AMS NEWSLETTER
THE AMERICAN MUSICOLOGICAL SOCIETY
CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES
VOLUME XXXVII, NUMBER 1 February, ISSN 0402-012X AMS Quebec City 2007: OPUS CAMPAIGN WINS $1.2 MILLION Bring your tuque! NEH CHALLENGE GRANT www.ams-net.org/quebec In December , the AMS was awarded words, we must raise $, over the next a prestigious Challenge Grant from the Na- three years. Of the $. million that the OPUS Soyez les bienvenues à Québec! The annual tional Endowment for the Humanities in Campaign has received or been pledged to AMS meeting for will return to Can- support of our publication activities. Our date, $, qualifies for the match. Clear- ada from to November at one of the application, entitled “Publishing Musical ly, then, we need to push that figure much most charming and acceuillant places in Scholarship in the Twenty-first Century,” was higher, and to do this will require the full in- North America, Quebec City, founded in crafted by members of the Publications and volvement of the entire Society. by Samuel de Champlain. Images of OPUS Campaign committees, led by Graeme On other important fronts in the OPUS Canada from south of the forty-ninth par- Boone (see the summary at the OPUS Web Campaign, three new publication funds have allel conjure up visions of a frozen (or Great site). The NEH deemed it “a flat-out success”; been established in the last six months in White) North, but the reality is that winter reviewers found it “compelling” and praised honor of four outstanding scholars and pub- lishers of music: Barry and Claire Brook (for (and it won’t be winter officially anyway) the Society’s “outstanding endeavors in the publication and research on musical iconog- humanities.” is Canada’s signature season. Quebec City raphy), John Daverio (for book publication, The choice of publication-related activities is a lovely and warm place to visit at that unrestricted ), and Margarita Hanson (for as a focus for the application underscores the time of year, with a world-famous tradition publication of books on music or musical cul- central role of publications in the life of the of gastronomie, a lively and distinct cultural ture prior to ). In December , The AMS as well as challenges now affecting the scene, and lots to do with kids and families Jan LaRue Fund (supporting musicological publishing world. Foremost among these, of as well (I recommend dog sledding). research) cleared its first hurdle by reaching course, are increasing production costs, diver- With the warnings about global warm- $,. The first OPUS Giveaway Contests sifying fields of specialization, increased pres- were held last fall, thanks to Oxford Univer- ing becoming more credible by the day, I sure on younger scholars, and the advance of am wary about providing a forecast of the sity Press, which kindly donated copies of digital technologies. Our Challenge Grant, Richard Taruskin’s Oxford History of Western weather, which typically ranges from -° to once fully funded, should go a long way to- Music and other premier publications. Inau- ° C ( ° to ° F) in November. Suffice it ward alleviating these issues. gural winners were the Eastman School of to say that you should pack a coat, scarf, Only the second NEH Challenge Grant in Music/University of Rochester, Anne Dhu mittens, non-Italian shoes, and most im- the history of the AMS (the first established McLucas, and Joanne Swenson-Eldridge. portantly, your tuque, which is particularly the Alvin H. Johnson AMS 50 Dissertation As always, the OPUS Committee thanks evocative of French Canada and will keep Year Fellowships in ), the award will help every member of the Society who has given in you warm. the AMS accomplish four things: ) establish a the past year. Nota bene, however: the award- new subvention program, the AMS 75 Pub- ing of the NEH Challenge Grant signals that continued on page lication Award for Younger Scholars (“AMS OPUS has now entered a new phase. This 75 PAYS”), to support the publication of first exceptional opportunity will bring us rich In This Issue… books by recent PhDs; ) increase the fund- rewards for decades to come. But the need ing for our current subvention program; ) for each and every member of the Society to President’s message ...... help further finance the AMS Studies series, embrace our common cause has never been Exectutive Director’s report ...... allowing publication support for up to two greater. If we are to achieve the success we all Treasurer’s Report ...... books per year; and ) create a new annual hope for—if we are to live up to the confi- New OPUS Funds ...... prize, the Music in American Culture Award, dence that the NEH has shown in us—we News from the AMS Board ...... honoring books that illuminate some aspect must all participate. Help us reach our goal Awards, Prizes, Honors ...... of American music in its cultural context. by going to the Web site today and giving AMS Elections ...... OPUS ! It will be obvious to one and all that the generously to Committee Reports...... —Anne Walters Robertson NEH Challenge Grant is exactly that: we are Conferences, News Briefs ...... and D. Kern Holoman issued a challenge to match, by to , the Papers read at Chapter Meetings . . . www.ams-net.org/opus Obituaries ...... $ , that the NEH has offered. In other
–– President’s Message
I am confident that anyone who attended I found especially gratifying. One was the whom deserve our heartfelt thanks. Finally, the joint meeting of AMS and SMT in participation of what seemed to be a larger- I take pleasure in expressing our profound Los Angeles came away from it impressed than-usual number of students. At both the gratitude to Elaine Sisman, who has pro- with the diversity, vitality, and dynamism reception held by the Committee on Cul- vided exemplary and inspiring leadership to of both societies. It was a model of schol- tural Diversity and the student reception the Society for the past two years. arly collaboration, with a number of richly hosted by AMS OPUS on Thursday night, It will have become clear from the de- stimulating joint sessions as well as a broad the turnout and the level of excitement scription above that the Annual Meeting, array of proprietary ones, complemented were high—a far cry from the early years like musicology itself, is a beautiful, stimu- by an assortment of noontime and evening of formal student events at AMS meetings. lating, and exciting world of its own. Un- concerts. The variety and quality of the pa- Those at the student reception, organized by fortunately, we were reminded that there is pers was striking, ranging geographically three of our student members, were treated a real world surrounding us that is not so from the United States to Iraq and chrono- to remarks by Anne Walters Robertson, bright as ours. As Elaine Sisman announced logically from the Middle Ages to today, Elaine Sisman, and Kern Holoman about at the Business Meeting and Awards Cer- and the concerts and other performances what AMS and the OPUS Campaign mean emony, one of our members, a citizen of the were marked by exciting music-making. to them. Anne’s placing the Campaign in United Kingdom, had not only been pre- Congratulations and sincere thanks to the perspective for the students was especially vented from attending the Annual Meeting, program committees for the AMS, chaired memorable: AMS 50 was the Society’s leg- where she was scheduled to read a paper, by Anne Shreffler, and the SMT, chaired by acy to us (we being the “senior” members); but without explanation had been refused Henry Martin, together with the Perfor- AMS 75 is our legacy to them; AMS entry into the country this past August mance Committee, chaired by Elisabeth Le will be their legacy to succeeding genera- upon returning to her teaching position in Guin. We owe a special word of thanks to tions. Anne’s invocation of the continuity the United States. Her visa was summar- the UCLA Department of Ethnomusicolo- of musical scholarship was brought home ily revoked and she was forced to return to gy and its chair, Jacqueline Cogdell DjeDje, in a particularly beautiful way during the the United Kingdom; to date, she has still for their support of the concert “Music of Business Meeting and Awards Ceremony not received any explanation for our gov- the Middle East, Balkans, and Brazil,” and on Saturday, when honorary membership ernment’s actions. We on the Board were to those institutions and individuals who was conferred upon Reinhold Brinkman, shocked by what seems to us an abrogation made the session on “Performing Mozart” Frank D’Accone, Samuel Floyd, and David of individual rights and free scholarly ex- possible. These were wonderful events that Hughes, and corresponding membership change. Accordingly, on November we helped give the meeting a distinctive flavor. upon Bonnie Blackburn, Hermann Danus- sent a letter to the U.S. State Department, er, and Don Harrán, all of them giants in to the U.S. Consulate in London, and to . . . a beautiful, stimulating, and the field who have trained many scholars the appropriate legislative representatives in exciting world of its own of the younger generation. For me, at least, Washington, expressing our profound con- that was a very special moment. sternation and anxiety over the treatment That was not the only one, though, in of one of our members. As yet no action has The fact that the papers, concerts, and an event that seemed to contain more been taken. I am sure that I speak for all of other events took place in such an elegant than its share of high points, among them us, though, in expressing our deep concern venue as the Hyatt Regency Century Plaza Elaine Sisman’s announcement of the new about the status of our colleague and our Hotel could, of course, only contribute Ruth A. Solie Award and the Harold Pow- hope that this situation will be resolved as positively to the character of the events ers World Travel Fund; Kern Holoman’s soon as possible. themselves—as did the legendary southern exciting news about OPUS; Jim Ladewig’s On a much happier note: I have just re- California weather for those who journeyed obvious delight in the growth of our en- ceived notice that the grant proposal sub- outside for a trip to the Getty, the Disney, dowment funds; and Bob Judd’s report on mitted to the NEH by the OPUS Cam- or just a drink near the pool. Although we the seamless move of the Society’s business paign Committee has been approved! (See can’t credit them with the weather, we cer- office to Bowdoin College. Of course, the the article on page of this Newsletter.) tainly can give thanks to Mitchell Morris conferring of the Society’s various awards Congratulations and special thanks to and the Local Arrangements Committee and prizes is an annual highlight, this year’s Anne Walters Robertson and D. Kern Ho- for all they did to make our stay a pleasant seeming especially glittering. Sadly, this was loman, co-chairs of the OPUS Campaign one, ranging from the brief but informative the last Business Meeting and Awards Cere- Committee, and to Graeme Boone, who restaurant guide to the complicated logis- mony to be chaired by Past President Elaine drafted the proposal. This is indeed a signal tics of the evening concerts—in short, for Sisman. It also marked the end of the terms accomplishment, and one that holds great helping us get a sense of what makes Los of Jeff Kallberg as vice president and Cristle promise for the OPUS Campaign and for Angeles Los Angeles. Collins Judd, Honey Meconi, and Thomas the future of our Society. In addition to the papers and concerts Christensen as members of the Board, all of there were two aspects of the meeting that —Charles M. Atkinson
–– AMS Quebec City 2007 continued from page 2006 Annual Meeting: Los Angeles The seventy-second Annual Meeting of the American Musicological Society was held Our meetings will be held in the Centre jointly with the Society for Music Theory, as in all even-numbered years. First, some des congrès, with some sessions to be held statistics: there were , attendees, AMS sessions (including short sessions), SMT next door in the main conference hotels, sessions, joint sessions, evening sessions, sunny days, and swimming pool. Fortu- the Hilton Québec and the Delta Québec. nately, neither the good weather nor the pool seemed to have a negative effect on session Both are just minutes from Vieux-Québec, attendance (many rooms were packed full), although they did contribute positively to the only walled city in North America and everyone’s mood. a UNESCO World Heritage Site since . I would like to thank the members of the program committee—Lawrence Earp, Daniel Dominated by the towers of the palatial ho- Melamed, Sanna Pederson, Alejandro Planchart, and Thomas Riis—who harmoniously tel Château Frontenac, built in (now pooled their considerable expertise and worked hard to put together a program of excel- a very expensive Fairmont property), Old lent quality. We chose abstracts out of submitted. The length of the abstracts was Quebec sits high on a bluff overlooking the unchanged from last year; we believe the -word abstracts give us a much firmer basis St. Lawrence River and the Lower Town, for comparison than the shorter ones. The committee made a special effort to nominate which comprises the delightful Quartier session chairs from groups underrepresented in the field; six chairs meet this description, Petit-Champlain, with its old residences, and twenty were women. bistros, cobblestone streets and marché. The While it is difficult to generalize about the wide range of topics, which shows the health walled city offers access through four gates; and breadth of our discipline, there were many more topics related to music’s intersec- within, you will discover many architectural tions with the world than even ten years ago. We were able to hear papers on Trecento treasures ranging from the neo-Gothic and music, film music, medieval mysticism, politics, Berlioz, Josquin, jazz, nation building, authentic late seventeenth century, to deux- masculinity, American music, radio, and much more. Probably not by accident, there ième Empire. Everything is accessible on foot, turned out to be many excellent abstracts on topics related to Los Angeles (including a with passage between upper and lower towns paper on Stravinsky’s arrangement of the “Star Spangled Banner” and several papers on achieved by staircase or funicular. John Cage). Since there is so much to explore in Que- bec City itself—culturally, gastronomically, The wide range of topics shows the health of our discipline and otherwise—and alumni receptions have turned the conference hotels into our own There were eleven evening panels, including two presented jointly by the AMS and version of Beale Street on Friday and Satur- SMT: “Performing Mozart” and “History of Music Theory: Past, Present, Future.” AMS day nights, we have decided not to plan as evening sessions included “Visualizing Tristan: The Viola-Sellars Production”; “European many formal evening events as in past gath- Nations, Nationalism and the Writing of Music History”; and a session on music and erings. Our one mainstage event will be on politics in the turbulent years around . Friday evening, November, at the Musée Theperformance committee (Elisabeth Le Guin, chair, James W. McCalla, and William national des beaux-arts de Québec, a beauti- Mahrt) put together an excellent program, which included piano music of Elgar, Lieder ful facility located on the historic Plains of with harp accompaniment, and the music of AMS Honorary Member and UCLA Profes- Abraham. It will feature an exquisite, catered sor Emeritus Robert M. Stevenson. The evening excursion to Disney Hall to hear the Los Festival de gastronomie, with local specialties Angeles Philharmonic was noteworthy for architectural as well as musical reasons. and fine wines, followed by an AMS cabaret In addition, the early morning, lunchtime, and evening hours were filled with a whirl featuring the best talent from all styles within of breakfast meetings, editorial board meetings, interest and study groups of all kinds, our ranks, to benefit the OPUS Campaign. alumni receptions, and other festivities, musicological and otherwise. It is important not Those of you who attended the Cleveland to underestimate the importance of these types of networking for our scholarly work AMS 50 benefit event in will remember and teaching. The OPUS reception was well attended; the OPUS Committee’s valuable the outstanding tunes played by Larry Gush- fund-raising work for the Society was in evidence throughout the meeting, whether from ee, Joshua Rifkin, and others. Since then the the Naxos CDs of American music given out after the Business Meeting and Awards Cer- musical interests and diet of the AMS have emony or the ubiquitous OPUS stickers. expanded considerably in all directions, and Special thanks should be extended to the Local Arrangements Committee, chaired by this cabaret will feature a house band and a Mitchell Morris, for making sure that everything ran smoothly. wide variety of styles, ranging from jazz and —Anne C. Shreffler, Chair, Program Committee “art” styles, to techno, hip-hop, blues, and rock. There will be an additional price for this event, with details forthcoming on the (Pearson), fifteen from Montreal, three from train between Montreal and Quebec City is AMS Web site and in the August Newslet- Newark (Continental), two from Detroit not a viable option. We encourage you to be- ter. (Northwest), and one from Boston (Delta). gin planning your air travel early. Be assured A preliminary word about travel to Que- Beware though: Montreal does not have that when you finally get to Quebec City, bec (airport code YQB) from outside Can- many non-stop flights to the U.S. Bref, for you will be rewarded with an excellent con- ada. The Quebec City Visitors Bureau has many of the travelers coming from the U.S., ference, a beautiful city, and most of all les alerted airlines servicing YQB to our meet- your itinerary to YQB may include Toronto douceurs québécoise. ing to ensure adequate service. There are or Montreal. As for other modes of travel, —Victor Coelho seven or eight flights per day from Toronto my colleagues in Montreal assure me that the Chair, Local Arrangements Committee –– Executive Director’s Report The AMS office is busy these days: dead- on students in its fellowship programs, a ist, we need to act human, in the best sense: lines for conference proposal submissions significant activity that requires many hours we need to be willing to communicate with and fellowship applications are around the of labor for all concerned. And yet... is there others. Even, indeed especially, with those corner; we’re doing more work than ever on more to be done on this front? Would it very different from us. Even with those who the Newsletter and Directory; we’re process- be feasible for students to participate more hold prejudices against our chosen career or ing many renewals each day; and not least, in Society governance? I can think of at our favorite music. we’re helping facilitate a number of initia- least five student-led musicology journals in To that end, the Communications Com- tives for the Communications Committee, print; if students were involved with society mittee has been working on outreach goals, the OPUS Campaign, and other commit- governance, could that quite amazing energy considering how we as a society might help tees. Kristen Lavoie, who began work with be coordinated and focused for even more to bridge the divide. Carol Oja’s report (see the AMS in August and attended her first effectiveness? Is the status quo for students p. ) gives some of the plans currently Annual Meeting in Los Angeles, continues in the Society the best structure? If not, how afoot. One thing that encourages me is to grow in her position; and, thanks to gen- can we all, both students and non-students, how easy we have it compared to some dis- erous support from Bowdoin College, we work to develop better structures? ciplines: music is an important part of the have added one more half-time staff person, Tensions between academics and non- lives of many of our neighbors, so there’s a Linda Coit, who helps wherever needed academics have been around at least since way to connect—our work is more accessible most. Whenever busyness sets in, the dan- the time of Plato. To grossly oversimplify, than the work of our colleagues in theoreti- ger of losing sight of more strategic plans academics have a tendency to think Joe or cal mathematics. So what can and should arises. Writing this report is healthy for me, Jane Public is pretty dim-witted; and Joe we be doing? For one thing, we should be as it gives me the opportunity to step back and Jane might occasionally think academ- talking about possibilities, evaluating them, briefly and consider the larger picture. Two ics are pompous and overpaid. And that’s weighing best steps forward. The committee topics continually surfaced as I mulled over before we broach our research interests: is doing this, but the conversation is large our goals: the student membership of the many will recognize that glazed look from and open to many voices. Some thoughts Society, and our outreach efforts. someone who doesn’t understand the joys of I’ve been kicking around lately: developing Nearly a thousand of the , current academic discovery as we wax lyrical on our a “speakers bureau” and promoting more members of the AMS are students. They by favorite topic. It’s not easy to explain to a community talks on music; developing, in and large take the role of apprentice or jour- layperson what we do; conversely, it’s very conjunction with a campus radio station, a neyman; they are preparing for full careers easy to avoid the situation altogether. A few one-minute musicological “spot”—and not in academe, teaching, conducting research, columns ago I threw down the gauntlet and just to air on public radio or classical sta- writing books and articles, and so on. It is asked the question, how would you explain tions! Or how about an online database of appropriate for students to take apprentice- your research to the “average person”? Some program notes? We’re already working on ship roles as committee members and mem- think the excercise itself is misguided; I dis- this. Or an online resource for performers bers of AMS Council. The AMS focuses agree. If our work is fundamentally human- that makes it a little easier for them to mar- ket their recordings, an iTunes-style music site for the wider world of performance be- yond iTunes? Or how about connecting up more with our colleagues in English depart- ments who are doing work in popular mu- sic? Can we liaise with that academic giant, the MLA, somehow? Let’s talk about these ideas, about your own ideas. Some may float, many will sink; but we won’t find the floaters if we don’t talk. * * * I would like to thank our colleagues in Los Angeles who worked so hard to make last fall’s meeting a success: Mitchell Mor- ris, Elisabeth Le Guin, Anne Shreffler, and their respective committees, without whom we’d have been sunk. Our exhibit area was again well-attended, and I’m continually grateful to those who commit such time and resources to making it a success. Our joint meetings with the SMT are always interest- ing and exciting, and I’m glad we can work so well together. Left to right: Anne Robertson, Erika Honisch, Rob Pearson, Kern Holoman, and Ana Alonso- Minutti enjoy the OPUS-sponsored Friday night reception in Los Angeles —Robert Judd –– Treasurer’s Report New OPUS Funds
I am very pleased to inform the membership of the continuing solid financial position of our Society and that our endowment maintains The Harold Powers The Margarita M. its upward course of growth. As I reported at World Travel Fund Hanson Fund (USA) the annual AMS Business Meeting and Awards will assist Ph.D. can- will be to support Ceremony in Los Angeles, we are now enter- didates, post-doctoral the publication of ing our fourth consecutive year of plus signs scholars, and junior books in any lan- from top to bottom in our list of investment faculty to travel any- guage about music accounts. where in pursuit of or musical culture before . Margarita Our Society’s endowment is invested in a their research. It hon- Hanson was publisher of the Éditions de l’Oiseau-Lyre between and . Under balanced portfolio, split fairly evenly between ors the polymathic scholar and distinguished her direction was completed the -volume bonds for safety and income and stocks for longtime AMS member whose publications long-term growth. During the twelve-month Polyphonic Music of the Fourteenth Century, have ranged from music and language to period ending October (the closing date embracing over , compositions. She of my report submitted to the Board of Direc- medieval modes to Indian music to Puccini, was decorated by Prince Rainier III of Mo- tors in Los Angeles), our bonds yielded almost and whose interests are wider still—always naco in and by the Republic of France . percent. This is nicely ahead of the histori- with the communicative aspects of music the following year; in she was awarded cal average for bonds in the . percent area. at their base. Powers retired from Princeton the degree Doctor of Music, honoris causa, (Having a balanced portfolio with a substantial University in after joining that faculty by the University of Melbourne. position in bonds, by the way, is what saved in . us during the market crash of –.) The Barry & Claire The average return of our various stock mutual Proceeds of the fund to Brook Fund salutes funds came in at gratifying . percent. honor John Daverio a remarkable couple The total value of our endowment portfolio ( –) will be di- who, jointly and in- now stands just a shade below $ million, up rected toward subven- dividually, promot- substantially from a bit over $. million one tion of scholarly books ed the research and year earlier. This increase, of course, is due both in fields appropriate to publication of two to the OPUS Campaign and to our good in- his interests and exper- generations of Amer- vestment returns. tise. Daverio went to Boston University at ican musicologists. Barry Brook (–) Regarding our OPUS Campaign, if you have age as a violin student, subsequently earn- was a pioneer musicologist whose interests a stock or mutual fund portfolio, one highly ing his B.A., M.A., and Ph.D. degrees there. extended from the Classical Symphony in tax-advantaged way of giving is to donate ap- France to music bibliography and editorial He served BU as teacher and administrator preciated stock. This is because you will receive practice to computing in music research. for more than two decades. Daverio was the a double tax saving. You get the charitable tax The Center for Music Research and Docu- winner of the Alfred Einstein Award deduction, just as if you had given cash, and mentation at CUNY, which he founded, you also save by avoiding paying capital gains for an article in on Schumann and Schle- th was renamed in his honor after his death. tax on the amount that your stock has gone up. gel in 19 -Century Music, and subsequently Claire Brook was vice president and music If you would further like to remember the Soci- published three major volumes on German editor of W. W. Norton & Co. in New York, ety in your will or with a charitable gift an-nu- Romanticism: Nineteenth-Century Music in a distinguished lineage that included Paul ity or a charitable trust, all of us in the Society, and the German Romantic Ideology (), Henry Lang, Nathan Broder, and David now and in the future, would be most grateful. Robert Schumann: Herald of a New Poetic Hamilton. In she was awarded the de- Please consult your tax or financial advisor as to Age (), and Crossing Paths: Schubert, gree of Doctor of Music, honoris causa, by how these various ways of giving may apply to Schumann and Brahms (). the New England Conservatory. your particular situation. —James Ladewig News from the AMS Board
The AMS Board met last November at the er Scholars) from the prospective NEH • approval of an outreach plan for a series Annual Meeting of the Society. In addition Matching Grant of public musicological lectures (includ- to receiving reports from all officers and • approval of the JAMS editor’s recommen- ing webcast) at the Library of Congress committees of the Society, the following ac- dation that the Society move to electronic on items in its music collection tions were taken: submission and review of articles • discussion of the case of an AMS mem- • approval for the establishment of the • a vote to apply the Society’s current sur- ber, a foreign national who teaches at an Bartlet, Solie, and Powers awards plus to cataloguing the AMS archives and American institution, whose re-entry into • approval for the Brook, Daverio and transcribing oral history materials the U.S. was barred by the government; resolution to send the State Department Hanson funds • establishment of a formal AMS liaison a letter of protest over the incident. • approval for the establishment of AMS with the National Association of Schools 75 PAYS (Publication Awards for Young- of Music —Rufus Hallmark
–– Awards, Prizes, and Honors
Honorary Members ny to the United States and a book, Music of My Future: The Schoenberg Quartets and Trio. Reinhold Brinkmann is the James Ed- He is currently working on two book projects: ward Ditson Professor of Music, Emeritus, a history of the Lied from Schubert to Wolf, at Harvard University. After studies in music and a study on Nazi ideology and music. education, philosophy, German literature and Brinkmann was awarded the Alexander von musicology, he received his Ph.D. from the Humboldt Prize for – and the Ernst University of Freiburg in . He wrote his von Siemens Music Prize in . In accept- dissertation on Schoenberg’s Three Pieces for ing the Siemens prize, he cogently described Piano, opus (published in ; paperback his introduction to musicology: “Once, when edition with a new preface ) and taught at I was a young student and knew nothing be- several German universities before coming to yond Orff and Hindemith, I heard an Ameri- Harvard in . can pianist play Schoenberg and Stockhausen in a village inn in the Alps. I was completely floored, and said to myself: Now I must find out more.” Frank D’Accone is professor emeritus of mu- sicology at the University of California, Los Angeles, where he taught, and on two occa- sions served as department chair, from until his retirement in . He also taught at Samuel Floyd Jr. the University of Buffalo (later SUNY Buffalo; Honorary Member – ) and Yale ( – ). Muse: Music and Musicians in Medieval and While studying for his M.B. ( ) and Renaissance Siena, was reviewed in the Times M.M. ( ) in music theory and composition Literary Supplement , Renaissance Quarterly, at Boston University, he was active as a jazz Early Music History , Plainsong and Medieval pianist and soloist in and around Boston. In Music and JAMS. He has held fellowships and he enrolled at Harvard University, which awards from the Guggenheim Foundation, granted him an M.A. ( ) and a Ph.D. ( ) the American Academy in Rome, the Ameri- in musicology. During a two-year stay in Flor- can Council of Learned Societies, the Univer- ence, Italy, as a John Knowles Paine Traveling sity of California, the Gladys Krieble Delmas Fellow in Music, he did archival research on Foundation and the Fulbright Commission. his two-volume doctoral dissertation, “A Doc- He is a member of the American Academy of umentary History of Music in the Florentine Arts and Sciences and a Cavaliere della Repub- Cathedral and Baptistry during the Fifteenth blica Italiana. In he received the Italian Century.” Rotary Club’s International Galilei Prize from Many of his publications since that time the University of Pisa. have been devoted to music in Florence dur- Reinhold Brinkmann Samuel A. Floyd Jr. is the founder and direc- Honorary Member ing the medieval and Renaissance periods, and he has edited twelve volumes of sacred tor emeritus of and consultant for the Center and secular music by Florentine His main areas of research are music, mu- composers of the fifteenth and sic theory, and aesthetics from the eighteenth sixteenth centuries. He edited century to the present, with emphasis on Alessandro Scarlatti’s earliest Beethoven, Schumann, Wagner, Brahms, known opera, Gli equivoci nel and the second Viennese school, and a hid- sembiante ( ), and published den love for the music of the Middle Ages. He a book on its performance his- recently published a monograph on Brahms’s tory ( ). Together with How- Symphony No. ; a paperback on Schumann ard Mayer Brown and Jessie and Eichendorff; an essay on Brahms and the Ann Owens, he edited the series painters Feuerbach, Böcklin, Klinger, and Renaissance Music in Facsimile, Menzel; an essay brochure entitled “Schoen- and from to he was berg and the Angel of History”; and a study co-editor, with Gilbert Reaney, on the Lieder inserted in the first edition of of Musica Disciplina, as well as Goethe’s novel Wilhelm Meister. He co-edited general editor of Corpus Mensu- a volume on the migration from Nazi Germa- rabilis Musicae. His book, The Civic Frank D’Accone Honorary Member –– David G. Hughes is the Fanny B. Mason Professor of Music, Emeritus, at Harvard Univer- sity. He spent his career teach- ing, principally at Harvard, but with a year at Yale early after his doctorate, and one much later at the University of Washington at Seattle as Brechemin Distin- guished Professor of Musicol- ogy. He retired in . Hughes served in the U.S. Army during World War II. He studied Japanese at Yale, where David G. Hughes he audited a performance semi- Honorary Member nar taught by Ralph Kirkpat- rick. After his return from the for Black Music Research at Columbia Col- service he studied music at Har- lege, Chicago. He has taught at Florida A&M vard, earning the A.B. in . He spent two University, Southern Illinois University, Fisk years in Europe, supported by the Sheldon Bonnie Blackburn University, and Columbia College, Chicago. and John Knowles Paine fellowships, return- Corresponding Member He was first inspired in his research ef- ing to Harvard for graduate study. He received the sixteenth centuries, including the Opera forts by Eileen Southern’s The Music of Black the Ph.D. in with a dissertation on line omnia of Johannes Lupi and (with Edward Americans. When teaching at Southern Il- and counterpoint in Gothic music. He stud- linois University he wanted to introduce the E. Lowinsky and Clement A. Miller) A Cor- ied theory and composition with Irving Fine, respondence of Renaissance Musicians. A non- music Southern wrote about to his students. Randall Thompson, and Walter Piston, and “I wanted to perform it in my classes and have musicological departure was The Oxford Com- musicology with A. Tillman Merritt, Stephen panion to the Year, which she wrote together the students become familiar with it,” he said, Tuttle, and Otto Gombosi. “but there was no body of work available any- with Leofranc Holford-Strevens. Many of her Although his dissertation concerned French articles are concerned with music printing, where, so I began my research.” and Italian secular music of the late fourteenth Encouraged by valuable material he found lost (and found) works, performance practice, century, Hughes worked primarily in the ar- and compositional process. She is currently at the Newberry Library in Chicago, Floyd eas of Gregorian and post-Gregorian chant, did further research at the Library of Con- preparing the second of two volumes for the liturgical music and medieval polyphony, no- New Josquin Edition. gress, Howard University’s Moorland-Spin- tation, and modal theory. In he edited Since Blackburn has been general edi- garn Research Center, and the New York Pub- Instrumental Music: A Conference at Isham Me- tor of the Monuments of Renaissance Music. lic Library’s Schomburg Center For Research morial Library; he served as editor-in-chief of She is a member of the editorial boards of in Black Culture. A Newberry Fellowship and JAMS, –. In collaboration with the late a grant from the National Endowment For the Early Music, Early Music History , Saggiatore John Bryden, he published the two-volume Musicale, and Analysis in Context. She received Humanities allowed him to devote two years Index of Gregorian Chant History ( ). His a fellowship from the Guggenheim Founda- to research. of European Music was published in . The He has had articles published in several tion, and in was elected a fellow of the author of many articles and reviews, Hughes British Academy. scholarly journals, including the Chronicle of was honored with a Festschrift on his seven- Higher Education, Music Educators Journal, tieth birthday, Essays on Medieval Music in Hermann Danuser is professor of music College Music Symposium, Music Journal, and Honor of David Hughes (). history at Humboldt University in Berlin. The Black Perspective in Music. His published Over his career, Hughes received grants from For many years he has also been coordina- books include Black Music in the United States: Harvard University, the American Philosophi- tor of research at the Paul Sacher Foundation An Annotated Bibliography of Selected Reference cal Society, DAAD, the Medieval Academy of in Basel, member of the board of the Ernst and Research Materials (Kraus, ); Black America, the American Council of Learned von Siemens Musikstiftung in Munich, and a Music Biography: An Annotated Bibliography Societies, and the National Endowment for member of the Berlin-Brandenburg Academy (Kraus, ); Black Music in the Harlem Re- the Humanities. of Sciences. naissance (Greenwood Press, ), for which Danuser studied piano, oboe, musicology, he served as editor and which received the Corresponding Members philosophy, and German literature at the Zu- Irving Lowens Award; and The Power of rich Conservatory and Zurich University. He Bonnie Blackburn holds a bachelor’s degree Black Music (Oxford University Press, ). holds diplomas for oboe and piano, a soloist from Wellesley College, and a master’s and He served as editor-in-chief for the Interna- diploma for piano, and received his Ph.D. Ph.D. from the University of Chicago. She tional Dictionary of Black Composers (Fitzroy from Zurich University in . After teaching taught briefly as visiting associate professor at Dearborn Publishers, ). piano at the Zurich Conservatory he moved to the University of Chicago, Northwestern Uni- Of his accomplishments, he is particularly Berlin in and continued his study of mu- versity, and the State University of New York proud of the Black Music Repertory Ensem- sicology with Carl Dahlhaus at the Technical at Buffalo before moving to England in , ble, a small orchestra he organized to perform University and piano with Gerhard Puchelt at where she is a freelance editor. some of the works he discovers as well as mu- the Hochschule für Musik. From to She has published on aspects of music and sic by living Black composers. he taught musicology at the Pädagogische music theory ranging from the fourteenth to
–– of Musicology at Hebrew University, chaired Works; and Rossi’s Complete Works (thirteen the Israel Musicological Society, and served as volumes). His articles have been published in vice president of the International Musicolog- leading musicological and interdisciplinary ical Society. He has received fellowships from journals. the Israel National Academy of Arts and Sci- ences, American Philosophical Society, Me- AMS Awards and Prizes morial Foundation for Jewish Culture, Amer- The Otto Kinkeldey Award is presented an- ican Council of Learned Societies, Newberry nually by the Society to honor an outstand- Library, Folger Shakespeare Library, and the ing book by a senior scholar. This year’s award Institute for Advanced Study. He was a vis- went to Richard Taruskin (Class of iting scholar at the Center for Medieval and Chair, University of California, Berkeley) for Renaissance Studies at UCLA, guest lecturer The Oxford History of Western Music (Oxford at the Salzburg Seminar, and visiting professor University Press). at Villa I Tatti. Honors include a medal of the The Lewis Lockwood Award for an out- city of Tours in conjunction with its Centre standing book by a scholar in the early stages d’Études Supérieures de la Renaissance; the Michael Landau Prize for Scholarly Achieve- ment in the Arts; honorary foreign member- ship in the American Academy of Arts and Sciences; and appointment as cavaliere in the Order of the Star of Italian Solidarity. Principal areas of his research are word- Hermann Danuser tone relations in the Renaissance, rhetoric Corresponding Member and music, instrumental music in the early Hochschule Berlin, interrupted – by Baroque, Jewish musicians in sixteenth- and a fellowship at Cornell University. In seventeenth-century Italy, and the beginnings he finished his habilitation at the Technische of Hebrew musical historiography. His books Universität Berlin (Die Musik des 20. Jahr- and editions include Word-Tone Relations in hunderts). He was professor of musicology at Musical Thought: From Antiquity to the Seven- the Hochschule für Musik und Theater Han- teenth Century; In Search of Harmony: Hebrew nover –, and Ordinarius für Musikwis- and Humanist Elements in Sixteenth-Century senschaft at the Albert-Ludwigs-Universität Musical Thought; In Defense of Music: The Case Freiburg im Breisgau –. He held guest for Music as Argued by a Singer and Scholar professorships at leading universities in Eu- of the Late Fifteenth Century; Salamone Rossi, Kathleen Karn rope and the United States, including Stan- Jewish Musician in Late Renaissance Mantua; ford and Cornell. In he received an hon- “Maniera” e il madrigale; The Anthologies of Richard Taruskin Kinkeldey Award winner orary Doctor of Music from the Royal Hollo- Black-Note Madrigals; Hubert Naich: Collected way College of the University of London. Danuser’s research interests include mu- of his or her career was inaugurated in . sic history from the eighteenth to twentieth This year’s award went to Kate van Orden centuries, the history and theory of musical (University of California, Berkeley) for Music, performance, the history of music theory and Discipline, and Arms in Early Modern France aesthetics, and music analysis. His most re- (University of Chicago Press). cent publication is the two-volume edition The Society also named James K. Wright Musikalische Lyrik in the series Handbuch der (Carleton University) as a finalist for the musikalischen Gattungen. Once the edition Lockwood Award, for Schoenberg, Wittgen- Carl Dahlhaus: Gesammelte Schriften in 10 stein and the Vienna Circle (Peter Lang Pub- Bänden is completed, he will prepare an in- lishing Group). ternational symposium on Dahlhaus to take Another award in its second year, the H. place in Berlin in June . Colin Slim Award for an outstanding article Don Harrán is Artur Rubinstein Professor by a senior scholar, was awarded to Ralph P. Emeritus of Musicology at Hebrew University Locke (Eastman School of Music, University of Jerusalem. He studied at Yale, majoring in of Rochester) for “Beyond the Exotic: How French literature (B.A., ), and continued ‘Eastern’ is Aida ?,” TheCambridge Opera Jour- in musicology at the University of California, nal (). Berkeley (M.A., ; Ph.D., ), mainly The Alfred Einstein Award, given annually under Edward Lowinsky and his dissertation for an outstanding musicological article by a advisor Joseph Kerman, to both of whom he scholar in the early stages of his or her career, dedicated his first book, Musicology: Areas and was given to Gundula Kreuzer (Yale Univer- Aims (in Hebrew; ). sity) for “Oper im Kirchengewande? Verdi’s He has served as head of the Department Don Harrán Requiem and the Anxieties of the Young Ger- Corresponding Member –– David Lawton Palisca Award winner Ralph Locke Slim Award winner
Kate van Orden one Rossini, ). Lockwood Award winner The Paul A. Pisk Prize for an outstanding paper presented by a graduate student at the man Empire,” JAMS (). Annual Meeting was awarded to Jesse Rodin TheRobert M. Stevenson Award is given in (Harvard University) for “‘When in Rome...’: recognition of outstanding scholarship in Ibe- What Josquin Learned in the Sistine Cha- rian music. This year’s Stevenson Award was pel.” given to Walter Aaron Clark (University of The Noah Greenberg Award recognizes California, Riverside) for Enrique Granados: outstanding contributions to historically Poet of the Piano (Oxford University Press, aware performance and the study of historical ). performing practices. This year’s Greenberg The Claude V. Palisca Award for an out- Award went to Christopher Wolverton (artis- standing edition or translation is another tic director, Vox Early Music Ensemble) and award in its second year. This year’s winner Honey Meconi (Eastman School of Music) was David Lawton (Stony Brook University) for “Extreme Singing: Very Low Music of the for his edition of Verdi’s Macbeth (University Renaissance.”) of Chicago Press, ). M. Elizabeth C. Bartlet TheSociety posthumously named M. Eliza- Palisca Award finalist beth C. Bartlet (Duke University) as a finalist for the Palisca Award for her last completed work, an edition of Rameau’s Platée (Fondazi-
Walter Aaron Clark Jesse Rodin Gundula Kreuzer Stevenson Award winner Pisk Award winner Einstein Award winner –– Sherry Lee Brett Award winner
R. Todd Rober (Kutztown University), Michael Christopher Wolverton, Director, Vox Ensemble Ruhling (Rochester Institute of Technology), Greenberg Award winner Nadine Hubbs Judith Schwartz (Northwestern University), Brett Award winner Richard Will (University of Virginia), and Jean K. Wolf (Ardmore, Pennsylvania); and Mas- Other Awards, Prizes and Honors simo Ossi (Indiana University). The Philip Brett Award is presented by the LG- Elizabeth Aubrey has been awarded an NEH BTQ Study Group of the AMS for exceptional Fellowship for research on her book The Music musicological work in the field of gay, lesbian, of Old French Song. bisexual, and transgender/transsexual studies. Martha Feldman (University of Chicago) Two winners were announced for : Nadine received a Guggenheim Fellowship, which she Hubbs (University of Michigan) for The Queer will devote together with a fellowship from the Composition of America’s Sound (University of American Council of Learned Societies to the California Press, ); and Sherry Lee (Uni- study “The Castrato as Myth.” versity of Toronto) for “A Florentine Tragedy, Benjamin M. Korstvedt has been appointed Or Woman as Mirror,” Cambridge Opera Jour- a Senior Fellow at the Internationales For- nal (). schungszentrum Kulturwissenschaften in Vi- Ralph P. Locke (Eastman School of Music, enna, Austria, where he will be in residence University of Rochester) received a National March–June . His fellowship project will “Rhetorical Excess and the Cultural Uncon- Endowment for the Humanities fellowship be Honey Meconi for – for the topic “Exotic Lands and scious in Viennese Music Criticism.” Greenberg Award winner Peoples in Western Music.” Katherine L. Axtell (University of Rochester) ining Native America in Music (Yale University The NEH also gave a two-year $, has been awarded an American Dissertation Press); grant to support the completion of The Eigh- Fellowship for – by the American As- • Michael Beckerman (New York University) teenth Century Symphony, Volume I of The Sym- sociation of University Women, to work on her and Jan Vogler for their liner notes for The Se- phonic Repertoire, a planned five-volume series dissertation, “Show Boat and the Landscape of crets of Dvořák’s Cello Concerto (Sony Classical, begun by A. Peter Brown and published by the American Musical, – .” Sony/BMG Entertainment); Indiana University Press, and its accompany- The Directorium of the International Mu- • Sally Bick (University of Windsor) for her ing CD recording. Editor of the volume and sicological Society has elected Robert M. Ste- article “Of Mice and Men: Copland, Hol- project director is Mary Sue Morrow (Uni- venson (University of California, Los Angeles, lywood, and American Musical Modernism,” versity of Cincinnati), with co-editor Bathia emeritus) as an honorary member, the first per- American Music; and Churgin (Bar-Ilan University); contributing son to be so honored since . • W. Anthony Sheppard (Williams College) writers include Joanna Cobb Biermann (Uni- Jelena Milojkovic-Djuric was elected a cor- for his article “Cinematic Realism, Reflexivity versity of Alabama), Bertil van Boer (West- responding member of the Serbian Academy of and the American ‘Madame Butterfly’ Narra- ern Washington University), Sterling Murray Sciences and Arts. tives,” Cambridge Opera Journal. (West Chester University of Pennsylvania), and The thirty-ninth Annual ASCAP Deems In addition, ASCAP Deems Taylor Special Robert Gjerdingen (Northwestern University); Taylor Awards for outstanding print, broadcast Recognition Awards were presented to: analytical essay authors include Peter Alexander and new media coverage of music, announced • Vivian Perlis for her contributions to the (University of Iowa), Paul Bryan (Duke Univer- October , included the following mem- series An Oral History of American Music (Yale sity), Suzanne Forsberg (St. Francis College), bers of the Society: University Press); and Marita McClymonds (University of Virginia), • Anna Marie Busse Berger (University of In addition, an ASCAP Deems Taylor Special Jeannette Morgenroth (South Bend, Indiana), California, Davis) for Medieval Music and the Recgonition Award was given to the Bard Mu- Timothy Noonan (University of Wisconsin, Art of Memory (University of California Press), sic Festival Princeton Paperbacks series, many Milwaukee), Adena Portowitz (Bar-Ilan Uni- which also won the Wallace Berry Award for of which were written by AMS members over versity), René M. Ramos (La Sierra University), the best book in music theory; • Michael V. Pisani (Vassar College) for Imag- the past fifteen years. –– AMS Calendar of Deadlines AMS Elections 2007 See the AMS Directory and Web site for AMS elections take place in the spring each sophical Society grant, full details. year. This year, two candidates have agreed to Adminstrative experience: Co-Chair, Op- January: stand for president, two for secretary, and six era Seminar, Humanities Center, Harvard • Howard Mayer Brown Fellowship for for member-at-large of the Board of Direc- University, –present; Director of Grad- minority graduate study in musicology tors (three are elected). uate Studies, –; –; –; • Alvin H. Johnson AMS 50 Dissertation- You may vote electronically at the Web site, Chair, Boston Area Seminar on Gender and year Fellowships or by using the paper ballot included in the Music, -; Chair, Tufts University Mu- January: AMS Newsletter mailing; if you lose it, a re- sic Dept, -; –; Chair, Tufts Uni- • Janet Levy Travel and Research Fund placement may be obtained at the AMS Web versity Committee on Committees, – for independent scholars site. Please follow the instructions found on AMS activities: Kinkeldey Award Com- March: the ballot carefully. Ballots not conforming mittee, –; JAMS Editorial Board, • M. Elizabeth C. Bartlet Fund for re- to the instructions are rendered invalid. –; AHJ AMS 50 Fellowship Com- search in France Detailed descriptions of the three offices mittee, –; Program Committee, • Harold Powers World Travel Fund for are found in the AMS Bylaws, available in ; Board of Directors, –; Einstein research on music the AMS Directory and at the Web site. Award Committee, –; Local Arrange- • Eugene K. Wolf Travel Fund for Euro- ments Committee, ; Committee on the pean research Candidates for the Status of Women, Chair, –; Council March: Office of President Nominating Committee, ; Board of Di- • AMS Publication Subventions rectors Nominating Committee, May: JANE A. BERNSTEIN • Alfred Einstein Award for an outstand- Austin B. Fletcher Professor of Music, Tufts MARY HUNTER Leroy Greason Professor Music, Bowdoin ing article by a scholar in the early stages University of her or his career Degrees: PhD, UC Berkeley, ; MMus, College • Otto Kinkeldey Award for an outstand- UMass, ; BA, City College CUNY, Degrees: MA, PhD, Cornell, , ; ing book by a senior scholar BA, University of Sussex (UK), • Lewis Lockwood Award for an outstand- Research areas: Renaissance; women’s stud- Research areas: Late-eighteenth-century op- ing book by a scholar in the early stages ies; nineteenth-century opera era; Mozart and Haydn; performance stud- of her or his career Publications: Editor, Women’s Voices across ies • Claude V. Palisca Award for an outstand- Musical Worlds, (Northeastern, ); Print Publications: ing edition or translation • H. Colin Slim Award Culture and Music in Sixteenth-Century Ven- “To Play as if from the Soul of The Com- for an outstanding poser: The Idea of the Performer in Early article by a senior scholar ice (Oxford, ); “‘Bewitched, Bothered • Ruth A. Solie Award Romantic Aesthetics,” JAMS (); “The for an outstanding and Bewildered’: Lady Macbeth, Sleepwalk- collection of musicological essays Quartets” in The Cambridge Companion to ing and the Demonic in Verdi’s Scottish Op- • Robert M. Stevenson Award for out- era,” COJ ( ); Music Printing in Renais- Haydn, ed. Caryl Clark (Cambridge, ); standing scholarship in Iberian Music TheCulture of Opera Buffa in Mozart’s Vienna sance Venice: The Scotto Press (1539–1572) July: (Oxford, ); Editor, Sixteenth-Century (Princeton, ); Ed., with James Webster, Opera Buffa in Mozart’s Vienna (Cambridge, • Philip Brett Award of the LGBTQ Chanson from the Ateliers of Le Roy and Bal- Study Group for outstanding work in ); “Haydn’s London Piano Trios and His lard, Moderne, Susato, and Waelrant and de gay, lesbian, bisexual, and transsexual/ Laet, vols (Garland, –) Salomon String Quartets: Private vs. Pub- transgender studies Awards: lic?” in Haydn and his World, ed. Elaine Sis- Fellow of the American Academy of July: Arts and Sciences, ; Kinkeldey Award, man (Princeton, ) • MPD Travel Fund to attend the Annual ; Guggenheim Fellowship, –; Awards: Kinkeldey Award, ; NEH fel- lowships, , ; National Humanities Meeting Distinguished Scholar Award, Tufts Univer- • Janet Levy Travel and Research Fund Center, –; American Philosophical So- sity, ; Distinguished Alumna Citation of for independent scholars Excellence, UMass, ; NEH Fellowship, ciety, – August: –; Gladys Krieble Delmas Fellowship, Administrative experience: Chair, Music • Noah Greenberg Award for outstanding –; ACLS grant, ; American Philo- continued on page performance projects September: Guidelines for Announcements of Awards and Prizes • AMS Publication Subventions September: Awards and honors given by the Society are announced in the Newsletter. In addition, the editor makes every effort to announce widely publicized awards. Other announcements CCD Travel Fund to attend the Annual Meeting come from individual submissions. The editor does not include awards made by the recipi- ent’s home institution or to scholars who are not currently members of the Society. Awards October: made to graduate student members as a result of national or international competitions are • Paul A. Pisk Prize for an outstanding also announced. The editor is always grateful to individuals who report honors and awards paper presented by a graduate student they have received. at the Annual Meeting
–– AMS Elections 2007 RICHARD WILL Awards: Residency, Rockefeller Foundation Associate Professor of Music, University of Bellagio Center, ; ACLS Fellowship, continued from page Virginia –, –; Donald Andrews Whit- Degrees: PhD, Cornell, ; MA, Cornell, tier Fellowship, Stanford Humanities Center, Dept, Bowdoin College, –; Edi- ; BA, UC Santa Cruz, ; Alfred Jurzykowski Foundation Award, tor, Cambridge Opera Journal, –; Research areas: eighteenty-century music; ; Alexander von Humboldt Foundation Co-editor, Journal of Musicological Research, Beethoven; American popular and folk mu- Fellowship, –; Kinkeldey Award, ; – sic; bluegrass NEH Fellowship, – AMS activities: Publication Committee, Publications: “Reason and Revelation in Administrative experience: Chair, Depart- –present; Editor, AMS Studies in Music C. P. E. Bach’s Resurrection Oratorio,” in ment of Music, Stanford University, – –present; Board of Directors, – Annette Richards, ed., C.P.E. Bach Stud- AMS activities: Board of Directors Nominat- ; Board Nominating Committee, ; ies (Cambridge, ); “Pergolesi’s Stabat ing Committee, ; Chair, Program Com- Einstein Award Committee, – Mater and the Politics of Feminine Virtue,” mittee, North California Chapter, –; MQ (); The Characteristic Symphony in Kinkeldey Award Committee, –; Candidates for the the Age of Haydn and Beethoven (Cambridge, Committee on Honorary and Correspond- Office of Secretary ); “Time, Morality, and Humanity ing Members, in Beethoven’s Pastoral Symphony,” JAMS PAMELA F. STARR (); “When God Met the Sinner, and SUZANNE G. CUSICK Professor of Music History, University of Ne- Other Dramatic Confrontations in Eigh- Associate Professor of Music, New York Uni- braska teenth-Century Instrumental Music,” M&L versity Degrees: PhD, music history, Yale, ; (). Degrees: PhD, University of North Caro- MLS, Columbia; BA, voice, Harpur College Awards: American Philosophical Society lina, Chapel Hill, ; BFA, Newcomb Col- Research areas: Music and music patronage Sabbatical Fellowship, –; DAAD Fel- lege, at the papal court and other fifteenth-century Research areas: Early modern Italian music; court institutions; music and music patron- lowships, – and ; AMS 50 Fellow, gender, sexuality and embodiment; perfor- age in sixteenth- and seventeenth-century – mance and performativity; music and twenti- England Administrative experience: Interim Depart- eth-century U.S. means of waging war Publications: “Musical Entrepreneurship ment Chair, –; Director of Graduate Publications: “Gender, musicology and in Fifteenth-Century Europe,” EM (); Studies, –; Reviews Editor, Beethoven feminism”, Rethinking Music, ed. Cook and “Teaching Music History in the Centrifu- Forum, vols. – (–) gal Classroom,” in Teaching Music History, AMS activities: Committee on the Status Everist (Oxford, ); “Feminist theory, ed. Mary Natvig (Ashgate, ); “Josquin, of Women, –; Program Committee, music theory and the mind-body problem”, Rome, and a Case of Mistaken Identity,” JM ; AHJ AMS 50 Fellowship Committee, Perspectives of New Music (); “On a (); “Rome as the Centre of the Universe: – lesbian relation with music: a serious effort Papal Grace and Music Patronage,” EMH not to think straight,” Queering the Pitch, ed. (); “The Ferrara Connection,” Studi mu- Brett et al. (Routledge, ); “Gendering sicali (); “A Great Ornament and Plea- Candidates for the Office Modern Music: thoughts on the Monteverdi- sure: the Place of Music in the Educational of Member-at-Large, Artusi controversy”, JAMS ( ); Francesca Formation of Early Modern English Society,” Board of Directors Caccini: Womanhood, Musicality and Power in in Education Most Sovereign: The Teaching and Early Seventeenth-Century Florence (Chicago, Learning of Music in the Renaissance (in press); KAROL BERGER in press) “Music at the Margins in Early Modern Eng- Professor of Music, Stanford University Awards: Fellow, Charles Warren Center for land” (in preparation) Degrees: PhD, Yale, ; Undergraduate Studies in American History, Harvard Uni- Awards: Fellow of the American Academy in studies at the Institute of Musicology, War- versity, –; Frederick Burkhart Resi- Rome; Fulbright, NEH, ACLS, APS fellow- saw University, Poland, – dential Fellow, Villa I Tatti, –; Alumni ships Research areas: History of music aesthetics Board of Trustees Teaching Award, University Administrative experience: Chair, Music and theory; Austro-German music – of Virginia, ; awards from NEH, ACLS, History Search Committee, –; Chair, ; Vocal polyphony – Terza Università di Roma. Academic Rights and Responsibilities Com- Administrative experience: Editor-in-chief, mittee, University of Nebraska-Lincoln, Publications: Women and Music, –present; Director –; Executive Committee, College of Ed., with Anthony Newcomb, Music and of Graduate Studies, NYU, –, and Fine and Performing Arts; School of Music the Aesthetics of Modernity: Essays (Harvard, Executive Committee ); A Theory of Art (Oxford, ); Mu- University of Virginia, – ; Co-chair, AMS activities: Board of Directors, –; sica Ficta: Theories of Accidental Inflections in feminist theory and music , , and , ; Membership and Professional Development Vocal Polyphony from Marchetto da Padova to RILM Commission Mixte, –; Committee. –; AHJ AMS 50 Fellow- Gioseffo Zarlino (Cambridge, ); Theories President, Elizabeth Cady Stanton Founda- ship Committee, –; Review Editor, of Chromatic and Enharmonic Music in Late tion, – JAMS (–); JAMS Editorial Board, Sixteenth-Century Italy, (Ann Arbor, ); AMS Activities: Publications Committee, –; History of the Society committee, Bach’s Cycle, Mozart’s Arrow: An Essay on the –present; JAMS Editorial Board, – –; Program Committee, ; Chap- Origins of Musical Modernity (California, ; Chair, Gay and Lesbian Study Group, ter Fund committee – forthcoming) –; Chair, Capital Chapter, –
–– PATRICK MACEY Administrative experience: ACLS Board American popular music; archives and manu- Professor of Musicology, Eastman School of of Directors, –, Chair, –; scripts Music, University of Rochester UCLA Council on Academic Personnel, Publications: “Gendering Race: Stereotypes Degrees: MA, , PhD, , UC Berke- –, Chair, –; editorial boards of of Chinese Americans in Popular ley; BA, Occidental College, Signs, Perspectives of New Music, Black Music Sheet Music” in Repercussions ( [ ]); Research areas: Civic and courtly culture Research Journal, Women and Music, ECHO, articles in New Grove Dictionary of Music and in Italy and France; Josquin and contempo- and Music and the Moving Image. Musicians, d ed. (Macmillan, ), and The raries; the motet; music and rhetoric; music AMS activities: Kinkeldey Award Commit- New Grove Dictionary of Women Composers in convents tee, –; AMS 50 Fellowship Commit- (Norton, ); Cecilia Reclaimed: Feminist Publications: “An Expressive Detail in Jos- tee, – Perspectives on Gender and Music (Illinois, quin’s Nimphes, nappés,” EM (); “Josquin ); numerous book reviews in Fontes Artis ANNE C. SHREFFLER and Musical Rhetoric,” The Josquin Compan- Musicae, Notes, and JAMS (forthcoming) James Edward Ditson Professor of Music, ion, ed. Richard Sherr (Oxford, ); Bonfire Awards: Fellow, Leadership and Career De- Harvard University Songs: Savonarola’s Musical Legacy (Oxford, velopment Program, – (Association Degrees: PhD, Harvard, ; MM, New ); “Frescobaldi’s Musical Tributes to Fer- of Research Libraries); Fellow, Doreen B. England Conservatory, ; BM, New Eng- rara,” The Organist as Scholar, ed. Kerala Sny- Townsend Humanities Center, University land Conservatory, der (Stuyvesant, NY, ); “Josquin’s Miseri- of California, Berkeley (–); Susan B. Research areas: Music and politics in the cordias Domini and Louis XI,” EM () Koppelman Award (Popular Culture Associa- twentieth century; historiography; twentieth- Awards: NEH Fellowship, –; Gordan tion and the American Culture Association) century opera; the Second Viennese school: Book Prize for Bonfire Songs, Renaissance So- for Cecilia Reclaimed, ; Outstanding sources, analysis, and reception ciety of America, ; Nelson Prize for ar- Academic Book (CHOICE Magazine) for Publications: “Ideologies of Serialism: ticle in Renaissance Quarterly, ; Eisenhart Cecilia Reclaimed Stravinsky’s Threni and the Congress for Cul- , Award for distinguished teaching, Eastman Administrative experience: Contributing tural Freedom,” in Music and The Aesthetics School of Music, ; Fellow, Villa I Tatti, Editor, New Grove Dictionary of American – of Modernity, ed. Karol Berger and Anthony Music, d edition (–); Lowens Administrative experience: Renaissance So- Newcomb (Harvard, ); “Berlin Walls: Book Award Committee, SAM, –; ciety of America, council, –; Acting As- Dahlhaus, Knepler, and Ideologies of Music Chair, Strategic Planning Team, Univer- sociate Dean of Graduate Studies, Eastman History,” JM (); “Phantoms at the Op- sity of Washington Libraries, –present; School of Music, –; Editorial Boards: era: The Ghosts of Versailles by John Corigli- Program Chair, SAM, –; Chair, Ar- New Josquin Edition, Eastman Studies in Mu- ano and William Hoffman,” CMR (); chives and documentation Centres Branch, sic, Early Music History , Renaissance Quarter- “‘Mein Weg geht jetzt vorüber’: The Vocal International Association of Music Libraries, ly, Villa I Tatti Advisory Council Origins of Webern’s Twelve-Tone Composi- –; Board of Trustees, SAM, – AMS activities: Eugene K. Wolf Travel Grant tion,” JAMS (); Webern and the Lyric Im- ; Long Range Planning Team, SAM, Committee, –; Program Committee, pulse: Songs and Fragments on Poems by Georg –; Advisory Board, Dave Brubeck ; Chair, New York State-St. Lawrence Trakl (Oxford, ) Ar Chapter, –; Committee on Cultural Awards: Fellowships from the ACLS, Ameri- chive, – ; Board of directors, Mu- Diversity, – can Philosophical Society, Paul Sacher Foun- sic Library Association, – dation, and Chicago Humanities Institute; AMS activities: JAMS Editorial Board, SUSAN MCCLARY AMS Alfred Einstein Award, –; Membership and Professional Professor of Musicology, University of Cali- Administrative experience: Director of Development Committee, Chair, – fornia, Los Angeles Graduate Studies, Harvard Department of ; Committee on the Status of Women, Degrees: MA, PhD, Harvard University, Music; editorial board of the Journal of Mu- –, – ; B Mus (piano), Southern Illinois Uni- sicology; organizer of seminar for doctoral versity, students in musicology offered jointly by the Research areas: Renaissance and Baroque Universities of Basel, Bern, Fribourg, and Zu- Naxos supports AMS OPUS music; cultural criticism; feminist theory; rich (in Blonay, Switzerland); International popular music Musicological Society, program committee; Naxos of America has agreed to play a Publications: Modal Subjectivities: Self-Fash- member of the Board and the scholarly ad- leadership role in the OPUS Campaign. ioning in the Italian Madrigal (California, visory committee of the Paul Sacher Stiftung, Many attendees at the Los Angeles An- ); Conventional Wisdom: The Content Basel nual Meeting received a complimentary of Musical Form (California, ); Georges AMS activities: Program Committee, – CD, The American Journey, thanks to Bizet: Carmen (Cambridge, ); Feminine ; AHJ AMS 50 Dissertation Fellowship their generous contribution, and many Endings: Music, Gender, and Sexuality (Min- committee, – members will have taken advantage of the nesota,); Ed., with Richard Leppert, three-month free trial of the Naxos Music Music and Society: The Politics of Composi- JUDY TSOU Library and NML Jazz Collection avail- tion, Performance and Reception (Cambridge, Head, Music Library, and Lecturer, Music able through our members-only Web site. ) History, University of Washington Naxos and the AMS are currently discuss- Awards: Kinkeldey Award, ; university- Degrees: MILS, University of Michigan, ing further ways the two organizations can wide teaching awards, University of Minne- ; MA, Columbia University, ; BA, work together toward their mutual goals. sota, , UCLA, ; MacArthur Fellow, Skidmore College, We hope to provide further details in the Research Areas: Gender and race in music; August AMS Newsletter. –– Committee Reports
Committee on Career-Related Issues Newsletter is gradually shifting to the AMS portunity to serve on this productive com- office. Once that process has been completed mittee. We wish ongoing co-chair Jann Pasler The Committee on Career-Related Issues (following Peter Alexander’s final issue, Au- and committee members well in continuing (CCRI) was pleased to sponsor a number of gust ), conference announcements will the flourishing work that has begun. useful and entertaining sessions at the An- be moved entirely to the AMS Web site. All —G. Yvonne Kendall nual Meeting in Los Angeles. The activities conference listings are now posted there. Ini- began on Thursday with a session on teaching tiatives the committee is considering for the Committee on the History of the in different disciplinary frameworks hosted future include a lecture series at the Library Society by Kathryn Lowerre, followed by a valuable of Congress (LC), to be co-sponsored by session sponsored by our student members Among the ongoing tasks of the Committee AMS and LC and focus on research in LC’s (Kate Dacey-Tsuei and Jennifer Wilson) on on the History of the Society (CHS) is an oral music collections; a Web-based database for enhancing courses through technology. The history of the Society featuring recorded inter- program notes (and for information about following day continued the successful Master views with distinguished members. The CHS program-note writers); and strategies for in- Teacher Series begun in Washington with an is renewing efforts to fulfill this mandate, forming colleagues on home campuses and in engaging and informative presentation by Ed- commissioning new interviews and arranging sister societies about musicology. ward Nowacki (University of Cincinnati Col- for the transcription of the recordings. —Carol J. Oja lege-Conservatory of Music). Melissa Gold- With financial support from the Board of smith and Darwin Scott then chaired a session Committee on Cultural Diversity Directors, the committee will implement an on current issues in the electronic access to updating of the catalog of the AMS archives scholarship. Our final session considered op- The Committee on Cultural Diversity (CCD) in the Annenberg Rare Book and Manuscript portunities for musicologists in pre-collegiate held a well attended reception for Travel Fund Library at the University of Pennsylvania. teaching and was hosted by Eftychia Papa- (TF) recipients at the Annual Meeting in Los The committee is developing a major proj- nikolaou. Angeles, where representatives of schools in ect to help commemorate the seventy-fifth Next year’s meeting will feature a panel the Alliance for Minority Participation in anniversary of the Society in . This proj- jointly sponsored with the Publications Com- Musicology (Alliance) made presentations on ect will make use of written, audio, and visual mittee plus a session on teaching with tech- their respective programs. Rae Linda Brown, items from the archives. Members of the So- nology. There will also be a workshop where Samuel Floyd, and Carol Oja, whose work ciety can look forward to getting a glimpse graduates students can have their CVs and was vital in the creation of this committee and into the wealth of the materials that have been cover letters critiqued. Since the conference its work, were in attendance. It is indicative collected over the years. will take place in Quebec City, we are hosting of these programs’ success that percent of Of special note, all members of the Society a panel to discuss opportunities and difficulties TF participants are now attending Alli- are invited to consider donating materials to when navigating professional boundaries in a ance schools. the archives that pertain to the Society and global market. There will be another master We are proud to report that New York Uni- the development of musicology in the United teacher presentation and the thriving buddy versity, University of North Carolina, Chapel States and Canada. These could include pho- program will once again allow newcomers to Hill, and University of Southern California tographs, videos, audio materials, and writ- the Society an opportunity to spend time with have joined the Alliance, bringing the total ings such as memoirs, papers, and correspon- current members. membership to twenty-four universities. dence. Contact the chair of the CHS, Eliza- The CCRI continues to develop a Web page Susan Taffe, a TF recipient in and now beth Aubrey ([email protected]), detailing the committee’s activities while of- a Ph.D. candidate at Cornell, wrote, “My at- if you have such materials to donate. fering links and information on career-related tendance at the AMS meeting played a con- —Elizabeth Aubrey issues. We also continue to work in conjunc- siderable role in my acceptances, as it gave tion with the new Pedagogy Study Group to me the opportunity to meet and speak with Committee on Membership and provide sessions of particular interest to teach- representatives from many of these [Alliance] Professional Development ers. The CCRI is dedicated to offering presen- institutions.” As incoming Chair of the Committee on tations and materials of interest to the AMS While maintaining our commitment to di- Membership and Professional Development membership, and we encourage ideas and rec- versifying the graduate student population, (CMPD) I look forward to working with our ommendations for future activities. the CCD also plans to devote more time to several constituent groups (the Committee —James A. Davis the part of musicology that occurs after the on Career-Related Issues, the Committee on doctorate. As our earliest TF recipients ad- the Status of Women, the Committee on Cul- Committee on Communications vance in their careers, tenure, promotion, tural Diversity, and the Graduate Education changing institutions, and career balance are The AMS Committee on Communications Steering Committee) in order to coordinate among the issues to be addressed. A round- exists to facilitate the flow of information our various initiatives. Among the areas of table held Friday evening at the Annual Meet- among AMS members, as well as to the many shared interest identified during our recent ing dealt with career trajectories, including a related constituencies with connections to conversations in Los Angeles are: continued discussion on how careers can be determined musicology. Our goal is outreach. Among work with the Board and administrative office by the type of institution you serve. changes that are afoot: the AMS-List has as we interpret the results of the recent demo- As outgoing co-chair, I speak for the other successfully split into AMS-L and AMS-An- graphic survey of AMS members; promotion outgoing members, Willa Collins and Mina nounce, with the latter devised as a vehicle of the various travel grants administered by for announcements; and editing of the AMS Yang, in expressing my gratitude for the op- –– the CMPD and its related committees; and ..; [email protected]; or cedures, this funding was recommended by exploration of ways for the AMS to extend ac-
–– Waking Up From History: Music, Time, Paris on brass instruments c. –,” – Conferences and Place, – April , Seattle. August , Converse College. www.mediaactioncenter.org/?q=node/ www.historicbrass.org This is a highly selective listing; comprehen- sive and up-to-date listings of conference in International Conference on the Henry Centre for the History and Analysis of Re- musicology are posted online. See the link Wood Promenade Concerts, – April, corded Music (CHARM)/Royal Music As- on the AMS Web site (www.ams-net.org) for The ritishB Library, London. sociation annual conference, Musicology and full details. www.kcl.ac.uk/kis/schools/hums/music/news/ Recordings, – September , Royal npmus.pdf Holloway, University of London. Midwest Graduate Music Consortium www.charm.rhul.ac.uk/print/p_.html – February , University of Chicago. IASPM Canada and IASPM-US Joint humanities.uchicago.edu/orgs/mgmc Conference, Boundaries, Blockades and New Music and the Musical Canon: A Sym- Bridges, – April , Northeastern posium on Composition in the Twenty-first Vagantes Graduate Medieval Conference, University. Century, – November , Hong – March , Loyola University, Chicago. www.iaspm-us.net/conferences/ Kong. cfp.english.upenn.edu/archive/Gradu- mto.societymusictheory.org/mto-events. ate/.html Music and the Moving Image, – May html?id= , New York University, Steinhardt. Performance Practice: Issues and Ap- www.steinhardt.nyu.edu/music/page. Germany’s Reception of the Broadway proaches, – March , Rhodes College, php?page_id= Musical, – March , Kurt-Weill-Gesell- Memphis, Tenn. schaft, Dessau, Germany. www.rhodes.edu/.htm Musical Meaning and Human Values, – www.rhul.ac.uk/Music/Golden-pages/Confer- May , Fordham University, Lincoln ences//--grb.html Forum on Music and Christian Scholar- Center Campus. ship Annual Meeting, – March , www.fordham.edu/musiccolloquium Yale Institute of Sacred Music, New Haven, News Briefs Feminist Theory & Music ,9 – June Conn.www.fmcs.us Cantus Planus Web site , Schulich School of Music, McGill Uni- The International Musicological Society 4es Rencontres Interartistiques de versity, Montreal. Study Group Cantus Planus, chaired by AMS l’Observatoire Musical Français, – www.music.mcgill.ca/ftm/contact.html member Barbara Haggh-Huglo, has a Web March , Université de Paris-Sorbonne. site (www.cantusplanus.org). The site, which www.omf.paris.sorbonne.fr/article.php?id_ Music and Evolutionary Thought, – was set up by Robert Klugseder at the Uni- article= June , Durham University. www.dur.ac.uk/music.evolution/ versity of Regensburg, has information about Music Theory Society of the Mid-Atlantic, the study group’s activities and links to other – March , Catholic University of American Musical Instrument Society, sites of value for research on chant. Members America: http://mto.societymusictheory. June— July , Yale University Collection can also post news for the benefit of other org/mto-events.html?id= of Musical Instruments, New Haven, Conn. members. www.amis.org/meetings/ / Jazz Perspectives On the relationship of imitation and text Music in Nineteenth-Century Britain, Routledge announces Jazz Perspectives, a treatment: The Motet around 1500, – July , University of Birmingham. peer-reviewed journal entirely devoted to jazz March— April , University of Wales, www.music.bham.ac.uk/mncb/ scholarship. As an international, cross-disci- Bangor. plinary platform for jazz studies, the journal www.rhul.ac.uk/Music/Golden-pages/Con- Music, cultural history and the Wesleys, will consider all articles reporting on origi- ferences//--itt.html – July , Centre for the History of nal research and analysis (musical, historical, Music in Britain, the Empire and the Com- Methods for Analysing Recordings, – cultural, or otherwise). The journal also wel- monwealth, Bristol. April , University of London. comes articles on topics in biography, oral his- www.bris.ac.uk/music/wesleyconference/ www.charm.rhul.ac.uk/content/events/ tory, discography, and primary source studies. Starting in January , Jazz Perspectives symp.html Fifth Biennial International Conference on will be published biannually with issues re- Music Since 1900, – July , University Music Theory Midwest, leased each April and October. For further – April , of York. information on submission guidelines, see the University of Kansas. music.york.ac.uk/news/_/article_ journal’s Web site: www.tandf.co.uk/journals/ www.wmich.edu/mus-theo/mtmw/ / .shtml titles/.asp. Lyrica Society for Word-Music Relations, Congress of the International Musicologi- Music and Politics at the American Comparative Literature As- cal Society, – July, University of Zurich. The editors of Music and Politics, a new peer- sociation, – April , Puebla, Mexico. www.musik.unizh.ch/ims/ http://dev.cdh.ucla.edu/acla/?p= reviewed electronic journal (www.music. ucsb.edu/projects/musicandpolitics/), invite IMS Study Group ‘Cantus Planus,’ – Society for Seventeenth-Century Music, July , with the IMS. submissions of any length that explore the – April , University of Notre Dame. interaction of music and politics. Areas of www.rhul.ac.uk/Music/Golden-pages/Con- Historic Brass Society Early Brass Festival, interest include the impact of politics on the ferences//--ssc.html “Paris: the factory of ideas—The influence of continued on page –– Papers Read at Chapter Meetings, 2005–06 Allegheny Chapter the Career of Julian ‘Cannonball’ Adderley” Schumann’s Critique of Expressive Subjectivity in the Kerner Liederreihe, op. ” 8 October 2005 Michael Boyd (University of Maryland, College Marshall University Park), “Merging the Classroom and Hallway: Roundtable discussion by Carolyn Abbate (Har- My Predilection for The Afghan Whigs’ ‘My vard University), Suzanne Cusick (New York Judy Taylor (Huntington, West Virginia), “‘Loe, Curse’” University), and Lydia Goehr (Columbia Uni- heere I end fare well’: John Baldwin’s Com- Richard Wexler (University of Maryland, Col- versity): “Music—Drastic or Gnostic?” monplace Book Revisited” lege Park), “Bruhier, Isaac, and Josquin: A Lost Robert Copeland (Geneva College), “The Apo- Mass Recovered” Midwest Chapter theosis of Musicology: from Victim to Master” Andrew H. Weaver (The Catholic University of Reed David (University of Kentucky), “Jazz In- America), “The Politics of Printing: Reflections 1–2 October 2005 fluences in Two Concertos of Aaron Copland” of War in a Motet Print from the Habsburg National-Louis University Theodore Albrecht (Kent State University), Court of Ferdinand III ( – )” Randy Goldberg (Indiana University), “David “Qui venit in nomine Domini: Ignaz Schup- Anna Harwell Celenza (Peabody Institute and Krakauer’s ‘Klezmer Madness!’: Ethnic Identity panzigh’s Return from Russia and the Benedic- Johns Hopkins University), “Kampf ums Das- in the ‘Downtown’ Scene” tus of Beethoven’s Missa solemnis” ein : The Impact of Popular Darwinism on Mu- Joshua S. Duchan (University of Michigan), William Grim (Columbus, Ohio), “The Dar- sic Aesthetics in fin-de-siècle Vienna” “Emulation, Originality, and the Aesthetics of winian Origins of Busoni’s Sketch of a New Es- Jennifer DeLapp (University of Maryland, Col- Collegiate A Cappella” thetic of Music” lege Park), “Music, Imagination, and Serialism Theodore Albrecht (Kent State University), Kathy Guffey (University of Pittsburgh), “Pitts- in the U.S. and Britain, – ” “Beethoven’s Portrait of the Theater an der burgh Music Societies –” 22 April 2006 Wien’s Orchestra in his Choral Fantasy, op. ” Vicki Stroeher (Marshall University), “Writing College of William and Mary Mark Mazullo (Macalester College), “On ‘For Peter’: An Examination of the Composi- the Ritenuto in Shostakovich’s Preludes and tion Draft of Benjamin Britten’s Seven Sonnets Jason Stell (Princeton University), “The Flat-th Fugues” of Michelangelo” Scale Degree and the Rhetoric of Beginning” Timothy M. Crain (Indiana State University), Alan Krueck (California, Pennsylvania), “Alfred Beth Bullard (George Mason University), “The “Uncovering Instrumentation Practices in the Stelzner: New Revelations about the Instru- Gralla—Barcelona’s Shawm with Nationalistic Eighteenth-Century Charleston Musical The- ment Designer as Composer” Overtones” ater” 8 April 2006 Christina Taylor Gibson (University of Mary- Hans Tischler (Indiana University), “A Report Kent State University land, College Park), “Ponce’s Music in New on a New Edition of the Earliest Two-part Music” York, –” Robert Simon (Baldwin-Wallace College), Michael Alan Anderson (University of Chicago), Elizabeth Yackley (University of Maryland, Col- “Nineteenth-Century Wind Bands in Cleve- “The Hymn Complexes of Bologna Q ” lege Park), “Mrs. MacDowell and Financing land” Peter Loewen (Eastern Illinois University), “Da- the MacDowell Colony: ‘Concertizing’ for a Brandi A. Neal (University of Pittsburgh), “Pref- vid of Augsburg and the Franciscan Voice of Purpose” erence or Reverence? Gombert’s Multi-voice Praise in Munich Clm ” Loren Ludwig (University of Virginia), “Did Motets and the Regina caeli Antiphon” Jennifer Ward (University of Wisconsin, Madi- Simeon Play the Viol?: Robert White, Music Timothy J. McGee (University of Toronto), son), “Double entendres in German Renais- for Voices and Viols, and a New Look at the sance secular polyphony” “The Sound of Early Chant” Music of the Chester Mystery Plays” Federico Garcia (University of Pittsburgh), “A Vasso Koutsobina (University of Cincinnati Fragment From the History of the Musical College-Conservatory of Music), “Intertextual- ‘Period’: Invention and Discovery, the Natural Greater New York Chapter ity in Josquin’s Five- and Six-Voice Chansons: and the Artificial” A Study in Poetic and Musical Relationships” 1 October 2005 Vicki Stroeher (Marshall University), “Britten Anya Holland (University of Cincinnati College- as Interpreter: Form and Meaning in his Seven Yale University Conservatory of Music), “Blurring Boundaries: Libby Larsen’s Opera Mrs. Dalloway” Sonnets of Michelangelo” Joint meeting with New Joseph E. Jones (University of Illinois, Urbana- Michael Strasser (Baldwin-Wallace College), England Chapter “Grieg, the Société Nationale, and the Origins Champaign), “The Woodbird’s Song in Act III of Debussy’s String Quartet” Matthew Peattie (Harvard University), of Götterdammerung: Recapitulatory Transfor- “Beneventan Music and Gregorian Modality: mations of the Wondrous” Theodore Albrecht (Kent State University), Evidence of Modal Change in the Melodic “‘Martern aller Arten’: Mozart’s Sinfonia Con- Mary Natvig (Bowling Green State University), Fund of the Old Beneventan Chant” certante Movement for Flute, Oboe, Violin, “Samuel ‘Golden Rule’ Jones and the Place of Violoncello, and One-eyed Soprano” Carolyn Guzski (New York, New York), “Pro- Music in Urban Reform” gressive-Era Rivalry for American Opera and Samuel N. Dorf (Northwestern University), Capital Chapter Opera in America” “‘Étrange n’est-ce pas?’ The Princesse Edmond 1 October 2005 Joel Haney (Yale University), “Hindemith’s de Polignac, Erik Satie’s Socrate, and a ‘Lesbian Aesthetic of Music’ ” George Washington University French Connection—An Alliance Made in Wartime” Michelle Davidson (University of Cincinnati), Ryan P. Jones (Sunderman Conservatory of Mu- Benjamin Binder (Princeton University), “In- “Michael Moore’s Republican Rhetoric: The sic), “Outlining a Jazz Pedagogy: Reconsidering troversion, Intimacy and the Strophic Song: Politics of Music in Fahrenheit 9/11” –– Eftychia Papanikolaou (Miami University of Marie Elizabeth Labonville (Illinois State Uni- Alex Dean (Eastman School of Music), “Scale Ohio), “Brahms, Böcklin, and the Gesang der versity), “Juan Bautista Plaza, Venezuelan Mu- per Musica and Incipient Functional Harmony Parzen” sicological Pioneer” in Seventeenth-century Italian Guitar Sources” Bethany Jo Smith (Cincinnati, Ohio), “Unlearn: Alexis Luko (McGill University), “Tinctoris on Musical Representations of Gender, Sexuality, Varietas” and Rape in John Singleton’s Higher Learning” New England Chapter Jamie Younkin (University of Toronto), “The 8–9 April 2006 1 October 2005, Yale University: ‘Romanization’ of Ambrosian Song and the Butler University Joint with Greater New York Significance of Notational Style in Thirteenth- Chapter (see above) century Milan: Twin Offices for St. Ursula in David Carson Berry, “Early Schenker Reception Milan’s Metropolitan Codex II.F..” through English-Language Writings Prior to 28 January 2006 Tekla Babyak (Cornell University), “Music is a the Mid- s” Tufts University Woman: Gender in Nietzsche’s Musical Aes- Jennifer Hambrick (Columbus, Ohio), “Cyclic Stephen Fisher (The Packard Humanities Insti- thetics” Integration in the Classical String Quartet: tute), “C.P.E. Bach’s Sonatinas for Keyboard(s) Lydia Hamessley (Hamilton College), “Ban- Haydn’s op. no. Reconsidered” and Orchestra” jos and Bicycles: The New Woman as Viewed Carey Campbell (University of Minnesota), Joseph E. Morgan (Brandeis University), “We- Through the Stereograph” “The Soloist’s Role During Tutti Sections of ber, Nationalism, and the Kampf und Sieg Can- Anita Hardeman (University of Western On- Mozart’s Concerti for Violin and Woodwinds: tata ()” tario), “‘Les plus puissants des Dieux se declarent a Reevaluation” Nathan Martin (McGill University), “The pour vous’: Allegory and the Spanish Succession Sara B. Adams (Madisonville Community Col- Tristan Chord Resolved” in Hésione ()”
lege), “Berg Before Berg: Romanticism in the Marie-Nöelle Lavoie (Université de Montréal), Jugendlieder (-)” Shuann Chai (Brandeis University), “A New Perspective on the Lied der Lulu” “Régionalisme, emprunts et identité: Judaïcité Julia Randel (Hope College), “Voice and Illu- dans les œuvres de Milhaud durant l’entre- Panel discussion by Claire Fontijn (Wellesley sion: Strauss, Falla, and the Quixotic Search for deux-guerres” Musical Language” College), Lewis Lockwood (Harvard Univer- sity), Jan Swafford (Tufts University), Judith Christopher Moore (McGill University), “From Jerry M. Cain (University of Iowa), “‘Ursprung Tick (Northeastern University), and Michael ‘Lifestyle Modernism’ to ‘Populist Modernism’: ist das Ziel’: Anton Webern’s Reception of Karl Ullman (Tufts University); Jane Bernstein The Musical Evolution of the ‘Everyday’ in In- Kraus” (Tufts University), moderator: “Music Biography” terwar France” Lisa Hooper (Indiana University), “Expressions 22 April 2006 Marie Sumner-Lott (Eastman School of Mu- of power and meaning in Jacob et Rachel by Jac- sic), “Must Louise Farrenc’s Chamber Music quet de la Guerre” University of Massachusetts, Amherst Be French?: The Piano Quintets opp. and Nicole Ottjes (University of Minnesota, Twin Amy Herrboldt (University of Missouri, Kan- (-)” Cities), “Music (Un)maketh the (Wo)man: sas City Conservatory of Music), “Where’s the David Rosen (Cornell University), “The Sounds Anne Boleyn’s Musical Reputation from the Money? Antoine Brumel and the Economics of of Music and War: Humphrey Jennings’s and Scepter to the Scaffold” Humanism” Stewart McAllister’s film Listen to Britain Andrew R. Martin (University of Minnesota), Richard Giarusso (Harvard University), “Sonor- ()” “Marching to the Beat of a Different Drum- ity and Subjectivity: The Lyric in the Adagio of Ralph Locke (Eastman School of Music), “Op- mer: An Ethnographic History of Timpanists Bruckner’s Seventh Symphony” era and Exoticism” in Early Modern England, –” Joshua Rifkin (Boston University), “Bach’s Sin-yan Hedy Law (University of Chicago), Struggle … and Mine” “‘Tout, dans ses charmes, est dangereux’: Physical Drew Massey (Harvard University), “The Parlor Northern California Chapter and Musical Gestures in French Pantomime, Songs of Uncle Tom’s Cabin” 6–7 May 2006 -” John L. Clark Jr. (Connecticut College), “Archie University of California, Berkeley Kevin Burke (University of Cincinnati), “Con- Bleyer and the Art of Arrangement” Joint with Pacific Southwest Chapter ceiving a National Opera: Weber as Novelist Andrew Shenton (Boston University), “Obser- and Critic” Sarah Williams (Women’s History Museum and vations of Time in Olivier Messiaen’s Traite” Francesco Dalla Vecchia (University of Iowa), Educational Center), “Representing Witches Ayden Adler (Eastman School of Music), “Viezzer’s Passio: an Example of Self-produced in the Seventeenth Century: English Popular “‘Stooping to Jazz’: The Repertory of the Bos- Oratorio in Late Twentieth-century Italy” Music and Broadside Ballads” ton Pops Orchestra and Perceptions of Race in Elisabeth Kotzakidou Pace (Washington Uni- James D. Leach (Boston University), “‘Into my the Classical Concert Hall, –” Blood’: Louis Armstrong the Singer” versity), “Ut Dialectica Musica: Artificial and Natural Category Structures in Musical Trea- Katherine Spring (University of Wisconsin, tises of the German Renaissance” Madison), “The Evolution of Hollywood’s Ear- New York State— liest Soundtracks” John Lutterman (University of California, Da- St. Lawrence Chapter vis), “Works in Progress: The Scheibe-Birn- Albrecht Gaub (A-R Editions), “Walter baum Controversy and Bach’s Notational Prac- Kaufmann and the Winnipeg Ballet: A Fruitful 8–9 April 2006 tice” Collaboration Quickly Forgotten” Syracuse University Michael H. Arshagouni (Los Angeles Valley Col- Luis Fernando Lopes (Indiana University), Phillip Gareau (Rochester, New York), “Time lege), “Mozart, Donna Elvira and the ‘Modern “‘Even Uncle Sam Has His Little Heart and set Free: The Music of Morton Feldman” Woman’” Can Produce Good Artists’: An Unsung Amer- Kirsten Yri (Wilfred Laurier University), “Noah Catherine Cooper (University of Southern Cali- ican Opera Pioneer” Greenberg and the New York Pro Musica: Me- fornia), “The Sound of the Seven Seas: Genre, dievalism and the Cultural Front” –– Spectatorship, and the Music of Captain kovsky’s ‘Pathétique’ and ‘Masculine Love’ in Deborah Kauffman (University of Northern Blood” E. M. Forster’s Maurice” Colorado), “Lauda filia Sion: Investiture Cer- Sarah Eyerly (University of California, Davis), Jennifer Paulson (University of British Colum- emonies during the Ancien régime” “‘Singing from the Heart’: Memorization and bia), “Eclecticism ad absurdum: Chabrier’s Le Hidemi Matsushita (Arapahoe Community Improvisation in an Eighteenth-Century Uto- roi malgré lui and the Aesthetic of Contradic- College), “Twenty-one Years Later: Paradis’s pian Community” tion” Sicilienne—Is It Still Spurious or Authen- Lisa Musca (University of California, Los Ange- Sharon Krebs (University of Victoria), “Eisler’s tic?” les), “‘All Disorder and Wild Confusion’: The Genauigkeit: Justification for Brecht’s Praise” Bruce Quaglia (University of Utah), “Schoen- Chopin Preludes and the Dialectic of Tonality” Nicholas Lockey (University of Victoria), berg’s ‘Idea’ in op. Herzgewachse” Jonathan G. Secora Pearl (University of Cali- “Schubert’s Fifth Symphony: A Milestone in Stan Kleppinger (Butler University), “Cop- fornia, Santa Barbara), “Not Awaiting Dolly: the Evolution of Schubert’s Symphonic Open- land’s Fifths” Louis Armstrong’s speaking style” ings” Richard Hermann (University of New Mex- Marie-Raymonde Lejeune Loeffler (Sunnyvale, Harald Krebs (University of Victoria), “Jose- ico), “Becoming Berio: Evidence From his California), “Aesthetic Aspects of Words and phine Lang’s Scheffel Settings: A Reassessment First Three String Quartets” Music Relationships in Toshio Hosokawa’s Re- of her Late Songs” Stuart Deaver (University of Kansas), “Musical quiems” Kenneth DeLong (University of Calgary), “Sul- Equivalency of Alphabetical Order in Torke’s Ilias Chrissochoidis (Stanford University), “A livan and the ‘Litemotif’: Reflections on the Telephone Book” ‘New-Fashioned Martyr’: Handel, Lady Brown, Incidental Music to Macbeth” and Baby-Boomer Musicology” Harrison Powley (Brigham Young University), William Cheng (Stanford University), “Aesthet- “Die Zauberflöte: Mozart’s Magical Musical ics of Evil in Liszt’s Music: Perverting the Tra- Pacific Southwest Chapter Instruments” jectory of Redemption in ‘Mephisto Waltz No. 4 March 2006 Sarah Kleinsteiber (University of Denver), ,’ S, from Zwei Episoden aus Lenaus Faust” California State University, Long Beach “Antonio the Alcoholic? Musical Depictions of Intoxication in Mozart’s Operas” William F. Prizer (University of California, San- Cathryn Clayton (University of Arizona), “The Pacific Northwest Chapter ta Barbara), “Courtesans and Cardinals: Secu- Composer John Parry and His Collection of lar Music in Rome Around ” 31 March–2 April 2006 Welsh, English, and Scotch Airs” Marcie Ray (University of California, Los An- University of Lethbridge Amy Holbrook (Arizona State University), geles), “The Problem of Aesthetics: Musical “Off-Tonic Returns in the Music of Mozart” Evan Cortens (University of Calgary), “Theo- Comedy and Polite Discourse” Mustafa Bor (University of British Columbia), logical Allegory in the Cantatas of J. S. Bach” Denise M. Odello (University of California, Emily Grieve (University of Lethbridge), “The Santa Barbara), “Musical Sportsmanship: Brass “Sonata Rhetoric and Transformational Pro- Dona nobis of J. S. Bach’s B-Minor Mass: Dis- Band Contests of the Late Nineteenth- and cesses in the First Movement of Rochberg’s cussion of the Added Significance of Musical Early Twentieth-Century Britain” String Quartet No. ” Parody” Enrique C. Cainglet (Los Angeles, California), Richard von Foerster (University of Denver), Barbara Reul (Martin Luther College, Univer- “Spain’s Cante Jondo music in the Philip- “DSCH as the Composer’s Voice: Shostakov- sity of Regina), “Business as Usual? Musical pines” ich’s String Quartet No. ” Performances at the German Court of Anhalt- Russ Knight (University of California, Santa Clare Sher Ling Eng (Yale University), “Three Zerbst after ” Barbara), “Genre, Law, Violence” Cadences and a Linear Diatonic Trichord: A Anthony Radford (University of Lethbridge), Kathryn Pisaro, (California Institute of the Story of Ravel’s Pavane pour une infante dé- “Mozart’s First Figaro: A Vocal Profile of Fran- Arts), “Transcendental Logic: Deleuzian con- funte” cesco Benucci” cepts of rhizome and memory in Ives’s Con- J. Richard Haefer (Arizona State University), Bertil van Boer (Western Washington Universi- cord Sonata” “O’odham Song Language: Song Texts and ty), “Comedy, Ambition, and Blasphemy: The 6–7 May 2006 Ritual Spoken Texts” Rise of the Swedish Comic Theatre under Carl University of California, Berkeley Hendrik van der Werf (Tucson, Arizona), “The Stenborg” Origin of the Thirteenth-Century Motet: A Kat Hammer (Independent Scholar), “Compos- Joint with Northern California Second Look at Traditional Theories” ers in Alberta from –” Chapter (see above) Joelle Welling (University of Calgary), “Irony Christina Gier (University of Alberta), “Ameri- and the ‘Composer’s Voice’ in Wolf’s Mignon can Masculinity and the Fighting Soldier’s Rocky Mountain Chapter II” Song in World War I” Carla Colletti (University of Iowa), “Behind Sophie Bouffard (University of Regina), “Music 31 March–1 April 2006 and Beyond: Threads of Meaning in Poulenc’s for a Cold Land: Translating the Qualities of University of Denver Tel jour telle nuit” Snow into Canadian Compositions for Choir” Kristen LaRue (Arizona State University), Hee Seung Lee (University of Denver), Jamie Lynn Webster (University of Oregon), “Stond wel, moder, under roode: A New Per- “Beethoven’s Folksong Settings and the Bil- “Politics of Passion and Purity: Cultural Ide- spective on Marian Worship and the Femi- dungsmusik Tradition” alism and the Choreography of Crypt Scenes nine” from Prokofiev’s Romeo and Juliet” John Brackett (University of Utah), “Magick John T. Brobeck (University of Arizona), “A and Mysticism in John Zorn’s Recent Music” Thérèse Hurley (University of Oregon), “The Missing Portrait and Mathieu Gascongne’s Key to a Magical World: Tchaikovsky’s Use of Janet Sturman (University of Arizona), “Or- Canonic Motet Ista est speciosa: New Evidence the Harp in his Ballets” chestra as Cultural Embassy: An Integrative for a Reinterpretation of the Origins of MS Central American Response to Globalism” Michelle Fillion (University of Victoria), “Tchai- Pepys ” –– Luke Howard (Brigham Young University), Fois ‘Mille Regretz’: A Darkling Constellation Patricia Moss (Louisiana State University), “The Bolero Cliché: A Reinterpretation” of Works for Charles V” “Volkish Thought: The Ideology of Musicol- Jared Hartt (Washington University), “Rehear- Jane Riegel Ferencz (University of Wisconsin, ogy in the Nazi Regime” ing Machaut’s Motets: Taking the Next Step Whitewater), From ‘Failed Experiment’ to Kevin Moll (East Carolina University), “Prole- in Understanding Sonority” ‘Something New’: Context and Chronology gomena to any Future ‘Great Books of Music’” Katherine Schroeder (University of California of Beethoven’s Triple Concerto, op. at Santa Barbara), “Half Revealed and Half Laura Pita (University of Kentucky), “Teresa Concealed: Contrapuntal Structure in the Carreño’s Championing of Edward MacDow- Southern Chapter Music of Heinrich Schütz” ell’s Piano Music” 3–4 February 2006 Ted Solis (Arizona State University), “Javanese University of Central Florida and Balinese Gamelans: Relative Popularity and Mutual Perceptions” Southeast Chapter David Z. Kushner (University of Florida), “Reflections on the State Songs of Florida” Jessica Gneiting (Albertson College of Idaho), 7–8 October 2005 “The Music and Aesthetic Theory of Friedrich Converse College Timothy Bengford (Florida State University), Nietzsche” “Political Dimensions in the Songs of Charles Candace Bailey (North Carolina Central Uni- E. Ives” Jill Rogers (University of Denver), “Reception versity), “Becoming Useful: Confederate Charles S. Freeman (Palm Beach Atlantic Col- to Reminiscence: The Transition to the Valved Women’s Music” Horn in the Works of Wagner and Strauss” lege), “‘L’Affaire Kunwald’ and American Siegwart Reichwald (Converse College), “The Composers at the Cincinnati Symphony Or- John K. Galm (University of Colorado), Cantor’s Last Lesson: ‘Color Outside the chestra” “Dancing with American Sufis” Lines!’ Fanny Hensel’s Piano Trio, op. , and Aaron Keebaugh (University of Florida), “‘A Aaron Einbond (University of California, Felix Mendelssohn’s String Quartet, op. ” Window to the Past’: Revisiting Aaron Cop- Berkeley), “Timbre as a Psychoacoustic Pa- Keynote Speaker: Marcia Citron (Rice Univer- land’s Hear Ye! Hear Ye!” rameter for Harmonic Analysis” sity), “A Bicentennial Reflection: Twenty-five David R. Fisher (Florida State University), “‘To Russell Knight (University of California, San- Years With Fanny Hensel” Here Knows When’: An Excursion into the ta Barbara), “Introduction to Operand Set Irina Iliescu (University of North Carolina, Lush Soundscape of My Bloody Valentine” Analysis” Chapel Hill), “The Decameron Ballatas and Scott Warfield (University of Central Florida), Paul Lombardi (University of New Mexico), Authorial Imagination” “The ‘Rock Musical’: Some Observations on “A Four-Dimensional Cube in Boulez’s Seth Coluzzi (University of North Carolina, Terminology” ‘Structures a’” Chapel Hill), “The Black Sheep: Finding a John D. Spilker (Florida State University), Normative Structural Model for the Phrygian “The Context and Traditions of David’s Lam- Mode” South-Central Chapter entations from the Middle Ages to the Late Tim Carter (University of North Carolina, Renaissance” 24–25 March Chapel Hill): “The First Edition of Montever- Charles Mueller (Florida State University), University of Memphis di’s Orfeo: A Bibliographical Conundrum” “Galant Aesthetics in Late Seventeenth- and Francesco Izzo (East Carolina University), “Fi- Jeremiah Davenport (University of Tennessee), Early Eighteenth-Century French Guitar garo after Rossini: The Case of Luigi Ricci’sLe “Unsung Predicaments: The Failure of Cas- Repertoire” nozze di Figaro” trati in the Eighteenth Century” John Latartara (University of Mississippi), Kenneth D. Disney (University of Tennessee), 18 February 2006 “Cage and Time: Temporality in Early and “Redefining Exotic Standards: Aspects of Ori- Davidson College Late Works” entalism in Bizet’s Les Pêcheurs de Perles” Kathleen Sewright (Winter Springs, Florida), Larry Bomback (City University of New York), Kimberly Francis (University of North Caro- “An Introduction to the British Library MS “The New York Faust Obsession of ” lina, Chapel Hill), “Nadia Boulanger and Lansdowne ” Hébé: The Composition of the Feminine” Terry L. Dean (University of Georgia), “Proko- Stephen Thursby (Florida State University), fyev’s War and Peace and Tchaikovsky’s Eugene Annegret Fauser (University of North Caro- “‘Bewailing His Loss’: Music and Mourning Onegin: A Case of Intentional Style Intersec- lina, Chapel Hill), “‘Mon cher Copland’: within the Lawes Circle” Reading the Correspondence Between Nadia tions” Charles E. Brewer (Florida State University), Boulanger and Aaron Copland” Jeremy Tubbs (University of Memphis), “Things “Harmonia Romano: Moravian Evidence for Behind the Sun: The Use of Nick Drake’s Mu- Michael Broyles (Pennsylvania State Univer- the Italian Concerto Grosso in the s” sity), “Revisiting and Reassessing American sic in Recent Films” Matthew McAllister (Valencia Community Musical Modernism” Paul Miller (University of Georgia), “‘Bugs College, Orlando), “The Model Student: A Bunny Rides Again’: A Closer Look at Carl Clyde Brockett (Christopher Newport Univer- Study of Thomas Erskine’s Modeling of Sym- Descensus Stalling’s ‘Score’” sity), “The into Hell: Two Proces- phonies by Johann Stamitz” sional Antiphons” Stan Link (Vanderbilt University), “The Mon- Marian Wilson Kimber (University of Iowa), ster and the Music Box: Endangered Children Marie-Louise Catsalis (North Carolina Central “Fanny Hensel Meets the Boys in the Band: in the Film Score” University), “Preluding by Example: Alessan- the Brass Arrangements of Gartenlieder, op. dro Scarlatti’s Varie introduttioni” Mary E. Wolinski (Western Kentucky Univer- ” Ethan Lechner (University of North Carolina, sity), “Music-Making at the Court of Flanders Douglass Seaton (Florida State University), Chapel Hill): “‘The Absolute Music of Bali’: in the Thirteenth Century” “‘Voice’ and the Virtuoso/a in Romantic In- Gamelan, Modernism, and Colin McPhee” Stephen M. Morris (Decatur, Georgia), “Trois strumental Opera Variations”
–– Joanna Carter Hunt (Florida State University), News Briefs of fifteen scholars meets for three -hour ses- “‘All Who Like Me Are So Mad to Believe’: sions. Prior preparation and active participa- Explorations of Gender, Madness, and Per- continued from page tion are essential. You may direct all inquiries sona in a Restoration Masque” to Wayne Alpern, director of the Mannes In- lives of musicians, music as a form of political stitute, at [email protected]. Margaret Butler (University of Alabama), discourse, and the influences of ideology on “Traetta, Gluck, and the Operatic Chorus in musical historiography. The editors also wel- Operatic States Parma, – ” come suggestions and/or submissions of ar- “Operatic States: Imagining Community in Andreas Giger (Louisiana State University), ticles on music and politics that have already Music-drama,” a DAAD summer seminar, “Staging and Form in Giuseppe Verdi’s Otello” been published in another language and that will be held June– July at Cornell would benefit from dissemination in English University. The program is open to recent re- translation. Because Music and Politics is an cipients of the Ph.D. and faculty members of Southwest Chapter on-line journal, authors are welcome to take accredited U.S. and Canadian institutions of 8 October 2005 advantage of the media capabilities of the web higher education. Baylor University (sound files, hyperlinks, color images, and “Operatic States” will explore how states and video). The first issue ofMusic and Politics ap- communities are represented across more Robert Nosow (University of North Texas), peared in January . “Ockeghem’s Musical Eclipse” than two centuries of European music the- Music and Society in East Europe ater, from the eighteenth century to the end Sheryl Murphy-Manley (Sam Houston State of World War II. The seminar is intended to University), “Gian Francesco de Majo (– The first issue of a new peer-reviewed jour- be interdisciplinary, engaging systems of text, ) and His Forgotten belissima Musica” nal, Music and Society in East Europe, has been recently released by its publisher Charles music, staging, and reception, and inviting Drew Stephen (University of Texas, San Anto- Schlacks with Jelena Milojkovic-Djuric as the participation from scholars in fields ranging nio), “The Hunting Motif in the Fontaineb- Music and Society from German studies, music, and theater to leau Scene of Verdi’s Don Carlos” founding editor. is a bi- lingual journal, with articles in English and history and political science. Stuart Cheney (Southern Methodist Univer- German, and is published annually. Inquires The application deadline is March . sity), “From the Grandiose to the Intimate: should be mailed to Charles Schlacks, Pub- Twelve $, grants are available. For more Transcriptions of Lully for Unaccompanied lisher, P.O. Box , Idyllwild, CA - Viol” information, see: www.daad.org/?p= . . Margaret Notley (University of North Texas), Yale Summer Program Abroad “Music as First and Second Nature: The Vi- Boccherini Edition “Four Preeminent Austrian Composers, – erteljahrschrift für Musikwissenschaft and The Complete Works of Luigi Boccherini has ,” the Yale Summer Program Abroad, will Brahms’s ‘Octaves and Fifths’” been designated the Italian National Edition. be taught by Allen Forte July – August Lewis Pilot (University of Colorado, Boulder) Under the direction of Christian Speck, the in Vienna, Austria. An introduction “Charles Ives and Music as Representation: project is promoted by the Centro Studi Op- to the music of Mahler, Schoenberg, Berg, An Exploration of Themes in Essays Before a era omnia Luigi Boccherini-Onlus of Lucca, and Webern, the course is open to students Sonata” the Stichting-Fondazione P. A. Locatelli of years of age or older. Students are respon- Greg Straughn (Abilene Christian University), Amsterdam/Lucca and Ut Orpheus Edizioni sible for all travel expenses to and from Vi- “Per Beethovenium Ad Astra: Sci-Fi Themes in of Bologna. Boccherini’s Opera Omnia is enna, costs of room and board, and all other a World After Beethoven” projected to extend to thirty-two volumes of expenses beyond tuition. The deadline for music. Performance editions will also be pro- applications is April . Information is 25 March 2006 duced, each including score and parts, and available through the Yale Summer Program Texas A&M University piano reductions of concertos for solo instru- Web page, www.yale.edu/summer/. ment and orchestra. For further details, see American Wind Band Series Laurel Zeiss (Baylor University), “The Final www.luigiboccherini.org. Scene of Mozart’s Die Entführung aus dem Se- The American Wind Band Series, a new se- rail: Egalitarian? Absolutist? Or Pragmatic?” Schoenberg and his Legacy ries from the Scarecrow Press, is devoted to Jane Dahlenburg (University of Central Arkan- The Mannes Institute has announced its sev- research in all aspects of the American wind sas), “Allegoric Narrative in Severo Bonini’s enth annual Institute, to be held – June band and wind music, including waits (stadt- Affetti Spirituali” at Mannes College of Music in New pfeifer), hautboys, Harmoniemusik, Janis- Seth Nelson (University of Michigan), “The York City on the topic “Arnold Schoenberg sary music, brass, concert, marching, circus, Pipe Organ Controversy Among the Puritans and his Legacy.” Program details and applica- military, and symphonic bands, symphonic of New England in the Eighteenth Century” tions are available at the Web site, at www. wind ensembles, wind orchestras, and wind Alexander Silbiger (Duke University), Keynote mannes.edu/mi. Qualified musicologists and symphonies. Raoul Camus will serve as series address: “Frescobaldi’s Two Books of Toccatas: theorists are urged to apply, especially those editor. Proposal submissions, including re- Monuments of Art or Student Exercises” who have never attended before. The Mannes vised dissertations, are welcome for any top- Institute also continues its annual Musical Es- Mary Heiden (University of North Texas), ics related to this area of study. Submission say Award honoring an outstanding creative “Musical-Rhetorical Language and Girolamo guidelines can be found on the Scarecrow essay on the topic of the institute. Applica- Frescobaldi’s Toccata I ()” Press Web site (www.scarecrowpress.com); tions are accepted via the Web site through inquiries should be addressed to Raoul F. Ca- Lenora McCroskey (University of North March . mus ([email protected], - Street, Texas), “The Alternatim Tradition in France: Whitestone, NY ) or to Renée Camus, What Did the Singers Sing?” The forty-five fellows of the institute attend all plenary sessions and enroll in one morning ([email protected]), music editor and one afternoon workshop. Each workshop at the Scarecrow Press, Inc. –– 50 years ago: 1956–57 American Musicological Society, Inc. • In the Spring issue of JAMS: Statement of Activities for the Fiscal Year Ending - Jan LaRue’s article “A System of Symbols June 30, 2006 for Formal Analysis” was published. - Helen Hewitt presented a supplemental Current Fellowships & report of doctoral dissertations: sixty com- Revenue operations Publications Awards TOTALS pleted dissertations were included, from Dues & subscriptions $ 326,747 $ 326,747 twenty institutions (including ten from Annual meeting $ 140,167 $ 140,167 Indiana University). Notable authors Sales/Royalties $ 36,746 $ 12,242 $ 48,988 were Bruce Benward, Carol MacClintock, Government grants $ 48,333 $ 48,333 Kenneth Levy, W. Thomas Marrocco, Al- Contributions $ 430 $ 275,489 $ 275,919 fred Mann, Reinhard G. Pauly, Alexander Investment income $ 1,120 $ 32,378 $ 79,500 $ 112,998 Ringer, and Ethel Thurston. Unrealized gain in investment $ 41,018 $ 41,018 - Among “Books received” was the first edi- tion of Joseph Machlis’s The Enjoyment of Total revenue $ 504,780 $ 93,383 $ 396,007 $ 994,170 Music (W. W. Norton, ). - The UC Berkeley library announced the Expenses acquisition of Manfred Bukofzer’s music Salaries & benefits $ 115,140 $ 115,140 library. Fellowships & awards $ 14,687 $ 39,820 $ 80,000 $ 134,507 • The Annual Meeting of the AMS Dues & subscriptions $ 2,607 $ 2,607 in Urbana, December , was omitted Publications $ 93,151 $ 93,151 from JAMS . TheJ ournal was a year behind Professional fees $ 79,729 $ 67,798 $ 147,527 schedule. At the December meeting Annual meeting $ 94,320 $ 20,157 $ 114,477 of the Board of Directors in Urbana, Edi- Chapters $ 5,434 $ 5,434 tor-in-Chief Charles Warren Fox reported Office expense $ 49,310 $ 3,539 $ 52,849 that “preparation of the three numbers of Unrealized loss in investment $ 690 $ 690 Vol. IX [ ] of the Journal was progress- Total expenses $ 454,378 $ 111,847 $ 100,157 $ 666,382 ing satisfactorily. He requested that the task of editing Vol. X No. be assigned to some other person, as a means of bring- Change in Net Assets $ 50,401 $ (18,464) 295,850 $ 327,788 ing the Journal up-to-date. Mr. [Gustave] Reese volunteered to undertake this work.” At the March board meeting, “the Editor [Fox] reported progress on Volumes Statement of Financial Position IX Nos. and and X No. .” June 30, 2006 • The Society’s edition of the Ockeghem Masses Book I (ed. Dragan Plamenac) was Current Fellowships & in preparation. Publications Committee Assets Operations Publications Awards TOTALS chair Gustave Reese reported in March Cash $ 35,015 $ 35,015 that the MS would be ready in May . Accounts receivable $ 2,508 $ 2,508 Investments $ 11,673 $ 750,063 $ 2,039,088 $ 2,800,824 25 years ago: 1981–82 Equipment $ 18,477 Funds held in trust $ 13,863 $ 8,374 $ 22,237 • Howard Mayer Brown’s article “Emulation, Competition, and Homage: Imitation and Total assets $ 63,059 $ 768,540 $ 2,047,462 $ 2,879,061 Theories of Imitation in the Renaissance” was published (JAMS Spring ). Liabilities • Secretary Frank Trafficante reported on the Accounts payable $ 140 $ 140 election procedure: of , members Accrued expenses $ (3,288) $ (3,288) voted, down from a high of in . Payroll taxes payable $ (1,006) $ (1,006) “I would be happy to hear from anyone Deferred Income $ 16,160 $ 16,160 having suggestions for improving the level Funds held in trust $ 15,755 $ 8,374 $ 24,129 of participation. Perhaps some members Total Liabilities $ 27,761 $ 8,374 $ 36,135 feel that their votes really do not matter. If there are two such persons reading these Net assets $ 35,298 $ 768,540 $ 2,039,088 $ 2,842,926 words who failed to vote, they should
know that they could have altered the out- Total Liabilities & Net assets $ 63,059 $ 768,540 $ 2,047,462 $ 2,879,061 come of [the ] election.” • The International Association for the Study Total Liabilities & Net Assets, June 30, 2005: $ 2,545,446 of Popular Music was founded. • The first volume of the Society’s edition of the complete works of William Billings was published (Fall ).
–– Obituaries for the New York Pro Musica. Even closer to Irving’s heart were the theater works of Gil- bert & Sullivan, having taken his first G&S The Society regrets to inform its members of the deaths of the following members and other role at summer camp at age . In he individuals who have contributed to the discipline of musicology: was part of a company assembled to present Howard S. Shanet Alfred Mann several G&S operettas on the then-fledgling June September NBC television network, playing Porter in HMS Pinafore, Koko in The Mikado, and Dika Newlin Sheldon Meyer other roles. July October His scholarly work was first concentrated W. T. Atcherson Ursula Günther in the Renaissance, but his musical and re- August November search interests were broad and resulted in Ira F. Brilliant Irving Godt publications and scholarly papers on a variety September December of historical, theoretical, and performance topics in every period. In the late s, Ir- Alfred Mann (1917–2006) and Schubert Collected Works Editions en- ving found himself almost by accident inter- hanced his reputation as an authority on the ested in the works of Marianna von Martines (–). A quest for her manuscripts led Alfred Mann died in Fort Wayne, Indiana, teaching of composition and the relation be- him beyond his beloved Italy to Germany, on September , in his ninetieth year. tween scholarship and performance. In Austria, Slovakia, and Russia, in search of Born in Hamburg, Germany, on April , he was made an honorary member of the new works and documents pertaining to her , he studied briefly at the Hochschule für International Bach Society—only the third American to be so honored. life. By the time of his death he had collected Musik Berlin, but was forced to leave Germa- copies of some sixty-five works by Martines, Mann was also a choral conductor of ny when the racial policies of that country in as well as a multitude of heretofore unknown considerable renown. In he succeeded the s made life more and more difficult documents. Many AMS members will recall Arthur Mendel as conductor of the Cantata for citizens with a Jewish ancestry. After set- his presentation of Martines’ “Dixit Domi- Singers in New York, and from to tling for two years in Milan, he came to the nus” at the annual meeting in Pitts- he directed the Bach Choir of Bethlehem, United States where he studied and taught burgh (published in by A-R Editions). Pennsylvania. His recordings of Handel’s at the Curtis Institute (–) and earned For more than three decades Irving was a Chandos Anthems for Vanguard Classics in a Ph.D. in musicology with Paul Henry fixture of the Allegheny Chapter, presenting Lang at Columbia (). In he joined the s were acclaimed by critics and reis- a paper at virtually every meeting. A major the faculty of Rutgers University, where he sued on CD in . He conducted widely driving force for the chapter, he served as taught for more than thirty years. In a in North America and Germany. In he program chair, president, representative to new and fruitful chapter in his life opened became the director of the publications of Council, and local-arrangements chair. At up for him at the University of Rochester’s the American Choral Foundation, editing age he was again elected program chair, Eastman School of Music, where he taught American Choral Review from to . an office that he regretfully relinquished only through the musicology department and —Jürgen Thym at the onset of his final illness. also contributed generously, in word and —Timothy McGee, with Judy Taylor, Vicki deed, to the school’s choral program. He left Irving Godt (1923–2006) Stroeher, Alan Krueck, and Theodore Albrecht Rochester in but stayed in touch with Irving Godt died December in In- friends by mail (always handwritten) or, as diana, Pennsylvania. He had retired in Ursula Günther (1927–2006) long as his hearing permitted it, by phone, from the Music Department of Indiana Ursula Günther died November in and some of us visited him in his abode in University of Pennsylvania, where he had Ahrensburg, near Hamburg, Germany. Born the Midwest. He remained active as a writer taught music history since . His stud- in , she studied piano at the Hamburg on matters musical until the very end. (His ies in chemical engineering at City College, Schule für Musik und Theater, and musicol- “opus ultimum,” as he called it, was the Eng- New York, were interrupted in by three ogy under Heinrich Husmann at Hamburg lish version of Hans-Joachim Schulze’s little years of service in the U.S. Army. When he University, receiving the doctorate in book on Bach’s Coffee Cantata.) returned he switched to music, receiving a with a dissertation on stylistic developments Mann was widely respected for his re- B.A. degree from Brooklyn College (), in late fourteenth-century French song. Un- search and writing on the history of music an M.A. and Ph.D. from NYU (, ), able as a woman in postwar Germany to ob- theory. His translations into German ( ) where he studied with Martin Bernstein, Jan tain support for the habilitation, she contin- and English ( ) of Fux’s Gradus ad Par- LaRue, and Gustave Reese. Along the way ued as an independent scholar, first with re- nassum became staples in the curriculum he studied voice, composition, and choral search grants from the German government, of numerous music schools. Books such conducting, and continued an active inter- then at the CNRS in Paris. as The Study of Fugue (), Theory and est in vocal performance throughout his life, In a series of ground-breaking articles, Practice: The Great Composers as Teachers serving as conductor of the Pittsburgh Mad- she set forth the conceptual foundations of and Students (), and Bach and Handel: rigal Singers from to . In the s late fourteenth-century French notation, Choral Performance Practice () as well as and ’s he studied conducting with Noah contributions to the Fux, Handel, Mozart Greenberg and sang in a workshop ensemble continued on page –– Ursula Günther Meetings of AMS and Related Membership Dues continued from page Societies Calendar year 2007 established a stylistic chronology for the mu- Regular member $ sic of Machaut, explored the careers of late 2007: Salary less than $, $ medieval musicians, and was one of the first AMS: – Nov., Quebec City, Canada Student member $ to uncover chains of citation in the works of CMS: – Nov., Salt Lake City Emeritus member $ Machaut and his followers. Her edition of SAM: – March, , Pittsburgh, Pa. Joint member $ the Chantilly and Modena motets (CMM Sustaining Member $ , ) clarified their numerical struc- SEM: Columbus, Ohio Life Member $, ture and provided extensive documentation SMT: – Nov., Baltimore, Md. on the allegorical texts. In her Musik- Overseas, please add $ for air mail forschung article “Das Ende der Ars nova,” 2008: delivery. she coined the term Ars subtilior for the com- SAM: San Antonio, Texas plex textual, rhythmic, and polyphonic style AMS/SMT: – Nov., Nashville, Tenn. Next Board Meetings that arose in France and northern Italy in the SEM: Middletown, Conn. The next meeting of the Board of Directors late fourteenth century; although subject to will take place on – March in Que- revision, the concept is still widely accepted. 2009: bec City; the Fall meeting will take place On the basis of these publications, she re- AMS: – Nov., Philadelphia, Pa. October– November in Quebec City. ceived the habilitation at Göttingen Univer- sity in and was appointed professor a Moving? year later. She was a visiting professor at New Interested in AMS Committees? York University in , and in began To send AMS mailings accurately, the AMS teaching at the Free University of Brussels. The president would be pleased to hear from must receive notice of changes of address at She continued teaching and advising at Brus- members of the Society who wish to volun- least two weeks prior to each mailing. sels after taking up the appointment at Göt- teer for assignments to committees. Those AMS tingen, where she supervised dissertations by interested should write Charles M. Atkinson, Bowdoin College students from the United States, Spain, and School of Music, Ohio State University, College Station Greece, as well as Germany. N. College Road, Columbus, OH -, Brunswick ME - In Paris she earned the doctorat d’état for atkinson.@osu.edu; and are asked to enclose ..; toll free .. her work on Verdi’s years in France. She was a curriculum vitae and identify their area(s)
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