kinkeldey Award that year, the the most important are the two-volume A ing a year in Paris as a Fulbright Scholar. He Laing Prize from the University of Chicago Chronology of Music in the Florentine Theater, joined the faculty of the University of Chi- Press, and an ASCAP-Deems Taylor Award. 1590–1750 (1978); 1751–1800 (1993), written cago in 1968, where he remained throughout The edition of the Petite Messe solennelle for with his wife Norma, and The Music Library his career, serving also as Visiting Professor or the Rossini Edition (2009), co-edited by Patri- of a Noble Florentine Family: A Catalogue Rai- honored lecturer at many institutions, includ- cia B. Brauner, won the Claude Palisca Award sonné of Manuscripts and Prints of the 1720s to ing the Università degli Studi, Parma; Univer- for the best musical edition of that year. He the 1850s collected by the Ricasoli Family (2012). sité de Paris, France; and Oxford University. was an honorary member of the Academy The former describes hundreds of theatrical From 2003 to 2011, he shared his position in of Arts and Sciences (1989), Accademia Fi- productions, establishes a new chronology of Chicago with a faculty appointment in the larmonica di Bologna (1989), Accademia di Facoltà di Lettere at the Università “La Sapi- Florentine dramaturgical academies, and de- Santa Cecilia (2003), American Musicological enza” of Rome. fines the Leopoldine school of Tuscan music. Society (2004), American Philosophical Soci- Gossett’s decision in the 1960s to make The latter identifies over 400 manuscripts and ety (2008), Royal Swedish Academy of Music nineteenth-century Italian opera his research prints, and discusses the collection’s history (2008), and British Academy (2009). Recog- focus was not encouraged by the field, which and use in the Ricasoli family’s chapels and nition on an even wider scale came from his at that time considered this music of lesser household. Bob had encountered this invalu- receipt of the Medaglia d’Oro, prima classe, importance than such research areas as Re- able collection in the 1980s when it was adver- of the Italian Government for services to Ital- naissance music or Beethoven studies (in both tised in lots by a book dealer; determined to ian culture, education, and the arts (1985); the of which areas Gossett also published). His keep it together, he led a successful campaign highest civilian award of the Italian govern- subsequent career proved doubters wrong. It to acquire it for the University of Louisville. ment, the title of Cavaliere di Gran Croce was largely his detailed study of the original Bob founded the AMS South-Central (1998); the Order of Rio Branca, Republic of sources of the operas of Rossini, Donizetti, Brazil (1998); the Serena Medal (2008) from Chapter; launched Musica Toscana and its Bellini, and Verdi that led to the establish- the British Academy; and the Mellon Dis- series Monuments of Tuscan Music; served on ment of major critical editions of their works. tinguished Achievement Award (2004, held the Board of the Journal of Musicology from Gossett was the General Editor of both The 2006–10). He served overlapping terms as its inception; and edited a Festschrift for his Works of Giuseppe Verdi and Works of Gioachi- President of both the AMS (1994–96) and of friend and colleague Gerhard Herz (1981). no Rossini. The Centro Italo-Americano per the Society for Textual Scholarship (1993–95) The Weavers were themselves the honorees of l’Opera (CIAO) was established under Gos- and as Dean of the Division of the Humani- a Festschrift, Essays in Honor of Robert Lamar sett’s leadership at the University of Chicago ties at the University of Chicago (1989–99). Weaver and Norma Wright Weaver (2000). as the home of editorial work on the Rossini Bob was unfailingly generous in sharing edition and also to support the Verdi edition. —Ellen T. Harris his research and delighted in the successes of Since 2006, CIAO has welcomed scholars of students and colleagues. What will be missed nineteenth-century opera. Robert Lamar Weaver (1923–2017) Gossett’s detailed work on editions naturally most deeply, but will remain with all who evolved into a strong interest in operatic per- Robert Lamar Weaver died in Louisville on knew him, is his laughter, the twinkle in his formance. He consulted with opera compa- 21 January 2017. Born in Georgia and raised eye, his wit, his curiosity, his humaneness. nies worldwide, including the Metropolitan in Tennessee, he attended Emory University, —Susan Parisi August 2017  American Musicological Society New York University Nonprofit org. 194 Mercer Street, Room 404 U.S. Postage PAID New York, NY 10012-1502 Mattoon, IL Permit No. 217 Address service requested

Society Election Results Funding for Chapter Activities Membership Dues The results of the 17 election of AMS The Chapter Activities Committee pro- Regular member * $120 officers and the Board of Directors: vides several opportunities for academic Sustaining member * $240 President: Suzanne G. Cusick and professional development through Income less than $30,000 $60 Secretary: Michael C. Tusa the AMS Chapter Fund. These include Student member $45 supporting travel to the Annual Meeting Emeritus member * $60 Directors-at-Large: for student chapter representatives and up Joint member * $50 Katharine Ellis $250 to for special events occurring as part Life member varies; ask for details Daniel Goldmark of a chapter’s meeting (for instance guest * 3-year payment option available Bonnie S. Gordon speakers, guest performers, workshops). For more information please visit www. Overseas, please add $20 for air mail 290 votes were cast (none via paper); 11% of ams-net.org/chapters/chapterfund.php or delivery. Students, please enclose a copy the membership. email Stephen Meyer, committee chair: of your current student ID. [email protected]. Next Board Meetings AMS Newsletter Address and Deadline The next meetings of the Board of Direc- AMS Directory Items for publication in the next issue of tors will take place 8 November 2017 in TheAMS Directory is now published only on- Rochester and 6 April 2018 in San Antonio. the AMS Newsletter must be submitted line (login required). It includes features such by 1 December to the editor: as photo and document uploads, research James Parsons Next Council Meeting interests, publication citations, and personal links: members may share as much (or as lit- AMS Newsletter Editor The next meeting of the AMS Council tle) information with each other as they wish. Missouri State University will take place 11 November in Rochester. It is also linked to member DDM records. [email protected] See www.ams-net.org/council/ for A PDF version of the AMS Directory (April more news and information about 2017) is also available at the web site (login TheAMS Newsletter (ISSN 0402-012X) AMS Council, including recent initia- required). Print versions will be sent upon re- is published twice yearly by the Ameri- tives involving student representatives to quest: please contact the AMS office. can Musicological Society, Inc. and Council. mailed to all members and subscribers. Requests for additional copies of current More JSTOR Access and back issues of the AMS Newsletter Interested in AMS Committees? At its April 2016 meeting, The AMS Board should be directed to the AMS office. The president is always grateful to of Directors approved a program to sub- All back issues of the AMS Newsletter hear from members who wish to vol- sidize access to JSTOR.org resources for are available at the AMS web site: unteer for assignments to commit- members without institutional access. Ac- www.ams-net.org/newsletter tees. Send your assignment request to cess is arranged through the AMS office. Claims for missing issues must be Martha Feldman, [email protected]. If you would like to take advantage of this benefit, please send a request to Bob Judd, made within 90 days of publication New Books [email protected]. Since access accounts (overseas: 180 days). are limited, the one-year access account Moving? Please send address changes to: 125 titles have been added to the AMS New will be allocated on a first-come, first- 194 Books list since the beginning of 2017. De- AMS, New York University, Mercer served basis. 404 10012 1502 tails: www.ams-net.org/feeds/newbooks. St., Rm. , New York, NY -