AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XLV, NUMBER 1 February 2015 ISSN 0402-012X Louisville: City of Music Traditions 2014 Annual Meeting: Milwaukee

AMS Louisville 2015 sic Festival, scheduled for 10–15 November. I remember accordions. In the escalator con- 12–15 November The festival will celebrate the thirtieth anni- necting the Hilton Milwaukee and the Wis- www.ams-net.org/louisville/ versary of the Grawemeyer Award, and special consin Convention Center, the twin ven- guest composers include Kaija Saariaho and ues of the eightieth Annual Meeting of the Yes, Louisville, Kentucky always makes the Jean-Baptiste Barrière. The Louisville Or- American Musicological Society, photographs front page once a year following the first Sat- chestra will take part in the festival on Thurs- memorialize the city’s storied polka tradi- urday in May when horses appear in the spot- day November 12. Krzysztof Wołek directs the tions. The passerby can trigger an associated light. But don’t let the lopsided news coverage festival. soundtrack, and—this being a conference of fool you into thinking it’s a two-minutes-a- And of course the Louisville Orchestra is musicologists—every time I walked through year city! The eighty-first annual meeting of justly renowned for championing new music. it was already playing. It kept me in mind of our Society will take place in Louisville from In 2014, PBS aired the documentary Music where I was, Milwaukee, with its distinctive 12 to 15 November in the Galt House Ho- Makes a City, which relates the story of the en- musical history and, in my experience, rich tel, where the AMS met in 1983. Times have semble over the years. The broadcast followed and welcoming culture for a conference visi- changed: thirty-two years ago we held twen- the film’s winning Gramophone’s award for tor. The recording also highlighted some dra- ty-five sessions, and this year we anticipate at Best DVD Documentary of the year in 2012. matic transitions, on the one hand between least sixty. This year’s Program Committee More recently, Music Makes a City has moved papers on vastly different subjects, and on the is chaired by Daniel Goldmark (Case West- to the web (www.musicmakesacity.com) for a other between equally different spaces: an Art ern Reserve University), and David Dolata series of episodes that explore the ensemble’s Deco Hilton built in 1927 with grand stair- (Florida International University) chairs the new directions under Terry Abrams (director cases and richly ornamented ballrooms, and Performance Committee. Local arrangements since fall 2014). a functionalist convention center from the are under the direction of Seow-Chin Ong Louisville was founded by George Rogers 1990s. I imagine that others, like me, found (University of Louisville). Clark in 1778, and was named for King Louis switching between them to be a good deal This will be a particularly exciting time in XVI of France in appreciation for his assis- more invigorating than wandering around Louisville, since the AMS meeting takes place tance during the Revolutionary War. The city the average conference hotel. It was like split- during the University of Louisville New Mu- is one of the oldest west of the Appalachians, ting one’s time between the Great Gatsby and and is the largest in Kentucky. Its attractions a cinema multiplex, all courtesy of a magical In This Issue… are many, in the arts and history as well as musical escalator. popular culture. Attendees may wish to ex- This year the AMS met jointly with the President’s Message ...... 2 perience the city’s historic southern homes, Society for Music Theory, which made for a IAML/IMS Conference ...... 3 local crafts, the Louisville brand of Southern full, rewarding weekend. Thirteen sessions Kenneth Levy Fund ...... 4 cuisine, and traditional Kentucky music . We ran concurrently during the mornings and Proposed By-laws Changes . . . . 4 hope to organize a river cruise and outings to afternoons, and nearly as many took place in AMS Public Lectures ...... 5 nearby historic sites over the weekend. the evenings, especially Thursday and Friday. Awards, Prizes, Honors ...... 6 Although the Speed Art Museum will be Noontimes offered more presentations and Treasurer’s Message ...... 11 closed for renovations, its offerings are avail- discussions hosted by committees and interest AMS Fellowships, Awards, Prizes . .12 able in a satellite center, a short walk from the groups. Thursday evening witnessed the sec- AMS Elections 2015 ...... 13 hotel. There are many smaller art galleries in ond AMS President’s Endowed Plenary Lec- Committee News ...... 15 this thriving artistic community, such as the ture, delivered by Margot Fassler, and on Sat- Study Group News ...... 17 always fascinating display at the 21c Museum urday afternoon Lydia Goehr gave the SMT News Briefs ...... 19 Hotel, also a short walk from the Galt House. keynote. Other business transpired in meet- Annual Meeting Survey Results . . 19 You’ll want to visit both the Highlands and ings of editorial boards, affiliate societies, and CFPs, Conferences ...... 20 “NuLu” (the East Market District), where AMS and SMT committees, and a suitably Papers Read at Chapter Meetings . 21 many eateries and galleries are located. An- Gatsby-esque whirlwind of parties allowed for Legacy Gifts ...... 27 other district, Old Louisville, is one of the less formal interaction. In addition to nearly Financial Summary 2014 . . . . .28 Obituaries ...... 29 continued on page  continued on page  President’s Message

When the AMS Board arrived in Milwaukee will cover the majority of the program’s annu- something by foregoing the opportunity to for its meeting in early March 2014, it found al cost. And third, the Board voted to give all learn directly from one another. I was encour- a frozen tundra with temperatures hovering AMS members who have reached the age of aged to learn in Milwaukee that a number of around 0˚F, blustery winds making it feel seventy-five the option of free membership, AMS chapters are already holding joint meet- colder still, and Lake Michigan seemingly not only out of respect, but also to encour- ings with SEM, something we might do more flash frozen into a still life. How transformed age senior members on fixed incomes to stay often at the national level. And at the Council the city seemed for our Annual Meeting in active in the Society. I am very honored to Meeting, I was specifically urged to consider November! The wind still made an appear- have taken up the presidency of the AMS at joint meetings with MLA (IAML-US). ance, but the city was vibrantly alive with such an exciting time. When I took the po- The joint IMS and IAML meeting to be great music venues and restaurants. Despite dium, I chose three words–innovation, diplo- held June 2015 in New York provides a model the long indoor walk between the hotel’s con- macy, and devotion–to characterize the work of such a meeting. But the organizers, want- ference rooms and the Convention Center, of Chris Reynolds during his presidency. We ing still more inclusion, asked me to create a the combined spaces provided multiple areas can all be grateful for his many contributions special session to highlight the work of the (all of which seemed heavily in use) for infor- to the Society. Thank you again, Chris. AMS. In the panel that resulted, three of our mal get-togethers and time-outs—and who One session in Milwaukee that I did at- past presidents will discuss their most recent didn’t want to push the “polka button” at tend was the crowded and enthusiastically- the base of the escalator connecting the Con- received “End of the Undergraduate Music research, highlighting how it has been in- vention Center to the hotel to turn on the History Sequence?” sponsored by the AMS flected (or not) by digital technologies (see p. 3 music! Venturing outside the hotel to attend Pedagogy Study Group (now available online: ). Even without joint meetings, then, such an afternoon concert in the historic Calvary www.ams-net.org/studygroups/psg). Seeing sessions, specifically organized by one society Presbyterian Church, I also had the pleasure the strength of our members’ commitment to for another, could enhance learning across of stopping by the Milwaukee Public Library teaching in light of the actions of the Board musical disciplines. Or, perhaps more simply, and was stunned by the beauty of its inte- (mentioned above) to enhance inclusion at two societies could agree to include in their rior. Mostly, however, I ran from meeting to our Annual Meetings has led me to think annual meeting a session scheduled through meeting within the connecting spaces of the about how much our Society benefits from normal channels on the program of the other, conference. As a result, I missed most of the the interaction of inclusion and learning. thereby doubling the opportunities for learn- paper sessions, but had the opportunity to Teaching is learning (as the saying goes, one ing not only in terms of audience, but also overhear many elevator and hallway conver- in feedback to the presenters. Although such sations about great papers and great sessions. Inclusion does not equal exclusion exchanges would necessitate additional plan- We owe a huge debt to the Program Com- ning and adequate travel support, they are a mittee, the Performance Committee, and the realistic goal. Local Arrangements Committee, as well as to only learns a subject when one teaches it). There is much more that could be said, our Executive Director Bob Judd, the AMS We also learn, of course, from our research but in closing I want to emphasize a critical office staff, and many volunteers, for their and then learn still more from writing it up. point. Inclusion does not equal exclusion. It hard work in creating such a stimulating and We learn in the quiet of our studies and from is to the credit of the AMS that as we have well-organized Annual Meeting. others. embraced new methodologies and approach- Is there any society that turns out in such However we consider ourselves—whether es, we have continued to applaud the ben- force as the AMS to attend its annual business in terms of age, race, sex or sexuality, for ex- efits of traditional research methods such as meeting? Part of the reason, of course, is to ample—we have things to learn from those source studies and criticism. Indeed, whether learn the recipients of our prizes and awards, who are different. In musical scholarship, one looks at the papers or awards presented but reports from our Executive Director and similarly, we learn from the existence of di- in Milwaukee, or the articles in JAMS, one from our Treasurer Jim Ladewig are equally verse topics and methodologies, some of finds both traditional and new—and, in- anticipated, and this year our President Chris which can be delineated by the number of creasingly, combined—approaches. The bal- Reynolds had extraordinary good news. Al- large-scale music societies established in the ance between the variety of approaches will though reported on in more depth elsewhere U.S.: The Music Library Association (MLA: in this newsletter, three major decisions taken 1931)—since 2011 merged with the US branch vary at different meetings and in different by the Board are still worth mentioning. First, of the International Association of Music Li- volumes of the Journal, and we might not the Board decided to use the extremely gen- braries (IAML-US)—the AMS (1934), The find as many papers in our own area as we erous and unrestricted bequest of $289,880 Society for Ethnomusicology (SEM: 1955), might like, but we can be proud that articles, from Elizabeth Ann Keitel to fund a three- The Society for American Music (SAM: papers, and prizes are judged without quotas year initiative that will support bringing more 1975), and the Society for Music Theory or exclusionary restrictions based on types of Student and Low-Income members of the (SMT: 1977). My sense is that all these music scholarship. Inclusion may sometimes require Society to the Annual Meeting. Second, the societies share a common goal, approaching it moving outside one’s scholarly comfort zone, Board voted to add $100,000 from its general from different angles: to understand the role whether that be traditional or radical, but it funds to the Eileen Southern Travel Fund, and importance of music in human culture also means that all AMS members have the which supports bringing underrepresented and to grasp music’s complex inner workings. opportunity of learning from the best work minorities who are considering the pursuit of The AMS meets regularly every other year of others. a Ph.D. in musicology to the Annual Meet- with SMT, but only sporadically with SEM —Ellen T. Harris ing, so that the income from its endowment and SAM, and never with MLA, and we lose [email protected]  AMS Newsletter C. P. E. Bach Set Goes to Barone Music Research in the Digital Age Through the generosity of The Packard Hu- The International Association of Music Li- • In the Wikipedia age, will non-specialists manities Institute and to commemorate the braries, Archives, and Documentation Cen- bother to look at our research? three-hundredth anniversary of Carl Philipp tres (IAML) and the International Musi- • How are the teaching of musicology and Emanuel Bach’s birth, the AMS raffled a full cological Society (IMS) have organized the the formation of musicologists changing? set of Carl Philipp Emanuel Bach: The Com- conference “Music Research in the Digital plete Works, together with facsimile supple- The four speakers, all past presidents of Age,” to be held at the Juilliard School, New the AMS or IAML-US, will engage with the ments, at the Milwaukee Annual Meeting last York, 21–26 June 2015. This large and impor- year. At present the 115-volume edition is well themes and questions as they relate to their tant conference will include hundreds of ses- most current research. over halfway complete (see www.cpebach.org sions and events, and dozens of AMS mem- for details). Our panel consists of Anne Walters Rob- bers are participating. The organizers have ertson (“Secular Songs in Sacred Masses: Un- The winner of the C. P. E. Bach edition is kindly invited the AMS to Anthony Barone, associate professor of music covering Meaning in the contribute a three-hour ses- Digital Age”), Elaine Sis- at the University of Nevada, Las Vegas. sion, and the Society has IAML/IMS Joint Conference The C. P. E. Bach raffle raised over $1,300 for man (“Telescopes, Times of organized “Collections, Day, and Transits of Venus: the AMS endowment, which each year funds Collaborations, and Communities.” Taking travel grants ($56,000), fellowships ($80,000), Digital Collections and Connections outside these three themes, speakers and respondents Music”), Christopher Reynolds (“Digital publication subventions ($100,000), and will explore such questions as awards ($12,000). Tools and Strategies for Collecting and Study- • How does “ubiquitous access” change the ing Sheet Music by Women Composers”) nature of research? and Michael Colby (“Women’s Song in the • How do visibility and discoverability func- Library”), and includes respondents Richard tion in research? Freedman and Philippe Vendrix. • How have digital technologies changed the Read the complete preliminary program nature of collaborative and inter disciplin- and make plans to attend; discounted regis- ary research? tration rates continue until 15 April. • How does our work affect and shape the See www.musiclibraryassoc.org/page/ world at large? IAML_IMS_2015/ for full details.

AMS Milwaukee 2014 more debate over musicology’s real-world manifestations and consequences. continued from page 1 On behalf of all who attended, I thank ev- eryone who helped make the meeting such thirty departmental gatherings (to count only a resounding success. This includes the Lo- Anthony Barone, who won the 2014 C. P. E. Bach those listed in the program), there were events cal Arrangements Committee, chaired by edition raffle, shows off some of the set in his hosted by the committees on Career-Related Mitchell Brauner and including Judith Kuhn, UNLV office. Issues, Cultural Diversity, and Graduate Edu- Rebecca Littman, Timothy Miller, Timothy cation, the LGBTQ Study Group, and oth- Noonan, and Gillian Roger; and the Per- ers. And I haven’t even mentioned the AMS formance Committee, chaired by Catherine AMS Louisville 2015 dessert reception, or the return of the Friday Gordon-Seifert with members David Dolata, night dance! Steve Swayne, and Mitchell Brauner. I have continued from page 1 With fifty daytime sessions, four joint ses- already had opportunity to thank the Pro- sions with SMT, and six evening panels, the gram Committee in the last newsletter, but I best-maintained Victorian neighborhoods in AMS program had far too much content to will reiterate my appreciation for the unpar- the U.S. summarize. Presentations ranged widely alleled expertise, dedication, and fairness of In a more relaxed vein, attendees may wish across eras, geographies, genres, media, and Suzanne Cusick, Daniel Goldmark, Heather to visit the Muhammad Ali Center, the Louis- methodologies, and I am sure that partici- Hadlock, Beth Levy, Ryan Minor, and Ale- ville Slugger Factory and Museum, the Frazier pants came away with distinctly different jandro Planchart. Thanks also to the Study History Museum (the only museum outside impressions of the field depending on what Groups, Committees, and other bodies that of Great Britain to house a permanent display path they followed through the abstract book. contributed program content, and to the of Royal Armouries), and take a walk on the For my part, I was especially struck by papers hundreds of Society members who presented. “Urban Bourbon Trail.” dealing with institutional questions: what to Finally, we can never express sufficient grati- Louisville is centrally located, roughly equi- do with the undergraduate music history se- tude to Bob Judd, who is truly an Executive distant to Chicago, Cleveland, Charlotte, and quence; how to approach research posters and Director among Executive Directors. From Atlanta, and an easy drive from Nashville, other non-traditional forms of presentation; hotel negotiations through program planning Cincinnati, and Indianapolis. how to diversify the Society and its national through crisis management in Milwaukee, Be sure to monitor the conference web site meeting program. At a time when universi- Bob handled the 2014 conference with a pro- (www.ams-net.org/louisville/) for more infor- ties are exhorting the arts and humanities to fessionalism and good will that we must never mation as the meeting approaches. transform themselves, music studies included, take for granted. —Seow-Chin Ong and Robert Judd I hope the national AMS meeting can foster —Richard Will February 2015  New Endowment Fund in Memory of Kenneth Levy Recent Board Actions

The Kenneth Levy medieval Slavic chant. He also published on 75+: Complimentary Fund was established thirteenth-century Western polyphony and Membership Option by the Board of Di- the sixteenth-century French chanson. Levy rectors in 2014, fol- was a beloved teacher fondly remembered Members aged seventy-five or older may now lowing a lead gift by generations of Princeton students, many elect complimentary membership. by an anonymous of whom taught alongside him in “Introduc- donor. The income tion to Music” (Music 103). Active in teaching Changes to Life Membership Rate it generates will be and research for over fifty years, he published Life Membership is now pro-rated according used to support the eight articles in JAMS, some of which were to length of membership as follows: publication of schol- gathered together in Gregorian Chant and • 30 or more years: $1,000 Kenneth Levy arship on medieval the Carolingians (1998). His textbook Music: • 20–29 years: $2,000 music, including edited volumes and elec- A Listener’s Introduction (1982) was successful • 10–19 years: $3,000 tronic publications and databases. It is the So- and widely used. In 2001, friends presented • 1–9 years: $4,000 ciety’s only endowment fund exclusively dedi- him with a Festschrift, The Study of Medi- cated to support for topics in medieval music. eval Chant: Paths and Bridges East and West Eileen Southern Endowment Born in New York City in 1927, Kenneth (ed. Jeffery); in 2002, he was named Honor- Receives Major Allocation Levy served in World War II and earned his ary Member of the Society. He died in 2013. bachelor’s degree from Queens College in His colleague at Princeton Harold S. Powers The Board has transferred $100,000 from its 1947. He earned his M.F.A. at Princeton in aptly summarized his defining characteristic: current operations funds to the Eileen South- 1949. After a year “loyalty to the highest ern endowment, in support of travel grants studying at the Sor- Supporting Publications on Medieval Music standards of human- for minority undergraduates and students in bonne on a Fulbright istic scholarship, and terminal Master’s programs to attend the An- Fellowship, he returned to Princeton to com- loyalty to the endless but joyful duty of en- nual Meeting. plete his Ph.D. in 1955 with a dissertation on kindling in others his own love for music as the chansons of Claude Le Jeune, and was human art.” Keitel-Palisca Bequest Will Support awarded a Guggenheim Fellowship that same Contributions to the Kenneth Levy Fund Travel to Annual Meeting year. After twelve years at Brandeis University, are warmly invited. Support for this fund 1966 he moved to Princeton in , where he was demonstrates an important commitment to The Board has directed that the income de- named Scheide Professor of Music History in the ideals and legacy of Kenneth Levy. For riving from Elizabeth Keitel’s recent bequest 1988 . further information, see www.ams-net.org/ to the Society (see the Treasurer’s Message Kenneth Levy was best known for his contri- endowments/Kenneth-Levy.php. below) be used for the next three years to sup- butions to the study of Latin, Byzantine, and port additional Membership and Professional Development Travel Grants to attend the An- nual meeting. Up to sixty additional small Changes Proposed to the Society’s By-laws grants are anticipated. The AMS Council has proposed two amend- 2. Article IV.A.3. Currently, terms of ser- Support for Machaut Facsimile ments to the Society’s by-laws. Per the by- vice on the Council begin at its meeting in laws, Article XII, a discussion regarding the one year, and end the day before its meeting The Digital Image Archive of Medieval Mu- proposed amendments was held at the AMS roughly three years later. This schedule does sic recently published a two-volume full- Annual Meeting in Milwaukee. The member- not accord well with activities of Council, color facsimile of the Ferrell-Vogüé Machaut ship must now vote on the amendments in which often include preparation for the meet- Manuscript, together with an introductory order for them to be adopted. ing in late summer and fall. The proposed volume with essays by Lawrence Earp, Do- The proposed amendments are as follows: emendation rectifies the problem. menic Leo, and Carla Shapreau and a preface The terms of Council members shall begin 1. Article IV.A.2. This proposed emenda- by Christopher de Hamel. With this publi- with the annual meeting of the Council held tion gives student representatives to the AMS cation, one of Guillaume de Machaut’s most at the time of the annual meeting of the Soci- significant yet elusive and enigmatic sources Council the right to vote on all matters ex- ety and extend to the day immediately prior is finally revealed in full to the scholarly com- cept elections (Council, Honorary, and Cor- to the annual meeting of the Council approx- munity. (See www.diamm.ac.uk for details.) responding Membership ballots) each year: imately be three years later for regular mem- Its publication coincides with the generous The student members of the Council shall bers and two years later for student members. bequest that the AMS recently received from be students who have embarked on doctoral Terms begin on 1 August and end on 31 July. the estate of Elizabeth Keitel. The manuscript programs in any field of musical scholarship. Voting takes place at the AMS web site. was central to her musicological work; she Student members shall be ineligible to par- Those who wish to cast a vote with a paper was one of only a handful of scholars who saw ticipate in voting by the Council. Student ballot may request one from the AMS office it during its many years of private ownership. members have voting privileges for matters or obtain one from the web site. Voting is At its most recent meeting, the AMS Board of arising at Council meetings, but not for elec- open from 1 February to 1 May 2015. Results Directors voted to contribute $5,000 in sup- tions. Student members shall serve overlap- will be announced at the web site and in the port of the publication in memory of Eliza- ping terms... August 2015 AMS Newsletter. beth Keitel.

 AMS Newsletter AMS / Library of Congress AMS / Rock and Roll Hall of Lecture Series Fame and Museum Lecture Series The next AMS/Library of Con- The next AMS/Rock and Roll gress Lecture will take place in the Hall of Fame and Museum Coolidge Auditorium at noon on (RRHOFM) Lecture will Tuesday, 14 April. Paul R. Laird take place in the library and (University of Kansas) will pres- archives of the RRHOFM, 7 ent “A Hint of West Side Story: The Cleveland, Ohio at p.m. on 25 March. Mark Clague Genesis of Bernstein’s Chichester (University of Michigan) will Psalms as Seen in the Library of present “‘This Is America’: Congress Bernstein Collection.” Jimi Hendrix’s Reimaginings Paul Laird describes his lec- of ‘The Star-Spangled Banner’ ture as follows: “Chichester Psalms as Social Comment for Wood- (1965), composed by a musician stock and Beyond.” who prized accessibility and tonal Paul Laird Mark Clague describes his Mark Clague structures, is often comparable lecture as follows: “An act of with common-practice harmonies and resembles the style of Bern- both patriotism and protest, Jimi Hendrix’s ideology-shattering rendi- stein’s theatrical works. A reason for this appears in the correspon- tion of the U.S. national anthem at Woodstock in 1969 is only the dence between the composer and the set’s commissioner, The Rever- best known of more than sixty Banner performances by the iconic end Walter Hussey, dean of Chichester Cathedral. Hussey requested psychedelic guitarist. Analyzing both studio takes and commercial that the piece include ‘a hint of West Side Story,’ an invitation that the releases, as well as surviving live-audience tapes featuring not only an- composer embraced as he assembled and transformed excerpts from them renditions but the stage banter Hendrix used to introduce them, his ‘bottom drawer’ and wrote fresh material for Chichester Psalms. I propose that the dominant mythology surrounding the Woodstock Banner has distorted the understanding of what was Hendrix’s two- “My lecture describes Bernstein’s 1964–65 sabbatical season from year fascination with ‘The Star-Spangled Banner’ from August 1968 the New York Philharmonic and his compositional process for until his death. Rather than a single, soaring improvisation, Hen- Chichester Psalms, based on material in the Bernstein Collection at drix’s renditions draw from a pre-composed set of sonic possibilities the Library of Congress, including correspondence, datebooks, com- in which melody, form, quotation, pictorialisms, and ornament were positional sketches, and scrapbooks. Sources demonstrate Bernstein’s reimagined week-to-week and night-to-night as a changing portrait of unsuccessful efforts to write a musical based upon Thornton Wilder’s America that pictured not only national developments in the struggle The Skin of Our Teeth with Betty Comden, Adolph Green, and Je- for civil rights and the war in Vietnam, but local histories, happenings, rome Robbins, and those sketches also show how he adapted some and even personal details from Hendrix’s biography. of that music for use in Chichester Psalms. Sketches of ideas from the “I argue that as an ongoing process of commentary, the many Hen- 1940s and 1950s also became part of the work, and written notes il- drix Banners move deftly between protest and patriotism. At once, luminate Bernstein’s developing thinking on the composition’s orga- Hendrix’s reconceptions show great sensitivity to Francis Scott Key’s nization. Finally there are musical sketches for the work itself, which lyrics while exploding this text to question who is American and how include intriguing possibilities that he rejected, as well as the draft one should practice the art of citizenship. I reconsider the Woodstock of the piano/vocal score and fair copy, along with lyric sheets that Banner in context of Hendrix as a political commentator by compar- ing this singular, well-known version to dozens of lesser-known rendi- provide more unrealized organizational possibilities.” tions that shed light on his thought and artistry. I argue that Hen- Paul R. Laird has published books and articles on the life and drix’s Banners start as an offshoot of the eulogistic Civil War bugle call works of Leonard Bernstein and Stephen Schwartz, musical theater, ‘Taps,’ and develop in an aesthetic of free jazz as a wide-ranging picto- the Spanish villancico, and the Baroque cello. His Leonard Bernstein’s rial improvisation. By Woodstock, Hendrix’s Banner had coalesced as Chichester Psalms (2010) is part of the series CMS Sourcebooks on a set of compositional possibilities, offering an eloquent statement that American Music Series and his most recent books include Wicked: A resonated deeply with the counter-cultural energies of Woodstock as Musical Biography and The Musical Theater of Stephen Schwartz: From youth utopia. Godspell to Wicked and Beyond. With William A. Everett, Laird co- “Yet most fans experienced the Woodstock Banner not at the festi- edited the two editions of The Cambridge Companion to the Musical. val—which ran behind schedule such that Hendrix’s closing set did Laird’s current project, with co-author Hsun Lin, is the second edi- not occur until Monday morning, after most had left the muddy rain- tion of Leonard Bernstein: A Guide to Research. soaked festival—but through the 1970 documentary film Woodstock, for which Hendrix’s anthem performance serves as a philosophical and musical climax. For Hendrix’s 1970 The Cry of Love tour, which The two AMS Lecture Series will continue in the fall of 2015. followed the film’s release, his Banner renditions became increasingly Webcasts of the lectures are available at the AMS web site. The calcified as an echo of Woodstock, but retained a political edge as part Communications Committee welcomes proposals from AMS of an explicitly anti-war closing set, including ‘Machine Gun’ and members interested in giving a lecture as part of these distin- ‘Purple Haze.’ My analysis concludes that the Woodstock Banner is an optimistic outlier—less a musical vision of dystopia than a balanced guished series; see www.ams-net.org for full details. The appli- expression of democracy in action and a statement of hope toward a cation deadline is 1 December 2015. future America shaped by psychedelic activism.” February 2015  Awards, Prizes, and Honors

Honorary Members She has held fellowships and grants from the Guggenheim Foundation, the National Jane A. Bernstein is the Austin Fletcher Pro- Endowment for the Humanities, the Gladys fessor of Music at Tufts University. Born in Krieble Delmas Foundation, the American the Bronx, she attended the High School of Philosophical Society, and the American Music and Art and earned her B.A. in mu- Council of Learned Societies. In 2005, she sic cum laude from the City College of New was elected to the American Academy of Arts York (1967), where she studied with Otto and Sciences and, in 2013, was honored with Deri, Fritz Jahoda, and William Gettel. She the Festschrift Music in Print and Beyond: Hil- received her M.Mus from the University of degard von Bingen to The Beatles,ed. Monson Massachusetts (1968) and her Ph.D. from and Marvin. the University of California, Berkeley (1974), Bernstein has served the Society in many writing a dissertation on the chanson in Tu- capacities: as the second chair of the Com- dor and Jacobean sources under the direc- mittee on the Status of Women (1977–80), tion of Philip Brett. After teaching at Vassar as chair of the Kinkeldey and Einstein Award College, she joined the Music Department at Committees, and as a member of the Board, Tufts in 1976. the AMS 50 Fellowship Committee, the Pro- Bernstein has published extensively on gram Committee, and the Editorial Board of Renaissance music and print culture. She JAMS. She served as President in 2009–10. edited French Chansons of the Sixteenth Cen- Suzanne Cusick Honorary Member tury (1985), Philip Van Wilder: Collected Works Suzanne G. Cusick is professor of music at (1991), and the thirty-volume series The Six- Renaissance Studies, and at Harvard’s Charles New York University, where she has taught teenthCentury Chanson (1987–95). Her books Warren Center for Studies in American His- since 2011. A graduate of Newcomb College include Print Culture and Music in Sixteenth- tory. At present, she is undertaking research of Tulane University (B.F.A., 1969), she re- Century Venice (2002) and Music Printing in for a monograph on gendered, eroticized, ceived her Ph.D. from the University of North Renaissance Venice: The Scotto Press (1539–1572) judicial and politicized modes of hearing in Carolina at Chapel Hill (1975) after writing a (1998), which won the Otto Kinkeldey Award. Medicean Florence, assisted by a fellowship dissertation on the sixteenth-century Roman Bernstein has also made important contri- from the American Council of Learned So- music publisher Valerio Dorico. butions in the field of women’s studies. Her cieties. Cusick has published extensively on gen- essay on Ethel Smyth and British women Editor of the journal Women and Music: A der and sexuality in relation to the musical composers appeared in Women Making Music Journal of Gender and Culture from 2005 to cultures of early modern Italy and contem- ed. Bowers and Tick (1986), and she edited 2013, Cusick also has served on the editorial porary North America. Her 2009 mono- Women’s Voices across Musical Worlds (2004). boards of JAMS, JRMA, radical musicology, graph Francesca Caccini at the Medici Court: California Italian Studies, and I Tatti: Stud- Music and the Circulation of Power (Chicago) ies in the Italian Renaissance. She has served received the best book award of the Society the Society as a Director-at-Large, as Chair for the Study of Early Modern Women. Ar- of the Capitol Chapter, as a co-chair of the ticles have appeared in numerous collections, LGBTQ Study Group, and as a member of including Queering the Pitch (1994), Musicol- the Committee on the Annual Meeting, the ogy and Difference( 1995), and Audible Traces: Publications Committee, and the Committee Gender, Identity, and Music (1999). Other on the Status of Women (now Committee on articles include “Gendering Modern Music: Women and Gender). Thoughts on the Monteverdi-Artusi Con- troversy,” JAMS 46 (1993) and “‘There Was Professor emeritus after twenty-nine years at Not One Lady Who Failed to Shed a Tear’: the University of California, Santa Barbara, Arianna’s Lament and the Construction of William F. Prizer was born in Petersburg, Va. Modern Womanhood,” EM 22 (1994). Since He also has taught at the University of North 2006, she has also studied the use of sound Carolina at Chapel Hill (1972–73) and the and sexual shaming in the detention and in- University of Kentucky (1973–79). He com- terrogation of prisoners held in conjunction pleted his B.A. in Music History and Trumpet with the twenty-first century’s war on terror, at Duke University (1967) and his M.M. in work for which she received the Philip Brett Trumpet at Yale University (1969). During his Award given by the Society’s LGBTQ Study years at Yale, he performed professionally in Group in 2007. various orchestras in New York and New Eng- Support for Cusick’s scholarship has come land. He then went on to study musicology at from the National Endowment for the Hu- the University of North Carolina at Chapel Jane A. Bernstein manities, and she has been a Fellow at both Hill, where he earned his Ph.D. (1974) with Honorary Member Villa I Tatti, the Harvard Center for Italian the dissertation “Marchetto Cara and the  AMS Newsletter tions, musical analysis, and theories of gen- Roesner has received fellowships from the der. Representative examples include “Isa- Guggenheim Foundation, the Herzog-August bella d’Este and Lucrezia Borgia as Patrons of Bibliothek in Wolfenbüttel, and the Princi- Music: The Frottola at Mantua and Ferrara,” pality of Monaco. He was honored with the JAMS 38 (1985); “Games of Venus: Secular Festschrift Quomodo cantabimus canticum, ed. Vocal Music in the late quattrocento and early Cannata et al. (2008). His service to the Soci- cinquecento,” JM 9 (1991); and “Reading Car- ety includes review editor of JAMS (1980–82), nival: The Creation of a Florentine Carnival chair of the Publications Committee (1987– Song,” EMH (2004). Among his many edi- 89), and member of the Finance, History of tions are the Libro Primo de la Croce: Canzoni, the Society, and Publications Committees. Frottole, and Capitoli (1978), and Courtly Pas- He also served on the local arrangements times: The Frottole of Marchetto Cara( 1980). committees for the 1974, 1979, and 1995 an- Prizer was twice the Leopold Schepp Fellow nual meetings. at Villa I Tatti, the Harvard Center for Italian Corresponding Members Renaissance Studies in Florence, and has re- ceived grants from the National Endowment Born in London, Mark Everist is professor for the Humanities, the National Humanities of music at the University of Southampton, Center, the American Philosophical Society, where he has taught since 1997. While there and the University of California. In 2012 he he twice has served as Head of Music (1997– was honored with the Festschrift Sleuthing the 2001 and 2006–10), and in 2010 became As- Muse: Essays in Honor of William F. Prizer, ed. sociate Dean (Research) in the Faculty of Forney and Smith. Prizer served as Editor-in- Humanities and Director of the Humani- Chief of JAMS from 1989 to 1992. ties Graduate School. From 1982 to 1996, he William F. Prizer Honorary Member taught at King’s College London. A graduate Born in Cincinnati to German immigrant of Dartington College of Arts (B.A., 1979), he North Italian Frottola,” under the direction parents, Edward Roesner is emeritus profes- received his master’s degree from King’s Col- of Howard E. Smither and James W. Pruett. sor of music at New York University. He at- lege London (1980) and doctorate from the Prizer has published more than thirty ar- tended the University of Cincinnati College- University of Oxford (1985). ticles on such topics as musical patronage, Everist’s wide-ranging scholarly work fo- secular vocal music of north Italy, and the Conservatory of Music, graduating with a 1962 cuses on western European music from 1150 L’homme armé tradition. Other publications B.M. in violin performance ( ), followed 1964 to 1330, Mozart, French nineteenth-century have been devoted to Isabella d’Este and by a M.M. in musicology ( ). Entering the NYU musicology program, he studied stage music between the Restoration and the women in music, including courtesans; on Commune, reception theory, and historiogra- music in Mantua, Milan, and Ferrara; and with Gustave Reese, Jan LaRue, and H. Wi- ley Hitchcock. He taught at the University phy. His teaching interests are equally broad, on the frottola, lauda and carnival song. His with undergraduate courses on the middle work draws on extensive archival investiga- of Maryland, College Park (1972–76), dur- ing which time he completed his Ph.D. dis- continued on page  sertation on the Notre-Dame manuscript St. Andrews, Wolfenbüttel 677 (1974). Roesner returned to teach at NYU in 1976; visiting ap- pointments took him to Yale (1985), Prince­ ton (1988), and Harvard (2005). In his scholarship Roesner has concentrated on music of the middle ages, publishing edi- tions of some of the core manuscripts of the twelfth and thirteenth centuries, among them the Roman de Fauvel (Broude Brothers, 1992 [with François Avril and Nancy Regalado]) and the Notre Dame tripla and quadrupla from the Magnus liber organi (L’Oiseau-Lyre, 1993). In these editions he marshals a knowl- edge of twelfth- and thirteenth-century po- lyphony, medieval chant, liturgical history, music theory, aesthetics, paleography, and performance practice, qualities also informing his many articles. These include “The origins of W1,” JAMS 29 (1976); “The Performance of Parisian Organum,” EM 7 (1979); “Johannes de Garlandia on organum in speciali,” EMH (1982); and “Who ‘made’ the Magnus liber?,” Edward Roesner in Ars antiqua: Organum, Conductus, Motet Mark Everist Honorary Member ed. Roesner (2009). Corresponding Member February 2015  Awards, Prizes, and Honors president of the Royal Musical Association, gies for the Recovery of Guitar Music of the he is spending the 2014–15 academic year as Early Seventeenth Century,” in Rime e suoni continued from page  a professorial fellow at the Institute of Mu- alla spagnola, ed. Giulia Veneziano (2003); ages, the eighteenth and nineteenth centuries, sical Research, School of Advanced Studies, “Printing the Art of Orpheus: Vihuela Tab- and masters courses on research methods and University of London. Everist has served the latures in Sixteenth-Century Spain,” in Early critical practice. He has directed dissertations AMS as a member of the Program Committee Music Printing and Publishing in the Iberian on Notre-Dame polyphony, the thirteenth- (2013) and the Claude V. Palisca Award Com- World, ed. Fenlon and Knighton (2006); and century motet, fifteenth-century mass com- mittee (2010). “The Formation of an Exceptional Library: position, early nineteenth-century French Early Printed Music Books at Valladolid Ca- opera, Verdi, and Sibelius. His five books also A performer and scholar, John Griffiths thedral,” EM 37 (2009). reflect these interests: French Thirteenth-Cen- was born in Melbourne. His interest in Re- Griffiths has served as President of the Mu- tury Polyphony: Aspects of Sources and Distri- naissance music, Hispanic culture, and early sicological Society of Australia (2007–09). In bution (1989); French Motets in the Thirteenth instrumental music developed during his 2006 he was elected to the Australian Acad- Century: Music, Poetry and Genre (1994); studies at Monash University, an extension emy of the Humanities and received a Socio de Music Drama at the Paris Odéon, 1824–1828 of having played classical guitar since child- Honor of the Sociedad de la Vihuela in Spain. (2002); Giacomo Meyerbeer and Music Drama hood. After completing his B.A. (1974), he In 1993 he was made an Officer of the Order in Nineteenth-Century Paris (2005); and Mo- interrupted his academic studies to continue of Isabella the Catholic by King Juan Carlos zart’s Ghosts: Haunting the Halls of Musical instrumental music instruction in Europe, I of Spain. 2013 principally Basel and Barcelona. Returning to Culture ( ). Some thirty articles shed light Ulrich Konrad, born in Bonn, has been pro- Australia in 1977, he completed his Ph.D. at on a wide range of topics. Among these are fessor at the University of Würzburg since Monash University (1983) with the disserta- “The Rondeau-Motet: Paris and Artois in the 1996, where he also is chair of musicology in 69 1988 tion “The Vihuela Fantasia: A Comparative Thirteenth Century,” M&L ( ); “From the Institut für Musikforschung. Graduat- 1 Study of Forms and Styles,” a subject that re- Paris to St. Andrews: The Origins of W ,” ing from the University of Vienna (1979), he 43 1990 mains a major focus of his research. He also JAMS ( ); “Giacomo Meyerbeer and earned the Ph.D. at the University of Bonn completed a Doctor of Music degree at the Music Drama at the Paris Odéon during the (1993) with the dissertation “Otto Nicolai 19 17 University of Melbourne in 2012. Bourbon Restoration,” th-Century Music (1810–1849): Studien zu Leben und Werk.” 1993 From 1980 to 2011 Griffiths taught music ( ); “Reception and Recomposition in the Central themes of Konrad’s books, editions, history and theory at the University of Mel- Polyphonic Conductus cum cauda: The Metz and more than 130 articles are the lives and 125 2000 bourne, where he also directed early music Fragment,” JRMA ( ); and “The Mu- works of Mozart, Robert Schumann, Richard performance studies. After a thirty-year ca- sic of Power: Parisian Opera and the Politics Wagner and Richard Strauss. His scholarly 1806 1864 67 2014 reer at Melbourne, he now works as a free- of Genre, – ,” JAMS ( ) work has included editing Mozart’s sketches lance scholar and performer, holding honor- Everist is the recipient of numerous awards, and fragments for the Neue Mozart Ausgabe 1988 ary positions as adjunct professor of music including the Westrup Prize ( ), the Arts (Skizzen [1998] and Fragmente [2002]), and at Monash University, professorial fellow in and Humanities Research Board Innova- recently he received a grant for a sixteen-year 2001 the School of Languages at the University of tions Award ( ), the Ruth A. Solie Award research project devoted to the writings of 2009 Melbourne, and research associate at the Cen- ( , jointly with Annegret Fauser), and Richard Wagner. In 2012 he published a fac- the H. Colin Slim Award (2010). Currently tre d’Études Supérieures de la Renaissance in Tours. He also has worked extensively in Spanish universities, most notably at the Uni- versidad Complutense de Madrid, where he was invited to help establish musicology stud- ies (1997–98). Much of Griffiths’s scholarship centers on the vihuela and sixteenth-century Spanish instrumental practice; additional research ex- tends to Renaissance music, Spanish music, and Hispano-Italian cultural exchange. He has written about Renaissance music peda- gogy, style studies, organology, music print- ing, music in urban society, connections be- tween written and oral traditions, music in Spanish Naples, and digital humanities. He has brought out two critical editions, Esteban Daza: The Fantasias for Vihuela (1982) and, with Dinko Fabris, Neapolitan Lute Music: Fabrizio Dentice, Giulio Severino, Giovanni Antonio Severino, Francesco Cardone (2004). With Victor A. Coelho and Daniel Fischlin, Griffiths edited Une fantaisie de la Renais- sance: Compositional Process in the Renaissance John Griffiths Fantasia: Essays for Howard Mayer Brown, in Ulrich Konrad Corresponding Member memoriam (1992). His articles include “Strate- Corresponding Member  AMS Newsletter Scott Burnham David Trippett Fabrizio Della Seta Anna Maria Busse Berger Kinkeldey Award Winner Lockwood Award Winner Palisca Award Winner Slim Award Winner simile edition with commentary of Wagner’s AMS Awards and Prizes publication contributing to or dealing with autograph of Tristan und Isolde. His books the history of the field of ethnomusicology. include Johann Sebastian Bach aus der Pers- The Otto Kinkeldey Award for a book of The Alfred Einstein Award for an article of pektive von Georg Friedrich Händel, Wolfgang exceptional merit by a scholar beyond the exceptional merit by a scholar in the early Amadé Mozart und Johannes Brahms: drei early stages of her or his career was presented stages of her or his career was given to Melina Vorträge (2008); Beethovens Streichquartette: to Scott Burnham (Princeton University) for Esse (Eastman School of Music, University of Reflexionen und Einführungen (1999); and Mozart’s Grace (Princeton University Press). Rochester) for “Encountering the improvvisa- Wolfgang Amadé Mozart: Leben, Musik, Werk- trice in Italian Opera,” Journal of the American bestand (2005). The Lewis Lockwood Award for an out- Musicological Society. Key articles by Konrad include: “Zu Mo- standing book by a scholar in the early stages zarts Lied Die Verschweigung KV 518,” Mozart- of her or his career was presented to David The Music in American Culture Award for Jahrbuch (1989); “Mozart’s Sketches,” EM 20 Trippett (University of Bristol) for Wagner’s a book of exceptional merit that both illumi- (1992); “The Use of Watermarks in Musicol- Melodies: Aesthetics and Materialism in Ger- nates some important aspect of the music of ogy,” in Puzzles in Paper: Concepts in Histori- man Musical Identity (Cambridge University the United States and places that music in a cal Watermarks, ed. Mosser et al. (2000); “An Press). rich cultural context was presented to An- American in Paris; A Frenchman in New York: negret Fauser (University of North Carolina The Claude V. Palisca Award for an out- Begegnungen von alter und neuer Welt in at Chapel Hill) for Sounds of War: Music in standing edition or translation was given to der Musik von George Gershwin und Darius the United States during World War II (Ox- Fabrizio Della Seta (University of Pavia, Milhaud,” in Coll’ astuzia, col giudizio: Essays ford University Press). Her book also received Cremona) for Vincenzo Bellini: I Puritani (Ri- in Honor of Neal Zaslaw, ed. Eisen (2009); an ASCAP Deems Taylor/Virgil Thomson cordi). and “Richard Strauss im europäischen Kon- Award. text,” Richard Strauss-Jahrbuch 9 (2011). TheH. Colin Slim Award for an outstanding The Ruth A. Solie Award for a collection of Ulrich has been awarded the Hermann article by a scholar beyond the early stages of essays of exceptional merit was presented to Abert Prize of the Gesellschaft für Musikfor­ her or his career was presented to Anna Ma- Beate Kutschke (Universität Leipzig) and schung (1993), the Dent Medal of the Royal ria Busse Berger (University of California, Barley Norton (Goldsmiths, University of Musical Association (1996), the Silver Mo- Davis) for “Spreading the Gospel of Singbe- 1968 zart Medal of the International Mozarteum wegung : An Enthnomusicologist Missionary London), ed., for Music and Protest in Foundation, Salzburg (1999), and the Gott- in Tanganyika of the 1930s,” Journal of the (Cambridge University Press). fried Wilhelm Leibniz Prize of the Deutsche American Musicological Society. Her article The Robert M. Stevenson Award for out- For­schungs­gemeinschaft (2001), the latter the also received the Society for Ethnomusicol- standing scholarship in Iberian music, most prestigious academic prize in Germany. ogy’s Bruno Nettl Prize for an outstanding continued on page 

Melina Esse Annegret Fauser Beate Kutschke Barley Norton Einstein Award Winner MACA Award Winner Solie Award Winner Solie Award Winner February 2015  Awards, Prizes, and Honors continued from page  including music composed, performed, cre- ated, collected, belonging to, or descended from musical cultures of Spain, Portugal, and all Latin American areas in which Spanish and Portuguese are spoken, was presented to Alejandro L. Madrid (Cornell University) and Robin D. Moore (University of Texas at Austin) for Danzón: Circum-Caribbean Dia- logues in Music and Dance (Oxford University Press). Their book also received an ASCAP Béla Bartók Award for Outstanding Ethno- Mathiew Langlois Lisa Barg Riccardo La Spina musicology Book. Pisk Award Winner Brett Award Winner Hampson Award Winner TheNoah Greenberg Award for outstanding the Music of Billy Strayhorn,” Journal of the phy: Connections between Composers’ Lives contributions to historically aware perfor- American Musicological Society. and Their Works.” mance and the study of historical performing Michael Alan Anderson (Eastman School practices was presented to Anthony Cum- Brigid Cohen (New York University) re- of Music, University of Rochester) received mings (Lafayette College) for collaboration ceived a Wellesley College Newhouse Center an ASCAP Deems Taylor/Virgil Thomson with ensemble “La Morra” on compact disc for Humanities Fellowship in support of her Award for his article “‘The One Who Comes recording, The Lion’s Ear.The recording ac- project “Musical Migration and the Global After Me’: John the Baptist, Christian Time, 1947 1965 companies his book The Lion’s Ear: Pope Leo City: New York, – .” Musical Techniques,” Journal of the American X, The Renaissance Papacy, and Music (Univer- Musicological Society (2013). Kimary Fick (University of North Texas) re- sity of Michigan Press). ceived a research grant from the Deutscher Emily Abrams Ansari received an ASCAP ThePaul A. Pisk Prize for an outstanding pa- Akademischer Austausch Dienst to support Deems Taylor/Virgil Thomson Award for per presented by a graduate student at the An- her dissertation “Sensitivity, Inspiration, and her article “‘Vindication, Cleansing, Cathar- nual Meeting was awarded to Mathieu Lan- Rational Aesthetics: Experiencing Music in sis, Hope’: Interracial Reconciliation and the glois (Cornell University) for “’Mere Bastard the Early German Enlightenment.” Dilemmas of Multiculturalism in Kay and Sounds’: Dandrieu and Musical Pictorialism.” Dorr’s Jubilee (1976),” American Music (2013). Elizabeth Eva Leach (University of Oxford) The Thomas Hampson Award supporting has been awarded a three-year Major Research Candace Bailey (North Carolina Central research and publication in classic song was Fellowship by the Leverhulme Trust. University) received an NEH Fellowship for presented to Riccardo La Spina (Castro Val- her project “Music and Women’s Culture in Drew Massey (Binghamton University, ley, Calif.) for his project “The Songs of An- the South, 1840–1870.” SUNY) received the ASCAP Virgil Thomson tonio Barili.” Award for Outstanding Music Criticism for Michael Beckerman (New York University) his book John Kirkpatrick, American Music, Other Awards, Prizes, and Honors received an honorary doctorate from Palacký and the Printed Page (University of Rochester University (Olomouc, Moravia) for his con- The Philip Brett Award, presented by the Press). LGBTQ Study Group of the AMS for ex- tributions to the research and promotion of Michael Ochs ceptional musicological work in the field of Czech musical culture. (New York, N.Y.) received an NEH Fellowship for his project “Di goldene gay, lesbian, bisexual, and transgender/trans- Mark Evan Bonds (University of North Car- kale (The Golden Bride), a 1923 Yiddish- sexual studies, was given to Lisa Barg (Mc- olina at Chapel Hill) received an NEH Fel- American Operetta by Joseph Rumshinsky: A Gill University) for “Queer Encounters in lowship for his project “Music as Autobiogra- Full-Score Critical Edition.” Alexander Rehding (Harvard University) was awarded the Dent Medal for 2015 from the Royal Musical Association. John H. Roberts (University of California, Berkeley) was elected an Honorary Member of the International Association of Music Li- braries, Archives and Documentation Cen- tres. Will Robin (University of North Carolina at Chapel Hill) received an ASCAP Deems Taylor/Virgil Thomson Award for his article “Shape Notes, Billings, and American Mod- ernisms” published by NewMusicBox (2013).

Alejandro L. Madrid Robin D. Moore Anthony Cummings Katelijne Schiltz (Universität Regensburg) Stevenson Award Winner Stevenson Award Winner Greenberg Award Winner was elected to the European Academy of Sci-  AMS Newsletter ences and Arts and also was elected a member of the scientific board of the Schola Canto- Treasurer’s Message rum Basiliensis. The fiscal year ending 30 June 2014 was an we performed 1.3% below the average Ivy Deborah Schwartz-Kates (University of excellent one for the endowment, our best League endowment, while over the entire Miami) received an NEH Fellowship for in three years. With an investment return six-year period we are leading the average Ivy her project “The Film Music of Argentinian of +16.35% that represents a gain of approxi- by 9.8%. (For more on the reasons behind Composer Alberto Ginastera (1916–1983).” mately $800,000 our endowment passed this, see my message in the February 2014 a new milestone, the $5-million mark, and AMS Newsletter Nicholas Temperley (University of Illinois at .) now stands at a record $5.67 million. What Urbana-Champaign) was named a Fellow of More recently, the endowment has re- is especially wonderful is that this allows us The Hymn Society in the United States and ceived two major increases. Last November, Canada for his hymnological work and in to spend in the coming year approximately the Board of Directors reviewed the Society’s $230 000 recognition of The Hymn Tune Indexproject , on our various programs of fellow- current accounts and contingency funds and (Oxford University Press, 1998, hymntune. ships, publication subventions, grants, and determined that liquid assets were presently library.uiuc.edu). prizes. more than adequate. The Board had also re- Our stock investments performed su- cently identified the Eileen Southern Travel David Trippett (University of Bristol) was perbly during the fiscal year. The domestic Fund as the endowment program most in awarded a Philip Leverhulme Prize in History funds ranged from +21.6% to +26.5%. The need of additional funds. Putting two and by the Leverhulme Trust. international funds ranged from +8.2% to two together, the Board decided to shift Susan Forscher Weiss (Peabody Institute of +23.0%, with the two developed-market $100,000 of liquid assets to the endowment, The Johns Hopkins University) is spending funds both at the very top of this span and where it will reside in perpetuity; income the current academic year as a Robert Leh­ the two emerging-market funds coming in from this principal will be dedicated to fund- man Visiting Professor at Villa I Tatti, the at +8.2% and +14.1%. Our domestic bond ing the Southern Travel Grants each year. Harvard Center for Italian Renaissance Stud- funds performed excellently, especially con- In addition, after the close of the fiscal year, ies in Florence. sidering the current zero-interest-rate envi- a bequest of $289,880 from the estate of Eliz- ronment, with returns from +3.3% to +8.8%. abeth Ann Keitel was given to the AMS in The one small investment in international memory of her husband, Claude Palisca (see bonds rose +2.4%. Our two investments in the August 2014 AMS Newsletter, p. 5). Her Recurring Grants and Fellowships alternative approaches (commercial real es- bequest is exceptional in three ways. Firstly, tate and convertible bonds) did very well at it is the second largest gift by an individual in Many grants and fellowships that recur on +13.3% and +20.5%, respectively. the history of the Society. (The largest, from periodic cycles are listed at the AMS web site: In these messages, I often compare our the estate of Manfred Bukofzer, was $71,000 www.ams-net.org/grants.php. endowment’s performance to that of the in 1971, which adjusted for inflation would Grants range from small amounts to full- eight Ivy League schools. This year their be $417,000 today). Secondly, it is the larg- year sabbatical replacement stipends. The list returns and ours fall within a tight range est donation by anyone since our early days, of programs includes the following: from +15.4% to +20.2%. The AMS is one when the generosity of Bukofzer, Kinkeldey, • American Academy in Berlin notch below the middle of the Ivies, with five Plamenac, Reese, and others established our schools above us and three below. However, • American Academy in Rome endowment. Thirdly, it is the first major gift when one looks at cumulative performance in over forty years to be left unrestricted by • American Academy of Arts & Sciences during the past six years since the global fi- the donor, giving us the freedom to be flex- • American Council of Learned Societies nancial crisis, only two schools surpass our ible and to keep redirecting the Keitel-Palisca 50 1 63 0 • American Brahms Society rise of + . %, Columbia (+ . %) and the fund long into the future in support of needs University of Pennsylvania (+53.7%), with and goals of the Society that we cannot even • American Handel Society the other six Ivies ranging from +46.4% imagine today. • Delmas Foundation to +21.9%. Viewed another way, this year —James Ladewig • Deutscher Akademischer Austauschdienst • Fulbright U.S. Scholar Program • Guggenheim Memorial Foundation Fel- New JAMS Managing Editor lowships I am delighted to announce the appointment of Laura Davey as Managing Editor of the • Harvard University Center for Italian Re- Journal. Laura earned her D. Phil. in Music at the University of Oxford. She held a Junior naissance Studies Research Fellowship at St. John’s College, Oxford, after which she served as a Research • Humboldt Foundation Fellowships Fellow in Music at the University of Wales and as a fixed-term lecturer at the University of • Kurt Weill Foundation for Music Cambridge. • Monash University, Kartomi Fellowship Laura has served as a copy editor and proofreader for numerous Cambridge University Press books. She has also copy-edited for Yale University Press and has translated numer- • National Endowment for the Humanities ous Italian works into English. She is an Advanced Member of the Society for Editors and • National Humanities Center Fellowships Proofreaders, and resides near Cambridge. • Newberry Library Fellowships Laura has recently completed work on her first JAMS issue, 68/1, which is set for publica- tion according to schedule and will be available in print and online this spring. • Social Science Research Council —W. Anthony Sheppard • Yale Institute of Sacred Music February 2015  AMS Fellowships, Awards, and Prizes RILM News

Descriptions and detailed guidelines for all Lewis Lockwood Award Did you know that the RILM database is AMS awards appear in the AMS Directory for an outstanding book by a scholar in the searched, on average, two million times each and on the AMS web site. early stages of her or his career week? Or that 50 percent of the annual ab- Publication subventions are drawn from the Deadline: 1 May stract contributions to the international da- AMS 75 PAYS, Anthony, Brook, Bukofzer, tabase, approximately 40,000, comes from Hanson, Hibberd, Jackson, Kerman, Picker, Music in American Culture Award the US-RILM office at Cornell University? Plamenac, and Reese Endowments. Applica- for outstanding scholarship in music Or that the office’s dedicated staff consists tion deadlines are 15 February and 15 August of the United States of only one full-time worker? US-RILM is each year. Deadline: 1 May guided by Director Bonna J. Boettcher, Di- AMS-Newberry Library rector of the Olin & Uris Libraries at Cor- H. Colin Slim Award Short Term Fellowship nell; Assistant Director Julie Schnepel han- for research at the library for an outstanding article by a scholar dles nearly all the day-to-day office activity. Deadline: 15 January beyond the early stages of her or his career This tiny workforce performs mighty deeds! Deadline: 1 May The office is supported by contributions Claude V. Palisca Award from our Society, and from the Music Li- for an outstanding edition or translation Ruth A. Solie Award brary Association, the College Music Soci- Deadline: 31 January for an outstanding collection of essays ety, the Society for Music Theory, the Soci- Deadline: 1 May ety for American Music, and the Society for Janet Levy Travel and Research Fund Ethnomusicology, along with funds from for independent scholars Robert M. Stevenson Award Deadline: 2 March the bequest specifically designated for RILM for outstanding scholarship in Iberian music by Lenore Coral. The AMS has also estab- Teaching Fund Deadline: 1 May lished the Lenore Coral Endowment, whose for innovative teaching projects income directly supports the US-RILM of- Deadline: 2 March MPD Travel Fund fice to continue its essential work: signifi- to attend the Annual Meeting M. Elizabeth C. Bartlet Fund cantly contributing to our discipline’s most Deadline: 22 May for research in France frequently used and respected bibliographic Deadline: 1 April tool. Eileen Southern Travel Fund US-RILM is also supported and advised Virginia and George Bozarth Fund to attend the Annual Meeting by a Governing Board with representatives for research in Austria Deadline: 1 June of the contributing societies. Currently the Deadline: 1 April membership of the Board includes Philip Philip Brett Award William Holmes/Frank D’Accone Fund Bohlman (SEM), Jane Gottlieb (MLA), Na- of the LGBTQ Study Group for for research anywhere than Martin (SMT), Sara Nodine (SAM), Deadline: 1 April outstanding work in gay, lesbian, bisexual, Craig Parker (CMS), John Roberts (honor- and transsexual/transgender studies ary member), and Pamela Starr, chair (AMS). Jan LaRue Travel Fund Deadline: 15 August The Board meets annually at the AMS for European research meetings. Our meeting last November in- Deadline: 1 April Thomas Hampson Fund cluded outgoing chair, Sarah Adams (MLA), Harold Powers World Travel Fund for research and publication in classic song Bonna Boettcher, and Barbara Macken- 15 for research anywhere Deadline: August zie, representing the International office of Deadline: 1 April RILM, situated in New York City. Among Noah Greenberg Award the items on our agenda was an ongoing Ora Frishberg Saloman Fund for outstanding performance projects project to send letters to the editors of schol- for research anywhere Deadline: 15 August arly journals who do not yet regularly con- Deadline: 1 April tribute abstracts of their articles to RILM. Eugene K. Wolf Travel Fund Paul A. Pisk Prize We hope to encourage editors and publishers for European research for an outstanding paper presented by a to do this, and in the future to contact pub- Deadline: 1 April graduate student at the Annual Meeting lishers and editors of scholarly monographs Deadline: 1 October as well. We also invite anyone reading this Alfred Einstein Award report to visit www.rilm.org/submissions, for an outstanding article by a scholar in the Howard Mayer Brown Fellowship and submit abstracts of your publications early stages of her or his career for minority graduate study in musicology following the guidelines published there. Deadline: 1 May Deadline: 15 December Finally, we encourage readers to contribute Otto Kinkeldey Award to the Coral Endowment and help with the for an outstanding book by a scholar beyond Alvin H. Johnson AMS 50 important work of the US-RILM office. the early stages of her or his career Dissertation Year Fellowships —Pamela F. Starr Deadline: 1 May Deadline: 15 December US-RILM Governing Board Delegate  AMS Newsletter AMS Elections 2015 AMS elections take place each spring. This School of Music Faculty Committee (chair, Publications: “Mime, Meyerbeer and the year, two candidates have agreed to stand for 1999–2004) Genesis of Der junge Siegfried: New Light president, one for secretary, and six for mem- AMS activities: Director-at-Large, AMS on the ‘Jewish question’ in Richard Wagner’s ber-at-large of the Board of Directors (three Board (2013–14); Chair, Committee on Com- Work,” COJ (2014); “Reading a Relation- are elected). munications (2014); Chair, Board Nominat- ship: Solo-Tutti Interaction and Dramatic You may vote electronically at the web site, ing Committee (2010); Publications Com- Trajectory in Beethoven’s Second Piano Con- or by using the paper ballot sent to members mittee (2005–09, acting chair, 2009); writer certo,” JM (2012); “Cosmopolitanism and the under separate cover; if you lose it, a replace- of AMS OPUS Campaign NEH Challenge National Opera: The Case of Weber’s Der ment may be obtained at the web site. Please Grant application (2006) Freischütz,” Journal of Interdisciplinary History follow the instructions found on the ballot (2006); “Noch einmal — Form and Content carefully. Ballots not conforming to the in- MARTHA FELDMAN in the Finale of Beethoven’s Ninth Sympho- structions are rendered invalid. Voting is open ny,” Beethoven Forum (1999); “Euryanthe” and from 1 February to 1 May 2015. Results will be Mabel Greene Myers Professor of Music, Uni- Carl Maria von Weber’s Dramaturgy of Ger- announced at the AMS web site and in the versity of Chicago man Opera (Clarendon, 1991) August 2015 AMS Newsletter. Degrees: PhD, Penn, 1987; BA, Penn, 1980 Awards: UT-Austin, College of Fine Arts, Detailed descriptions of the three offices are Research interests: Renaissance; 18th cen- Distinguished Teaching Award (2014) found in the AMS By-laws, available in the tury; castrato; voice Administrative experience: UT-Austin, AMS Directory and at the web site. Publications: The Castrato: Reflections on Butler School of Music: Associate Direc- Natures and Kinds (California, 2015); Opera tor (2001–08); Acting Director (1999–2001); and Sovereignty: Transforming Myths in Eigh- Head, Division of Musicology/Ethnomusi- Candidates for the Office teenth-Century Italy (Chicago, 2007); co-ed., cology (1988–92, 2008–10) of President The Courtesan’s Arts: Cross-Cultural Perspec- AMS activities: Secretary (2014–present); tives (Oxford, 2006); “Music and the Order Eugene K. Wolf Travel Grant Committee of the Passions,” in Representing the Passions, (2007–10, chair, 2010); Director-at-Large Graeme M. Boone ed. Meyer (Getty Trust, 2003); City Culture (2004–05); Review Editor, JAMS (1996–98); and the Madrigal at Venice (California, 1995) Program Committee (1989, 2003) Professor of Music, Ohio State University Awards: Fellow of the American Academy Degrees: PhD and MA, Harvard, 1987; of Arts and Sciences (2012); Graduate Teach- Candidates for the Office Premier prix, Conservatoire Nat. Sup. de ing Award, Univ. of Chicago (2009); Ruth A. Musique, Paris 1979; AB, UC Berkeley, 1976 Solie Award (2007); Guggenheim Fellowship of Members-at-Large, Research interests: late Medieval and early (2006); Dent Medal (2001) Board of Directors Renaissance music; 20th-century popular Administrative experience: Univ. of music Chicago: Chair, Dept. of Music (2008–09, MARK KATZ Publications: “Origins of White Nota- 2010–12); Logan Arts Center, Advisory Board tion,” in Le notazioni della polifonia vocale (2008–12); Director of Graduate Studies Ruel W. Tyson Jr. Distinguished Professor of II (ETS, forthcoming); “Mandalas and the (1991–97, 1990–93, 1996–1997, 1999–2002, the Humanities and Professor of Music, Uni- Dead,” in The Grateful Dead in Concert, ed. 2006, 2013–14); Director of Undergraduate versity of North Carolina at Chapel Hill Tuedio and Spector (McFarland, 2009); Studies (2003–04); Renaissance Society of Degrees: PhD and MA, Michigan, 1999, “Marking Mensural Time,” MTS (2000); Pat- America: Annual Meeting Program Commit- 1994; BA, William & Mary, 1992 terns in Play: A Text-Setting Model for Dufay’s tee (2002) Research interests: technology; popular Early French Songs (Nebraska, 1999); co-ed., AMS activities: JAMS Editorial Board music; musical diplomacy Understanding Rock: Essays in Musical Analysis (2013–present); Director-at-Large, AMS Publications: Groove Music: The Art and (Oxford, 1997) Board (2009–10); Howard Mayer Brown Culture of the Hip-Hop DJ (Oxford, 2012); Awards: Ohio State Univ., Arts and Hu- Award Committee (2005–08, chair, 2006– co-ed., Music, Sound, and Technology in manities Collaborative Research Grant 08); Program Committee (1995–98, chair, America (Duke, 2012); Capturing Sound: How (2009); Medieval and Renaissance Studies 1997); Council (1992–94) Technology has Changed Music (California, Research grants (1998–2006); Ohio State 2004/2010); The Violin: A Research and Univ. Distinguished Scholar Award (1999); Candidate for the Information Guide (2006); “Beethoven in the Harvard Univ., Phi Beta Kappa Award for Age of Mechanical Reproduction: The Vio- Teaching (1995); Leopold Schepp Foundation office of Secretary lin Concerto on Record,” Beethoven Forum and Villa I Tatti Fellowships (1989) (2003) Administrative experience Awards: Certificate of Merit for Excellence : Ohio State MICHAEL C. TUSA Univ.: Director, Center for Medieval and Re- in Recorded Sound Research, ARSC (2007, naissance Studies (2013–present); conference Professor of Music, Butler School of Music, 2013); Leavey Award for Private Enterprise organizer, “Music in the Carolingian World” University of Texas at Austin Education (2013); Hacker Book Award (Soci- (2011); Senate Committee on Academic Free- Degrees: PhD, Princeton, 1983; MMus, ety for the History of Technology, 2007); Edi- dom and Responsibility (chair, 2004–07); Yale School of Music, 1976; BA, Yale, 1975 son Fellowship (British Library, 2005); major University Senate, Faculty Council, and Research interests: Beethoven; 19th-century Faculty Executive Committee (2003–06); opera; piano music; compositional process continued on page  February 2015  AMS Elections 2015 Publications: “Benjamin Patterson’s Spiri- conference program chair (2014), North tual Exercises,” in Tomorrow Is the Question: American British Music Studies Association; continued from page  New Directions in Experimental Music Studies, founder and series editor, Ashgate Interdis- grants from National Science Foundation, ed. Piekut (Michigan, 2014); A Power Stronger ciplinary Studies in Opera (2006–present); U.S. Department of State (2005, 2013) Than Itself: The AACM and American Experi- Associate General Editor (2006–present) and Administrative experience: Univ. of North mental Music (Chicago, 2008); “Foreword: Editorial Board (2014–present), The Works of Carolina: Director, Institute for the Arts and After Afrofuturism,” JSAM (2008); “Mobili- Giuseppe Verdi; Chair, Council on Teaching, Humanities (2014–present); Chair, Music tas Animi: Improvising Technologies, Intend- Univ. of Iowa (2002–03) Dept. (2012–14); Director, Next Level Musi- ing Chance,” Parallax (2007); “Improvised AMS activities: Publications Committee cal Diplomacy Program (2013–present); Edi- Music After 1950: Afrological and Eurological (2015–present); Program Committee (2011); tor, JSAM (2011–2014); Chair, Musicology Perspectives,” BMRJ (1996) Pisk Prize Committee (2007–09, chair, 2009); Dept., Peabody Conservatory (2003–05) Awards: SEAMUS Award, Society for Board Nominating Committee (2005); Com- AMS activities: Delegate to National Re- Electro-Acoustic Music in the United States mittee on Career-Related Issues (1997–2001, cording Preservation Board (2010–14); Coun- (2012); United States Artists Award (2011); chair, 2000–01) cil Nominating Committee (2008); Council Music in American Culture Award (2009); (2005–08) American Book Award (2009); MacArthur JOHN A. RICE Fellow (2002) ELISABETH LE GUIN Administrative experience: Colum- Independent Scholar, Rochester, Minn. Degrees: PhD, UC Berkeley, 1987; AB, Professor of Musicology, UCLA bia Univ.: Vice-chair, Dept. of Music 2011 Harvard, 1979 Degrees: PhD, UC Berkeley, 1997; MA, ( –present); Tenure Review Advisory 2011 12 Research interests: 18th century; opera; UC Berkeley, 1994; BMus, San Francisco Committee ( – ); Director, Center for 2007 10 Mozart; Vienna Conservatory, 1979 Jazz Studies ( – ); Univ. of California, Publications: Music in the Eighteenth Research interests: 18th-century Mediter- San Diego: Committee on Academic Person- 2001 02 Century (Norton, 2012), Mozart on the Stage ranean musics; corporeality and musicking; nel ( – ); Chancellor’s Commission on 1997 98 (Cambridge, 2009); Empress Marie Therese comedy and musicking; history/theory of im- Diversity ( – ) and Music at the Viennese Court, 1792–1807 provisation AMS activities: Committee on Cultural 2008 10 2009 (Cambridge, 2003); Antonio Salieri and Vien- Publications: The Tonadilla in Performance: Diversity ( – , chair, ); Council 2010 12 nese Opera (Chicago, 1998); W. A. Mozart: La Lyric Comedy in Enlightenment Spain (Cali- ( – ) clemenza di Tito (Cambridge, 1991) fornia, 2014); “‘The Glory of Having a Na- Awards: Member, Akademie für Mozart- tional Music’: A Translation of and Critical ROBERTA MONTEMORRA MARVIN Forschung (2005); Kinkeldey Award (1999); Commentary on the First Two Sections of Director of the Opera Studies Forum in the NEH Summer Stipend (1999); Humboldt José Subirá’s La tonadilla escénica: sus obras y Obermann Center for Advanced Studies and Fellowship (1993) sus autores (1933),” M&L (2013); “Hacia una associate professor in International Programs Administrative Experience: President, revaloración de la tonadilla tardía,” in Teatro (affiliate adjunct) and University College (ad- Mozart Society of America (2009–11); Vice- y música en España. Los géneros breves en la junct), University of Iowa president, American Musical Instrument So- segunda mitad del siglo XVIII, ed. Barrientos Degrees: PhD, Brandeis, 1992; MA, Tufts, ciety (2002–04) and Lolo (UAM/CSIC, 2008); “The Barber of 1986; BM, Boston Conservatory, 1975 AMS Activities: Committee on Career-Re- Madrid: Spanish Music in Beaumarchais’ Fi- Research interests: 19th-century Italian lated Issues (2014–present), Janet Levy Award garo Plays,” Acta (2007); Boccherini’s Body: an opera; music and politics; music in Victorian Committee (2011–13, chair, 2013); Kinkeldey Essay in Carnal Musicology (California, 2006) Britain; reception history; performance stud- Award Committee (2006–08); President, Awards: Community Education and Out- ies Southwest Chapter (1993–94) reach Grant, Consortium for California Stud- Publications: The Politics of Verdi’s ‘Cantica’ ies, UCHRI (2010); Noah Greenberg Award (Ashgate, 2014); co-ed., Music in Print and (2007); Fulbright Senior Research/Lecture RICHARD WILL Beyond: Hildegard von Bingen to The Beatles Grant (2005); Alfred Einstein Award (2002) (Rochester, 2013); Verdi the Student–Verdi the Associate Professor, Chair of McIntire De- Administrative experience: Visiting Pro- Teacher (Istituto Nazionale di Studi Verdiani, partment of Music, University of Virginia fessor and Study Center Director, UC Educa- 2010); co-ed., Historical Musicology: Sources, Degrees: PhD, Cornell, 1994; BA, UC San- tion Abroad Program, Mexico City, México Methods, Interpretations (Rochester, 2004); ta Cruz, 1986 (2013, 2014); Director of Undergraduate “Verdian Opera Burlesqued: A Glimpse Research interests: 18th-century; perfor- Studies, UCLA Musicology (2000–present) into Mid-Victorian Theatrical Culture” COJ mance and reception studies; American ver- AMS activities: JAMS Editorial Board (2003) nacular music (2012–present); Noah Greenberg Award Awards: NEH Fellowship (2004–05) and Publications: “Role Reversal: Rossini and Committee (2009–11) Summer Stipends (2010, 2003, 1993); Ameri- Beethoven in Early Biopics,” in Inventing can Philosophical Society Franklin Research Beethoven and Rossini (Cambridge, 2013); GEORGE E. LEWIS Grants (2007, 1992); Howard Foundation co-ed., Engaging Haydn: Culture, Context, Edwin H. Case Professor of American Music, Fellowship (2002–03); Fulbright Fellowships and Criticism (Cambridge, 2012); “Zoom- Columbia University (1993, 1988); Premio Internazionale “Giusep- ing In, Gazing Back: Don Giovanni on TV,” Degrees: BA, Yale, 1974 pe Verdi” (1991) OQ (2011); “Pergolesi’s Stabat mater and the Research interests: experimental music; Administrative experience: Associate Politics of Feminine Virtue,” MQ (2004); The improvised music; interactive media; music Dean, International Programs, Univ. of Iowa composition (creative work); jazz after 1960 (2010–12); Board of Directors (2010–12) and continued on page   AMS Newsletter Committee News See www.ams-net.org/committees for further in- For the 2015 award cycle, through a gener- formances fusing Cuban music with jazz by formation on all the Society’s committees. ous bequest (see the Treasurer’s Message, p. 11), this New York-based big band, edited by Paul the committee will have significant additional Austerlitz. Chapter Activities Committee funds to award, and will target low-income Other editions nearing completion provide The Chapter Activities Committee wishes to members and graduate students. This will pro- three contrasting perspectives on the history remind members of the opportunities that the vide the opportunity to fund up to sixty addi- of the American musical stage. Noble Sissle Society offers for academic and professional tional members to attend the Louisville meet- and Eubie Blake’s Shuffle Along premiered in development through the Chapter Fund. ing. Please consult the committee’s web page 1921 and embodies a thoroughly original syn- These include financing half the cost of the (www.ams-net.org/committees/mpd) for this thesis of operetta, revue, and ragtime created trip to the Annual Meeting for student rep- year’s procedures and application form; the by and starring African-American artists. The resentatives to AMS Council (airfare only), application deadline for Travel Grants to the volume is being edited by Lyn Schenbeck and and up to $200 for special events occurring as 2015 Annual Meeting in Louisville is Friday Larry Schenbeck. Joseph Rumshinsky’s Yid- part of a chapter’s meeting (e.g., guest speak- 15 May 2015. dish-American operetta Di goldene kale [The ers, guest performers, special workshops). For The CMPD is also considering how a men- Golden Bride] from 1923 recently received more information visit www.ams-net.org/ toring program for those who serve as adjunct a concert performance (musicologynow. chapters/chapterfund.php or email Andrew faculty could be created and implemented. ams-net.org/2014/06/die-goldene-kale-in- Flory, committee chair: [email protected]. Among the ideas under discussion are the new-york.html), and is in preparation by —Andrew Flory presentation of online webinars, the pair- editor Michael Ochs. A third volume will ing of adjuncts with someone who has been present the full score of Stephen Sondheim’s Committee on Membership and in this category and now has a full-time ap- Follies in its original 1971 production, edited Professional Development pointment, and identifying research oppor- by Jon Alan Conrad in collaboration with tunities for adjuncts. The student members its original orchestrator Jonathan Tunick. The Committee on Membership and Profes- of the AMS Council have also discussed this COPAM is still considering additions to the sional Development (CMPD) is pleased to issue, and provided additional questions to series: see www.ams-net.org/MUSA/ for pro- announce that it offered fifty-eight Profes- address as we move forward with this project. posal submission guidelines. sional Development Travel Grants in 2014, Among the questions the students suggested Mark Clague and Gayle Sherwood Magee for a total of $12,225 awarded. The flat-fee were: how can adjuncts access online materi- co-editors-in-chief model used for the 2013 grants did not ap- als (e.g., JSTOR) and other kinds of research ply this year given the number of applicants, tools? Can adjuncts negotiate contracts to Communications Committee which increased twenty-eight percent over their greatest advantage? Do adjuncts have the previous year. The committee agreed to Last year, this committee (chaired by Graeme incentive to remain AMS members? Why do give priority to independent scholars, adjunct Boone) revised its official charge, which is to adjuncts become disenfranchised? What are professors, and graduate students with no oversee internal and external communicative the professional ramifications of many years support from their institutions. We were able functions of the Society. Specifically, we are of adjunct status? to award travel grants to fifteen independent charged to: As committee chair, I gave a presentation to scholars/adjunct professors and twenty-nine the AMS Council in Milwaukee on the his- • consider the public image of the AMS in graduate students with little or no institu- tory of the committee, its responsibilities, and North American media, academia, and tional financial support. the programs and initiatives it sponsors and public life; AMS Elections 2015 supports. • recommend and implement, on the ap- The committee is happy to receive questions proval of the Board, such actions as seem continued from page  and concerns about how it can best serve the appropriate to the maintenance or devel- Characteristic Symphony in the Age of Haydn membership. Your suggestions and comments opment of that image, and to ensure that and Beethoven (Cambridge, 2002) are always welcome: [email protected]. it is consistent with the breadth of AMS Awards: ACLS Burkhardt Fellow (2009– —James P. Cassaro scholarship and the diversity of its mem- 10); American Philosophical Society sabbati- bership; • review ties between the AMS and other cal grant (2002–03); DAAD grants (1990–91, Committee on the Publication 1997 1992 93 scholarly societies, in view of fostering ); AMS 50 Fellow ( – ) of American Music Administrative experience: Univ. of Vir- their appropriate development; ginia: Chair, Dept. of Music (2010–15); Chair, The primary purpose of the Committee on • oversee our two public lecture series (Li- Strategic Plan for the Arts (2013–14); Direc- the Publication of American Music (CO- brary of Congress, Rock and Roll Hall of tor of Graduate Studies (2004–06); Edito- PAM) is to supervise the progress of Music of Fame and Museum) rial Board, Eighteenth-Century Music (2009– the United States of America (MUSA), the for- • supervise the Committee on Obituaries. present); Reviews Editor, Beethoven Forum ty-volume series sponsored by the American These goals are implemented by oversight (2003–05) Musicological Society and the National En- of the communication tools: AMS activities: Program Committee dowment for the Humanities. This summer • the AMS Newsletter; (2004, 2013–14, chair, 2014); Ruth A. Solie and fall we expect to see two MUSA volumes • our web site; Award Committee (2008–10, chair, 2010); move into production: George Chadwick’s • Musicology Now, our blog; Committee on the Status of Women (2005– 1912 verismo opera The Padrone, edited by • AMS-L, our moderated discussion list; 07); AHJ AMS 50 Committee (2000–04); Marianne Betz; and Machito and His Afro- Council (1999–2001) Cubans, a volume of seven transcribed per- continued on page  February 2015  Committee News The AMS Annual Meeting is in many re- cial support only at the time of its campaigns spects a changing of the guard, and so I take every quarter century, but from time to time continued from page  this opportunity to thank several persons we may contact those individuals we believe • AMS-Announce, our email/bulletin board for their service to this committee. Kariann might support an initiative. We welcome leg- announcements service. Goldschmitt and Drew Massey made valu- acy gifts at any time, and those so interested able contributions to our work, both in per- may contact the president or the committee. The most recent of our communication son and online, in the course of their terms on The committee also welcomes thoughts and vehicles, Musicology Now, is entering its the committee. Outgoing AMS-L modera- suggestions from the membership on our twentieth month. With intrepid editor D. tor Christine Fuhrmann kept discussions on policies and practices regarding the continued Kern Holoman at the helm, it continues to an even keel, discreetly and efficiently, even development of the Society’s endowment. inform, provoke, exhort, and amuse its large during holidays. Andrew H. Weaver expertly Feel free to write: [email protected]. and growing readership. In 2014, there were edited the AMS Newsletter for three years, —John Hajdu Heyer 112 posts to the blog, and thousands of page and oversaw the introduction of the “What views: roughly 250 per day. The most popu- I Do in Musicology” column. We also owe a Publications Committee lar post was John Covach’s “Let’s Make a debt of gratitude to committee chair Graeme 2014 Deal: The Beatles, Ed Sullivan, and the Brit- In Fall , the Publications Committee Boone for his excellent work in furtherance ish Invasion” (3 February), with over 13,000 awarded subventions to seventeen books for of the committee’s aims. He was acting in the $35 000 reads. But the topics ranged widely, from a total of , . They include the following: best interests of public musicology even in Amy Beal, Johanna Beyer (University of Il- Klinghoffer to C. P. E. Bach and beyond. Visit handing over the reins of the chairmanship musicologynow.­ams-net.org, if you have not linois Press); supported by the Manfred Bu- midstream during the committee’s Milwau- kofzer Endowment yet done so. kee meeting: he left early to give a keynote Kimberly A. Francis, Nadia Boulanger: The blog is but one of the ways in which address at the Grateful Dead conference held Teaching Stravinsky (Oxford University Press); the AMS is striving to “mediatize” its various that same weekend. supported by the AMS 75 PAYS Endowment functions; others include RSS feeds (for new —Bruce Alan Brown Marc Gidal, Spirit Serenade: Music and musicological books and dissertations), Face- Community in Afro-Brazilian Religion (Ox- book, and Twitter. Discussion continues as to Development Committee ford University Press); supported by the AMS the possibility of AMS-sponsored podcasts. The Development Committee recently re- 75 PAYS Endowment The AMS-sponsored lecture series at the Li- newed activity after a post-OPUS Campaign Jonathan Glasser, The Lost Paradise: Anda- brary of Congress and the Rock and Roll Hall hiatus. Current initiatives include two pro- lusi Music in Urban North Africa (University of Fame and Museum continue to be highly posed new endowments, and three proposed of Chicago Press); supported by the AMS 75 successful. The speakers in the fall of 2014 were applications for foundation support. In addi- PAYS Endowment Carol Hess, at the Library of Congress (“Cop- tion, the committee is working to clarify its Judy Lochhead, Reconceiving Structure in land as Good Neighbor: Cultural Diplomacy role in non-campaign times. Contemporary Music: New Tools in Music The- in Latin America During World War II”), Any initiative from the Development Com- ory and Analysis (Routledge Taylor & Francis and Samantha Bennett, at the Rock and Roll mittee must be presented to the Board of Di- Group); supported by the Lloyd Hibberd En- Hall of Fame and Museum (“Rock, Record- rectors for approval before action is taken, and dowment ing and Rebellion: Technology and Process in most of our recent work is in deliberation. We Danielle Fosler-Lussier, Music in America’s 1990s Record Production”). Past lectures can are pleased, however, to report that one of the Cold War Diplomacy (University of California be viewed at www.ams-net.org/LC-lectures proposed endowments, a fund honoring Ken- Press); supported by the Gustave Reese En- and www.ams-net.org/RRHOFM-lectures, neth Levy, the late medievalist and Scheide dowment respectively. The AMS is grateful to Daniel Professor of Music History at Princeton, Tanya Merchant, Women Musicians of Uz- Boomhower, Head of Reader Services in the has attracted a significant lead gift from an bekistan: From Courtyard to Conservatory Music Division at the Library of Congress, anonymous donor, and the Board immedi- (University of Illinois Press); supported by the for agreeing to serve as liaison for our lecture ately approved initiation of this fund, which AMS 75 PAYS Endowment series there. We encourage members to con- Susan Boynton is shepherding (see p. 4). The Sharon Meredith, Tuk Music Tradition in sider applying to participate: see the web site Kenneth Levy Fund Supporting Publications Barbados (Ashgate Publishing Group); sup- for further details. on Medieval Music is now listed on the AMS ported by the Otto Kinkeldey Endowment Less formal than the Society’s two lecture web site (www.ams-net.org/endowments), Shana Perschbacher, “Icelandic National- series, but no less devoted to bridging the dis- and those wishing to contribute may do so. ism, Difference Feminism, and Björk’s Ma- tance between academics and laypersons, is To date more than half of the $25,000 re- ternal Aesthetic” (Women and Music 18); sup- AMS-L, which has nearly 2,000 subscribers. quired to create a permanent endowment has ported by the Manfred Bukofzer Endowment Thanks to expert moderating, contributions been contributed or pledged. Christopher Reynolds, Wagner, Schumann, and queries are at a high level. Those who In the course of its history, our Society has and the Lessons of Beethoven’s Ninth (Univer- have not followed the list recently should con- enjoyed the exceptional philanthropic sup- sity of California Press); supported by the Jo- sider joining again! port of its founders, leaders, and members. seph Kerman Endowment The AMS recently commissioned a diag- Thanks to the hard work of those who have Tamara Roberts, Resounding Afro-Asia: In- nostic analysis of its web site, which resulted led successful campaigns, along with our terracial Music and the Performance of Unity in numerous recommendations for improved good investment record, the AMS now holds (Oxford University Press); supported by the efficiency, consistency, and general appear- one of the largest endowments of any learned Dragan Plamenac Endowment ance. We are presently at work to implement society of our size and age. The Society ac- Eva Moreda Rodríguez, Music Criticism and these recommendations. tively solicits the full membership for finan- Music Critics in Early Francoist Spain (Oxford

 AMS Newsletter University Press); supported by the AMS 75 lin, who responded to the upheavals of the archives, scholarly journals, and streaming PAYS Endowment Wende with her 1992 composition Die Reise. lectures. Visit to find information about re- Paul Schleuse, Singing Games in Early Mod- The second set of papers took into account cent conferences in which Study Group mem- ern Italy: The Music Books of Orazio Vecchi the wider trajectories of the Cold War’s End. bers have participated, such as “Sara Levy’s (Indiana University Press); supported by the Alison Furlong discussed the role that the World,” held September 2014 at Rutgers Uni- AMS 75 PAYS and Margarita Hanson En- monthly program Radio Glasnost, broadcast versity, and “Jewish Music and Jewish Iden- dowments by West Berlin’s Radio 100 from 1987 to ’89, tity,” held October 2014 at Youngstown State Daniel Sharp, Between Nostalgia and Apoca- had in giving East German dissidents a voice University, as well as video links of public lypse: Popular Music and the Staging of Brazil in the final days of the GDR. Trever Hagen lectures by former board member and Study (Wesleyan University Press); supported by the considered the lasting legacy of socialism by Group founding participant Ronit Seter. AMS 75 PAYS Endowment examining the recent activities of the rock The JSMSG also hosts a Google Group Ryan Thomas Skinner, Bamako Sounds: The group Plastic People of the Universe. The re- communications list where one can post ques- Afropolitan Ethics of Malian Music (University spondent for this second pair of papers was tions, start discussions, and send announce- of Minnesota Press); supported by the AMS Andrea Bohlman. ments. Participation in this list will continue 75 PAYS Endowment The CWMSG elected new leadership in to grow this year, as we begin a new initiative Gavin Steingo, Kwaito’s Promise: Freedom October. The group would like to thank the to combine lists and share resources with our and Aesthetic Experience in South African Mu- stellar work of Lisa Jakelski outgoing chair, corresponding group in the Society for Eth- sic (University of Chicago Press); supported and members-at-large, Eric Drott, Lynn nomusicology, the Special Interest Group for by the AMS 75 PAYS Endowment Hooker, Leah Goldman, and Jonathan Yae- Jewish Music. We hope that individuals from Joan Titus, Hearing Shostakovich: Music ger. The new committee members are Elaine all disciplines who are working on subjects re- for Early Soviet Cinema (Oxford University Kelly, chair, Alison Furlong, Eduardo Herre- lating to Jewish music and the arts will join Press); supported by the AMS 75 PAYS En- ra, Marysol Quevedo, and Emily Richmond this group through our web site, to announce dowment Pollock. Kevin Bartig continues as webmas- news of conferences, projects, concerts, and In accordance with the Society’s proce- ter. If you would like to join the CWMSG other events. We also invite contributions to dures, these awards were recommended by or learn more about our activities, please visit the web site; please become involved by shar- the Publications Committee and approved our web site: www.ams-net.org/cwmsg. ing syllabi, letting us know of new disserta- by the Board of Directors. Funding for AMS —Elaine Kelly tions on Jewish music, and submitting links subventions is provided through the National to additional archives, lectures, and research Endowment for the Humanities, the Andrew Jewish Studies and Music outlets. W. Mellon Foundation, and the generous Study Group —Joshua Walden support of AMS members and friends. Those interested in applying for AMS publication At this year’s meeting of the American Mu- Music and Disability Study Group sicological Society, the Jewish Studies and subventions are encouraged to do so. See the The Music and Disability Study Group Music Study Group (JSMSG) hosted a vi- program descriptions for full details (www. (MDSG) announces a call for papers for its brant session devoted to Jewish music peda- ams-net.org/pubs/subvention.php). Next next special session in Louisville, on the topic gogy. Michael Beckerman, Philip Bohlman, deadlines: 15 August 2015, 15 February 2016. “What Is Accessible Musicology?” This ses- Tina Frühauf, Wendy Heller, Mark Kligman, —Walter Frisch sion seeks to foster discussion about what ac- Ronit Seter, and Samuel Zerin, musicolo- cessibility is, how it positively benefits each gists who regularly teach courses on subjects member of our Society, and how it may lead related to Jewish music and have written in- to greater inclusion in our discipline’s mem- Study Group News troductory books, articles, and encyclopedia bership. Topics on accessibility could include See www.ams-net.org/studygroups for further in- entries, gathered to speak with one another political activism, inclusive pedagogy, or formation on all ten of the Society’s study groups. and a participatory audience about the sub- public musicology. In addition, we hope to ject, exploring ways of teaching Jewish mu- Cold War and Music Study Group explore the implications of accessibility, ac- sic to students and general audiences, in the commodation, and universal design beyond The Cold War and Music Study Group classroom, in public lectures, and in writing. disability rights to encompass diverse forms (CWMSG) sponsored an evening session They provided a variety of perspectives about of difference and identity. at the Milwaukee Annual Meeting entitled introductory teaching and writing on a broad One of the study group’s primary missions “Looking Back at 1989: A Critical Reassess- range of subjects that relate to the history of is the support of research in music and dis- ment of the Cold War’s End.” Chaired by music in Jewish cultures. As we explore ideas ability. To this end, we have established a Lisa Jakelski, the session revolved around four for the Study Group’s meeting next year in mentorship program for junior scholars writ- short position papers, which explored the Louisville, we welcome theme and panel for- ing conference proposals and abstracts. Au- effects of 1989 on music in Central Europe. mat recommendations, as well as suggestions thors will receive feedback and advice on their The first set of papers, for which Joy Calico for collaborations with other musicology work from established scholars, with the goal served as respondent, focused on the period groups and disciplines. of increasing the number of conference sub- from 1989 to 1990 in East Germany. While This year the JSMSG takes pride in an missions on disability topics. Scholars work- Christoph Hust explored the institutional fall updated web site, maintained by the group’s ing in Disability Studies might also wish to out of the GDR’s demise and German unifi- Secretary, Rebecca Cypess. This site (www. consult our web site (musicdisabilitystudies. cation by tracing the fate of the Leipzig pub- jewishstudiesandmusic.org) provides infor- wordpress.com), which maintains a database lishing house Deutscher Verlag für Musik, mation about the group and announcements of musical representations of disability (to Johanna Frances Yunker investigated the of upcoming events. The web site also hosts more personal perspectives of Ruth Zech- links to other scholarly societies, important continued on page  February 2015  Study Group News for an institution’s purpose and specific areas In Milwaukee, PMSG’s evening session, of specialization. The session was filmed; the “Pop Without Tech,” attracted a full house. continued from page  video and accompanying Storify version of Chaired by Mitchell Morris, the panel fea- which users may contribute) and a bibliogra- the live Twitter feed is available at the PSG tured four excellent papers by Nicholas John- phy of recent publications in the field. web site (www.ams-net.org/studygroups/psg). son, Matthew Richardson, Mike D’Errico, The study group also offers professional The second session was a roundtable dis- and Mimi Haddon. During its business support for scholars whose lives and careers cussion on “Assessing Student Learning in meeting the study group hosted a roundtable are affected by disability. A professional sup- the Digital Environment.” Panelists included entitled “The State of Popular Music Studies port network pairs interested individuals for members of both AMS and SMT who have through the Eyes of Conference Organizers.” the purpose of sharing stories, ideas, and varying degrees of experience with online I thank David Brackett, Robert Fink, Mark information. These pairings might take the and hybrid classes, including: Jennifer Hund, Katz, and Elizabeth Ann Lindau for speaking form of traditional mentor/mentee relation- Brendan McConnville, Douglas Shadle, Kris at this panel. ships with relatively senior faculty guiding Shaffer, and Elizabeth Wells. The session’s Next, I would like to thank PMSG mem- relatively junior faculty or graduate students, chair, Kevin Burke, posed a variety of philo- bers for their continuing support and for or may take the form of partnerships between sophical and practical questions to the panel, reelecting me as study group chair. I look peers. Our web site archives important con- after which there were questions and answers. forward to expanding the study group and versations about disability in the music his- The video and tweets from this session are also planning exciting activities over the next two tory and theory classrooms from our listserv, available at our web site. years. and this year we will be sponsoring a blog se- The Journal of Music History Pedagogy On 27 and 28 March, PMSG is co- ries on accessible music pedagogy. has now entered its fifth volume and is ful- sponsoring the conference “Embracing the Last year, the MDSG Ad Hoc Committee ly under the editorship of Stephen Meyer. Margins: Counter-Mainstream Perspectives on Accessibility reviewed and suggested mod- With this transition, we would like to thank in Popular Music” at the University of North ifications to the AMS’s guidelines on confer- Matthew Balensuela again for his invaluable Carolina at Chapel Hill. Robin James and ence accessibility. It has done so under the leadership and guidance, from the time that Theo Cateforis will deliver keynote addresses, capable leadership of Kendra Leonard, whom the journal was first conceived through the and fifteen presenters will discuss a variety of we thank for her hard work and dedication. first four volumes. Contributions to the first topics from YouTube musicals to punk poetry Jeannette Jones is the new committee chair, issue of this volume include discussions of and Egyptian feminist heavy metal. Details and we encourage AMS members with con- role-playing and listening games in the mu- will be posted on the PMSG web site and cerns about conference accessibility to contact sic history classroom, a bibliography of music Facebook page when they become available. her ([email protected]). Finally, we thank Steph- history pedagogy, and a number of contribu- Finally, I’m happy to report that—just a anie Jensen-Moulton for her tireless service as tions on teaching hip hop and popular mu- year after passing new bylaws—PMSG now co-chair of the study group committee, and sic. The second issue of the volume will be has over thirty dues-paying members. To we welcome Samantha Bassler, who will serve published in March, featuring contributions contact PMSG’s officers and to join, please as the new co-chair with Blake Howe. focused on the undergraduate music history visit www.ams-net.org/studygroups/pmsg/ For more information on our group and the sequence and curriculum. officers_and_membership.html. Don’t forget initiatives described here, please visit our blog The 2015 Teaching Music History Confer- to like our Facebook page (www.facebook. (musicdisabilitystudies.wordpress.com), join ence is scheduled for 5–6 June at the Univer- com/AMSpop) for updates on study group our listserv, and visit us on Facebook. sity of Cincinnati College-Conservatory of activities and interesting news stories in the —Samantha Bassler and Blake Howe Music. John Hausman and Colin Roust are world of popular music. serving as co-organizers. Additional informa- —Eric Hung Pedagogy Study Group tion will available during the coming months At the Annual Meeting in Milwaukee, the at the PSG web site. Pedagogy Study Group (PSG) sponsored two Finally, at the PSG business meeting in PMSG Symposium sessions. The first was entitled “The End of Milwaukee, Kevin Burke was elected as the 2014 the Undergraduate Music History Sequence” new PSG secretary. The Study Group thanks In June the PMSG held a three-day and grappled with the question of whether Christina Fuhrmann for her two terms of ser- Junior Faculty Symposium at the Uni- a chronological approach to teaching mu- vice in that role. versity of Richmond, organized by Eric sic history is necessarily the best strategy for —Colin Roust Hung and Joanna Love. Twenty-one par- ticipants submitted materials to be read by undergraduate music majors. Melanie Lowe Popular Music Study Group presented an overview of the new curriculum all in advance; mentors Neil Lerner, Fred Maus, Robynn Stilwell, Felicia Miyakawa, model that has recently been established at The second half of 2014 was a busy time for Andrew McGraw, and Eric Hung helped Vanderbilt University. J. Peter Burkholder the Popular Music Study Group (PMSG). lead discussions. A wide range of topics— described the chronological survey as an es- First, The Journal of Music History Pedagogy from Madonna to Rockabilly to David sential framework that provides a structure published the roundtable discussion about Lynch—were addressed; and mentors led for understanding music students encoun- what should be taught in a popular music discussions devoted to topics such as pub- ter during their careers. Don Gibson spoke course initiated during PMSG’s 2013 business lishing, workplace concerns, pedagogy, about the flexibility of National Association meeting. That volume features thoughtful the job search, and navigating promo- of Schools of Music accreditation standards, essays by David Blake, Loren Kajikawa, Jus- tion and tenure. For more information, emphasizing that the organization’s goal is to tin Burton, Andrew Flory, and Joanna Love. see www.ams-net.org/studygroups/pmsg/ help each music program define and achieve They are available, free of charge, at www. Richmond-Symposium/. curricular goals in a way that is appropriate ams-net.org/ojs/index.php/jmhp/.

 AMS Newsletter AMS Survey: Should the Annual Meeting Be Expanded?

In September 2014 AMS President Christo- favorably received, with 54% responding posi- Do not extend the meeting (15) pher Reynolds invited members to provide tively to the proposition. Move to shorter paper slots (11) feedback on the question of whether the AMS The comments submitted were extensive Do not move to shorter paper slots (11) Annual Meeting should be expanded or en- and thoughtful. About 170 members wrote in Do not hold more concurrent sessions (10) larged; and if so, how. A survey was sent to response to the question “Do you have other Hold more concurrent sessions (7) about 2,900 members, about 750 of whom alternatives to these three options that you Support chapters and regional completed the survey. would like to suggest?” The most frequent conferences more strongly (6) Results are presented in the charts nearby. comments were as follows: Responses to question one lean toward the Many comments were not easy to catego- Adjust the timing: paper length, rize. Some took issue with the premise behind affirmative: it would be better if it were pos- Q & A length (39) 52 the survey. Some pointed out that a longer sible to enable more participation. About % Promote poster sessions more strongly (28) positively, while only about 25% responded meeting was more expensive, travel funding Adjust rules regarding frequency of was difficult to obtain, and meeting dur- less enthusiastically. Question two presented 15 presentation ( ) ing the semester made for disrupted courses. three alternatives and asked for a preference Hold more than one meeting per year (11) response. 2a, expanding to Thursday morn- Some suggested moving the meeting time to a Include more panels and a wider less busy time of year, e.g. August or the win- ing, received a balanced response with more variety of panel formats (11) in favor than neutral or against; 2b, adding ter break. Some encouraged creative thinking concurrent sessions, received a similar re- About 230 wrote in response to the ques- to move beyond the traditional “read a paper sponse; 2c, adjusting session timing, was most tion “Feel free to comment on any aspect of verbatim” format to other styles and modes of the subject that you wish.” The most frequent presentation and participation. responses addressed ideas as follows: The full set of responses is available at Survey Questions: Charts the AMS web site (www.ams-net.org/ The status quo is acceptable (37) milwaukee/), and I encourage you to read 1. Given the low ratio of submitted vs. ac- Reduce the cost of the them and send additional comments. Our cepted presentation proposals, should the Annual Meeting (21) goal is to hold the most effective and benefi- AMS Annual Meeting be changed to enable Revise the selection process (19) more participation? (1: strongly disagree; 10: cial meeting possible. The Committee on the strongly agree) responses Annual Meeting, the Program Committee, and the Board of Directors will be consider- b. we should add concurrent sessions (cur- 200 ing the implications and ramifications of the rently there are nine; each additional room survey carefully over the next few months. would net 18 hours of additional presentation —Robert Judd 150 time). series 1 140 100 News Briefs responses120 100 Stanford University has announced the ac- 50 80 quisition of the Denis Condon Collection 60 seriesof Reproducing 1 Pianos and Rolls, more 0 No. of responses No. than 7,500 rolls and ten player pianos, one 40 1 2 3 4 5 6 7 8 9 10 of the most important of its kind. Details: Answer 20 news.stanford.edu/news/2014/october/ 2. (1: strongly against; 10: strongly in favor) of responses No. 0 player-piano-collection-101314.html 1 2 3 4 5 6 7 8 9 10 All other factors being equal . . . Harvard University’s Music Department Answer a. we should expand the length of the meet- announces their library exhibition Unmask- ing to include Thursday morning. This would c. we should shorten the session length to ing Jim Crow: Blackface Minstrelsy in Ameri- result in three hours of additional meeting two hours instead of three, shorten presenta- can Popular Culture. The exhibition continues time in all nine session rooms (27 hours of tion time from 45 minutes to 30, and hold until 8 May 2015. Details: music.fas.harvard. additional presentation time).series 1 more sessions in the sameseries amount 1 of time. edu/news.html#crow 150 200 Internet Resources 150 100 News 100 series 1 series 1 50 The Boston Symphony Orchestra has pub- 50 lished an online interactive database that documents its complete performance his-

0 of responses No. 0 No. of responses No. tory, from 21 October 1881 to the present. 1 2 3 4 5 6 7 8 9 10 1 2 3 4 5 6 7 8 9 10 Details: www.bso.org/brands/bso/about-us/

Answer Answer historyarchives/archival-collection.aspx February 2015  AMS/SMT Milwaukee 2014 CFPs and Conferences Post-Conference Survey The AMS lists conferences and CFPs at American Choral Music Symposium Following the 2014 Annual Meeting, at- musicologyconferences.xevents.sas.ac.uk. The 12–13 June 2015 tendees received a short two-question survey. site includes further details concerning these Austin Responses were automatically limited to no listings, as well as additional conference list- Music Research in the Digital more than thirty words. About 530 attendees ings. Age (joint congress, International (25% of those who received the survey re- To subscribe to email notification regarding Association of Music Libraries, Archives quest) responded: see the table nearby. musicology conferences, see www.ams-net. and Documentation Centres and The full array of responses (classified ac- org/announce.php. International Musicological Society) cording to topic) is available at the AMS web 21–26 June 2015 site (www.ams-net.org/milwaukee/). We are New York grateful to those who responded; the Com- Conferences mittee on the Annual Meeting and the Board Medieval and Renaissance Music Embracing the Margins: Counter- of Directors will take the comments into care- 6–9 July 2015 Mainstream Sensibilities in Popular Music ful consideration as they plan future Annual Université Libre de Bruxelles 27–28 March 2015 Meetings. University of North Carolina at Chapel Hill Music in Nineteenth-Century Britain 8–10 July 2015 Current Musicology Royal Conservatoire of Scotland, Glasgow AMS/SMT Milwaukee Post-Conference Anniversary Conference Survey: Most Frequent Responses 28–29 March 2015 Sound Studies: Art, Experience, Politics 8 10 2015 Columbia University, New York – July University of Cambridge 1. What is the one thing you liked the most International Alliance for about the conference? Women in Music: Women in Good Impressions: The First Century Music Connect the World of Music Printing and Publishing 13 15 2015 The scholarly papers/sessions 133 13–19 April 2015 – July Networking with old friends 124 Wake Forest University University of Salzburg 76 The diversity of the meeting Society for Seventeenth-Century Nineteenth-Century Music 72 The location of the meeting Music / American Handel Society 16–18 July 2015 22 Meeting logistics 23–26 April 2015 Merrimack College, North Andover 20 Meeting jointly with the SMT University of Iowa, Iowa City Feminism and Black Critical Margot Fassler’s or Lydia Goehr’s Praxis in an Age of Scarcity plenary lecture 13 Inertia: Sound, Media, and the Digital Humanities (Feminist Theory and Music) The AMS dance 11 5 9 2015 30 April–2 May 2015 – August The concerts associated with University of Wisconsin-Madison the meeting 6 University of California, Los Angeles Milwaukee restaurants 6 Authority and Materiality in the Italian Forte/Piano: A Festival Celebrating Songbook: From the Medieval Lyric Pianos in History to the Early-Modern Madrigal 5–9 August 2015 2. What is the one thing about the conference 1–2 May 2015 Cornell University, Ithaca that you’d change if you could? Binghamton University, SUNY Music, Narrative and the Moving Image International Congress on 12–15 August 2015 The venue: two facilities, too Fordham University, New York spread out 148 Medieval Studies 14 17 2015 Have fewer events: too busy 49 – May Petrus Alamire—New Improve meeting logistics 37 Kalamazoo Perspectives on Polyphony Hold fewer evening sessions 36 Historical Keyboard Society 18–23 August 2015 Improve the program topics 36 of North America Antwerp Improve the restaurants and 21–24 May 2015 Royal Musical Association food services 25 McGill University, Montreal 10–12 September 2015 Improve the room assignments: Frames of Listening: Popular Music and University of Birmingham 24 overcrowded sessions Visual Culture (International Association Musical Dialogues (Musicological 14 Reduce the cost for the Study of Popular Music – Canada) Society of Australia) Change the paper or 27–30 May 2015 1–4 October 2015 14 session length Ottawa Sydney Conservatorium of Music Nothing: satisfied with the meeting 14 Music and the Moving Image Gabriel Fauré: Effable and Ineffable The location: Milwaukee 29–31 May 2015 23–25 October 2015 was not desirable 13 New York University University of Washington, Seattle The weather was not pleasant 12 Canadian University Music Society Philippe de Vitry The meeting rooms erew 3–5 June 2015 6–7 November, 2015 too cold 11 University of Ottawa Yale University, New Haven  AMS Newsletter Papers Read at Chapter Meetings, 2013–14

Allegheny Chapter Theodore Albrecht (Kent State University), Matthew Franke (University of North Caro- 19 October 2013 “Mortality and Musicians: An Epidemiology lina at Chapel Hill), “‘Mio Werther!’: The of Vienna’s Theater Orchestra Members in Translation and Reception of Werther in the Indiana University of Pennsylvania Beethoven’s Time” Fin de Siècle” Daniel Rosen (University of Western On- Antonella Di Giulio (University at Buffalo, Gavin Lee (Duke University), “Sublime Cal- tario), “Producing Contemporary Electronic SUNY), “From a ‘noyau’ to an Invention: ligraphic Molecularity” Dance Music: Exploring the Musical Cre- Following the Needs of the Imagination in David Ottinger (Catholic University of ativity of Digital Signal Processing Plug-ins Petrassi’s Invenzione no. 1” America), “Music as Confrontation: Fin- in Mixing and Mastering” Charles Perryman (Morgantown, W.V.), “Bill de-siècle Vienna in the First Movement of Jürgen Thym (Eastman School of Music, Monroe, Arnold Shultz, and Travis Picking: Mahler’s Third Symphony” University of Rochester), “Between Stock- The African-American Influence on Blue- Sara Pecknold (Catholic University of Amer- hausen/Zimmermann and Eisler/Dessau: grass Music” ica), “Preziosissimo Sangue: Liturgical Inter- Luca Lombardi’s Balancing Act between the textuality and Self-Quotation in Barbara Two Germanies” Strozzi’s Christological Motets” Capital Chapter Kyle Masson (Pennsylvania State University), Georgina Prineppi (University of Miami), “A Lament for Homer’s Heroine: The Char- 5 October 2013 “Five Faces: Musical Identity in the Compo- acterization of Penelope in Il ritorno d’Ulisse Shenandoah Conservatory sitions of Carlos Salzedo” in patria” Topher Booth (Catholic University of Amer- Christopher Culp (University at Buffalo, ica), “Preexisting Music as Character Devel- SUNY), “I am the Very Model of a Mod- opment in Art Cinema” ernist Postmodernist: The Case of Musical Greater New York Chapter Theatre” Nessyah Buder (Shenandoah Conservatory), “Taboo Issue of a Rapping Jew” Erica Rumbley (University of Kentucky), 26 October 2013 “Ornamental Music and Southern Belles at Lars Helgert (Catholic University of Amer- Opera Learning Center, Lincoln Center ica), “Music Scholarship and Music Pub- the Nashville Female Academy, 1816–61” Nancy Van de Vate (Institute for European lishers: Some Common Difficulties with Nathan Miller (University of Kentucky), Studies, Vienna), “Introducing a new Ham- Obtaining Reprint Permission for Scholarly “‘Onward!’: Christian Soldier Songs in Late let opera” Writings” Nineteenth-Century American Culture” Ren Draya (Blackburn College), “The Music Joseph A. Mann (Catholic University of Carl Rahkonen (Indiana University of Penn- in Shakespeare’s Othello” America), “‘Listen to Patience in a Dying sylvania), “Music in the Drawing Room: Song’: Moral and Musical Modeling in A Samantha Bassler (Rutgers University), “Mu- What We Learn from the Vernacular Tune Pilgrimes Solace” sic and Disability in Shakespeare” Book Collection of Samuel Bayard” Daniel Rosen (University of Western On- Ji Yeon Lee (Graduate Center, CUNY), Grant William Cook III (University of tario), “Producing Contemporary Electronic “Climax and Anti-Climax: Verdi’s Musi- Mount Union), “Alexander Wheelock Thay- Dance Music: Exploring the Musical Cre- cal Rendering of Lady Macbeth’s Dramatic er, Searching for Beethoven in Paris and ativity of Digital Signal Processing Plug-ins” Narrative” London” Erica Rumbley (University of Kentucky), Alessandra Jones (Hunter College), “Mas- 1874 5 April 2014 “From the Parlor to the Concert Hall: Music senet’s Scènes Dramatiques ( ) and the Cleveland State University Instruction at Ward’s Seminary (1866–1913)” French Art of Distilling Shakespeare” Jenni Swegan (University of Richmond), Jacquelyn Sholes (Boston University), “Jo- Terry Dean (Indiana State University), “The “Handel’s Theodora in Context: Death, Sex- seph Joachim’s Overture to Hamlet in Rela- Rachmaninoff Memorial Fund (1943–49): uality, and Punishment” tion to Shakespeare and Liszt” Some Preliminary Observations on the Melissa Khong (Graduate Center, CUNY), Downfall of the Organization” 26 April 2014 Catholic University of America “Ophelia as Creative Agency in Guillaume Taryn Kunisaki (University of Kentucky), Lekeu’s Second Symphonic Etude” “Franz Liszt’s Die Drei Zigeuner : ‘A Tribute Antonella Di Giulio (University at Buffalo, 25 January 2014 to His Hungarian Nation and Ancestry’” SUNY), “Transcendence and Immortality in Columbia University Anna Stephan Robinson (West Liberty Uni- Busoni’s Doktor Faust” versity), “Correspondence between Marion Ryan Ebright (University of North Carolina Lynette Bowring (Rutgers University), “The Bauer and the A. P. Schmidt Company at Chapel Hill), “Sampling Testimonies: The Coming Over of the Works of the Great (1915–51): Some Findings” Musico-Theatrical Aesthetics of Steve Reich’s Corelli: The Influence of Italian Violin Rep- Sarah Dietsche (University of Memphis), “F The Cave” ertoire in London, 1675–1705” the President: Reactions to George W. Bush Sarah England (University of Maryland, Edward Klorman (The Juilliard School), “The in Popular Music” College Park), “‘It Was Good Enough for String Quartet before the Concert Hall: Did Susan K. de Ghizé (University of Texas at Grandma But It Ain’t Good Enough for the Players Rehearse?” Brownsville), “Mozart’s Common (yet Un- Us!’: Women and the Nation in Bloomer Girl common) Common-Tone Modulations” (1944)” continued on page 

February 2015  Papers Read at Chapter Meetings Mid-Atlantic Chapter Danielle Kuntz (University of Minnesota), “Lisbon’s Musical Elite and the Genesis of continued from page  5 April 2014 Oratorio in Early Eighteenth-Century Por- Temple University tugal (1719–23)” William Hettrick (Hofstra University), Toru Momii (McGill University), “The Birth Matteo Magarotto (University of Cincinnati), “‘Movin’ On Up’: The Great Migration of of a New Anthem: An Exploration of Finn- “Memory Lapses in Mozart’s Piano Sonatas” Piano Manufacturers and Dealers to Har- ish National Identity in Finlandia” Emily Lane (Northwestern University), “The lem and the Bronx, New York, in the Period Jennifer Campbell (Central Michigan Uni- Register of the Artist: Editing Gershwin’s 1880–1930” versity), “‘I Shall Stay a Nomad’: Isabelle American in Paris for the Screen” Heather Platt (Ball State University), “‘No, Eberhardt, Missy Mazzoli, and the Female Jeremy Orosz (University of Alabama), “John Dear Readers, Brahms Is Not Married:’ Wanderer” Williams: Paraphraser or Plagiarist?” Brahms and His Mädchen” Suzanne Bratt (University of Pennsylvania), Katherine Syer (University of Illinois at John Graziano (Graduate Center, CUNY), “The Obbligato Hinge” Urbana-Champaign), “Wendelin Weiss­ “Richard Wagner, Theodore Thomas, and Solomon Guhl-Miller (Temple University), heimer’s Theodor Körner: A Hero’s Opera” the American Centennial March” “Rhythm in Aquitanian Polyphony: A New Jessica Payette (Oakland University), “French Jordan Stokes (Graduate Center, CUNY), Interpretation” Grand Opera in Fin-de-siècle Vienna: Chal- “Trollflöten/Zauberflöte/Magic Flute: Cinema­ Andrew Unger (College of New Jersey), “Re­ lenging Wagnerian Myth through Hugonian tic Variations on a Theme by Mozart” collection, Inner Feelings, and Actuality: Ex- Dramaturgy” Reba Wissner (Montclair State University), ploring Text and Music in A Child of Our Eric Saylor (Drake University), “‘No More “Music for Murder, Machines, and Mon- Time” Fear and No More Storm’: Peter Grimes and sters: ‘Moat Farm Murder,’ The Twilight Karen Uslin (Catholic University of Ameri- the Utopian Pastoral” Zone, and the CBS Stock Music Library” ca), “Documenting the Dry Eyes of Baby- David Kidger (Oakland University), “The Paul Christiansen (University of Southern lon: Examining the Musical Life of Terezin “Courtauld-Sargent” Collaboration: Musi- Maine), “How the 1972 Ad ‘Nixon Now’ through Original Manuscripts” cal Patronage in London in the 1930s” Changed Political Advertising by Adopting Sarah Lucas (University of Iowa), “Bartók’s the ‘I’d Like to Teach the World to Sing’ Mu- Midwest Chapter First Performances in New York: The Recep- sical Style of a Coca-Cola Commercial” tion of Rhapsody and Piano Concerto no. 5–6 October 2013 1, Two Contrasting Works for Piano and Northwestern University 26 April 2014 Orchestra” New York University Jeffrey van den Scott (Northwestern Univer- Matthew Richardson (Northwestern Univer- sity), “Retrieving Frederick Russell Burton: sity), “‘Spring Up, Speed Up’: Japanese Idol Victoria Aschheim (Princeton University), An American Indianist at the Turn of the Pop Convention and the Performance of Different Trains Century” “Seeing through Walter Ben- Commodification” jamin and Photography” 12 April 2014 Isidora Miranda (University of Wisconsin- University of Minnesota Jeff S. Dailey (Five Towns College), “Sullivan Madison), “Icons of Superfluity and the Re- on the Titanic” production of Colonial Anxieties in Philip- Adam Shoaff (University of Cincinnati), Jane Schatkin Hettrick (Rider University), pine Popular Music” “Mainwaring’s Handel Memoirs and the “Music Treatment of the Text Sub tuum Chelsea Burns (University of Chicago), “Nei- Shaping of a National Myth” praesidium in Connection with Marian Wor- ther Folkloric, nor Serious, nor Transcen- Sandra Johnson (Miami University of Ohio- ship in Viennese Liturgical Practice of the dental: Ambivalence in the Music of Silves- Hamilton), “Soap, Song, and Sentiment: Eighteenth Century” tre Revueltas” Marketing Stephen Foster in 1940” David Hurwitz (Classicstoday.com), “Vibra- Keith Clifton (Central Michigan Univer- Jason Rosenholtz-Witt (Northwestern Uni- to, the Orchestral Organ, and the ‘Prevail- sity), “‘Une utopique évocation’? Honegger, versity), “William Byrd’s Cupid Songs and ing Aesthetic’ in Nineteenth-Century Sym- Messiaen, and Competing Narratives in the the English Emblem Tradition” phonic Music” Symphonie liturgique” Andrew McIntyre (Northwestern University), Lawrence Ferrara (New York University), Kirsten Carithers (Northwestern University), “‘A Strange Inhumane Murther’: Murderess- “The Amount of Music Copied in Copy- “Cagean Aesthetics and the Rhetoric of es in English Broadside Ballads of the Six- right Litigations: How Much is Too Much” Indeterminacy” teenth and Seventeenth Centuries” Andrew Unger (College of New Jersey), “Re­ Ted Gordon (University of Chicago), “Ab- Jess Peritz (University of Chicago), “Staging collection, Inner Feelings, and Actuality: Ex- jection, l’informe, and Fantasy in Helmut Domesticity: Rousseau and the Politics of ploring Text and Music in A Child of Our Lachenmann’s Pression” the Domestic Sphere in Grétry’s Lucile” Times” Shawn Keener (University of Chicago), “Cal- Basil Considine (Walden University), “A Catherine Ludlow (Western Illinois Univer- mo’s Counterpoint: Boasting, Musical Play, Singer from Casanova’s Circle: Louise ‘Lo- sity), “‘Ancient Wonders Reappear in Moon- and Contrappunto alla mente in Sixteenth- lotte’ Gaucher (c. 1717–65), Fille d’Opéra and light’: Nighttime in Robert Schumann’s Text Century Venice” Courtesan” Settings” Miriam Wendling (Universität Hamburg), “A Geoffrey Wilson (Waverly, Ia.), “A Past that Styra Avins (American Brahms Society), History in Fragments: The Intersection of Was Never Present: Bergsonian Temporality “Brahms in the Wittgenstein Homes” Theory and Practice at St. Michelsberg” and Brahms’s Intermezzo, op. 119, no. 2”

 AMS Newsletter Andrew Malilay White (New York Univer- Morgan Rich (University of Florida), “Ador- Terry E. Miller (Kent State University), “One sity), “‘I Feared Their Splendor’: Text Setting no, Berg, and Composition with Twelve Hundred Fifty Years of Musical Memory: and the Half-Diminished Sonority in Berg’s Tones: Rereading Adorno’s Philosophy of Lao Phuan Singing among the Thai Phuan Traumgekrönt” New Music ” of Lopburi Province, Thailand” Cecilia Stevens (University of Minnesota), Beth Abbate (Boston Conservatory), “Esoter- Katherine Walker (Hobart and Smith Col- “Death, Rebirth, and the F/A Complex in ic Origins: Theosophical Images and Influ- lege), “Machine Music in the Age of Sensi- the Music of Philip Glass” ences in Webern’s op. 29” bility: W. A. Mozart’s Artificial Sentiment in Alison Kaufman (University of Cincinnati), Navid Bargrizan (University of Florida), “A K. 616” “Neumes Volubilis: A Melodic Rendering of New Opera Concept: An Identity Quest Aaron James (Eastman School of Music, Uni- the Full-Looped Liquescence” Mediated by Digital Media and Microtones versity of Rochester), “There’s Something Kimberly Bech (University of British Colum- in Manfred Stahnke’s Orpheus Kristall ” about Barbara: The Adaptation and Reuse of bia), “The Sonata as Meditation: Marian De- Marian Motets” 3 May 2014 votion, Eternal Redemption, and Vanquish- Dawn Stevenson (Carleton University), Providence College ing the Turks” “‘Crying Out’ for Analysis: The Composi- Ji Yeon Lee (Graduate Center, CUNY), tional Career of L. Ron Hubbard, Musician” “Tristan und Isolde and Francesca da Rimini: Durrell Bowman (Kitchener, Ont.), “The Un- New England Chapter An Intertextual Reading” tapped Doctoral Majority of Potential Pub- 28 September 2013 Penny Brandt (University of Connecticut), lic Musicologists” University of Massachusetts Amherst “Elsa Olivieri Sangiacomo Respighi, Com- James Deaville and Agnes Malkinson (Carle­ poser and Protagonist” ton University), “Prescription for Influ- Erinn Knyt (University of Massachusetts Am- Jane Daphne Hatter (McGill University), ence: Doctoring Music in Medication herst), “New Instruments, New Sounds, and “Plorer, Gemir, Crier: Musical Mourning and Commercials” New Musical Laws: Ferruccio Busoni, Ed- the Composer” Sasha Zhu (Kent State University), “A Com- gard Varèse, and the ‘Music of the Future’” Benjamin Korstvedt (Clark University), parative Study of Social Functions of the Af- Evan MacCarthy (College of the Holy Cross), “Nineteenth-Century Music Criticism, or a rican Algaita and the Chinese Suona” “The English Voyage of Pietrobono” Prehistory of the Post-Modern Paratext” Myranda Harris (University of Texas at Aus- Emiliano Ricciardi (University of Massachu- Paula Musegades (Emerson College), “Bal- tin), “Somatic Rhythmic Resonances: Music setts Amherst), “A Late Blossom: Torquato ancing Silence: Aaron Copland’s Hollywood Knowledge as Embodied in the Sounds and Tasso’s Lyric Poems and Neapolitan Madri- Film Music” Performance of Modern Frame Drum” gal Culture” Brent Wetters (Providence College/Tufts Niel Scobie (Carleton University), “An Or- Alessandra Jones (Hunter College), “Mas- University), “‘La Mémoire Musicale’: Pierre chid Grows in Motown: Capturing Aura 1874 senet’s Scènes Dramatiques ( ) and the Boulez’s Remembrance of Bruno Maderna” in J Dilla’s Donuts, a Response to Walter French Art of Distilling Shakespeare” Benjamin” Lester Zhuqing Hu (University of Chicago), Colin McGuire (York University), “Once “‘Sing with Me a Sweet and New Song’: New York State– Upon a Time in China: The Wong Fei-hung Chromatic Tournament in Lasso’s ‘Opus St. Lawrence Chapter Theme Song as a Transnational Anthem” One’” 26–27 April 2014 David Deacon (SUNY Oswego), “Joseph Mary Caldwell (Williams College), “A Patch- Jointly with Society for Hillman’s Revivalist: the Setting of a North- work Prayer: Poetic and Musical Borrowing Ethnomusicology, Niagara Chapter ern Hymnal after the Civil War” in a Medieval Song” Syracuse University Nick Whitmer (Ithaca, N.Y.), “The O’Don­ John Forrestal (Boston University), “‘Always nell Brothers: A Glimpse into Vaudeville and is Always Forever’: The Musical Trajectory of ‘Traditional’ Irish Music” the Process Church of the Final Judgment” Anne Marie Weaver (Eastman School of Mu- sic, University of Rochester), “Some Fuss James Kimball (SUNY Geneseo), “Saunders’ About a Flea: Musorgsky’s ‘Mephistopheles’s School for the Violin, Tune Survival and the 8 March 2014 Song in Auerbach’s Cellar’ and Its Sources in Art of the Old-Time Square Dance Caller” Boston Conservatory Beethoven and Gounod” Samantha Bassler (Rutgers University at Christopher Culp (University at Buffalo, Northern California Chapter SUNY), “Crossing the Streams of Affect in Newark/Westminster Choir College), “John 1 February 2014 Dowland and Constructions of Melancholy Urinetown” University of California, Santa Cruz as Disability in Early Modern England” Regina Compton (Eastman School of Music, Elina Hamilton (Bangor University), “A Tale University of Rochester), “Handel’s Gismon- Eleanor Selfridge-Field (Center for Computer of Two Walters: A New Biography of Walter da, Maternal Failure, and the Eighteenth-­ Research in Music and Acoustics, Stanford ‘of Odington’” Century London Stage” University), “Art, Music, and the Stage: Ve- Adriana Ponce (Illinois Wesleyan University), Yan Xian (Kent State University), “Christian netian Scenography in the Era of Bernardo “Memory, Trace, and Expressiveness in Cho- Music as a Contact Zone in Post-Colonial Canal and Antonio Vivaldi” pin’s Nocturnes” Hong Kong” Heather Hadlock (Stanford University), David Schulenberg (Wagner College), “Carl Alla Generalow (University of Arizona), “Rus- “Staging La damnation de Faust in Monte 1893 1903 Philipp Emanuel Bach and the Metaphori- sian Orthodox Music and Diplomacy: New Carlo and Paris, – ” cal Voice” York’s St. Nicholas Cathedral Choir 1912–18” continued on page  February 2015  Papers Read at Chapter Meetings Max Schmeder (University of California, Kathryn Whitney (University of London), Berkeley), “The ‘Goldberg’ Variations (1741) “Aesthetic Transfer in Live Performance: continued from page  as Rebuttal to Newton’s ‘Queries’ from the Singing in Duet with the Audience’s Voice” Riccardo la Spina (Oakland, Calif.), “‘Ecco il Optice (1719/1740)” loco destinato’: Original Opera as an Expres- sion of National Pride in 1863–64 Mexico” Pacific Southwest Chapter Alex Stalarow (University of California, Da- Pacific Northwest Chapter 12 October 2013 vis), “The Uncanny and the Acousmatic in 29–30 March 2014 Chapman University Pierre Schaeffer’s Symphonie pour un homme University of Victoria seul ” Alejandro Enrique Planchart (University of Nicolas Krusek (University of British Co- Giacomo Fiore (San Francisco Conserva- California, Santa Barbara), “Fragments of lumbia), “The Evolution of Rimsky-Korsa- tory/University of California, Santa Cruz), an Eleventh-Century Beneventan Gradual” “‘Morphing’ as Process in the Music of Larry kov’s Orchestral Style: A Comparison of the Polansky” Three Versions of Antar” David J. Kendall (University of California, Riverside/La Sierra University), “The Late Beverly Wilcox (University of California, Da- Andrew S. Friedman (University of Puget Medieval Roots of Spanish Canto Figurado” vis), “Fort applaudi par une très nombreuse Sound), “What’s That Sound? Orchestra- assemblée: Posters and Concert Reviews in tion and the African-American Folk Idiom Steven Ottományi (California Mission Scho- Enlightenment Paris” in William Dawson’s Negro Folk Symphony” la & Sinfonia/California State University, Long Beach), “La Música del Cel, les Veus dels Daniel Leeson (Neue Mozart Ausgabe), “A Jamie Webster (Pacific University), “The Mu- Àngels: The Mission Choir and Orchestra” Long-Lost Portrait of Composer and Cellist sic of the Harry Potter Films and the Por- Giovanni Bononcini” trayal of Fantasy” Chantal Frankenbach (Sacramento State University), “‘A Miscalculation of the Elo- Alexander Fisher (University of British Col­ 26–27 April 2014 quence of Legs’: Dancing to Beethoven’s umbia), “Urban Soundscapes and Reli- Jointly with Pacific Southwest Chapter Seventh Symphony” gious Persuasion in the German Counter- University of California, Davis Reformation” Serena Yang (University of California, Da- vis), “Historiography of Non-Western Mu- Barbara Swanson (Briercrest College Julia Simon (University of California, Davis), sic in the Western Music Narrative” “Sharecropping, Agency, and Time in the and Seminary), “Monteverdi’s Lamento Sean Nye (University of Southern Califor- Blues: Fattening Frogs for Snakes” d’Arianna and the Wandering Tone” nia), “Sonic Fiction: The Musical Case of Maria Virginia Acuña (University of Toron- Nate Sloan (Stanford University), “Beyond Philip K. Dick’s Martian Time-Slip” the Jungle: Reconsidering Early Ellington” to), “Expectation and Experimentation in Tiffany Kuo (Mt. San Antonio College), Chia Wei Lin (University of California, Da- the Zarzuela Apolo y Dafne (c. 1699)” “Adventuring in New Music: Private Philan- vis), “Deciphering the Creative Process: A Matthew Pollock (Western Washington Uni- thropy, Higher Education, and New Music Case Study of Enrique Granados’s Manu- versity), “Technique and Imagination: Im- in Postwar America” script, Published Score, and Recordings of portant Stylistic Characteristics in Ligeti’s El Pelele” Final Works” Alison Maggart (University of Southern Cali- fornia), “Allusion and Quotation in Milton Jay Arms (University of California, Santa Caitlyn Triebel (University of Alberta), Babbitt’s The Virginal Book” Cruz), “‘Touch Releasing Things into Mo- “Twenty-four Tone Rows? A Study of Influ- tion’: The Solo Violin Improvisations of ence and Invention of Serial Technique in Malcolm Goldstein” Pierre Mercure’s Tétrachromie (1963)” 15 February 2014 Rachel Howerton (University of California, Aidan Meacham (University of Puget Sound), University of California, Santa Barbara Riverside), “The Reception of Igor Stravin- “Classical Samples in Rap: A Study” sky in Great Britain” Ellen Olsen George (Pierce College), “‘An Joon Park (University of Oregon), “The Ben Negley (University of California, Santa Enterprise Worthy of the Coast’: San Fran- Monochord = (Motion + Space) = Musical Cruz), “The Ford Foundation Symphony cisco’s 1878 May Festival” Motion” Orchestra Program: 1966–76” Robert McClung (Seattle Opera), “The Cu- Luke Hannington (University of California, Valerio Morucci (University of California, rious Incident of the Drunk in the Night Santa Barbara), “Joseph Riepel and the Rise Davis), “Contrappunto or compositione ? Im- Wozzeck” provisation According to Theorists of the Time: Melodrama in Berg’s of the ‘Inadvertent’ Sonata” Sixteenth and Early Seventeenth Centuries” David Salkowski (Lewis and Clark College), Steven Ottományi (California State Univer- Erick Arenas (San Francisco Conservatory), “Sinfonia Dialectica: Synthesis in the Works sity, Long Beach), “For It Is in Giving that “Colloredo, Haydn, and Mozart’s Studio of Arthur Lourié” We Receive: Misa de los Ángeles (1796) and Particolare” Justin Henderlight (University of British Co- the Franciscan Musical Exchange” Emily Frey (University of California, Berke- lumbia), “Arresting Passions: Wonder and Maria Hu (California State University, Long ley), “Boris Godunov and the Terrorist” its Embodiment in the Prologue to Lully’s Beach), “Daughters of the Lesbian Poet: Danielle Stein (California State University, Cadmus et Hermione (1673)” Contemporary Feminist Interpretation of Northridge), “The Office of Strategic Ser- Christina Hutten (University of British Co- Sappho’s Poems through Song” vices Musac Project: ‘Lili Marleen,’ Mar- lumbia), “The Claveciniste’s Eloquent Body: Jessica Stankis (Santa Maria, Calif.), “Mau- lene Dietrich, and the Propaganda Music of Rhetorical Gesture in French Baroque rice Ravel’s Perfection through the Perspec- World War II” Harpsichord Playing” tive of Style Japonais”  AMS Newsletter Joel Mott (University of Texas at Austin), Caleb T. Boyd (St. Louis, Mo.), “Champion- Virginia Christy Lamothe (Belmont Univer- “Prokofiev’s Neoclassicism: His ‘New Sim- ing Proletarian Music in the United States: sity), “L. Frank Baum, Paul Tietjens, and plicity’ in the Finale of the Fourth Sympho- Hanns Eisler’s Creative Contributions to the the Wonderful Women of the Stage Musical ny, op. 47” American Music and Political Scenes in the The Wizard of Oz (1902–04)” 1930 Eric Davis (University of Southern Califor- Mid- s” Douglas Shadle (University of Louisville), nia), “To Cut or Not to Cut? George Gersh­ Silvia Lazo (University of Montana), “Build- “When in the United States, Do as Ger- win, Rouben Mamoulian, and the Debate ing a Cultivated Labor Identity Through mans Do: German-American Musical Poli- Over the Score of Porgy and Bess” Music Iconography: A Study of Classical Im- tics in the Late Nineteenth Century” Kenneth H. Marcus (University of La ages of Twentieth-Century Catalan Workers’ Mary Helen Hoque (University of Georgia), Verne), “Arnold Schoenberg and Hollywood Magazine” “‘A Good Band is Much Needed Here’: Re- Modernism” Carlo Caballero (University of Colorado), constructing Community Through Music “Pavanes and Passepieds in the Age of the in the Reconstruction South” 26 27 2014 Cancan” – April Miguel J. Ramirez (Western Kentucky Uni- University of California, Davis Jay Rosenblatt (University of Arizona), “To- wards a New Paradigm of Liszt’s Double- versity), “From Dachau to La Paz: Erich Eis- Jointly with Northern ner and the Confluence of Jewish, Austro- California Chapter Function Form” Angela Christian (Colorado State University), German, and Bolivian Music Traditions” See p. 24 “Fathers, Brothers, Husbands, and Music: J. Michael Raley (Hanover College), “Ernest Family Dynamics, Sibling Relations, and E. Lyon and the University of Louisville’s Rocky Mountain Chapter the ‘Question of Incest’ in the Letters of Pi Kappa Omicron Experiment of the Late Fanny Mendelssohn Hensel” 1940s and Early 1950s” 4–5 April 2014 Charles Price (West Chester University of Caroline Ehman (University of Louisville), Jointly with Society for Music Theory, Pennsylvania), “The Birds and the Beatles: “Postmodern Evil: Mephistopheles in Con- Rocky Mountain Chapter, and Teddy Boys, Androgyny, and the Girl Group temporary Opera” Society for Ethnomusicology, Covers” Dale Cockrell (Vanderbilt University/Center Southwest Chapter Deborah B. Crall (Phoenix, Ariz.), “Seeing for Popular Music), “Blood on Fire: Sex and Arizona State University Beyond the Local: Do Opera Commissions Music in America, 1840–1917” by Regional Companies have Universal Ap- Rachel May Golden (University of Ten- peal? A Case Study on Libby Larsen” Katharyn Benessa (University of Northern nessee), “Of Grieving Hearts and Calls to Adriana Martinez (Phoenix, Ariz.), “The Colorado), “Examining the Tientos in Eight Arms: Women’s Voices in French Crusade Seegers, the Lomaxes, and the Crossroads of Song” Modes for Vihuela by Miguel de Fuenllana” American Music” Dawn Grapes (Colorado State University), Kelly Austermann (Arizona State University), Tyler C. Mitchell (University of Tennessee), “The Madrigal, Translation, and Poetic Li- “The Healing Power of Popular American “Defiance inTragédie en musique: Lully and cense: Musical Considerations” Music during World War II” Quinault’s Empowering of the Feminine in Armide” Chelsea Komschlies (University of Colo- Ian Brody (University of New Mexico), “‘So rado), “An Associative Model of Musical You Laugh out of Embarrassment or Lack of Nathan Kent Reeves (University of Tennes- Perception” Exposure? [. . .] That’s Really Not My Prob- see), “Claudio Monteverdi’s Pianto della Janice Dickensheets (University of Northern lem’: Charlotte Moorman and the Discourse Madonna: Marian Piety, Eroticism, and La- Colorado), “The Growth of Narratological of Experimental Music” ment in Seventeenth-Century Venice” Analysis and Its Implications for Pedagogy” Leslie Maggi (University of New Mexico), Kenneth Kreitner (University of Memphis), Matthew Mugmon (University of Arizona), “Pop Singer or Avant-garde Artist? Lady “The Music of Alonso de Alba” “Copland’s (Self-)Defense of Mahler as Jew- Gaga and the Politics of a Label” Christopher Little (University of Kentucky), ish Composer” Tessa Welterlen (University of New Mexico), “Helena and the Enigma: Granville Bantock Victoria Johnson (Arizona State University), “Sonic Liberation and the Experimental and Edward Elgar Before World War I” Ideal: Manny Rettinger’s Chuppers” “Music Not for the Masses: A Case Study Alison P. Deadman (East Tennessee State of Czech Avant-garde Composer Marek Ko- University), “‘The Music Says . . . I Say’: pelent during the Cold War” South-Central Chapter Adapting Graff and Berkenstein’s Methods Jay Arms (University of California, Santa 21–22 March 2014 to Writing about Music” Cruz), “Composition No. 355 and Anthony Eastern Kentucky University Michelle Meinhart (Martin Methodist Col- Braxton’s Creative World Music” Saesha Senger (University of Kentucky), lege), “Variations on the Grand Tour: Garrett L. Johnson (Arizona State Universi- “Racial Exclusivity, Authenticity, and Hori- Musical Empathy, Catholic Communion, ty), “Deserts, Insects, and Oscillators: David zons of Expectations: Eric Clapton Signifyin’ and Risorgimento Sympathy in the Mid- Dunn’s Bioregional Music” on the Blues of Robert Johnson” Nineteenth-Century Italian Travel Diaries Glen W. Hicks (Arizona State University), Nancy Riley (University of Georgia), “‘Every of Lady Anne Noel Blunt” “Clifford Demarest and Religious Socialism: Kind of Music but Country’: Indie Rock How a Church Musician Orchestrated Cul- Collaborations, Musical Identity, and Blood- tural Change” shot Records” continued on page  February 2015  Papers Read at Chapter Meetings Kunio Hara (University of South Carolina), Caleb Boyd (Valrico, Fla.), “Dancing with “‘Nous avions l’air d’une mauvaise copie the Devil: Hanns Eisler’s Unsettling Score continued from page  d’un chef-d’œuvre’: Nostalgia and the débar- for the Standard Oil Film Pete Roleum and deur in Puccini’s Il tabarro” His Cousins” Southeast Chapter Christopher Bowen (University of North Ryan Ross (Mississippi State University), Carolina at Chapel Hill), “‘Savage Sump- “Malcolm Arnold, ‘Anti-Symphonist’?: Re- 21 September 2013 tuousness’ in the City of Lights: The Paris assessing a Misfit Composer’s Most Contro- East Carolina University Premiere of The Bartered Bride” versial Music” Amy Carr-Richardson (East Carolina Univer- Peter Lamothe (Belmont University), “Gabri- Lindsey Macchiarella (Florida State Universi- sity), “Beethoven’s ‘Immortal Beloved’ and el Fauré’s Prométhée and the Idea of Inciden- ty), “Satie and Atget: A Common Aesthetic the ’Cello Sonatas, op. 102” tal Music in Nineteenth-Century France” across Mediums in Early Twentieth-Century Molly Barnes (University of North Carolina Christopher Booth (Catholic University of Paris” at Chapel Hill), “John Sullivan Dwight at America), “Textual Film Music and Charac- Kathryn Etheridge (Florida State University), Brook Farm: The Transcendentalist Begin- ter Development in Art Cinema” “The Modern Girl Composes Herself: Japa- nings of a Pioneering Music Critic” nese Modernist Yoshida Takako” Sarah Denes (Duke University) “‘Night be- Silvio dos Santos (University of Florida), tween Notes’: The Intervallic Continuum in Southern Chapter “Alban Berg’s ‘Ideal Identities’ and the Her- Sofia Gubaidulina’s Early Music” 7–8 February 2014 meneutical Impulse in the Violin Concerto Elizabeth L. Keathley (University of North University of South Florida (1935)” Carolina at Greensboro), “Prestige: The ‘Y Factor’ in Schoenberg’s Modern Music Warren Kimball (Louisiana State University), Sub-Culture” “Bostonian Influence on New Orleans Mu- Southwest Chapter sic Culture, 1842–52” Joan Titus (University of North Carolina at 5 October 2013 Greensboro), “Dmitry Shostakovich and his Jorge Luis Modolell (University of Miami), Rice University “Liszt’s Sacred Music in America: The Early Girlfriends” John Michael Cooper (Southwestern Univer- Reception of the Christus and Saint Elizabeth Kristen Turner (University of North Carolina sity), “Mendelssohn’s Große Festmusik zum Oratorios” at Chapel Hill), “Opera as Uplift and the Dürerfest (1828) and the Sacralization of Ger- Theodore Drury Grand Opera Company” Joseph Sargent (University of Montevallo), man Musical History” “Herbert Howells in America: Three Case Ryan Ebright (University of North Carolina Michael T. Lively (Texas Woman’s University), at Chapel Hill), “Doctor Atomic or: How I Studies” “The Narrative Persona and the Nineteenth- Learned to Stop Worrying and Love Sound Megan MacDonald (Florida State Univer- Century Solo Concerto: An Analytical Study Design” sity), “‘Heaven Is Nearer since Mother Is of Stylistic Competency and the Troping of Stewart Carter (Wake Forest University), There’: The Role of Mothers in Southern Temporality” “Gehu and Dagehu: Expanding the Range of Gospel Songbooks of the Great Depression” Micah Bland (University of Texas at San An- the Chinese Orchestra” Mark Katz (University of North Carolina at tonio), “The Use of Choral Music in Late David VanderHamm (University of North Chapel Hill), “The Persistence of Analog” Twentieth-Century and Early Twenty-first- Carolina at Chapel Hill), “Broadcasting Charles Brewer (Florida State University), Century Film Scores” ‘Hillbilly’ Virtuosity: Showcasing Musical “The Web of Sources for Planctus ante nescia” Robert Sanchez (Texas State University), Skill in a Down-Home Way” Linda Cummins (University of Alabama), “Goethe’s ‘Wer nie sein Brot mit Tränen aß’: 23 February 2014 “The Reception of ‘Nicolaus de Capua’” Comparing the Lied Settings by Schubert, Schumann, and Wolf” University of North Carolina Blake Howe (Louisiana State University), at Chapel Hill “Who Composed ‘Je ne demande de vous’ José M. Garza, Jr. (Texas State University), “What Comes Next? The Rhythmic and (Bologna Q16)?” Yana Lowry (Duke University), “Performing Formal Language of Contemporary Metal Timothy Love (Louisiana State University), Solidarity: The Agitational Theater of Living Music” “The National Bard of Ireland: Thomas Da- Newspapers in the 1920s and 1930s in the Luca Giuseppe Cubisino (Texas State Uni- vis and His Songs Fit for a Nation” USSR and Weimar Germany” versity), “Vincenzo Scaramuzza and His Heather Paudler (Florida State University), Esther Morgan-Ellis (University of North Science of the Soul” “Silent by Omission: How One Diary Entry Georgia), “Moral Uplift in Baltimore, Patri- Stephanie Rizvi-Stewart (Texas Tech Univer- Moros y Cristia- otic Spirit in Atlanta: The Birth of the Com- Can Rewrite the History of sity), “Musical Innovations in C. P. E. Bach’s munity Singing Movement” nos in the ‘New World’” Gellert Songs” Shih-Ni Prim (University of Iowa), “Maurice Katherine M. Reed (University of Florida), Nico Schüler (Texas State University), “Men- Abravanel and Gustav Mahler: The Recep- “Rhythm, Performance, and ‘Tap-Natch tal Health and Illness and Its Relationship to tion of Early Mahler Recordings by Abrava- Poet’ Linto Kwesi Johnson’s Hybrid Musical Artistic Creativity” nel and the Utah Symphony Orchestra” Notation” Alfredo Colman (Baylor University), “A mi Jacqueline Waeber (Duke University), “In- Dana Terres (Florida State University), “A patria: A Quest for Place and Space through venting Yvette Guilbert, the ‘diseuse fin de Modern Collaboration: The Relationship of Baroque Counterpoint and Subjective siècle’” Music and Dance in The Race of Life” Nationalism”

 AMS Newsletter J. Cole Ritchie (University of North Texas), Cory M. Gavito (Oklahoma City Universi- Wade Smith (Southwestern University) “‘Die Gedanken sind Frei’: Arrangement as ty), “Giovanni Stefani’s Songbook Antholo- and Nico Schüler (Texas State University), Interpretation in Uri Caine’s Adaptations of gies and their Concordant Sources” “African-American Composer Jacob J. Saw- Lieder by Gustav Mahler” Andrew Greenwood (Southern Methodist yer: Research Methodology, Biography, and Sheryl K. Murphy-Manley, Conner Mor- University), “The Atmosphere of Song in Analytical Approach” gan, and Michael Salinas (Sam Houston Enlightenment Scotland” Lori Gerard (University of Texas at Dallas), State University), “Traversing the Territory Delphine Piguet (University of Oklahoma), “Franz Liszt’s Francesca da Rimini: The Between Diegetic and Non-diegetic: Case “Southern Cloth Dance: An Explora- Quintessential Emancipated Woman” Studies of Musical Discovery in the Legend tion of Powwow Music within the Tribal of Zelda Game Series” Kimberly Ann Burton (Texas State Universi- Community” ty), “Rediscovering Pavel Haas (1899–1944) Jonathan Sauceda (Rutgers University), and his Four Songs on Chinese Poetry (1944)” “Opera and Society in Early-Twentieth-Cen- Megan Varvir Coe (University of North Tex- tury Argentina: Felipe Boero’s El matrero” as), “Musicality and ‘Corporeal Writing’: Andrew Fisher (Texas State University), (2012 Hewitt-Oberdoerffer Award winner) Reconciling Music, Language, and Dance “Music and Context of Kazumi Totaka’s in Symbolist Theater” Eve Ruotsinoja (University of Houston), Song and its Variations” “Aesthetics of the Arabesque and Grotesque Jessica Stearns (University of North Texas), Erik Heine (Oklahoma City University), in Mendelssohn’s ‘Witches’ Sabbath’” (2013 “Reactionary Improvisation and the Anti- “Style as Leitmotiv in Grosse Pointe Blank” 1 2 3 Hewitt-Oberdoerffer Award winner) Gestalt in Christian Wolff’s For , , or Alexandra Krawetz (Rice University), “A De- Clare Carrasco (University of North Texas), People” fense of Augenmusik’s Cultural Significance “The unsinnlich Art: Music and Expression- Lauryn Salazar (Texas Tech University), in the Fourteenth and Sixteenth Centuries” 1918 25 ism in Critical Discourse, c. – ” “Transcribing and Publishing Mariachi Elena Reece (Sam Houston State Universi- Music” Jeremy N. Grall (Sam Houston State Univer- ty), “Discovering Avet Terterian: Armenian sity), “Contemporaneousness and Process Anna Kalashnikova (Texas A&M University), Folk Instruments and Their Role in Form- within Improvisation” “Noize MC: Mediatized Political Protest” ing Temporality in His Third Symphony” Laura Jane Houle (Texas Tech University), 5–6 April 2014 Robert Sanchez (Texas State University), “The Fiddlers National Anthem: Compara- Jointly with “Compositional Devices and Techniques of tive Study of Performance Tricks in ‘Orange Society for Ethnomusicology, 8-Bit Video Game Music” Blossom Special’” Southern Plains Chapter D. Charles Wolf (Texas State University), University of Texas at Austin Elizabeth Kirkendoll (Texas Christian Uni- “Dmitry Kabalevsky and Sonata Form: A versity), “‘Slightly Overlooked Professional- Theoretical and Analytical Investigation of Mary Channen Caldwell (University of Texas ly’: Popular Music in Bridget Jones’s Diary” Sonatina no. 1, op. 13, mvt. 3” at Austin), “Marking It Off: Signaling Rep- Kim Pineda (University of Oregon), “Go Big etition and Signifying Orality in Medieval or Go Home: Eighteenth-Century Real- Song” Time Composition” Upcoming Chapter Meetings AMS Legacy Gifts: Alvin H. Johnson (1914–2000) See www.ams-net.org/chapters/ for links For many years, the the Society, Johnson stepped up, first to assist to all Chapter web sites and more details. administration of 1970 unofficially, and then to succession in . In • 21 February: New England the AMS and Alvin 1978, he was also appointed Executive Direc- Johnson were essen- tor of the Society; he held both positions until • 21 February: Northern California tially synonymous. 1993, when health problems forced his retire- • 21 February: Pacific Southwest Alvin Harold John- 1984 ment. His leadership led to the AMS 50 • 27–28 February: Southern son was born in Vir- Capital Campaign, which served as the basis ginia, Minnesota. for the Society’s largest endowment fund, a • 13–14 March: South-Central After completing fund that has provided fellowships for scores • 27–28 March: Rocky Mountain his B.A. at the Uni- of scholars since 1988. He was made Honor- versity of Minneso- • 11 April: Capital ary Member in 1985. Upon his death in 2000, Alvin H. Johnson ta and military ser- the society’s dissertation fellowship program • 11 April: Midwest vice during World War II, he completed his was renamed the Alvin H. Johnson AMS 50 • 11 April: Southwest Ph.D. at Yale (1954) on the liturgical music Fellowship in his memory. of Cipriano de Rore. He taught at Yale, Ohio • 18 April: Allegheny State University, and the University of Penn- Johnson arranged for funds from his estate 2001 • 18 April: Mid-Atlantic sylvania. But the work he did for the AMS to revert to the AMS upon his death. In , dominated his life for many years, beginning the Society received $50,000 for its disserta- • 18–19 April: Pacific Northwest in 1961 with his election to AMS Council. No tion fellowship program. The value of the Al- • 1–3 May: New York State-St. Lawrence doubt his close association with AMS Treasur- vin H. Johnson AMS 50 Endowment now • 2 May: New England er Otto E. Albrecht at the University of Penn- stands at $1.49 million, and it will continue to sylvania led to what now seems inevitable: provide support for dissertation-year musico- • 2–3 May: Joint Pacific Southwest and after Albrecht’s seventeen years as treasurer of logical scholarship in perpetuity. Northern Californa February 2015  75 Years Ago: 1939–40 American Musicological Society, Inc. • Because of the September 1939 Interna- Statement of Activities for the Fiscal Year Ending tional Musicological Congress held in June 30, 2014 New York, the normal society activity at Endowment: the Music Teachers National Association Fellowships, (Kansas City, December 1939) was re- Current Awards, assigned to the AMS Midwest Chapter. Revenue operations Publications Undesignated TOTALS Leland Coon (University of Wisconsin) Dues & subscriptions $ 371,347 $ 371,347 organized the musicology session. Other Annual meeting $ 191,349 $ 191,349 sessions on music theory and “music in the Sales/Royalties $ 40,552 $ 7,651 $ 48,203 colleges” were also held. Government grants $ 58,776 $ 58,776 Contributions $ 10,984 $ 146,696 $ 157,680 • Waldo Selden Pratt, a pioneer of Ameri- Investment income $ 2,606 $ 94,828 $ 105,475 $ 202,909 can musicology, died at age 81. Otto Kin- Unrealized gain in investment $ 148,772 $ 355,875 $ 504,647 keldey’s obituary outlining his extraordi- Total revenue $ 605,854 $ 321,011 $ 608,046 $ 1,534,911 nary career appeared in The Musical Quar- terly, April 1940. Expenses • The Southern California Chapter was es- tablished, under the leadership of Walter Salaries & benefits $ 194,224 $ 54,425 $ 248,649 Subventions, Fellowships $ 97,816 $ 70,875 $ 168,691 Rubsamen. Dues & subscriptions $ 3,712 $ 3,712 50 Years Ago: 1964–65 Publications $ 144,692 $ 9,237 $ 153,929 Professional fees $ 12,053 $ 12,053 • The Commonwealth of Music, the Society- Annual meeting $ 121,548 $ 34,600 $ 156,148 sponsored memorial volume for Curt Chapters $ 9,447 $ 9,447 Sachs edited by Gustave Reese and Rose Office expense $ 63,623 $ 22,409 $ 86,032 Brandel, was published by the Free Press. Total expenses $ 549,299 $ 183,887 $ 105,475 $ 838,661 • A bill to establish the National Endow- ment for the Humanities was proposed in Change in Net Assets $ 56,555 $ 137,124 502,571$ 696,250 Congress in late 1964; the AMS Board en- thusiastically supported the bill. • At the Annual Meeting (Washington, Statement of Financial Position D.C., 26 December 1964), Joseph Kerman June 30, 2014 delivered the paper “A Profile for American Endowment: Musicology,” his first venture on a topic Fellowships, that profoundly affected the discipline. It Current Awards, Assets Operations Publications Undesignated TOTALS was published in JAMS in spring 1965. Cash $ 313,668 $ 313,668 25 Years Ago: 1989–90 Accounts receivable $ (143) $ (143) Investments $ 1,670,959 $ 3,997,090 $ 5,668,049 • Upon recommendation from AMS Coun- Equipment $ 20,224 $ 20,224 cil, the Board established an ad hoc com- Funds held in trust $ 20,444 $ 12,993 $ 33,437 mittee to evaluate the need for a technol- ogy committee. Total assets $ 333,969 $ 1,691,183 $ 4,010,083 $ 6,035,235 • The Board rejected (2-9) a Council rec- ommendation to expand AMS Directory Liabilities entries to include members’ telephone Accounts payable $ 8,712 $ 8,712 numbers. Deferred Income $ 17,430 $ 17,430 • Alvin Johnson was reappointed to the po- Funds held in trust $ 20,444 $ 12,993 $ 33,437 sition of Executive Director for a two-year term. Total Liabilities $ 46,586 $ 12,993 $ 59,579 • A record 380 proposals were received by $ 287,383 $ 1,691,183 $ 3,997,090 $ 5,975,656 the Program Committee in January 1990. Net assets • The Gay and Lesbian Study Group was Total Liabilities & Net Assets $ 333,969 $ 1,691,183 $ 4,010,083 $ 6,035,235 formed. • The fourth and final volume of the com- Total Liabilities & Net Assets, June 30, 2013: $ 5,338,985 plete works of William Billings was pub- lished. • The Society mourned the deaths of émigré musicologists Karl Geiringer (b. 1899) and Update your AMS Online Directory Entry 1910 Hans Nathan (b. ); American pioneer Have a look at your directory entry and add information: people may be looking for musicologist Isabel Pope Conant; and in- you! You may include syllabi, publications, working documents, URLs, and photos. fluential German musicologist Carl Dahl- Log in at www.ams-net.org/login.php. haus.  AMS Newsletter Obituaries sic and Music Literature in Sets and Series (1972/1979), and Josquin des Prez: A Guide to The Society regrets to inform its members of the deaths of the following members: Research (1983). Charles was also active as a reviewer of the scholarly literature, particu- larly that concerning Renaissance manuscript Giulio Cattin, 1 December 2014 7 2014 Harold Lewin, November study. With her UC Davis colleague Theodore Sydney Robinson Charles, 20 November 2014 13 2014 Judith McCulloh, July Karp she framed the MA in music history and E. Fred Flindell, 10 October 2014 29 2014 Gil Miranda, March oversaw all the early graduate theses in that Allen Forte, 16 October 2014 14 2014 William H. Scheide, November field. Keenly interested in libraries, she helped Christopher Hogwood, 24 September 2014 build a major research collection in music historical subjects from almost nothing at the Giulio Cattin (1929–2014) A kind and reserved man, Don Giulio—as main campus library. She particularly enjoyed colleagues and former students called him— seeing three of her students become noted Giulio Cattin, eminent Italian musicolo- nurtured generations of students who went music librarians. Additionally she served as gist and AMS Corresponding Member since on to teach music history in schools, con- music review editor for Notes, the journal of 2001 1 2014 , died on December at the age of servatories, and universities. He imparted the Music Library Association (1974–77). eighty-five. Born in Vicenza, Cattin was or- exacting standards of accuracy and scholarly Charles was a career-long active member of 1951 dained a priest in and earned a diploma as complexity, but also an insatiable curiosity for the American Musicological Society, and the church organist. He enrolled in Milan’s Uni- the history of music, which sparked “the fire glue—since she eventually occupied all the versità Cattolica del Sacro Cuore, complet- of research.” His life, spent harmonizing the offices—that held the Northern California ing a Laurea cum laude in classics. He taught docile obedience to his religious calling and Chapter together for over two decades. Latin and Greek at the Seminario vescovile the pursuit of his scholarly interests, inspired —D. Kern Holoman di Vicenza, history of liturgy at the Univer- many. sità di Pisa (1974–78), and music history at —Giovanni Zanovello Allen Forte (1926–2014) the Università di Padova (1978–2001), where Allen Forte died at his Hamden, Conn., he also served as Director of the Department Sydney Robinson Charles home on 16 October 2014. He was a Fellow of of Visual Arts and Music. In 1986 he received 1922 2014 ( – ) the American Academy of Arts and Sciences, an honorary degree from the Pontificio isti- Sydney Robinson Charles, professor emerita author of ten books and over sixty scholarly tuto di musica sacra in Rome. Cattin was vice at the University of California, Davis, died articles, and a founder and the first president president of the Italian Society of Musicology 20 November 2014, in Hopkins, Minn. She of the Society for Music Theory—a discipline and member of the Directorium of the Inter- served her entire musicological career (1961– that he practiced and promoted with remark- national Musicological Society. He also was 85) on the Davis campus, where she was cen- able single-mindedness from the mid-1950s cofounder and coeditor of the Rassegna veneta tral in establishing musicology and its infra- until the early years of this century. He was di studi musicali and coeditor of Musica e Sto- structure, including the foundations for the chiefly responsible for the current standing of ria. He became chair of the scientific board Ph.D. degree inaugurated in 1989. music theory as a university-level research dis- of the Fondazione Ugo e Olga Levi in Venice Born in Cincinnati, Ohio, and reared in cipline, modeling an intellectually inclusive, in 1988. After his retirement, he presided over Bloomington, Ind., Charles attended the wide-ranging, historically informed, and ana- the creation of the Museo Diocesano in Vi- Eastman School of Music, where she earned lytically focused scholarly practice. 2005 cenza ( ). bachelor’s and master’s degrees in violin per- The Structure of Atonal Music (1973) provides Cattin was instrumental in putting Italian formance. For a few months during World a conclusive and comprehensive account of musicology on the international map. His War II, she toured as a violinist with the the refractory, interval-, and collection-based numerous publications focused on medieval Tommy Dorsey Orchestra; she taught briefly compositional structures of the early twentieth and Renaissance music, providing a distinct at Shorter College in Rome, Ga., and Wells century. His theory of unordered pitch-class contribution through his expertise on mu- College in Aurora, N.Y. She earned the Ph.D. sets, subsequently extended and developed by sical sources, liturgy, and Italian history. in Music (musicology) from the University others, remains the leading general approach He published Il primo Savonarola. Poesie e of California, Berkeley, in 1959, with a dis- to this music. He was equally influential in prediche autografe dal codice Borromeo (1973), sertation entitled “The Music of the Pepys establishing a higher standard for tonal analy- Il Medioevo I (1979/1991, Eng. transl. 1984), ms 1236.” At Berkeley, she was research as- sis, with “Schenker’s Conception of Musical Musica e liturgia a S. Marco (1990–92), Il pi- sistant to Manfred Bukofzer until his prema- Structure” ( Journal of Music Theory [1959]), a anto della Madonna e la visita delle Marie al ture death in 1955. Hers was the eighth music landmark of explicative excellence that made sepolcro (1994), in addition to the complete Ph.D. granted by the Berkeley campus and a previously hermetic practice accessible and works of Johannes de Quadris (1972), Ruffino the second by a woman. At UC Davis, she even appealing to a wide community of ana- Bartolucci d’Assisi (1991), and the collections was the fifth faculty member in the Depart- lytically-oriented musicologists. Italian Laude & Latin Unica in MS Cape- ment of Music and the first musicologist and Forte and Claude V. Palisca formed the town, Grey 3.b.12 (1977) and French Sacred woman on the music faculty. twin pillars of a Ph.D. program in music Music (1989). His numerous articles investi- Her research on the Pepys manuscript led theory established at Yale in 1965. They de- gated musical sources, the genres of lauda and to the modern edition published in Corpus signed a curriculum grounded in the history frottola, plainchant, liturgy, the history and Mensurabilis Musicae (vol. 40, 1967). Later of music theory and aesthetics, one that de- patronage of music in religious institutions, there came a reference work that became a veloped analytic technique for both tonal and and the relationships between Italian art, lit- widely adopted textbook for graduate courses atonal musics and encouraged the exploration erature, and music. in music bibliography, A Handbook of Mu- continued on page  February 2015  Obituaries and was a founding member of the Sacra- giving lectures, seminars and master classes, mento Baroque Ensemble. From 1974 to meeting with students and faculty, and plan- continued from page  1999 he taught musicology and harpsichord ning to return a year later to participate in a at the University of Iowa. He spent 1990–91 festival-conference devoted to C. P. E. Bach of new research areas. Forte was primary ad- as guest professor at the University of Ibadan, and his music. Neither he nor anyone else viser for seventy-two students, and a mentor Nigeria. During his professional life Han- then suspected that he would all too soon to many others. sell composed, played the harpsichord, and be felled by a brain tumor while still in his It is characteristic of Forte’s career that he conducted chamber music groups, several of prime. pioneered areas that are part of the current which he founded. —Neal Zaslaw musicological landscape. He should be count- Hansell published many articles on ed as among the first “digital humanists,” ac- eighteenth-century composers and perfor- Judith McCulloh (1935–2014) mance over the course of his productive mu- tive since the mid-1960s in promoting com- Judith McCulloh, editor for thirty-five years sicological career. He contributed over sixty puter-aided analysis of scores. In the 1990s, as at the University of Illinois Press and life entries for the New Grove Dictionary of Music vernacular and non-western music developed member of the AMS, died on 13 July 2014 and Musicians (1980), including the article on into active research areas in musicology, Forte after battling cancer. Born in Spring Valley, Hasse and articles on many other composers drew on his immense knowledge of 1930s and Ill., she earned a Ph.D. in folklore from In- of the era. ’40s popular song and published extensively diana University with the dissertation “‘In —Marie-Agnes Dittrich and on this repertory. Taking advantage of materi- the Pines’: the Melodic-Textual Identity of Kathleen Kuzmick Hansell als on deposit at the Yale libraries, he devel- an American Lyric Folksong Cluster” (1970). oped expertise in the music of Cole Porter, Christopher Hogwood (1941–2014) A former president of the American Folklore and a book on this subject was his final proj- Society, she was instrumental in preserving ect, unfinished at his death. Conductor, keyboardist, writer, editor, collec- the American Folklife Center at the Library Although Forte could make dry jokes at the tor, and educator Christopher Hogwood died of Congress and received lifetime and distin- expense of the AMS, it was during his SMT on 24 September 2014, at his home in Cam- guished service awards from the American presidency that biennial joint meetings of the bridge, England, surrounded by his siblings Folklore Society, the Association for Recorded two societies began; the societies’ cooperation and friends. His passing was widely reported Sound Collections, the International Blue- has continued regularly to this day. Forte was in the international press. grass Music Association, the International among the most influential musicologists of I was introduced to Hogwood in London Country Music Conference, the Society for our age, responsible for hugely increasing the in early 1977. He and his Academy of Ancient American Music, the Society for Ethnomusi- discursive range of music scholarship. His was Music were then recording symphonies by C. cology, and the University of Illinois, as well an inclusive and broad-minded vision that P. E. Bach for L’Oiseau-lyre/Decca, and he in- as the Bess Lomax Hawes National Heritage continues to inspire both the SMT and the vited me to sit in on sessions. Finding we had Fellowship from the National Endowment AMS. strong interests in common, we conceived a for the Arts (2010). —Daniel Harrison five-year project to record the symphonies of McCulloh nurtured the study of American Sven Hostrup Hansell (1934–2014) Mozart. In the course of that undertaking, I music in ways big and small. She established came to realize that, in addition to his inter- the book series American Composers, Folklore Sven Hostrup Hansell died peacefully on 6 national successes as a keyboardist and con- in Society, and Women Composers, and played March 2014, in California. Born in New York ductor, Hogwood was also a serious scholar. a key role in founding the journal American City in 1934, he grew up near Philadelphia, Indeed, he was perhaps as prolific a writer and Music in 1983. With a multi-disciplinary un- studying the piano and later organ. He grad- editor as he was a performer. derstanding of music as practice, McCulloh uated from the University of Pennsylvania Leaving aside the extraordinary number of cajoled books from both scholars and prac- (B.F.A., music history and theory, 1956) and scholarly editions of music, collected volumes titioners, finding value in a diverse array of from Harvard University (M.A., musicol- of essays, annotated facsimiles, chapters in subjects, methodologies, and perspectives. ogy, 1958) and then studied composition with books, and articles in periodicals that Hog- For her, the love of music was an author’s Nadia Boulanger in France. He did doctoral wood produced, he was the author of several paramount trait, and she nurtured passion on work at the University of Illinois at Urbana- widely-read books. These include The Trio each page she edited. Rising to the position Champaign, completing his Ph.D. (“The Solo Sonata (1979); Music at Court (1980); Handel of the University of Illinois Press’s Assistant Cantatas, Motets, and Antiphons of Johann (1985/2007); The Keyboard in Baroque Europe Director, she curated some 130 volumes in Adolf Hasse)” in 1966. He published the cata- (2004); and Handel: Water Music and Music the series Music in American Life. Many won log Works for Solo Voice of Johann Adolf Hasse, for the Royal Fireworks (2005). Many of his awards: twenty received ASCAP/Deems Tay- 1699–1783 (1968) and an edition of Hasse’s writings were translated into French, Ger- lor Awards and one received the AMS Philip Cantates pour une voix de femme et orchestre man, Italian, Spanish, Portuguese, Polish, Brett Award. McCulloh was a perennial fix- (1969). A Martha Baird Rockefeller Fund for Japanese, or Chinese. All of them reveal an ture of the book exhibit at AMS national Music award enabled him to spend 1964–65 enviable ability to present serious research meetings and served on the society’s Com- in Europe studying source materials for his and interpretation in an elegant prose that mittee for the Publication of American Music dissertation. He taught at Kalamazoo College engages both Kenner and Liebhaber. from 1995 to 2009. (1961–63) and at Illinois until 1968. Hansell I last saw Hogwood in October 2013, when Speaking in 2010 in an NEA interview, received a one-year Carnegie-Mellon Fellow- he spent a week at Cornell University for her words provide a fitting testimonial of ship (1968) at the University of Pittsburgh, his first visit of what was to have been a six- the importance she attached to folklore and taught music history and harpsichord at the year appointment as Andrew Dickson White the study of music. “The inescapable appeal University of California, Davis (1969–1974), Professor-at-Large. He was as lively as ever, of folklore,” she commented, “is its intimacy

 AMS Newsletter and its significance for the people who carry it string quartet, voice and instrumental ensem- organizations, including Centurion Minis- on . . . If, in this complex and troubled world, ble, and choral works. In 2010 he published tries, which has freed dozens of unjustly im- we have cause to appreciate the potential that the collected poetry, drawings and correspon- prisoned men and women. people have, we really need to understand dence of the twentieth-century Portuguese Bill Scheide was a cherished figure in what people hold so dear that they pass this musicologist, pianist, critic, poet and artist Prince­ton, especially at concerts, which he at- knowledge and art and practices onto their Eduardo Libório. A true Renaissance man, tended even beyond his hundredth birthday. friends, their children, and their communi- Miranda held wide-ranging interests, includ- His friends will long remember how much he ties.” She concluded, “If we can appreciate ing poetry and jewelry making. The world is a enjoyed sharing the things he loved, whether that, then we will be better people for it, and richer place for his having been with us. it was a striking modulation in a Bach aria, the world would be a better place.” —John Hajdu Heyer an inscrutable pencil mark in Beethoven’s Those wishing to make donations may sketches for the Hammerklavier Sonata, or contribute to the Judith McCulloh Fund William H. Scheide (1914–2014) the famous 1748 portrait of Bach by Hauss- supporting research at the Smithsonian mann, which hung in his house for decades. Center for Folklife and Cultural Heritage at William H. Scheide, musician, musicologist, The world has lost a keen and generous spirit the Society for American Music (see www. renowned philanthropist, and world-class in William H. Scheide. american-music.org/organization/Contribut- collector of rare books and manuscripts, died —Scott Burnham ing.php). on 14 November 2014 at his home in Princ- —Mark Clague eton, New Jersey. Scheide was the grandson Policy on Obituaries of oil baron William T. Scheide; both his Gil Miranda (1931–2014) The Society wishes to recognize the ac- grandfather and father collected rare books, complishments of members who have Gil Miranda, of Oberlin, Ohio, died on 29 and Scheide himself inherited the family for- died by printing obituaries in the News- March 2014 at the age of eighty-two. A na- tune at age twenty-eight. He devoted the next letter. Obituaries will normally not exceed tive of Lisbon, he taught in Portugal, at the seventy-two years to supporting a remarkable 400 words and will focus on music-related University of California, Santa Cruz, at Dart- range of enterprises, both artistic and philan- activities such as teaching, research, pub- mouth College, and at the Oberlin College thropic. lications, grants, and service to the Soci- & Conservatory, where he completed his aca- A Princeton University history major with a ety. The Society requests that colleagues, demic career after seventeen years as professor master’s degree in music from Columbia Uni- friends, or family of a deceased member of music. versity, Scheide became an expert on the vocal who wish to see him or her recognized Miranda displayed multiple interests early music of J. S. Bach. He published important by an obituary communicate that desire on, graduating from the School of Law at essays on Bach as an interpreter of the Bible, to the editor of the Newsletter. The editor, Lisbon University and the National Conser- and on the sources and chronology of Bach’s in consultation with the Committee on vatory of Music. He subsequently studied cantatas. In 1946 Scheide founded the innova- Obituaries, selects the author of the obitu- composition and music theory privately with tive Bach Aria Group, which he directed until ary and edits the text for publication. The Nadia Boulanger in Paris, meeting his wife, 1980. committee is comprised of the executive pianist Sharon LaRocca, at Fontainebleau in The Scheide family’s passion for collecting director (chair), the AMS Council secre- 1967. Returning to Lisbon, he taught at the books resulted in the Scheide Library, housed tary, and one other member. Its charge is Lisbon School of Law and the Saint Cecilia at Princeton University. This collection in- to oversee and evaluate this policy, and to Academy of Music. After the 1974 revolution cludes autograph manuscripts of Bach, Mo- commission or write additional obituaries in Portugal, he moved to the United States, zart, Beethoven, Schubert, and others, and as necessary. refocusing his career completely on music, also boasts a Gutenberg Bible, an original primarily teaching theory and musicianship copy of the Declaration of Independence, a at the university level. fourteenth-century manuscript of the Magna Meetings of AMS and A member of the Society from the early Carta, and the famous four folios of Shake- Related Societies 1980 speare. s, in his musicological research he con- 2015: centrated on the music of his native land, in- Scheide was a long-time friend and bene- SAM: 4–8 March, Sacramento, Calif. cluding books, articles, and critical editions. factor of the Music Department at Princeton, SMT: 29 Oct.–1 Nov., St. Louis, Mo. Most of his writings were published in Portu- where for years he served on the department’s CMS: 5–7 Nov., Indianapolis, Ind. guese, with the notable exception of The Elvas Advisory Council and Concerts Committee. AMS: 12–15 Nov., Louisville, Ky. Songbook, published in 1987 by the American In 1981 he endowed the Scheide Professor- SEM: 3–6 Dec., Houston, Tx. Institute of Musicology. It is the definitive ship in Music History, which has been held critical edition of that important and unique by Paul Brainard, Kenneth Levy, Harold Pow- 2016: Portuguese sixteenth-century source. In later ers, Peter Jeffery, and Scott Burnham. In the SAM: 9–13 March, Boston, Mass. years Miranda investigated twentieth-century 1990s, Scheide helped create the Arthur Men- CMS: 27–29 Oct., Santa Fe, N.M. Portuguese music, particularly music by Jorge del Music Library at Princeton. AMS/SMT: 3–6 Nov., Vancouver, B.C. Croner de Vasconcellos; he published both a Scheide’s philanthropy also made a differ- SEM: 10–13 Nov., Washington, D.C. biographical study, Jorge Croner de Vasconcel- ence in the wider world. A committed pro- los (1910–1974): vida e obra musical (1992), and ponent of civil rights, Scheide played a major AMS 2017: 9–12 Nov., Rochester, N.Y. a catalogue raisonné of Vasconcellos’s works role in desegregating America’s public schools, AMS/SMT 2018: 1–4 Nov., San Antonio, (2004). He also edited six volumes of Vas- extending essential support to the NAACP in Tx. concellos’s music, including works for piano, the case of Brown vs. the Board of Education. AMS 2019: 31 Oct.–3 Nov., Boston, Mass. violin and piano, voice and piano, voice and Scheide also supported many human-service

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Next Board Meetings Membership Dues Newsletter Address and Deadline The next meetings of the Board of Direc- Items for publication in the next issue of Calendar Year 2015: tors will take place 28 February and 11 No- the AMS Newsletter must be submitted Regular member $120 vember 2015 in Louisville. electronically by 1 May to the editor: Sustaining member $240 Income less than $30,000 $60 James Parsons Call for Nominations: Session Student member $45 AMS Newsletter Editor Chairs, AMS Louisville 2015 Emeritus member $60 Missouri State University $50 Nominations are requested for Session Joint member [email protected] Life member $2,000 Chairs at the AMS Annual Meeting in TheAMS Newsletter (ISSN 0402-012X) Louisville, 12–15 November 2015. Please Overseas, please add $20 for air mail de- is published twice yearly by the Ameri- visit the web site (www.ams-net.org/ can Musicological Society, Inc. and louisville) for full details. Self-nomina- livery. Students, please enclose a copy of mailed to all members and subscribers. tions are welcome. Deadline: 20 March your current student ID. Requests for additional copies of current 2015. and back issues of the AMS Newsletter should be directed to the AMS office. What I Do in Musicology AMS Membership Totals Are you a musicologist who is working in a Current total membership (as of 3 Novem- Back Issues nonacademic environment? We’d like to hear ber 2014): 3,270 (2013: 3,432). All back issues of the AMS Newsletter your story! If you are interested in contrib- are available at the AMS web site: AMS Newsletter 2013 597 uting to the column “What members who did not renew: www.ams-net.org/newsletter I Do in Musicology,” please contact editor 837 James Parsons (JamesParsons@missouristate. Institutional subscriptions: Missing Issues edu). Breakdown by membership category Claims for missing issues must be made For previous columns, see www.ams-net. within 90 days of publication (overseas: org/WhatIDo/. 1 484 1 519 • Regular, , ( , ) 180 days). • Sustaining, 12 (15) Moving? Interested in AMS Committees? • Low Income, 374 (432) • Student, 839 (895) Please send address changes to: The president would be pleased to hear • Emeritus, 333 (335) AMS from members who wish to volunteer • Joint, 75 (81) 6010 College Station for assignments to committees. Send • Life, 65 (65) Brunswick ME 04011-8451 your assignment request and CV to El- 207 798-4243 877 679 7648 • Honorary and Corresponding, 70 (68) ( ) ; toll free ( ) - len Harris: [email protected] [email protected] • Complimentary, 18 (21)  AMS Newsletter