VOLUME XXXIII, NUMBER 1 February 2003 ISSN 0402-012X

Houston—2003 The sixty-ninth annual meeting of the Amer- Columbus—2002 Of course we attend our annual meetings for more than the papers. ican Musicological Society will be held in Sitting over a shawirma in the splendid Houston, Texas, from Thursday, 13 Novem- Among the notable activities outside the North Market (my kind of place) just canonical session times must be counted ber through Sunday, 16 November 2003. after the conclusion of our impressive November is a particularly good time to visit the excellent concerts arranged by the annual meeting in Columbus, I found AMS Performance Committee (Don O. the country’s fourth largest city, with the sea- my thoughts lingering over the son in full swing and beautiful fall weather Franklin, chair, Julie Cumming, and J. remarkable energy that such an event Michele Edwards) as well as the terrific (with temperatures averaging highs of 72 and can generate. Much of this energy, to lows of 50). all-Stravinsky concert at The Ohio State be sure, was of an intellectual sort. We University School of Music. A standout The conference will be held at the Hyatt had available for our appreciation 144 Regency in downtown Houston. One of the among the various lunchtime, evening, papers (up from the previous 120, and interest-group sessions was the AMS largest hotels in the downtown area, the thanks to a decision by the AMS thirty-story Hyatt features close to a thou- Presidential Forum that President Jessie Board of Directors) on all manner of Ann Owens convened to address the sand rooms, three restaurants, an outdoor musicological subject matter, from rooftop pool, and a fully-equipped fitness issue of “anonymity and identity.” The chant to late twentieth-century popu- center. The Hyatt lies six blocks southeast of sizeable crowd heard four distinguished lar music (I personally did not hear Houston’s downtown theater district, which speakers (Richard Crawford, Margot includes Jones Hall (the home of the Hous- any talk of twenty-first century music, Fassler, Philip Gossett, and Ellen T. ton Symphony Orchestra), the two-theater but I would not be surprised to learn Harris; see p. 18) consider how anonym- Wortham Center (home to the Houston that there was some of this there, too), ity and identity have figured into their Grand Opera, the Houston Ballet, and the and employing all manner of musico- own work as historians of music and as Da Camera Society), the Alley Theater, the logical methodologies, from the tried- members of the Society. The Forum Verizon Wireless Theater, and the new and-true to the experimental. (One took on special relevance in light of the Hobby Center for the Performing Arts. method very much in the ascendancy, deliberations of the Ad Hoc Committee The weekend of the AMS, Ars Lyrica to judge simply from the volume of on the Annual Meeting Program (see p. Houston, in collaboration with others, will audio-visual requests, is the use of film 10), some of which considered the role present the Monteverdi Vespers at the Uni- as part of an AMS paper—and not of anonymity in the work of the Pro- versity of Houston; the Houston Grand just in sessions devoted to music in gram Committee. Opera will present a production of a Handel film!) Add to this the benefit of being Particular recognition must go to the opera featuring countertenor David Daniels; able to sample the program of the Local Arrangements Committee (Charles and the Houston Symphony Orchestra will SMT, and the result was a real feast Atkinson and Burdette Green, Co- be performing under the baton of Claus for our musical minds. Thanks for this Chairs) for their efforts on behalf of the Peter Flor. Plans are also afoot for a tour of intellectual nourishment must go first operations of the meeting, which the Menil Museum in conjunction with a to the individual presenters of papers ensured that the rest of us could relax continued on page 2 for offering us the fruits of their aca- and enjoy the rare company of our demic labors, and second to the ses- musicological colleagues. And relax we sion chairs who ensured that the ses- did: an enduring memory of the meeting In This Issue . . . sions functioned both conceptually will be of the steps that cascaded down President’s Message 3 and logistically. My special gratitude from the central bank of session rooms Executive Director’s Report 4 goes to the other members of the Pro- to the coffee bar, which became a Committee Reports 4 gram Committee: Mark Evan Bonds, favored place to meet and chat with Honorary & Corresponding Members 6 Charles Dill, Lawrence Kramer, Pat- friends. We all need the intellectual Awards, Prizes, and Honors 7 rick Macey, and Jann Pasler. It is no regeneration that comes from attending Grants and Fellowships 9 easy task to whittle down a program stimulating papers, but our annual meet- Obituaries 12 from all the abstracts that the AMS ing also provides the equally important Forthcoming Meetings 13 receives (even with the additional slots opportunity to renew friendships and to Calls for Papers & Manuscripts 13 mandated by the Board, we still could make new acquaintances within our dis- not accept about two out of every News Briefs 14 cipline. In fulfilling both these functions, three papers submitted), but my col- AMS Ballot 15 the meeting in Columbus can be judged leagues on the Program Committee a success. Presidential Forum 18 did themselves proud in their thought- —Jeffrey Kallberg, Chair, Papers Read at Chapter Meetings 23 ful consideration of every abstract. 2002 AMS Program Committee Financial Report 28

—1— Houston—2003 continued from page 1 San Antonio, three hours southeast of Aus- AMS Membership Records tin, and four hours south of Dallas. Please send AMS Directory corrections and performance of Morton Feldman’s Rothko The 2003 Program Committee is chaired updates in a timely manner in order to Chapel at the Rothko Chapel. by Jann Pasler (University of California, San avoid errors. The deadline for Directory Although a comfortable walk, a free down- Diego), the Performance Committee by Julie updates is 1 December 2003. Send all town shuttle can take one from Hyatt to the E. Cumming (McGill University), and the corrections, updates, membership inquir- theater district or to other downtown attrac- Local Arrangements Committee by Howard ies, and dues payments to the AMS, 201 tions, including Astros Field, the new basket- Pollack (University of Houston). Requests S. 34th Street, Philadelphia, PA 19104- ball arena, or the downtown Historic District, by interest groups for meeting rooms should 6313; 215/898-8698; toll free 888/611- the site of some popular late night clubs. be sent no later than 1 May to the AMS Phila- 4267 (“4AMS”); fax 215/573-3673; . See the AMS Web a downtown area devoted mostly to business 898-8698; . site for more information: . to other areas of the city from the Hyatt by bus. About a five-minute drive south of AMS Newsletter Address and downtown lies the Montrose, known for its Committee Membership restaurants, clubs, and gay bars; another five- Deadlines minute drive takes one to the museum dis- The President would be pleased to hear Items for publication in the August trict, which includes the Museum of Fine from members of the Society who issue of the AMS Newsletter must be Arts, the Contemporary Arts Museum, the would like to volunteer for assignments submitted by 1 May and for the Febru- Museum of Health and Medical Science, the to committees. Interested persons ary issue by 10 November (25 Novem- Holocaust Museum, and, closer to the Mon- should write to Wye J. Allanbrook, Uni- ber for reports) to trose, a remarkable cluster of museums asso- versity of California, Department of Andreas Giger ciated with the Menil family, including the Music, 104 Morrison Hall #1200, Berke- Editor, AMS Newsletter Menil Collection, the Cy Twombly Gallery, ley, CA 94720-1201; tel. 510/642-2678; and are and the Rothko Chapel. Serious shopping, meanwhile, goes on in the uptown Galleria asked to enclose a curriculum vitae and School of Music area, about twenty minutes west of down- identify their area(s) of interest. Louisiana State University town. The NASA space center, with its excel- Baton Rouge, LA 70803-2504 lent interactive exhibits, is about a twenty- AMS Fellowships, Awards, and tel. 225/344-0427 minute drive southeast of downtown; another Prizes fax 225/578-3333 twenty minutes southeast is the island of Descriptions and detailed guidelines for (Please note that e-mail submissions are Galveston. all AMS awards appear in the Directory preferred.) A large cosmopolitan seaport city, Hous- and on the AMS home page. ton is famous for the excellence and diversity The AMS Newsletter is published of its food and popular music. Local specialty Alvin H. Johnson AMS 50 twice yearly by the American Musico- cuisines include Cajun, Creole, Tex-Mex, Dissertation Fellowship Awards logical Society, Inc., 201 S. 34th Street, Vietnamese, Chinese, Indian, and Southwest- Deadline: 15 January. Philadelphia, PA 19104-6313; tel. 888/ ern cooking, and one can find good zydeco, 611-4267 or 215/898-8698; fax 215/573- Otto Kinkeldey Award salsa, blues, Western swing, and country- No specific deadline. 3673; ; and mailed to all members downtown itself has experienced a revival in Alfred Einstein Award and subscribers. Requests for additional recent years, with many new restaurants open- Deadline: 1 June. copies of current and back issues of the ing up, much of this activity happens in areas AMS Newsletter should be directed to Paul A. Pisk Prize close to downtown, such as the Montrose. Deadline: 1 October. the AMS Philadelphia office. Claims for Houston has a number of colleges and missing issues must be requested within universities, including the University of Noah Greenberg Award six months of publication. Houston, a public institution with over Deadline: 15 August. 30,000 students; Texas Southern University, a Philip Brett Award Next Board Meetings historically African-American institution; Rice Deadline: 1 July. The next meeting of the Board of University; Houston Baptist University; Uni- Directors will take place on 15 March versity of St. Thomas; and a cluster of impor- Howard Mayer Brown Fellowship 2003 in Houston, Texas; the fall meet- tant medical colleges, including the Baylor Deadline: 15 January. College of Medicine, which are associated ing will take place on 12 November AMS Publication Subventions 2003, again in Houston. with Houston’s medical center, one of the largest in the world. The University of Hous- Deadlines: 15 March, 15 September. AMS Home Page ton’s Moores School of Music and Rice Uni- Call for Dues versity’s Shepherd School of Music feature The address of the Society’s home page, the new Moores Opera House, with its color- If you have not paid your AMS dues for on which may be found the front matter ful Frank Stella murals, and the elegant Stu- the calendar year 2003 by the time you of the AMS Directory, e-mail addresses dent Recital Hall, respectively. Events at both read these lines, please do so immediately. of musicologists, links to other sites sites are being planned for the AMS weekend. Prompt payment of dues saves the Soci- such as DDM–Online and the Calendar Houston has two major airports, George ety the considerable expense of billing of Musicological Events, is . It also includes a page of links Hobby Airport. Bush Intercontinental is date. Please send all payments to: to graduate programs in musicology. twenty-two miles north of the Hyatt and The American Musicological Society Alterations or additions to the Web site, Hobby is twelve miles to the southeast. A taxi including the list of e-mail addresses and 201 S. 34th Street from Hobby should run around twenty-five Philadelphia, PA 19104-6313, U.S.A. graduate program updates, should be dollars, from Bush between forty and forty- You may also renew your membership sent to the AMS Philadelphia office at five dollars. Various shuttle services are also online at . . available. The city is also three hours east of —2— President’s Message scholars addressing issues of ‘Anonymity proverbially “interesting times.” Jessie’s and Identity’ within the Society and in abiding concern that the Society be My first act as President was, I suspect, music history. Numerous interest groups, responsive to all constituencies governed a first for the Society as well: the new study groups, and ancillary societies met many of the practices instituted under President missed her own installation. during lunchtime, and receptions hosted by her leadership, including public calls for While you were disporting yourselves in individual departments and publishers filled candidates for positions such as the Columbus, unavoidable medical issues the evening hours. There was the usual rich Newsletter and AMS Studies Series Edi- kept me unhappily at home, cheated of mix of scholarship and fellowship, as we tors. Sensing the mood of stocktaking the many conversations with friends I had our annual conversations with friends that has seized the Society as it faces the see so rarely, the papers I had already we see once a year or met scholars with challenges of these dramatically changing checked off as not to be missed, and the similar interests. intellectual and financial times, she crucial colloquies with the Board that “We owe thanks to Jeffrey Kallberg invited the Board to a retreat (its first- would set my agenda for the two years and his colleagues on the AMS Program ever) to formulate responses to this diffi- to come. I am very grateful to our new Committee for assembling a varied roster cult future. One immediate result was Vice-President, J. Peter Burkholder, who of excellent presentations; to Don O. the institution of the Presidential Forum, stepped up to take my place, and I have Franklin and the Performance Committee mentioned above, which I applaud and asked him to share his impressions of for a rich series of concerts and lecture- plan to continue. Another was the estab- the meeting with you: recitals; and to Charles Atkinson and Bur- lishing of new committees to address “Columbus was our first joint meet- dette Green, the Local Arrangements Com- more flexibly the concerns of our ing with the Society for Music Theory mittee they chaired, and the many volun- since the Toronto mega-meeting in broadly diversified membership: a Com- teers for making it all run so smoothly.” mittee on Committees (to regularize 2000, and it was a pleasure to gather I would like to continue on in the with them again in a more intimate set- committee structures and ensure broader thanking mode, paying tribute to people committee representation), another on ting. The AMS program was expanded who stepped down from their posts at the from five parallel sessions to six in each Membership and Professional Develop- Columbus meeting. There is much substan- ment (to design programs and services morning and afternoon time slot, an tive thanking to be done. Departing Board innovation that will continue in coming for various segments of the Society), a members Jennifer Bloxam, John Daverio, third on Public Image (to further the years. Together with two or three SMT and Michael Ochs have been important Society’s participation in the greater pub- sessions and some joint AMS/SMT ses- contributors to Board discussions; their lic discourse), and finally a Committee sions, the added session provided for a voices will be missed. And our President greater number and variety of papers and our Vice President leave behind a on the Capital Campaign to ensure that (and some difficult choices!). All corners record of accomplishments that will have a we can afford these new initiatives. The of the field seemed well represented and significant impact on the nature of the mandates and structures of these com- buzzing with activity. The papers I Society both now and in the future. Vice- mittees are described in Jessie’s Presiden- heard, from Renaissance theory to bor- President Elaine Sisman chaired the Ad tial Message in the August 2002 Newslet- rowing in popular music, were all well Hoc Committee on the Annual Meeting ter; their thrust is clear. The AMS is no attended and stimulated much interest Program, which began by teaching us a few longer a unitary, inner-directed institu- and discussion. things about the current state of the Society tion. It must reach out to its membership “One of the things I noticed is the that radically altered our perceptions of it. simply in order to discover what it is. increased mutual acceptance and even (Who knew that the number of graduate That we are undertaking this is due to collaboration among scholars working in students and recent Ph.D.s presenting the tireless efforts of retiring President newer and older paradigms. Not only papers at the national meeting is usually Jessie Ann Owens. did sessions on race, gender, sexuality, well over half of the total? This is why we I need look no further for my agenda and the body peacefully coexist with ses- do research.) Under Elaine’s management than the set of issues defined by Jessie sions on sketches, notation, and sources, the Committee moved with laudable effi- and the Board in its March 2002 retreat. but individual sessions often included a ciency both to make and to implement rec- Any one of them could occupy the ener- variety of approaches and emphases. I ommendations. One decision was in place gies of the next President for her entire began to wonder whether the skirmishes in Columbus (the sixth paper session, men- two-year term. And the support systems over ‘the new musicology’ were over. tioned above), and a modification to the taking shape will probably be called upon For me, this was symbolized by the win- “blind” reading rule in effect for the 2003 sooner than expected: these interesting ners of this year’s Einstein and Kinkel- meeting allows program committees an ele- times show no signs of abating. Stephen dey awards (see p. 7 of this Newsletter), ment of judgment in redressing imbalances Greenblatt, President of the Modern two studies that are models of tradi- in the selection process. The Ad Hoc Com- Language Association, has just announced tional scholarly method yet address mittee sensibly turned itself into a Standing that listings for academic jobs in litera- questions that would not have been Committee on the Program to fine-tune ture and languages have declined 20% asked two decades ago, about propa- over time the results of its recommenda- since 2001—the first decline, surprisingly ganda in film music and about Handel’s tions (see Elaine Sisman’s report, p. 10). and ominously, since 1995. In order to sexuality. The Committee is to be congratulated; it’s support these new initiatives, the Society “Beyond the regular sessions and the rare blue-ribbon commission that can needs volunteers to serve on its various evening special or study sessions, the boast such immediate results! committees. You’ll find a call on p. 2. I activities in the times between session Elaine’s committee, appointed by for- urge you to consider serving, and I wel- slots continue to expand. Outgoing mer President Ruth Solie, introduced issues come your thoughts and reactions on President Jessie Ann Owens hosted the that became the special concern of her suc- other subjects as well at . panel of former presidents and other has presided over the Society in a period of —Wendy Allanbrook

—3— Executive Director's Report subsidizing two concerts. We owe all these Mayer Brown Fellowship deadline to 15 Jan- volunteers, over a hundred people, a very uary to draw it into line with the AHJ-AMS Welcome, new members. Over two hun- large debt of gratitude for making the meet- 50 Fellowship application, and we have dred new members have joined the AMS ing a special one. We also enjoyed a fine moved the Greenberg Award deadline back since last fall; I would like to offer a warm exhibit area with a wide array of publishers to 15 August 2003. A few details in most of welcome to you all and convey best wishes and other musicological vendors. The exhibit our calls for awards, fellowships, and prizes for your musicological pursuits. There is a area is often a favorite gathering place of the have been emended recently. Please see the lot happening in the AMS these days, and meeting and is a great reflection of the wide Directory or Web site for full details. opportunities to become involved abound. range of our field. We have a link at the Please enjoy JAMS, read the Newsletter, check AMS Web site to firms who support the Nearly four hundred AMS members out the Web site now and then, and partici- AMS in this way, and I would encourage serve in various capacities to further our pate at our annual meetings. Many commit- members to support those who support our stated object, the advancement of research tees are eager to enlist the help of interested efforts. in the various fields of music as a branch of people. Feel free to communicate with com- The Houston meeting preparations pro- learning and scholarship. Without their help mittee chairs (see the AMS Web site) and ceed apace, under the able guidance of the Society would crumble in a moment, and offer suggestions. Howard Pollack, Local Arrangements chair; all who serve should feel justly proud that Jann Pasler, Program Committee chair; and our organization is thriving. The Board and NEH. The National Endowment for the Julie Cumming, Performance Committee outgoing President Jessie Ann Owens partic- Humanities () continues to chair. By the time this issue of the Newsletter ularly deserve our grateful commendation for support musicological activities heavily, as reaches you, the deadlines for proposal sub- their selfless contributions to the Society award reports in each issue of this Newsletter mission will have passed (as usual, they fell over the past year. indicate. Our grant for the MUSA project in mid-January), and the committees will be —Robert Judd continues generously for the next three working hard to refine the program. (By the years, and the project’s fruit is anticipated to way, our new online submission procedure Treasurer’s Message be substantial, including the long-awaited has gone remarkably well, by all accounts.) edition by Past-President Wiley Hitchcock At this year’s annual meeting we will be try- As we are all well aware, the stock market of Charles Ives’s songs. The NEH Web site ing out suggestions stemming from Elaine continued to fall to new lows during 2002. is an excellent locus for identifying govern- Sisman’s Ad Hoc Committee on the Annual This has made the recent bear market the ment resources for humanities research. I Meeting Program, which presented its report second worst in a century, exceeded only by would especially draw attention to the last November. Other Houston activities are the decline during the Great Depression. I “Edsitement” link, oriented to secondary- well along in the planning stages, and our am happy to inform the membership, how- level education. There appears to be a time in the balmy and beautiful city should ever, that our Society has continued for a healthy opportunity for musicologists to be memorable. If you have not attended one second year in a row to weather this finan- contribute ideas and suggestions here as a of our meetings recently, please give serious cial storm. As I reported at the Business Meet- means of outreach. If you would like to see consideration to coming to Houston: it is ing in Columbus, our endowments dipped more musically literate undergraduates, this bound to be a rich, invigorating, and reward- only a modest six percent during the twelve- may be the place to begin working towards ing time. month period ending 31 October. This rep- that goal. A number of people have asked how our resents just a fraction of the S&P-500 per- meeting venues are chosen. It is a combina- formance down sixteen percent and the ACLS. The American Council of Learned tion of work on my part, the part of the NASDAQ down twenty-two percent. We Societies, of which the AMS has been a con- President, and consultation with the Board have achieved this strong relative perfor- stituent member for fifty-one years, contin- of Directors. We are always eager to have mance by holding a conservative, diversified ues to thrive, as those who have recently suggestions and invitations for our meeting, portfolio with an approximately equal bal- applied for fellowships well know. Their fel- so please let me know if this is something of ance of stocks and bonds. Our bonds have lowship programs, too extensive to enumer- interest. softened the blow of the recent bear market, ate here (see their Web site at for full details), has grown significantly Data management. Last December, the allow us to enjoy the next bull market, in the past year, part of the legacy of former AMS office in Philadelphia mailed the renewal whenever it may come. President, the late John D’Arms. AMS mem- notices for the first time in seven years. We —James Ladewig ber Klara Moricz, who received an ACLS moved this job to the main office in order to fellowship last year, was invited to speak at help centralize and streamline membership Committee Reports the ACLS annual meeting last May and gave services. The process has gone remarkably an impressive presentation on her research. smoothly to date. We hope to implement an Committee on Career-Related Issues online “members only” section at the Web Annual meetings. The Columbus annual site, where members can check their mem- Over the past decade, the direction of the meeting held jointly with the SMT last bership status, renew membership, change Committee on Career-Related Issues (CCRI) November drew an unusually large group of mailing address, etc., by mid-summer 2003. I has changed significantly. The primary issue scholars—over 1,800. No doubt the increased would be grateful for any recommendations with which Committee members dealt in the size of the program was a factor: we added or feedback along those lines; particularly, let 1990s was the precarious balance of a stag- an extra session room, bringing the total me know of any glitches or problems you nant academic job market and a burgeoning paper slots up from 120 to 144. Jeffrey Kall- have experienced regarding your member- population of unemployed members of the berg and the Program Committee, together ship processing, and I will try to get the Society. The AMS Web site posted a mes- with Don Franklin and the Performance problems redressed. sage about the grim realities of the job mar- Committee, put together a rich and varied ket, and institutions that offered terminal program with many excellent moments. Changes in the announcements of awards, degrees in musicology were asked to con- Charles Atkinson and the full complement fellowships, and prizes. This year we have sider the ethics of encouraging students in a of volunteers helped to make things flow a number of changes regarding fellowships field with few possibilities. extremely smoothly, and OSU, the largest and prizes. While we cannot yet offer the While most of its efforts were still aimed institution of higher education in central Stevenson Prize (see the report on p. 9 of at presenting annual meeting sessions that Ohio, generously supported the meeting by this Newsletter), we have moved the Howard prepared students for academic careers, the —4— Committee became aware that its scope AMS-L has become a central checkpoint for Recording Preservation Study and Report. needed broadening. By the end of the official announcements (conferences, calls We easily decided that some sort of national 1990s, more and more musicologists in for papers, job listings, etc.) of interest to survey would be a fair beginning and that we other professions identified themselves, our Society. We value contributions to schol- needed to know (1) the strengths and special which provoked a lively debate on how to arly discourse and hope that every sub- collections of individual archives and librar- identify these non-academics; terms ranged scriber takes away something of interest. ies, (2) who holds and maintains various from musicologists in “alternative” careers Those who have not already subscribed types of older playback equipment, and (3) (quickly deemed an unsuitable label) to non- should see the instructions on the AMS how “fair use” is interpreted at various insti- affiliated or independent scholars. The CCRI Web site at . For further information contact Linda There was a long discussion about stan- tion from concentrating on negative employ- Fairtile at . Please dards for preservation. LPs are actually a ment prospects to approaching the situation join your colleagues in the virtual musicolog- fantastic storage medium; audio tapes made with positive energy. Although teaching jobs ical community of AMS-L. from LPs for storage are now in worse shape were indeed few, there were jobs outside of —Linda Fairtile, Chair than the original LPs. With the manufactur- the academy in which musicology Ph.D.s ers of analog reels and equipment dwindling, could indeed succeed. Sessions at annual National Recording Preservation Board the plan is to preserve digitally. The Board meetings changed; while certain topics, such will be asked to help create standards for the as preparing for an academic career, were The National Recording Preservation Board LC’s new digital mass storage system (DMSS). still presented, guest panelists were engaged (NRPB) was created by Congress. The respon- Please be assured that the LC will con- to discuss employment possibilities in fields sibilities of the Board are to study and report tinue to preserve original copies or record- ranging from private industry to the federal on sound recording preservation issues, spe- ings, but after 2005 they will be stored in the government. Four such sessions were held cifically (1) the current state of archiving and new National Audio-Visual Conservation at the recent meeting in Columbus. CCRI preservation; (2) the transition to digital Center (NAVCC) in Culpepper (about sev- student members spoke about taking advan- preservation of sound recordings and stan- tage of internships to network into profes- enty-five miles southwest of Washington, dards for access at the new National Audio- D.C.). Built as a Cold War emergency facil- sional arenas. Other Committee members Visual Conservation Center; (3) standards offered sessions for two previously unidenti- ity, it has multiple underground vaults where for copying old sound recordings; (4) current the Library’s current 2.6 million sound record- fied groups in the Society: those with recent laws and restrictions regarding the use of academic appointments and those recently ings will be preserved. Public access will con- archives of sound recordings, including rec- tenured scholars suffering from “post- tinue to be in Washington, using digitized ommendation for changes in such laws to tenure blues,” a common phenomenon copies transmitted via fiber-optic connec- enable the Library of Congress and other across the academic board. Finally, recent tion; so the digitization is for both access Ph.D.s were encouraged to seek out the nonprofit institutions to make their collec- and preservation. Information on the LC’s many opportunities in university and college tions available to researchers in a digital for- pilot program in digitization is available at advancement. mat; and (5) copyright and other laws appli- . revisit an initiative employed in Boston and The Librarian of Congress is charged with The best news for AMS members is that Kansas City: volunteer scholars will pair up implementing this comprehensive national this project will also require more cataloging. with students and new members for an initi- sound recording preservation program. Until recently, 90% of the Library’s recorded ation into the workings of the annual meet- All of these issues are of importance to sound collection was neither catalogued nor ing. The CCRI student session will consider the AMS, although preservation and the laws inventoried. The current online catalogues, ways to earn a living while completing the that control access seem especially impor- Library of Congress Integrated Library Sys- dissertation. Other topics will include pre- tant. I was nominated to serve as the Soci- tem (LCILS) and the Sound Online Inven- paring for an academic career (cover letters, ety’s representative for an initial four-year tory and Catalog (SONIC), contain about interview strategies, and curriculum vitae) term and attended the inaugural meeting on half of the collection (). and “Musicology on the Side,” featuring a 12 March 2002. The cataloging information related to the panel of non-academic scholars who will new digital storage will consist of the audio share strategies for independent research. Recording Registry. The bulk of the day’s tracks and digital files of all the graphic As Carol Hess assumes the duties of chair, discussion was devoted to the first charge of information from the packaging, label, and the CCRI will continue to investigate pro- the law: The Librarian of Congress shall sleeves. fessional arenas open to musicologists at the establish “the National Recording Registry All of this, however, leads to the obvious beginning of the new century. for the purpose of maintaining and preserv- question of access. If this information is —Denise Gallo, Chair ing sound recordings that are culturally, his- available digitally, why go to Washington to torically, or aesthetically significant.” The hear it? Heated debate about copyright fol- AMS-L Board agreed that the Registry should serve lowed, with the copyright holders and users as a vehicle to raise public consciousness and on different sides, not surprisingly. Changes AMS-L is celebrating its fourth birthday as focus attention on sound preservation. Both to the existing copyright legislation were sug- the moderated Listserv of the AMS. AMS-L “at-risk” and well-known materials should be gested by some members as ways of address- currently has over 800 subscribers from included; the Board recognized some of the ing some of the fair use challenges presented nearly two dozen countries. The past year’s problems inherent in the notion of “great- by sound recordings. Eventually, we broke discussions have ranged from Alkan to zoo- ness.” this down into a series of questions for mak- musicology and have included such topics The topic of how to solicit nominations ing a digital preservation copy, distributing it as the science of musical perception, the for the Registry (the law requires that the internally, and distributing it externally. If general public have input) quickly led to a popular image of classical music, musical the NAVCC is to archive materials for other discussion of genre. It was agreed that cate- terminology, the effect of a composer’s life institutions, as has been suggested, all of gories would be useful during the review on his or her music, music and 9/11, Gom- these questions must be addressed. For the brich’s “Physiognomic Fallacy,” movement process but would not be made public or AMS, these issues will directly affect not binding and cyclic form, the composer as used in the Registry. The final guidelines for only those of us who conduct research with musicologist/the musicologist as performer, nomination are available on the AMS and songs about trains, and musical depictions LC Web sites; all AMS members are encour- of violence. Along with the discussions, aged to make nominations. continued on page 10 —5— Richard Crocker Kenneth Levy David Hiley Honorary Member Honorary Member Corresponding Member

Honorary Members (and continuing in Berkeley), he turned in But already in that decade, he turned to the 1978 to intensive study of chant for both medieval topics that have engaged him ever The AMS Bylaws describe Honorary Mem- Mass and Office. In 1990 appeared The Early since. Some publications have dealt with bers as “long-standing members of the Soci- Middle Ages, a new edition of vol. 2 of The polyphony of the Notre Dame School and ety who have made outstanding contribu- New Oxford History of Music, which he edited early Italian and English practices. Above all, tions to furthering its stated object and with David Hiley and to which he contrib- they have dealt with plainchant, where the whom the Society wishes to honor.” Two uted chapters on Roman chant, Frankish and range has been exceptionally wide. He first new Honorary Members were nominated medieval chant, and early polyphony in investigated Byzantine and Old Slavonic by the AMS Council and elected by the France and England. repertories but soon included the full spec- Board of Directors at the 2002 meeting, Meanwhile he has continued to contrib- trum of Latin chants. Throughout his work, bringing the total number to forty-three. ute to the project of Assyriologist Anne he has approached prehistoric states of The two new members of this distinguished Draffkorn Kilmer on ancient Near-Eastern chant by comparing its early written states. body are Richard Crocker and Kenneth music (the “Song from Ugarit”) and also par- During the 1980s and early 1990s, his Levy. ticipated in conferences organized by Daniel research addressed archaic states of Grego- Leech-Wilkinson and Jeanice Brooks, and by rian chant and is to a large degree collected Richard L. Crocker, born in 1927 in Rox- Christopher Page and Mark Everist, on in his Gregorian Chant and the Carolingians bury, Massachusetts, attended Milton Acad- Aquitanian polyphony. (Princeton University Press, 1998). Recently, emy and Yale College (B.A., 1950), then His projects in retirement have included he has been examining the relationships studied music history with Leo Schrade at Introduction to Gregorian Chant (Yale University between Gregorian and Old Roman chants. Yale University, receiving the Ph.D. degree Press, 2000); studies in progress on early A Festschrift in his honor, The Study of Medie- in 1957 for a dissertation on the sequence in Christian singing (first to fifth centuries); and val Chant: Paths and Bridges, East and West (ed. Aquitanian sources. finally, as a study edition exploring the use of Peter Jeffery; Boydell Press, 2001), is reflec- He taught in the Music Department at the nuance notation of Gregorian chant, a tive of Kenneth Levy’s scope and methods Yale University (1955–63), then at the Uni- series of CDs to include all the Gregorian and includes a list of his publications. versity of California, Berkeley (1963–94), settings of the Roman Mass Proper chants, Beyond scholarly undertakings, Levy offering courses in all phases of European which he sings and records himself. Richard devoted considerable energy during four music history, both at introductory levels Crocker lives and works in Berkeley with his decades of university lecturing to introduc- and as advanced training in musical scholar- wife Gloria Pihl. tory courses for non-musicians; a by-product ship for graduate students. He published was his textbook Music: A Listener’s Introduc- two textbooks, A History of Musical Style Kenneth Levy, Professor Emeritus at Prince- tion (Harper & Row, 1983). In 1995 he re- (McGraw-Hill, 1966) and Listening to Music ton University, was born and raised in New ceived the Princeton President’s Award for (with Ann Phillips Basart; McGraw-Hill, York City where he had his first exposure to Distinguished Teaching. Kenneth Levy has 1971). musicology at Queens College under Curt served the AMS on its Executive Board and Richard Crocker’s research in ancient Sachs (B.A., 1947). He subsequently attended the Editorial Board of its Journal. He was on Greek and early medieval theory of music, Princeton University (Ph.D., 1955), where he the Executive Committee of The New Grove then in medieval chant, includes the article received extensive training under Oliver Dictionary of Music and Musicians and is on the “The Troping Hypothesis,” for which he Strunk. He taught at Princeton University Editorial Boards of Early Music History and received the Einstein Award (1966). For his (1952–54) and Brandeis University (1954– the Monumenta Musicae Byzantinae. He has book The Early Medieval Sequence (University 66) and then returned to Princeton, where been honored as a Guggenheim Fellow, Sen- of California Press, 1977), he received the he taught until his retirement in 1995. ior Fellow at Dumbarton Oaks, Visiting Fel- Kinkeldey Award. Having sung Gregorian During the 1950s, Kenneth Levy’s publi- low at Cambridge University, and Fellow of Chant in church since student days at Yale cations focused on sixteenth-century France. the Medieval Academy of America. —6— John Deathridge Ellen T. Harris W. Anthony Sheppard Corresponding Member Kinkeldey Award Winner Einstein Award Winner

Corresponding Members David Hiley is the author of Western together with Klaus Döge, the critical edi- Plainchant: A Handbook (Oxford University tion of Lohengrin (Schott, 1996–2000). His According to the Society’s Bylaws, Corre- Press, 1993) and Das Repertoire der normanno- most recent published work concerns Wal- sponding Members are citizens of countries sizilischen Tropare I, Die Sequenzen, which ter Benjamin’s concept of Trauerspiel in rela- other than Canada or the U.S. “who have appeared as vol. 13 of Monumenta Monodica tion to Verdi and Wagner and essays on made particularly notable contributions to Medii Aevi (Bärenreiter, 2001). Further publi- Richard Strauss’s idea of the Modern. He is furthering the stated object of the Society cations include a number of studies of Eng- currently working on a critical study of the and whom the Society wishes to honor.” In lish chant traditions, several facsimiles of idea of German Music. 2002 the Council nominated and the Board chant manuscripts, and two volumes in the In Germany and England Professor of Directors elected David Hiley and John series Historiae of the International Musico- Deathridge has also pursued a parallel career Deathridge as Corresponding Members, logical Society’s Study Group “Cantus Pla- as performer and broadcaster. He was musi- bringing the total of those elected to forty- nus.” He is married to the violone player cal director at St. Wolfgang (1970–78), a seven. Ann Fahrni; they have two daughters. large Catholic Church in Munich, and has conducted and accompanied numerous con- David Hiley was born in 1947 and read John Deathridge was educated at Oxford certs in Germany. In England he appears Music at Magdalen College, Oxford, from University (D.Phil., 1973) where he studied regularly on radio and television in a variety 1965 to 1968. He took up post-graduate with Egon Wellesz and Frederick Sternfeld of roles related to German and Contempo- work at King’s College, University of Lon- and graduated with a dissertation on Wag- rary Music. don, in 1973 and in 1976 was appointed lec- ner’s Rienzi (subsequently published by Cla- turer at Royal Holloway College, University rendon Press in 1977). He was appointed of London. He gained his doctorate in 1981 lecturer at the University of Cambridge and with the thesis “The Liturgical Music of a Fellow of King’s College there in 1983, Awards, Prizes, and Honors Norman Sicily: A Study Centred on Manu- and in 1996 he accepted the King Edward scripts 288, 289, 19421 and Vitrina 20-4 of Chair in Music at King’s College, London, The Otto Kinkeldey Award is presented the Biblioteca Nacional, Madrid.” He became where he now teaches. professor at the Institut für Musikwissen- The publication of John Deathridge’s annually by the Society to honor the most schaft of Regensburg University in 1986. Rienzi monograph led to a grant from the distinguished musicological publication of From 1978 until 1990 he edited the Jour- Thyssen Foundation in Germany, which the preceding year. This year’s award was nal of the Plainsong & Mediaeval Music Society, enabled him to embark on research for the presented to Ellen T. Harris (Massachusetts being Secretary of the Society from 1982 to Verzeichnis der musikalischen Werke Richard Institute of Technology) for her book Han- 1986 and an Honorary Vice-President since Wagners und ihrer Quellen (WWV), published del as Orpheus: Voice and Desire in the Chamber 1996. He was chair of the study group “Can- in 1986 in collaboration with Martin Geck Cantatas (Harvard University Press, 2001). tus Planus” of the International Musi- and Egon Voss. In 1978 he was invited by cological Society (1988–97) and is co-editor Carl Dahlhaus, with whom he would pub- The 2002 Alfred Einstein Award, given of the “Cantus Planus” publication series lish the New Grove Wagner (Norton, 1984), to annually for the most outstanding musico- Historiae. He has been co-editor of Monu- become an editor of the Collected Wagner logical article by a scholar in the early stages menta Monodica Medii Aevi since 1991. In 1999 Edition in Munich. of his or her career, was awarded to W. he was elected member of the Academia John Deathridge has published many Anthony Sheppard (Williams College) for Europea, and from 1996 to 1999 he directed articles on Wagner and German music in his article “An Exotic Enemy: Anti-Japanese a research project funded by the Deutsche general. He edited the English-language edi- Musical Propaganda in World War II Holly- Forschungsgemeinschaft “Die Gesänge der tion of the Wagner Handbook for Harvard wood,” Journal of the American Musicological Heiligen-Offizien (Historiae) im Mittelalter.” University Press (1992) and prepared, Society 54 (2001): 303–57. —7— Maria I. Rose Lloyd Whitesell Silvio dos Santos Greenberg Award Winner Brett Award Winner Pisk Prize Winner

The 2002 Noah Greenberg Award, which for “Jewish Nationalism in Art Music (1900– others who have made significant and life- recognizes outstanding contributions to his- 1951)”; and Martin Scherzinger (Eastman long contributions to the field of early brass torically aware performance and the study of School of Music) for “Globalization and the music. historical performing practices, was awarded Making of Music History in the Twentieth to Maria I. Rose (New York University) for Century: The Case of Africa.” her “Nineteenth-Century Piano Recording The American Philosophical Society has Project.” awarded M. Elizabeth C. Bartlet (Duke Uni- Robert Torre, a recent graduate of the Uni- versity) Franklin Research Grants for the versity of South Carolina, has received a summers of 2002 and 2003 in support of her The Philip Brett Award, sponsored by the 2002–2003 Fulbright Scholarship to pursue project “Queen Marie Leczinska as Patron Gay and Lesbian Study Group of the Ameri- his project “Johann Adolf Hasse’s Artaserse of Music: Opera and Chamber Music at the can Musicological Society, for exceptional (1730): The Preparation of a Musical Edi- Court of Louis XV.” musicological work in the field of gay, les- tion” at the Musikwissenschaftliches Institut bian, bisexual, and transgender/transsexual of the University of Tübingen. studies, was awarded to Sophie Fuller (Uni- Ellen Rosand (Yale University) and Barbara versity of Reading) and Lloyd Whitesell Haggh-Huglo (University of Maryland) have (McGill University) for their book Queer Epi- Susan C. Cook (University of Wisconsin, been elected Directors-at-Large of the Inter- sodes in Music and Modern Identity (University Madison) has been awarded the Walt Whit- national Musicological Society for the period of Illinois Press, 2002). man Chair in American Culture Studies in 2002–2007. the Netherlands as part of the Fulbright Sen- ior Distinguished Lecturer Program. She will The Paul A. Pisk Prize, awarded annually to be teaching in the American Studies program Rebecca Wagner Oettinger (University of a graduate student for the best scholarly at the Catholic University of Nijmegen dur- Wisconsin, Whitewater) received the Roland paper accepted for presentation at the ing spring 2003 as well as lecturing at other H. Bainton Prize of the Sixteenth-Century annual meeting, went to Silvio dos Santos universities throughout the Netherlands. Studies Conference. The prize is given in (Brandeis University) for his paper “Ascrip- three categories each year for the best book tion of Identity: The Bild Motif and the published during the previous year. Her Character of Lulu.” Emanuele Senici (University of Oxford) has book Music as Propaganda in the German Refor- been awarded the 2002 Jerome Roche Prize mation (Ashgate, 2001) won the prize for Art of the Royal Musical Association for his arti- and Music History. ACLS Fellowships have been awarded to cle “Verdi’s Falstaff at Italy’s Fin de Siècle,” Mauro P. Calcagno (Harvard University) for published in The Musical Quarterly 85 (2001): “On the Meanings of Voice in Seventeenth- 274–310. The Roche Prize is awarded annu- The Commedia dell’Arte in Naples: A Bilingual Century Italy: An Inquiry into the Permea- ally “to honor a distinguished article by a Edition of the 176 Casamarciano Scenarios (Scare- bility of Boundaries of Baroque Arts”; Rich- scholar in the early stages of his or her crow Press, 2001), a book co-edited by ard K. Wolf (Harvard University) for “Semi- career.” Thomas F. Heck (Ohio State University), otics and Process in the Ritual Drumming of received a 2001 Robert W. Weiss/Howard South Asia”; Nancy Yunhwa Rao (Rutgers Mayer Brown Publication Subvention Award University, New Brunswick) for “Aesthetics Trevor Herbert (Open University) has from the Newberry Library. The award sup- of Cultural Synthesis: Contemporary Chinese received the 2002 Christopher Monk Award ports the publication of outstanding works Music”; Sean Gallagher (Harvard University) of the Historic Brass Society. The Christo- of scholarship that cover European civiliza- for “The Poetics of Varietas: Johannes Tinc- pher Monk Award is given annually to honor tion before 1700 in the areas of music, thea- toris and the Music of the Ockeghem Gen- scholars, performers, teachers, instrument ter, French or Italian literature, or cultural eration”; Klara Moricz (Amherst College) makers, curators, instrument collectors, and studies. —8— Alejandro L. Madrid (Ohio State Univer- sity) is co-winner of the Third International Grants and Fellowships Available Samuel Claro Valdes Award (2002) for his Programs included in this issue have application deadlines in spring and summer; for essay “Transculturation, Performativity, and programs with deadlines in fall and winter, see the August issue. Persons interested in the Identity in Julian Carrillo’s Symphony No. suitability of a particular program for their needs should check directly with that program 1.” The Samuel Claro Valdes Award is given for current information on awards, eligibility, deadlines, and application procedures. once every two years by the Universidad Católica de Chile in recognition of outstand- American Council of Various opportunities. For more information: tel. 212/ ing scholarship in the field of Latin Ameri- Learned Societies 697-1505; ; . can music. Mr. Madrid also received the 2001–2002 A-R Editions Award for best American Philosophical For questions on eligibility of a project: tel. 215/440-3429; student paper presented at the Midwest Society Research ; . Chapter of the AMS and has been awarded Programs a Ford Foundation Fellowship to conclude his Ph.D. dissertation entitled “Writing Dena Epstein Award Grants for research in archives or libraries internationally Modernist Music in Mexico: Performativity, on any aspect of American music. For full information, Transculturation, and Identity after the Rev- contact Vincent Pelote (); . Fulbright Awards for U.S. For full information, contact the CIES (Council for Charles M. Atkinson (Ohio State University) Faculty and Professionals International Exchange of Scholars); tel. 202/686-4000; has been awarded a Fellowship for Univer- . sity Teachers by the National Endowment for the Humanities. The fellowship is for Guggenheim Fellowships For full information: tel. 212/687-4470; ; . awarded to support the completion of an edition of the melodies for the Sanctus and Humboldt Research For full information: ; tel. 202/ Agnus Dei of the Roman Mass with their Fellowships for Foreign 783-1907; . tropes and prosulas. The edition will appear Scholars/Humboldt in the series Monumenta Monodica Medii Aevi, Research Prizes published by the Bärenreiter Verlag, Kassel. International Research & For full information: tel. 202/628-8188; ; Exchanges Board Grants . W. Anthony Sheppard (Williams College) received an NEH Fellowship for work on Liguria Study Center for For full information: . his book “Extreme Exoticism: Japan in the the Arts and Humanities American Musical Imagination.” NEH Fellowships for For full information: tel. 202/606-8400; ; . was elected an Honorary Member of the NEH Fellowships for International Concertina Association in rec- College Teachers and ognition of the work he has done in pro- Independent Scholars moting the instrument in both scholarly and performance contexts. He is the first Ameri- Newberry Library For full information: tel. 312/255-3666; ; . Wilk Book Prize for For full information: tel. 213/740-9369; ; .

Stevenson Prize To Be Established American Musicological Society Authors should submit a detailed AMS Studies in Music proposal explaining the substance and Through the generosity of Professor importance of their work, the content of Call for Manuscripts Robert Murrell Stevenson, scholar of each chapter, the current status of the Iberian and Latin American Music and The American Musicological Society, in study, and a projected date for comple- AMS Honorary Member, the AMS is collaboration with Oxford University tion of the manuscript. Along with the able to begin preparations for a new Press, is pleased to sponsor the AMS Stud- proposal they should also submit one or prize, the Stevenson Prize, to be ies in Music. Like its predecessor, the more sample chapters. Two copies of awarded for a publication on the sub- AMS Monographs Series, the AMS Studies proposals and sample chapters should be ject of Iberian music, inclusive of both in Music seeks to foster and support out- sent to: the peninsula itself and the world-wide standing and innovative scholarship touch- migration. A committee will be appoin- ing on music across the widest range of Mary Hunter ted to formulate the full guidelines. disciplinary and interdisciplinary arenas of Music Department Current plans project that the first inquiry. The series welcomes submissions Bowdoin College award will be given at the AMS annual that explore musical issues from perspec- 9200 College Station meeting in Seattle, November 2004. tives including, but not limited to, history, Brunswick ME 04011 More details will be published as they theory, cultural studies, and ethnography. become available.

—9— Committee Reports continued from page 5 women into general music courses. Macdon- Membership and Professional Development ald emphasized two other themes: “pres- Committee, formed in part as a response to ence,” the need to raise awareness of the role a perceived need for mentoring within the sound recordings, but everyone who uses of women in music history (she described AMS. sound recording for teaching or whose library various projects at Oberlin in different —Sanna Pederson, Member, distributes sound recordings to students. venues); and “interaction,” the difficulty of and Margaret Notley, Chair —José Bowen, AMS Representative realizing the interdisciplinary possibilities of such a topic (outside funding for faculty workshops on redesigning courses helps). Final Report of the Ad Hoc Committee The Committee on the on the Annual Meeting Program History of the Society In the second talk, “Being Inclusive: Teaching about Music and Gender,” Jane Bernstein of Tufts University described the After two years of work, the Ad Hoc Com- The purpose of the Committee is to make it mittee on the Annual Meeting Program possible, one day, for a scholar as yet uni- cross-cultural and cross-historical perspec- tives of a forthcoming book that she has (Elaine Sisman, chair; Scott Burnham, Geor- dentified to write a history of the Society and gia Cowart, Jonathan Glixon; and Jessie therefore, to some extent, a history of our edited, Women’s Voices and Music. Having included essays on both popular and art Ann Owens, ex-officio) has concluded its discipline in North America. Its central study with several recommendations offered focus since 1996 has been an oral history music, she hopes to reach a broader audi- ence than musicologists usually do. Placing to the Board (which approved them) on 31 project, which has undertaken to record and October and then to the membership at the preserve information and reminiscences this book in a historical context, she observed that in the 1970s scholars of women and Business Meeting in Columbus on 2 Novem- about the Society by arranging for interviews ber. The principal recommendations con- of all living Past-Presidents, Board Members, music focused on unearthing data and in the 1980s grappled with ideology, and she noted cern a change in the method of selecting and “elder statesmen.” Under the assiduous papers and formal sessions and the estab- guidance of Aubrey Garlington, who chaired an increasing focus on performance and per- formance theory. Bernstein asserted that lishment of a regular Committee on the the Committee from 1997 to 2001, more Annual Meeting. than twenty-six interviews were completed, musical literacy is entirely irrelevant to her book, making it useful for music majors and The report values and seeks to maintain: including those with all but two of our Past- (1) the canonical six time-slots (from Thurs- Presidents. We are now embarking on the women’s studies majors alike. In her talk “Of Feminist Waves and day afternoon to Sunday morning); (2) the next phase of the project and, since our current forty-five-minute paper slot; (3) the meeting in Columbus, the Committee has Music,” Marcia Citron of Rice University reflected on recent developments in femi- principle of anonymity, up to a point; (4) the initiated at least three more interviews of sig- current number of papers read at the meet- nificant figures in the Society, with others to nism and feminist theory. She described a new or “third wave” of feminist thinking ing (144) as begun in Columbus; and (5) the be pursued in the near future. 250-word abstract. The Society’s archives are housed at the characteristic of the generation born between University of Pennsylvania under the able 1965 and 1979 and contrasted the new atti- A. The selection process. 1. Blind readings: watch of Marjorie Hassen, who logs in the tudes to the earlier “second wave” with the first reading and discussion should con- interview tapes as they are received. The which she identifies. Citron used anecdotes tinue to be done “blind,” and 120 papers Executive Director then arranges for the and observations from the classroom to selected. Then the authors of all abstracts tapes to be transcribed and sends those tran- characterize third-wave feminism, which should be uncovered for the selection of the scripts to the interviewers for review and emphasizes display of beauty and sexuality next 24 papers, which will lead to 144 editing. The Committee would be happy to and in general is direct and unapologetic accepted in total. No paper already accepted hear from volunteers who might like to be about sexual issues. Skeptical about or impa- would be eliminated during this round. involved at any stage of the process. The tient with the notion that society determines Rationale: the Committee does not see egre- new chair is Barbara Hanning and its members include inism celebrates the term “girl” rather than have been selected with respect to the Mark DeVoto, Bonnie Jo Dopp, Aubrey “woman.” Citron described the third wave numbers, topics, or ranks of the authors. It Garlington, James Grier, Marjorie Hassen, as a reaction to the predominantly white, thus believes that the principle of fairness Barbara Heyman, David Josephson, and heterosexual, and middle-class makeup of should continue to inform the first round— Rena Mueller. both second-wave feminism and “post- the full 120—of the selection process. More —Barbara R. Hanning, Chair feminism.” Discussion after her talk focused information about the submitters will on differences between post-feminism and strengthen the second round because it will third-wave feminism and how these are man- address three related issues: (a) the tiny The Committee on the Status of Women ifested in music. numbers of senior scholars presenting In the closed meeting of the CSW, new papers at the annual meeting; (b) the fact of The Committee on the Status of Women members Judith Peraino, Nina Treadwell, papers by scholars respected in other areas (CSW) sponsored an open session in Colum- and Sindhu Revuluri were welcomed, the last of the Society’s functioning and at all stages bus that centered on the topic “Making Con- as a student member. The outgoing chair, of their careers being turned down year after nections with the Women’s Studies Depart- Judy Tsou, thanked outgoing members Olivia year; and (c) the undeniable fact that some- ment.” The talks of the three speakers Bloechl, Claire Fontijn-Harris, and Sanna times knowing the identity of an abstract’s offered different perspectives on the inter- Pederson for their work within the Commit- author enables the reader to understand section between women’s studies and musi- tee. Discussion centered on the need to how that topic fits into a particular project cology. In a talk entitled “Are We There? obtain reliable statistics about women in our or life’s work. The proposal enables the Pro- Women’s Studies in a Professional Music field and of the difficulty of doing so. Such gram Committee to use both criteria— Program,” Claudia Macdonald described her statistics would make it possible to compare fairness and informed context—to shape own experience at Oberlin College Conser- salaries of women professors with those of and balance the program. 2. Session chairs: vatory, speaking of the “double isolation” of their male colleagues at the same level as would be discussed by the whole Commit- the topic of women and/in music from both well as to compare the number of women tee to continue the policy already adopted general music courses and general women’s receiving doctorates with the number of of broadening the pool of potential chairs. studies classes. She has decided that the best women in tenure-track positions. Pamela 3. Formal sessions: papers submitted together approach for her is to integrate her work on Potter joined the meeting to talk about the as formal sessions should be considered as —10— an integral unit, with a 500-word cover sheet This year the Committee members also ciency and administrative savvy served the by the organizer as well as 250-word mandated that the co-chairs publicize the Committee well. Richard Agee generated abstracts by the participants. MTF Fellows program in as many other much of the activity surrounding the MTF B. Shape of the program. 1. Plenary sessions: musical organizations as possible to increase Fellows. The informal forum titled “Issues in the Presidential Forum is an excellent idea the yield. Cultural Diversity” at the 2002 conference and should be a plenary session, perhaps While this was time-consuming work, it produced lively discussion on strategies for alternating with a plenary presidential ad- paid off, resulting in eleven MTF Fellows curricular expansion, the pooling of resources dress. It is also possible that a donor might for 2002 attending the annual meeting in through an extended online discussion list, endow a lectureship at the annual meeting; Columbus. This number is nearly twice as and the question of how cultural diversity in this might form part of the Capital Cam- many as in the previous year and four times the study of musicology and music theory paign. 2. Sessions devoted to teaching: pedagogi- as many as in 2000. A great deal of energy might impact future paradigm changes. The cal issues would be valuable subjects for dis- has been generated with these moves, as Committee extends its sincere gratitude for cussion, panels, papers, or sessions. The call was made clear in the MTF Fellows recep- the energetic leadership of Richard Agee. for papers should encourage submissions on tion in Columbus. There is a possibility that Bob Judd was instrumental in the success any aspect of teaching and pedagogy. the name of the award might be altered in of the CCD’s programs over the past couple the near future, since a number of current C. The Program Committee. The Com- of years, and once again the CCD extends a and past MTF Fellows have objected to the mittee affirmed that the program committee sincere thanks for his facilitation of the Com- word “minority” in the name of the grant. should consist of a mix of senior and junior mittee’s programs. Overall, though, the Committee is very people with adequate representation of —Richard J. Agee and pleased with the direction that this program areas, eras, and methodologies. Johann Buis, Co-Chairs has taken. D. Creation of a Regular Committee on This year the AMS Board approved the the Annual Meeting. The Committee rec- CCD’s request to broaden the scope of the Committee on the ommends the formation of a Committee on Minority Travel Fund Fellows to include Publication of American Music the Annual Meeting, chaired by the Vice- those students in terminal master’s pro- President of the Society, with members to grams, and indeed, in 2002 the Committee The Society’s Committee on the Publication include the Program Chair, a member of the had one such candidate successfully apply to of American Music (COPAM) is pleased to Council, and others appointed by the Presi- the program. The Board also approved the report that Charles Ives’s 129 Songs, edited by dent, who will be an ex-officio member. Committee’s request to waive AMS registra- H. Wiley Hitchcock, is now in press and This Committee will be able to (1) act as a tion fees for local minority faculty members scheduled for publication by mid-2003. This sounding board for the membership; (2) who are not currently members of the AMS landmark volume offers the first critical edi- assess and fine-tune the results of these rec- to attend the annual meeting. In Columbus tions of the songs in 114 Songs, which Ives ommendations after they take effect; (3) ini- the Committee had no takers for this pro- published privately in 1922, plus another fif- tiate further recommendations when neces- gram, probably because there are very few teen that also found their way into print sary; and (4) assess other aspects of the minority music faculty in the region who are without professional editing. Commissioned annual meeting, including study sessions, not already AMS members. The CCD will by the Charles Ives Society, Professor Hitch- panel discussions, meetings and paper- publicize this program on its Web site in the cock’s edition will appear as vol. 12 in the sessions of special-interest groups and other coming year as well as with the Local AMS-sponsored Music of the United States of societies, and other events falling outside of Arrangements Committee in Houston and America (MUSA) series thanks to an agree- the canonical time-slots. anticipates a higher yield than in 2002. ment negotiated between that society, the A final note: we believe that the annual The Committee on Cultural Diversity AMS, and the music’s copyright holders. meeting is the central event in the life of the “Alliance,” the consortium of schools who Other projects nearing completion Society and the source of a profound sense have guaranteed a fellowship of at least include a selection of transcribed piano solos of connection to the profession we have three years to qualifying minority applicants, by Earl Hines, edited by Jeffrey Taylor; cho- chosen. The program of the meeting allows also has a record number of over twenty ral works by Dudley Buck, edited by Lee us to hear the best work being done in the members as of this date. Nevertheless, the Orr; and Leo Ornstein’s Quintette for Piano field by scholars at all stages of their careers. Committee was somewhat disappointed that and Strings, Op. 92 (1928), edited by Denise While all of us have felt disappointed by not more representatives from these schools Von Glahn and Michael Broyles. With newly some of the papers we have heard, the hard appeared at the MTF Fellows reception in commissioned editions of (1) music from a work of successive program committees has Columbus. In 2003 the CCD plans to Native American Pow Wow in Los Angeles, nonetheless provided us with stellar experi- strengthen contacts with these schools in the (2) wind partitas by the Moravian composer ences. We hope that these recommenda- hope of increasing their active participation. David Moritz Michael, and (3) Eubie Blake tions will strengthen the annual meeting, a The CCD is heartened that the AMS will be and Noble Sissle’s Shuffle Along (1921) added home, however brief, for scholarship and instituting a mentoring initiative very soon to MUSA’s docket in 2002, almost three- friendship. and looks forward to its implementation. quarters of our projected forty-volume series —Elaine Sisman, Chair This year, the idea of establishing a Cul- is now mapped out. tural Diversity Study Group is being consid- Joining the Committee at the Columbus Committee on Cultural Diversity ered by the CCD to facilitate the creation of meeting were three new members: Johann special programs for the annual meeting of Buis, Anne Dhu McLucas, and Michael V. The Committee on Cultural Diversity (CCD) the AMS, to establish a forum for publiciz- Pisani; thanks are due to retiring Committee has made tremendous strides in the last few ing those issues directly concerning the mis- members Carol J. Oja and Marva Griffin years. In 2001 the CCD instituted a new and sion of the Committee, as well as to bring Carter. For ideas or questions about the efficient application process that would pro- together those scholars whose research MUSA project, Executive Editor Mark Clague vide information needed to evaluate candi- interests deal with the music of groups who may be contacted at the University of Michi- dates for the Minority Travel Fund awards. have been historically underrepresented in gan through any or all of the following ave- In this it was immeasurably aided by the dili- the discipline. nues: tel. 734/647-4580; fax 734/647-1897; gent work of its student member, Charles With the conclusion of the Columbus ; or . and functional Web site for the Committee. Agee as co-chair of the Committee. His effi- —Richard Crawford, Chair —11— Philip Brett (1937–2002) and gallantry found all too rarely within the beyond younger African-American students academy. His partner, Professor George and faculty members. As Deane Root aptly Born in the English Midlands, Philip Brett Haggerty, has asked that memorial contri- said, she “inspired all of us to apply the was a choirboy at Southwell Cathedral and butions be made to the Philip Brett Award musicological training we received in study- a choral scholar at Cambridge, coming under in Lesbian and Gay Musicology. ing European music to the music history the formidable spell of Thurston Dart. He —Joseph Kerman and Susan McClary from our own communities. In this sense, later studied at Berkeley on a traveling fel- her intellectual progeny are legion. She was lowship and joined the faculty in 1966. A a pioneer, and the legacy she left continues stellar scholar and teacher, he was also a Eileen Jackson Southern to grow.” Grammy-nominated, Greenberg-Award- (1920–2002) — Michael Ochs winning choral conductor and a fine player of harpsichord and viols. Most people who tried to get Eileen Philip’s contributions to musicology Southern to talk about herself quickly rec- began in his student days: tracking fifty-odd ognized her gift for steering the conversa- scattered Elizabethan manuscripts to a sin- tion right back to them. Rarely has some- gle documented scriptorium and attributing one who commanded such great respect nine consort songs in one of them to Byrd and admiration carried herself with such (thus uncovering an entirely unknown Spätstil unassuming grace. She made it to the top Obituaries repertory of a canonical composer). His of the musicological world the old- The Society regrets to inform its mem- career took a decisive turn in 1977 with the fashioned way, through solid scholarship bers of the deaths of the following publication of “Britten and Grimes,” the and astounding contributions to the field members: first scholarly article to consider the influ- of American music. Her landmark book, ence of a composer’s sexual identity on the The Music of Black Americans: A History Leon Stein 9 May 2002 music itself, adumbrated at the 1976 annual (MOBA), resembles Music in the Renaissance meeting. In Britten he found a major by her mentor Gustave Reese, in that both research interest and also developed influen- Eileen Jackson Southern authors strove to write coherent histories 13 October 2002 tial theoretical models for the study of sexu- of their fields with full scholarly apparatus. ality in culture. His many publications in this But while Reese could fall back on a cen- area include several pathbreaking co- Philip Brett tury’s worth of research, Southern faced a 16 October 2002 authored collections: Queering the Pitch (1994), nearly blank slate. Moreover, had anyone Cruising the Performative (1995), and Decomposi- in the academic world of the 1950s even Eugene K. Wolf tion: Post-Disciplinary Performance (2000). given it a thought, African-American music 12 December 2002 Philip did not restrict his political ener- would have been deemed unworthy of gies to his scholarship. He worked bravely serious study. to make sexuality an acceptable area of Eileen Southern changed all that, but study within the discipline. In 1986 he star- the change did not come easily. Through- tled many by announcing a gay/lesbian out much of her academic career, South- Policy on Obituaries cocktail party, and in 1992 he chaired the ern was viewed with suspicion and even The following, revised policy on discur- first AMS session on composers and sexual- downright hostility by some of her col- sive obituaries in the Newsletter was ity to a S.R.O. audience. 1989 saw the leagues because she was writing (in part) approved by the Board of Directors in founding of the AMS Gay and Lesbian about nonclassical music, and she was an 2002. Study Group, which instituted the Philip African-American woman in what was still Brett Award in 1999 “to honor each year largely the preserve of white men. Even 1. The Society wishes to recognize the accomplishments of members who exceptional musicological work in the field her appointment as the first black woman have died by printing obituaries in the of gay, lesbian, bisexual, transgender/ ever to become tenured at Harvard was Newsletter. transsexual studies.” disparaged by some as a bow to political A veritable new musicologist avant la lettre, correctness. In this connection, Southern 2. Obituaries will normally not exceed Philip never left the old. As general editor once told me in an uncharacteristically 400 words and will focus on music- of a new Byrd Gesamtausgabe, he notably personal admission that one of her proud- related activities such as teaching, refined principles of scholarly editing in the est achievements at Harvard was simply research, publications, grants, and ser- ten volumes he undertook himself. He once vice to the Society. projected a monograph on Byrd’s music to standing up in front of a class of students English words, but work on the Byrd edi- whose only prior contact with a black per- 3. The Society requests that colleagues, tion drew him to the composer’s “other,” son had been with their “colored” maid. friends, or family of a deceased member Latin music. His extensive prefatory matter And she bore it all with limitless polite- who wish to see him or her recognized to Gradualia (to be issued as a monograph) ness, grace, charm, and good humor. by an obituary communicate that desire magnifies and politicizes our picture of the I had the honor and pleasure of edit- to the Editor of the Newsletter. The Edi- composer’s great outcry on behalf of the ing the third edition of MOBA, and I tor, in consultation with the advisory persecuted recusant community. The same recall long days of working with her at her committee named below, will select the musicality that warms his famous essay on home in New York. Although her health author of the obituary and edit the text the Schubert Grand Duo illumines his read- was already failing, she would soldier on for publication. till 6 P.M. ings of Byrd motets. 4. A committee has been appointed to Many students and disciples have been In 1991 Philip moved from the Univer- oversee and evaluate this policy, to profoundly affected by her leadership: sity of California, Berkeley to the University commission or write additional obituar- of California, Riverside, and in 2001 he Josephine Wright, Anne Dhu McLucas, ies as necessary, and to report to the moved to the University of California, Los Suzanne Flandreau, and Rae Linda Brown Board of Directors. The committee Angeles. In addition to his brilliant scholar- stand out among a veritable cohort of comprises the Executive Director ship, his generous mentoring, and his coura- younger scholars who have followed on (Chair), the Secretary of the Council, geous interventions, Philip Brett brought to the path she blazed. But Southern was and one other member. musicology qualities of compassion, grace, also a role model for a population well —12— Forthcoming Meetings 2003. Hosted by the Korean Society for studies, lesbian historiography, music theory Women Composers (KSWC) in cooperation and historiography in the nineteenth cen- Twenty-Ninth Annual Conference of the with the International Alliance for Women tury, historicizing popular music. For more Society for American Music, 26 February– in Music (IAWM), this conference-festival information: Charles Wilson, RMA Histori- 2 March 2003, Tempe, Arizona. For more will offer rich experiences in both Korean ography 2003, Department of Music, Cardiff information on the program and registra- traditional and new music, perspectives on University, 31 Corbett Road, Cardiff, CF10 tion, see the society’s Web site at . American-Music.org>. and intellectually stimulating discussions about women from around the world in Music in Art: Music Iconography as a music today. For musicians, arts organiza- The Waltz: Re-examining and Re-inter- Source for Music History, Ninth Confer- tions, educators, and students, the confer- ence of the Research Center for Music Ico- preting a Popular Dance (A Symposium in ence will feature internationally recognized Honor of Robert Falck), University of nography, City University of New York, co- artists and scholars. The conference, which sponsored by the Department of Musical Toronto, Faculty of Music, 1 March 2003. will present a variety of new musical styles, is This conference is sponsored by the gradu- Instruments of the Metropolitan Museum of closely tied to the KSWC’s mission of sup- Art, New York, 6–8 November 2003. The ate students in musicology in conjunction porting Asian artistic and cultural expres- with the division’s Symposium Series in conference will commemorate Emanuel sions that integrate new music into the fabric Winternitz (1898–1983), the Honorary Presi- Musicology and Theory. For more informa- of traditional and contemporary life styles. tion: Teresa Magdanz or Alex Carpenter . Department of Musical Instruments at the music for Korean traditional orchestra, Metropolitan Museum of Art, and co-director chamber music, cross cultural music, music of the Research Center for Music Iconogra- The symposium Darius Milhaud’s Ameri- technology, and theatrical works. For de- phy. For more information: Zdravko Blaze- can Legacy will be held on 14 March 2003 tailed information: kovic, Research Center for Music Iconogra- at the San Francisco Conservatory of Music or Chan-hae Lee at . phy, City University of New York Graduate in conjunction with the BluePrint Festival. School, 365 Fifth Avenue, New York, NY The BluePrint Festival, directed by Nicole Skip a Beat: Challenging Popular Music 10016-4309; tel. 212/817-1992; ; . from the twentieth and twenty-first centuries Music Project (EMP) Pop Conference, Seat- and is taking place in San Francisco from tle, Washington, 10–13 April 2003. The con- October 2002 to April 2003. For more infor- ference connects academics, journalists, Calls for Papers and Manuscripts mation on the symposium program and con- musicians, industry figures, and anyone else cert schedule, please contact Faun Tiedge, interested in ambitious music writing that A joint meeting of the Rocky Mountain Chair, Music History and Literature, San crosses disciplinary walls. For more informa- Chapters of the American Musicological Francisco Conservatory of Music, 1201 tion: . the Society for Ethnomusicology will be 415/759-3420; . held in Tucson at the University of Arizona Thirty-Eighth International Congress on 11–12 April 2003. Paper abstracts of not GAMMA-UT, the Graduate Association of more than 250 words for the AMS portion Music and Musicians at the University of Medieval Studies, Kalamazoo, Michigan, 8–11 May 2003. For more information: Cyn- of the meeting should be submitted to John Texas (UT), announces its third annual con- T. Brobeck, President of the Rocky Moun- ference, to be held 28–29 March 2003 at thia Cyrus, 541 Holt Valley Road, Nashville, TN 37221; tel. 615/662-8514; ; . AZ 85721. Abstracts can also be sent by e- tion, musicology, and ethnomusicology will mail to . The dead- meet to share their research, and compos- line for submission of abstracts is 23 Febru- ers will be presenting their works in a con- Fourth international conference of the ary 2003. cert to be held the evening of Friday, 28 International Association for Word and March. For a list of papers and more infor- Music Studies (WMA), 18–22 June 2003, continued on page 14 mation about GAMMA-UT, see their Web Free University of Berlin, Germany. The site at . For conference will focus on two themes: (1) more information, contact the conference “Music and the Spoken Word,” encompass- chair, Gene K. Willet, at . topics, ranging from the melodrama of antiq- “Sister” Societies uity to contemporary rap music and beyond; Music of Japan Today 2003, 4–6 April and (2) “Surveying the Field,” a regular fea- 2003 AMS: 13–16 November, Hous- 2003, University of Maryland, Baltimore ture at WMA conferences, covering theoreti- ton, Texas County (UMBC). UMBC will host a three- cal and methodological questions innate to SMT: 5–8 November, Madison, day symposium of performances, lecture- the study of the relationship of words and Wisconsin recitals, panel discussions, and paper pres- music. For more information, contact Walter SEM/CMS: 1–5 October, entations on topics that concern Japanese Bernhart at Miami, Florida music from the widest possible range of or Albrecht Riethmüller at . Seattle, Washington mation: or SEM: Tucson, Arizona ; . ence 2003, Music Historiography, Depart- ton, DC ment of Music, Cardiff University, 12–14 SEM: Atlanta, Georgia 2006 The International Festival of Women in September 2003. Topics will include, among AMS: 2–5 November, Los Music Today, Seoul, Korea, 8–12 April others: multidisciplinarity in medieval music Angeles, California —13— Calls for Papers and Manuscripts Now published by Routledge, the Journal and periodically of Musicological Research is a peer-reviewed, announced over the AMS List. The deadline continued from page 13 quarterly publication with an international for applications is 1 March 2003. Inquiries should be addressed to Wayne Alpern, The Mozart Society of America, which will circulation. Readership includes profession- Director, Mannes Institute, 150 West 85th again hold its annual meeting in conjunction als, academics, and students of musicology Street, New York, NY 10024, USA, tel. with the AMS meeting in Houston, solicits as well as composers, historians, musicians, 212/877-8350; . proposals for presentations at the study ses- and individuals interested in music scholar- sion on the topic “Did Mozart Succeed as a ship. Composer in Vienna? Issues of Perfor- Submissions should include three copies On 15 July 2002 access to the Répertoire mance, Audience, Dissemination.” Abstracts of the proposed article and clear copies of International des Sources Musicales (RISM) of no more than 250 words should be sent musical examples. Inquiries should be Web site and the “RISM Online” electronic by 1 June 2003 to Jane R. Stevens, either by directed to: Deborah Kauffman and Jona- resource at Harvard University was discontin- Jolla, CA 92037 or by e-mail at . Colorado, Frasier Hall, Campus Box 28, with the commercial publication of the Greeley, CO 80639; . majority of the same RISM data on the National Information Services Corpora- Cambridge University Press is pleased to tion’s (NISC) online BiblioLine Internet announce a new journal, Eighteenth-Century News Briefs search-and-retrieval service. Music, edited by W. Dean Sutcliffe (St. Cath- The NISC interface provides access to arine’s College, Cambridge) and Cliff Eisen Current Musicology is pleased to announce the RISM Series A/II: Music Manuscripts after (King’s College, London). The reviews edi- publication of a commemorative Festschrift 1600. It also provides access to three related tor is Simon Keefe (Queen’s University, Bel- issue for Professor Mark Tucker (1954– databases (Composer, Library Sigla, and fast). 2000) on the topic of jazz studies. The 500- Bibliographic Citations) that can be searched The journal is intended as a forum for all page issue will feature historical, cultural, from hyperlinks in the Music Manuscripts eighteenth-century music research, thus and analytical studies, perspectives on jazz database or directly from a database search attempting to overcome the divisions so studies, and reviews of recent jazz-related menu. Further information is available on characteristic not only of the historiography publications by many of the leading jazz NISC’s Web site at or of the long eighteenth century (1670–1830) scholars including Jeffrey Magee, Sherrie from the RISM Central Editorial Office but also of the scholarly methodologies nor- Tucker, Scott DeVeaux, George Lewis, and (Zentralredaktion) in Frankfurt . For questions re- tors welcome not only traditional source, Krin Gabbard. For ordering information, Current Musicology garding the U.S. RISM Office at Harvard analytical, historical, and performance prac- please visit the Web site at , or contact contact Sarah Adams, Director of the U.S. tice studies but also interdisciplinary contri- RISM Office at . butions, tapping into the institutional the editor at . century research. In addition to standard The School of Music at the University of journal-length articles and book reviews, The Mannes Institute is a privately sup- Texas, Austin, announces the founding of Eighteenth-Century Music will also include a ported, nonprofit musical think-tank dedi- the Center for American Music. The Center has three priorities: (1) to promote and sup- number of less common features such as cated to communal inquiry at the highest port research in American music of all gen- shorter articles (based on the model of the level of scholarship. It offers a unique res, eras, and styles; (2) to sponsor perfor- “Kleine Beiträge” in some German journals). opportunity for professional music academ- mance and recording of American music, The first issue will be published in early ics around the world to convene outside of particularly for use in courses on the history 2004, and the editors would be delighted to the conventional conference format to teach and learn from one another in a sustained, of American music; and (3) to facilitate the receive submissions (four copies please) as teaching of courses in American music, well as offers to review books, editions, re- interactive, and interdisciplinary way. Instead of traditional paper presentations, the work including popular music and Texas music, cordings, and eighteenth-century conferences to the general UT undergraduate popula- at the following address: Editorial Office, of the Institute is conducted through an intensive series of participatory workshops, tion. David Neumeyer has been appointed Eighteenth-Century Music, Department of the first chair of the Center, with Elizabeth Music, King’s College London, Strand, Lon- roundtable discussions, plenary sessions, and informal gatherings, all addressing a single Crist as associate chair, and Gerard Béhague don WC2R 2LS, England; <18cmusic@kcl. as senior advisor. ac.uk>. subject under the guidance of rotating facul- ties of distinguished experts drawn from the The Music Theory Society of the MidAtlan- international musical community. Prior pre- The Journal of Musicological Research invites the tic will be founded at the Peabody Conser- paration and assigned reading are required. submission of original articles on all aspects vatory of Music, 4–5 April 2003. This final of the discipline of music: historical musicol- Outstanding scholars are invited to join their region of the U.S. to have its own music ogy, style and repertory studies, music the- peers and share in this innovative and trans- theory society will include Delaware, Mary- ory, ethnomusicology, music education, formative experience in collaborative learn- land, New Jersey, Pennsylvania, Virginia, organology, and interdisciplinary studies. ing. and West Virginia. Michael Rogers, author Because contemporary music scholarship This year the Mannes Institute will con- of Teaching Music Theory, will give a special addresses critical and analytical issues from a vene its third annual gathering at Mannes presentation with time for discussion. A cel- multiplicity of viewpoints, the Journal of College of Music in New York City from 21 ebratory banquet will take place on Friday Musicological Research seeks to present studies to 24 June 2003 on the topic of Transforma- evening; accommodation, registration form from all perspectives, using the full spectrum tional Theory and Analysis, one of the most (please register before 14 March 2003), and of methodologies. This variety makes the important developments in our field during activity information may be viewed on the Journal of Musicological Research a place where the last quarter century. The faculty includes MTS MA Web site . scholarly approaches can coexist, in all their David Lewin, Richard Cohn, Joseph Straus, harmony and occasional discord, and one Robert Morris, Henry Klumpenhouwer, that is not allied with any particular school John Roeder, and Edward Gollin. Detailed or viewpoint. information is posted on the Web site at —14— AMS Ballot – 2003

President (vote for one)

! Anne Walters Robertson

! Elaine Sisman

Secretary

! Rufus Hallmark

Directors-at-Large (vote for three)

! Virginia Hancock

! Ingrid Monson

! Massimo Ossi

! Deane Root

! Steven Saunders

! Michael Tusa

During the first year of their terms of office, those elected from this ballot will serve along with officers elected in previous years whose terms continue through 2004: Peter Burkholder, President; Richard Kramer, Vice-President; James L. Ladewig, Treasurer; Scott DeVeaux, James Hepokoski, and Mary Hunter, Directors-at-Large.*

Place your ballot in a sealed envelope. Write your full name legibly in the upper left corner of the envelope so that it can be checked against the membership rolls. Every year a number of ballots are disallowed because the senders’ names are either absent or indecipherable. Mail your ballot, postmarked by April 7, 2003, to

Rufus Hallmark, Secretary, AMS Department of Music Mason Gross School of the Arts Rutgers University 81 George Street *Recent Board action following upon Wye J. Allanbrook’s resigna- tion as AMS President January 13, 2003 means that Peter New Brunswick, NJ 08901 USA Burkholder now takes the office of President for the period 2003– 2004, and the office of Past President, 2005. Richard Kramer was appointed by the Board as Vice President January 24, 2003. CANDIDATES FOR PRESIDENT

Anne Walters Robertson Professor of Music & Deputy Provost for Research and Education, U Chicago; BMus, MMus, U Houston, MMus, Rice U, MPhil, PhD, Yale U; French medieval music, liturgy & architecture; interpretation, biography, music & mysticism; Guillaume de Machaut and Reims: Context and Meaning in his Musical Works (2002); “Which Vitry? The Witness of the Trinity Motet from the Roman de Fauvel,” in Hearing the Motet (ed Pesce, 1997); “Remembering the Annunciation in Medieval Polyphony,” Speculum 70 (1995); “The Mass of Guillaume de Machaut in the Cathedral of Reims,” in Plainsong in the Age of Polyphony (ed Kelly, 1992); “Benedicamus Domino: The Unwritten Tradition,” JAMS 41 (1988); Howard Found Fellow (96-97), Med Acad of Amer Brown Prize (95), Guggenheim Fellow (92); AMS Einstein Award (87), NEH and ACLS grants; Chair, Music Dept, U Chicago (92- 98), Internatl Machaut Soc, Pres (97-99), Vice-Pres (96-97); AHJ-AMS 50 Fellowship Comm (00-01, Chair 01-04), JAMS Ed Bd (92- 98), AMS Pub Comm (90-95), Chair, Loc Arr Comm Chicago (91), Prog Co-chair, Midwest Chap (90-91), Comm on the Status of Women (84-86)

Elaine Sisman Professor and Chair, Music Dept, Columbia U; BA, Cornell U, MFA, PhD, Princeton U; 18th-19th-c aesthetics, rhetoric, history of ideas; “Variations” article, in The New Grove (2001); “Memory and Invention at the Threshold of Beethoven’s Late Style,” in Beethoven and His World (ed Burnham & Steinberg, 2000); “The Music of Rhetoric,” Musicology and the Sister Disciplines (XVI IMS, 2000); Ed, Haydn and His World (1997); “Genre, Gesture, and Meaning in Mozart’s ‘Prague’ Symphony,” Mozart Studies 2 (ed Eisen, 1997); “Pathos and the Pathétique: Rhetorical Stance in Beethoven’s Piano Sonata Op 13,” Beethoven Forum 3 (1994); Mozart: “Jupiter” Symphony (1993); Haydn and the Classical Variation (1993); “Haydn’s Theater Symphonies,” JAMS 43 (1990); “Small and Expanded Forms: Koch’s Model and Haydn’s Music,” MQ 68 (1982); AMS Einstein Award (83); Haydn-Institut Board (01-); Zentralinstitut für Mozartforschung (97-); American Brahms Soc Board (93-, Sec’y, 95-01); Co-ed, Beethoven Forum (95-); Assoc Ed 19th-C4 Music (99-); AMS Vice-Pres (00-02), Chair, Ad Hoc Comm on the Program (00-02); JAMS Ed Bd (92-94); Pisk Prize Comm (91-92); Prog Comm (89); Nom Comm (83); Pres, Greater NY Chap (82-84) CANDIDATES FOR DIRECTORS-AT-LARGE

Virginia Hancock Professor, Reed C; BA (Chem), Reed C, MA (Chem), Harvard U, DMA (Mus Hist), U Oregon; choral music and lieder of Brahms, 19th-c historiography, choral conducting; “Brahms, Daumer, und die Lieder Op 32 und 57,” Joh4 Brahms: Quellen, Text, Rezeption, Interpretation (ed Krummacher & Struck, 1999); articles on the a capella choral music, The Compleat Brahms (ed Botstein, 1999); “Brahms: Volkslied/Kunstlied,” The Nineteenth-Century German Lied (ed Hallmark, 1996); Brahms’s Choral Compositions and His Library of Early Music, (1983); Ed, Newsletter of Amer Brahms Soc (83-96); Ed, AMS Newsletter (97-99), Chair, Pacific NW Chap (93-95), Sec’y-Treas, Midwest Chap (78-80)

Ingrid Monson Professor of Music and Afro-American Studies, Harvard U; BMus, New Engl Cons, MA, PhD, NYU; jazz, musics of the African diaspora; music, politics & race; improvisational musical processes; music & cultural theory; The African Diaspora: A Musical Perspective (2000); “Riffs, Repetition and Theories of Globalization,” Ethnomusicology 43 (1999); Saying Something: Jazz Improvisation and Interaction (1996); “The Problem with White Hipness,” JAMS 48 (1995); Co-ed, American music section, MQ; JAMS Ed Bd (99-)

Massimo Ossi Assoc Professor, Indiana U; BS (Span), Old Dominion U, MA, PhD (Music), Harvard U; Ital music of Renaissance & Baroque; Monteverdi; aesthetics and philosophy of music; madrigal, prosody & poetics; humanism; lute music; music & theater; Venetian music; Vivaldi; Divining the Oracle: Aspects of Claudio Monteverdi’s Seconda prattica (in press); “Dalle macchine la meraviglia: Bernardo Buontalenti’s ‘Il Rapimento de Cefalo’,” in Opera in Context (ed Radice, 1998); “Claudio Monteverdi’s ordine novo, bello et gustevole,” JAMS 45 (1992); “A Sample Problem in Seventeenth-Century Imitatio,” in Music in Renaissance Cities and Courts (ed Owens & Cummings, 1996); AMS Einstein Award (93), I Tatti Fellow (91-92), NEH Summer Stipend (91); Vice-Pres, Soc For 17th-C Music (97-00), ed, 17th Century Music Newsletter (93-97); AMS Pisk Prize Comm (99-01, Chair 01), Council Nom Comm (96)

Deane Root Professor, Chair, Music Dept, Director, Center for Amer Music, U Pittsburgh; BA, New Coll of Fla, MMus, PhD, U Illinois; American music, musical theater, popular music, 20th-c composers; Series Ed, Nineteenth-Century American Musical Theater (1990); Co-ed (w/ S Saunders), The Music of Stephen C4 Foster: A Critical Edition (1994); Co-compiler (w/ DW Krummel), Resources of American Music History (1981); Amer Lib Assoc Choice Award for “Outstanding Academic Book,” MLA Book of the Year Award, SAM Distinguished Service Citation (00); SAM delegate to ACLS (96-99); Past Pres, Sonneck SAM; Advisor & staff ed, The New Grove (1980); Co-chair, AMS Outreach Comm, Co-chair, Loc Arr Comm, Pittsburgh (1992), AMS RILM representative (92-), alt rep to Natl Recording Preserv Bd (01-)

Steven Saunders Assoc Professor, Chair, Music Dept, Colby C; BFA, MFA, Carnegie-Mellon U, MA, PhD, U Pittsburgh; 17th-c sacred music; 19th-c popular song; Ed, Giovanni Felice Sance: Motetti (in press); “Kirchenmusik am Wiener Hof,” Giovanni Valentini (2003); “New Light on the Genesis of Monteverdi’s Eighth Book of Madrigals,” M&L 77 (1996); Cross, Sword, and Lyre: Sacred Music at the Imperial Court of Ferdinand II (1995); Co-ed (w/ D Root), The Music of Stephen C4 Foster: A Critical Edition (1994); Ed, 17th Century Music Newsletter (90-93); Ed Bd, Jrnl4 of 17th-C4 Music (96-); AMS Loc Arr Comm, Boston (98), Chair, Nom Comm AMS NE Chap (98), Pres, NE Chapter (94-96), Stud Rep, Allegheny Chap (87-88)

Michael Tusa Professor and Assoc Director, Sch of Music, U Texas, Austin; BA, Yale U, MM, Yale U, PhD, Princeton U; music of Beethoven and Weber, 19th-c German opera, piano music; “Weber” article, in The New Grove (2001); “Exploring the Master’s Heritage: Liszt and the Music of Weber,” Jrnl4 of the Amer4 Liszt Soc4 45 (1999); “Noch einmal—Form and Content in the Finale of Beethoven’s Ninth Symphony,” Beethoven Forum 7 (1999); “The Unknown Florestan: the 1805 Version,” JAMS 46 (1993); “Euryanthe” and Weber’s Dramaturgy of German Opera (1991); Acting Director, Sch of Music, U Texas, Austin (1999-01); Review ed, Beethoven Forum (1992-96); AMS Chap Fund Comm (00-30, Chair 02-03), Review ed, JAMS (96-98), Pres, SW Chap (89-91), Prog & Loc Arr Comms, Austin (1989)

—16— President Jessie Ann Owens, Vice-President J. Peter Burkholder, Treasurer James Ladewig, and Secretary Rufus Hallmark at the 2002 Business Meeting in Columbus, Ohio.

AMS PUBLICATIONS

Publications available directly from the AMS include the complete works of Ockeghem, the works of Dunstable, most back issues of JAMS, selected Annual Meeting Abstracts books, and other titles, including works by Joseph Kerman, Edward R# Reilly, and Edgar H# Sparks#

The AMS, together with the National Endowment for the Humanities and the University of Michigan, also supports the publication of Music of the United States of America, which includes works by Lou Harrison, Harry Partch, “Fats” Waller, and others# In 2003 the MUSA plans to publish a new edition of the songs of Charles Ives, among other works# AMS members receive a twenty-five percent discount on all publications#

See the AMS Web site for full details:

—17— Presidential Forum: Anonymity and benefit of a central event on a topic of constructing the programs of our annual broad interest. meeting, at least since 1980 and possibly ear- Identity in Music(ology) The topic for this forum, “Anonymity lier. Individual program committee chairs and Identity in Music(ology),” is derived in have interpreted this mandate more or less At the 2002 annual meeting in Columbus, Presi- part from the ongoing discussions about the stringently, but in recent years the readings dent Jessie Ann Owens offered—in replacement of role of anonymity or blind reading in the have been “anonymous” from beginning to the traditional Presidential Address—a Presidential selection process for the program of the end; even the program chair has not known Forum in which she and four invited speakers (Ellen annual meeting. But it comes as well from the identity of the authors of the abstracts. T. Harris, Philip Gossett, Margot Fassler, and the larger question of how individuals create Perhaps this process has made it easier for Richard Crawford) presented their ideas on the topic an identity for themselves both within the people who had not yet established an iden- of “Anonymity and Identity in Music(ology).” The AMS and in the professional world, either in tity within the Society to get onto the pro- text below is essentially a transcription of the academia or outside of academia. gram, and that has clearly been a very good addresses delivered in Columbus on Friday, 1 And it also comes from my own work as a thing for the Society. But it has drawbacks as November. The following readings were circulated in Renaissance scholar on composers’ sketches. well. advance to the speakers: Susan S. Lanser, “The I spent a great deal of time trying to deci- As Judith Tick pointed out to me, there Author’s Queer Clothes: Authority and Sex/uality pher some fragmentary sketches that had are two competing and perhaps irreconcil- in The Travels and Adventures of Mademoiselle de been scribbled into the blank staves of an able forces at work in our current method Richelieu,” in The Faces of Anonymity 1500– early sixteenth-century chansonnier, Flor- for creating the program at the annual meet- 1900, ed. Robert Griffin (Palgrave Macmillan, ence, Bibl. naz., Magl. 117, by an unknown ing. One is a belief in the importance of 2003), 81–102; Susan S. Lanser, “The ‘I’ of the composer. To transcribe these fragments, I impartiality. The other is a fundamental Beholder,” presented at the Annual Convention of had to figure out which voices went together respect for authority. The commitment to the Modern Language Association, New Orleans, since they turned out to be written not in impartiality means being willing to construct December 2001; Robert J. Griffin, “Anonymity and score but in parts, sometimes even in choir- a program based not on accomplishment or Authorship,” New Literary History 30 (1999): book format. In the end I had about forty name recognition but simply on the per- 877–95; and Michel Foucault, “What Is an distinct phrases, a few with partial texts but ceived quality of a short abstract. The respect Author,” in Language, Counter-Memory, none with the opening line that might make for authority brings us to these meetings, Practice (Cornell University Press, 1977), 113– identification easier. By the kind of serendip- where we hope to hear from the most estab- 38. ity that is central to scholarship, a mistake lished figures within our discipline. led me to a surprising discovery. I thought I Given this ongoing debate about the President’s Introduction recognized the hand as that of a scribe active importance of blind reading, I decided to (Jessie Ann Owens, Brandeis University) in Florence in the 1530s, and so my first take this opportunity to ask four of the most stop in trying to identify the fragments was distinguished members of our Society to Welcome to this first Presidential Forum. to look in the Arcadelt edition. By dumb offer their own perspectives on “Anonymity For a number of years now, there has been a luck I found the finished version of one of and Identity.” I have asked them each to tradition in the AMS for the President to give the pieces in the first place I looked, the speak for no more than ten minutes. I also a Presidential Address in his or her second Arcadelt Primo libro. Jane Bernstein will tell circulated the articles listed above to give us year as President. The range of responses to you that I telephoned her in a frenzy from a common frame of reference. this opportunity has been astonishingly wide. Isham Library. “Jane! Don’t tell anyone!!! I It is a pleasure for me to introduce col- Colin Slim did a tableau vivant. Ellen Rosand have an Arcadelt autograph!” But then five leagues who need no introduction: Ellen and Philip Gossett—at a time when the Soci- minutes later I realized that the piece was Harris (Massachusetts Institute of Technol- ety very much needed it—gave inspiring ser- not by Arcadelt even though the printer had ogy), author most recently of Handel as mons about our aims and aspirations as a included it in his Primo libro. “Jane! It’s a Orpheus; Philip Gossett (University of Chi- scholarly community. Howard Brown pre- Corteccia autograph!!!” Why did it matter so cago), former president of the AMS, editor sented a paper on “Emulation and Imita- much to me that I could put a name on of the Verdi and Rossini editions; Margot tion” that would become a classic of Renais- these fragments? Fassler (Yale University), author of the Kin- sance scholarship. Ruth Solie turned the time I hardly need to answer that question for keldey-award winning book Gothic Song; and available to her into a very moving tribute to this audience. Knowing that these pieces Richard Crawford (University of Michigan), Alvin Johnson by the former presidents who were by the Florentine composer Francesco also former president, dean of American had worked with him. James Webster did a Corteccia helps us put them into the context music studies and editor of the extraordinary meta-address in which he deconstructed the of a composer’s life and works and into the series of American music, MUSA. The pres- whole enterprise (AMS Newsletter 29, no. 1 larger context of music history in Florence ence of scholars like these four adds a spe- [February 1999]: 10–11). in the sixteenth century. As a discipline, cial luster to an already distinguished pro- My term as President has coincided with musicology has been intensely focused on gram, and I am grateful to them for having a Society-wide reflection on aspects of our this sort of author identification. We never accepted my invitation. annual meeting. There has also been a series went through a phase like the “New Criti- of initiatives to think of the membership of cism” in English literary criticism. I. A. Rich- Author and Subject: Anonymity and the Society as distinct constituencies, each ards, in challenging readers to assess poems Identity in Music(ology) with its own particular needs. My decision to from which the author’s name had been (Ellen T. Harris, Massachusetts Institute of turn the Presidential Address into a Presiden- removed, revealed how much of what was Technology) tial Forum gives me a chance to address both written depended on knowing the identity of these developments. the poet: “approval and admiration is being When I started working on this assignment, I One of my goals for this forum was to accorded not to the poetry but to an idol” did what any self-respecting student of today try out the idea of adding a plenary session to (cited in Lanser, “The Author’s Queer does—I went to Google. Searching on “ano- the annual meeting or perhaps a keynote Clothes”). Of course, in its own way, musi- nymity identity” pulled up “about 112,000” speech. I remember a wonderful evening ses- cology has also been challenging the obvi- hits in 0.52 seconds. The minute fraction of sion at the 1996 Baltimore meeting devoted ously pernicious effects of the “great name” these that I opened resulted in only a few to film biographies of composers that had a on the evaluation of music and on the writ- items of immediate interest. One turned out huge audience—and even a popcorn machine! ing of history. to be an article by an MIT colleague, Gary T. —and functioned very much like a plenary. I would rather not read these fragments Marx, Professor Emeritus in Urban Studies, My hope is that this session will show the “blind,” and yet that is how we have been entitled “Identity and Anonymity: Some —18— Conceptual Distinctions and Issues for thoughts is not really writing about his sub- her individual social categorization (“gender, Research” (in Documenting Individual Identity, ject at all. He is writing about himself” (p. ethnicity, religion, age, class, education, ed. J. Caplan and J. Torpey [Princeton Uni- 62). region, sexual orientation,” etc.). versity Press, 2001] and at ). Marx, whose in academic prose became increasingly accept- been asked to teach classes and pursue work focuses on technology, privacy, and able around 1980. The change happened research in women’s studies. And I have, for social control, identifies seven types of iden- later in science, as I am told at MIT, but example, deliberately added a woman com- tity knowledge (including legal name, ability even in science first-person has now become poser to each weekly lesson when I lecture to locate, and social categorization) and the rule. In the edition of How to Write & in MIT’s Introduction to Western Music in creates a paired typology of socially- Publish a Scientific Paper (3d ed. [Oryx Press, order to overcome their absence in our text. sanctioned contexts of concealment and 1988]), Robert A. Day declares: “I herewith None of my male colleagues has followed identifiability. These lists not only reveal ask all young scientists to renounce the false my lead, so this remains my own personal such quotidian incongruities as unlisted modesty of previous generations of scien- undertaking. I do not, however, revel in this phone numbers and caller-ID but also our tists. Do not be afraid to name the agent of unique identity. It strikes me that it is a very contradictory experiences in the academy. the action in a sentence, even when it is ‘I’ short distance from “only women should do On the one hand, quoting Marx, identity or ‘we’” (pp. 160–61). women’s studies” (and this is an attitude of concealment is sanctioned “to increase the The increased acceptance of identity, women as well as men) to “women should likelihood that judgments will be carried out agency, and individual responsibility in schol- only do women’s studies.” When I was at according to designated standards and not arly work (as represented by the now preva- the Bunting Institute at Radcliffe College in personal characteristics,” but, on the other lent use of first person) corresponds in 1996, I delighted in an academy established hand, “mass impersonal societies rely on obverse relation to the growing acceptance to encourage and assist women scholars. name, and the records and recommenda- of history as kaleidoscopic interpretation With the absorption of Radcliffe into Har- tions it can be associated with, to determine rather than an ever-closer approach to an vard, however, the Bunting has lost both its personal qualities” and to “judge reputa- absolute truth. In the introduction to The name and direction. Now part of the Rad- tion.” How can we as scholars balance these Cambridge Modern History of 1907, Lord cliffe Institute for Advanced Study and conflicting claims? In the brief space I am Acton wrote of achieving “ultimate history” open to men as well as women, it is said in allotted, I would like to consider anonymity by the “judicious division of labour” that various publicity materials sent to me that and identity in light of attitudinal shifts dur- will “bring home to every man the last docu- the Institute has retained its original purpose ing the past thirty years toward the subjects ment, and the ripest conclusions of interna- by supporting women’s studies. But, please, we study as well as our own authorship. tional research” (quoted in Edward Hallett women’s studies and women scholars are When I began my dissertation work thirty Carr, What Is History? [A. Knopf, 1961], 3). not the same. years ago, I first chose to work on the choral Fifty years later, Sir George Clark, in the As I have learned from the publication music of C. P. E. Bach. When I told this to introduction to The New Cambridge Modern of my most recent book, Handel as Orpheus, Edward Lowinsky, he exclaimed, “Ah, yes, History (1957), dismissed the goal of an “ulti- this identification of the scholar with a Carl Bach is one of my favorite minor mas- mate theory”: “Historians of a later generation social categorization exists equally in gay ters.” Two years later, my decision to change do not look forward to any such prospect. and lesbian studies. My goal in writing this my focus to Handel was based on personal They expect their work to be superseded study was a thorough analysis of Handel’s and professional reasons that had nothing to again and again. They consider that knowl- cantatas. Drawn by their musical values, I do with Lowinsky’s comment. Or did it? edge of the past has come down through examined their texts, chronology, and con- This was a period when the study of “great one or more human minds, has been ‘pro- text. My investigations led me to argue for men” still dominated musicology and much cessed’ by them, and therefore cannot consist the importance of text and context in the other historical work. Outside the field of of elemental and impersonal atoms which evolution of the cantatas and of the impor- medieval and, to a lesser extent, Renaissance nothing can alter” (quoted in Carr, p. 4). tance of the cantatas to Handel’s stylistic Studies, there were a select number of closely The recognition that neither the histo- development. That the context for the can- guarded planetary systems rotating around rian nor his subject is above history but tatas, quite aside from any knowledge about their chosen star: Josquin scholars, Bach rather a part of the historical flow and a Handel’s own actions, included homosexual- scholars, Mozart scholars, Beethoven schol- product of a particular time and place has ity has led to some reaction specifically based ars. Authority and identity attached in essen- changed the position and identity of each. on perceptions of Handel’s identity and my tialist fashion to this study of great men, and Carr in his above-cited very elegant book own. Interestingly enough, the critics most both a scholar’s identity and the importance What Is History? states that it is not his pur- opposed to the reading of Handel within a of his work (and it was largely His not Hers) pose “to deflate the greatness of great men” cultural and historical context seem also to was primarily determined by and submerged (p. 67), but he also writes, be those who are most interested in reading in the identity of the master composer. As a the facts of history never come to us the details of my life. Curiously, the argument result, the goal of the scholar was not osten- “pure,” since they do not and cannot (or acknowledgment) that a historian’s iden- sibly the creation of an individual identity (or exist in a pure form: they are always tity might affect or color his or her work celebrity) separate from his subject but the refracted through the mind of the offers (it seems to me) a validation of the addition, however anonymous, to the store recorder. It follows that when we take very contextual studies these critics decry. of knowledge and truth. That is, historical up a work of history, our first concern As soon as the book was announced by authority resided in the attempted abnega- should be not with the facts which it Harvard University Press, and before there tion of self in the pseudo-anonymous study contains but with the historian who was any opportunity of reading it, an article of documents pertaining to great composers. wrote it (p. 24). appeared in The Sunday Telegraph (21 October The submersion of the historian’s author- He takes as his example that “Dr. Trevel- 2001) with the headline “Handel was gay— ity in the identity of his subject is summed yan’s finest and maturest work England under his music proves it, claims academic.” One up for me in guidebooks to writing that for- Queen Anne … will only yield its full meaning remarkable feature of this article, aside from bade the use of first person singular. For and significance” when read against the its misrepresentation of my argument, is example, Lucille Vaughan Payne in 1965 background of the author’s Whig sympa- that after I am correctly identified as Ellen wrote in The Lively Art of Writing (rev. ed. thies. He probably could not have imagined T. Harris, I am thereafter named Dr. Ellis. [New American Library, 1969]): “The fact is, a time when the historian-critic would be A fascinating contraction of my name, it of course, that the student who feels com- judged (harshly or approvingly) as an advo- also seems to bear a subliminal reference to pelled to attach a personal pronoun to all his cate for what Gary Marx identifies as his or Dr. Havelock Ellis, the pioneering sexologist —19— from the beginning of the twentieth century. end. Sometimes we care so much that we the “Sinfonia di Odense” to the canon of The misinformation in this article, including threaten moral or even bodily harm to those works by Anonymous, even if it meant that the use of the name Dr. Ellis, was then who staunchly support Anonymous’s rights. performances of this rather attractive com- uncritically repeated in a handful of addi- The meaning of a musical composition and, position began to dry up. tional articles, and the conjunction of my full more poignantly, its commercial value, can 2) In the mid 1980s, Christie’s in Lon- name with the “Ellis” contraction did leave hang in the balance. don issued an auction catalogue that fea- some reporters puzzled. One apparently My first publication, now blessedly super- tured the autograph manuscript of a “Wed- drew the conclusion that it was a typographi- seded by a host of more sophisticated stud- ding Cantata” by one Gioachino Rossini. It cal error and changed the name to Dr. Ellen, ies, was a JAMS article in 1966 on mass didn’t take someone who had devoted far which, of course, has connotations of its pairs and cycles that grew out of an Oliver too much of his life to this composer to own. Readers were also confused. I received Strunk seminar at Princeton. Bologna Q15 know in an instant that the hand was not one e-mail with the question: “Please clear had been studied by many, but their atten- and had never been Rossini’s. I immediately up one confusing point arising from your tion focused primarily on compositions shot off a letter to Christie’s to inform them given name—are you Ms. or Mr.?” In some attributed in the manuscript to such illustri- of their error. Not only was this not Ros- of these early press articles I was specifically ous names as Guillaume Dufay, Hugo de sini’s hand, I continued, but it was certainly identified as an American academic—as in Lantins, or Johannes de Lymburgia. Yet it a composer’s score (as the nature of the “Handel was gay says American academic,” turned out that a fascinating story was to be internal corrections made clear): their “Wed- giving full negative weight to that identity. I told about the only mass pair in the manu- ding Cantata,” in short, was not written by have been accused of overlaying a homosex- script by Anonymous, and I was fortunate Rossini and was not the copy of a prior ual theme onto my study of the cantatas sim- enough to be able to do the telling. Not that work by him. The dear folks at Christie’s ply in order to enhance its market value, and I respected Anonymous’s attributes: I kept never responded (this happened before they it has also been assumed that I am pursuing doggedly trying to compare her composi- went to jail on price-fixing). Ah well, said I, a personal gay agenda. tional skills with all those other names. After Anonymous loses again. I have never felt as anonymous as I have all, I had nothing against which to measure But the story didn’t end there. An Italian since my identity has been so contested. this particular Anonymous, and I wasn’t music lover purchased this manuscript at the Carr is certainly correct that the identity of about to pull a Coussemaker: he hit pay-dirt auction, and he soon came scampering to the author is important to our readings, but at IV, and I didn’t know how high I’d have Pesaro to show off his treasure and to he was no advocate of mindless essentialism. had to count. obtain the imprimatur of the Fondazione American scholars cannot be defined (or dis- But this relationship to an early- Rossini. As gently as I could (although I am missed) as a homogeneous group, and it is fifteenth-century Anonymous quickly receded not usually renowned for my gentleness), I no more possible to become great (or male as I encountered all the wonderful nine- broke the news to him: the manuscript was for that matter—and these are not the same teenth-century Anonymi whose authorship not and never had been written by Rossini. thing!) by studying great men than it is to was being challenged in the name of one He tried to get Christie’s to give him back become gay by writing gay history. Further, Gioachino Rossini. Here are three very dif- his money, but the fine print said: “caveat a Whig historian can write convincingly or ferent tales. emptor.” And so the next summer he poorly about Whig or Liberal history, just as 1) During the 1950s a collection of per- returned to Pesaro and physically threatened a man or woman (gay or straight) can write forming parts for overtures was found in a me and Bruno Cagli, artistic director of the convincingly or poorly about gender and Danish archive in Odense, almost all of Fondazione. How dare we! He had invested sexuality. Historians ultimately must not be them by Anonymous. On one, however, in a Rossini manuscript, and we had the judged on the relation (or lack thereof!) of someone had scrawled the name “Rossini.” audacity to say that it was written by Anony- their personal identity to the subject at hand, Imagine the headlines: “New Rossini Over- mous, whose Standard and Poor’s value on nor on whether the composer being studied ture Discovered in Odense.” The Fond- the street was “junk.” Ultimately we had to is considered a great or minor master. The azione Rossini published the piece in its request police protection to keep him at bay. essentialist association of an author to his or Quaderni; it was performed, even recorded. Did the piece change after our judgment? her topic allows and may encourage the ele- No one bothered to look at the other over- Not a bit: it was without interest before, and vation of subject above independent judg- tures in Odense by Anonymous, only at this it was without interest after. ment—as has happened in the earlier (and one. I too studied it, listened to it, thought 3) A similar story occurred last year— continuing?) preference for great men and, about it, and decided that poor Anonymous without the physically threatening behav- more recently, in the thoughtless acceptance had been done a dirty deal. Of course, I had ior—when the Associate Principal Bassoon- or dismissal of various research fields or no idea how the piece stacked up against ist of the San Francisco Symphony, a kind methodologies. Conflating the identity of an other works by Anonymous or her sisters in man and a fine musician, Steven Dibner, author with his or her topic obscures actual Odense, since no one had paid them any came across references to a Bassoon Con- scholarly achievement or failure, while at the heed (nor has anyone paid them heed in the certo by Rossini. He soon contacted me, and same time imposing on the author, regard- intervening years). Instead, I studied all the we spent several months in a spin of e-mails less of whether he or she uses first person overtures that could reliably be attributed to and phone calls. His motivation was to “pur- singular, an enforced anonymity. Rossini, from the beginning of his career sue my goal of introducing this work to the through his last overture, Guillaume Tell, some world.” As he explained: “I think this is a Anonymous twenty-five years later. And I couldn’t find wonderful piece that enhances many times (Philip Gossett, University of Chicago) any logical place for the “Sinfonia di Odense”: over the limited concerto repertoire for my at no time during Rossini’s career did this instrument....” Anonymous has fascinated and plagued me piece make any sense, whether structurally, This bassoon concerto exists in one for my entire academic career. We either harmonically, orchestrally, or melodically. I source, a manuscript in the small Italian town treat him/her with no regard or with special was interested enough in the problem from of Ostiglia, where a local priest made quite a regard. (In the 1960s I would have assumed a methodological point of view to write it wonderful collection of music. And on the “him,” but—as has become clear in the up, and my study of the Rossini overtures cover the good father wrote that it is an auto- intervening years—“Anonymous is often a appeared in Italian translation. A fragment graph manuscript by Rossini. A photocopy woman.”) We sometimes exercise ourselves infiltrated the pages of 19th Century Music, soon revealed, however, that the hand was mightily to prove that Anonymous is really whose editor sniffed that they really weren’t certainly not that of Rossini. Furthermore, someone else, and we are prepared to spend very interested in “repertory studies.” But I the basic musical text was “critiqued” in the years in musty archives or libraries to that was reasonably convinced that I had restored same manuscript by a later hand (also not —20— Rossini’s), which took exception to some of On Identity pieces for apparent purposes. And she is a the orchestration and suggested structural (Margot Fassler, Yale University) composer whose identity we can know not changes (“add measures” here; “move this only through music, poetry, art, theological, section” there)! Leave aside that the piece, Questions of identity and their importance medical, and scientific treatises, sermons, stylistically, belongs to another universe. have been the central work of chant scholars and biographies, but also through an extra- Steve was crestfallen but not defeated. and students of early polyphony in recent ordinary body of just under 400 letters, all of He really liked the concerto (with good rea- decades, and their studies have changed our which have been recently translated into son), and he was determined to program it. understanding of medieval repertories and English. We can study her reception, too, as A happy ending, you would say, a victory for those who made them in fundamental ways. Barbara Newman and Kathryn Kerby- Anonymous, a judgment on the inherent Using the identity of human persons as a Fulton will do in a forthcoming book of quality of her art. Yes and no. It turned out way to organize our work, we have uncov- essays that will surely include reference to that no symphonic organization would pro- ered new information about religious aspira- Newman’s study of Hildegard’s failed can- gram the piece, with Steve as the happy tions, political turmoils, personal relation- onization process, which I have heard her soloist, unless he called it a “Bassoon Con- ships and sexual proclivities, and about the compare to a botched tenure review. certo by Rossini.” And so a compromise was times and places musicians did their work. Hildegard is particularly well suited to reached: it became a “Bassoon Concerto Per- Medieval music, at least that of the later peri- today’s panel and our assignment to focus haps by Rossini.” ods from the late ninth through the four- on identity in each of our areas in music his- tory and to think about our professional Our President’s Forum on anonymity teenth centuries, no longer needs to be understood or taught as a solid slab of anon- Society and its program as we do so. Hilde- and identity in music comes at a time when gard’s identity has been challenged in our our colleagues in literature have left firmly ymously provoked style changes; there are now almost enough working composers and own times: the generation before ours some- behind the notion that—in our culture, at times tried to prove that she did not com- least—the author is dead. Rather, with Jerry musicians to suggest deconstruction of the authorial voice box, an exercise in which we pose her works; more recently, some schol- McGann and David Greetham, we under- ars have suggested that her works were never stand better the complexity of texts and the surely could not have engaged at any other time in the history of our field. really performed. But in her case, we have ways in which they are socially produced. enough evidence to study her own contem- And, despite the best efforts of Barthes, We have identified the hand of Notker, studied the musical dreams of the monks of poraries’ quest to uncover her identity as a Foucault, and Fish, the reader has not re- Glastonbury, and watched the responsories thinker and composer. The questions asked placed the author, although our texts have of Fulbert of Chartres turn to glass; we are by her own contemporaries force answers been opened to interpretation in ways that figuring out the names and musical ideals from Hildegard; they also reveal much about constantly shift the balance between those behind the Cluniac customaries; we can the questioners and their inabilities to under- functions in intellectually and artistically answer the whens, wheres, and whys of sev- stand her, even rudimentarily. Take the case constructive ways. Yet we continue to care eral late sequence composers whose identi- of the monk Guibert of Gembloux, who who has written something because it pro- ties once seemed hopelessly confused; we became her secretary in 1176 and who was vides one important framework (by no have pondered the religious and sexual life puzzled by her identity from the very start means the only one) for developing our of Leonin, transcribed the few surviving of their relationship, which began in 1175 response. In two essays shared with our chants of Abelard and studied his hymn with his first letter to her. This document, panel by Jessie Ann Owens, the literary texts, learned the occasions and circum- written by a younger man to a famous scholar Susan Lanser used Danny Santiago’s stances of Machaut’s great mass, identified woman aged 77 at the time, opens with a 1983 Famous All over Town as an example. the characters who parade through the Roman paragraph based on the Song of Songs—with The revelation that the book, far from being de Fauvel, and pushed the real Philippe de the first allusion being to her “breasts as bet- a stunning, authentic memoir by a Chicano Vitry trembling to his feet. Apologies to all ter than wine”—and ends with reference to adolescent, was actually written by an elderly the scholars whose many contributions are the Gospel of John, making Hildegard a white social worker changed profoundly not listed here: there is a time limit, but no mother with “rivers of living water flowing how the text was received. limit to the praise I offer my colleagues and from her belly.” It is a great way to start a Much the same is true in our scholarly their tireless work on identity, on dragging relationship and, perhaps, to try to get a job. production. As we write, we construct both the musicians and myths of musicians of the In fact, Guibert had listened to Hilde- our argument and our persona. In a commu- Middle Ages to our table, so we can talk to gard closely, for he has chosen the very pas- nity as small as our musicological one, there them and listen to them sing, if only inter- sages of scripture she used most vividly in are few people working within a particular mittently, from behind an elaborately carved her songs written in honor of female saints specialization who cannot differentiate the and thickly tapestried jubé. We have uncov- (and for widows and virgins to sing, as I persona of one scholar from another when ered enough new evidence to write the his- argue in a paper written for a forthcoming faced with a completed article or book. Of tory of the Middle Ages all over again, this volume edited by Jane Bernstein). In another course, the quality of a study (in the eye of a time with musicians as a part of it. Of letter, Guibert describes her efforts as a particular reader) should not and cannot be course, much more has been lost than can composer in some detail, in what is the best correlated with an identity. Homer (read sen- ever be found; but we can make new mosa- short overview we have of her musical work. ior scholar) can nod, just as Anonymous ics of the musical past, possessing more He relates her work as a musician to her (read junior scholar) can crackle with life. shards of time than ever before with which process of writing theology, claiming that Having a context, though, is one element in to do our work as historians and theorists. both depend upon a divinely revealed prod- making judgments in scholarship, in music, There is no composer from the Middle uct. Guibert explains to Hildegard how he in life. How much more dubious are our Ages for whom identity matters more than explained her identity as a composer to oth- judgments as we descend from a completed Hildegard of Bingen. As we all know, she is ers, and his words are an excellent rebuttal piece of work to a twenty-minute paper to a one of a kind, the only first-rate composer to those scholars who claim her works were 150-word abstract to a title. The absence of who was a serious theologian of the highest not written to be sung in liturgical contexts: context is ever more strongly felt. rank, and this is true not only for the Middle Moreover, returning to ordinary life Let us sing the praises of anonymity, Ages but for all the centuries of the known from the melody of that internal con- when those praises are deserved; let us not Western canon; she is the composer from cert, she frequently takes delight in caus- imagine that identity assures quality. But let whom we have the most securely attribut- ing those sweet melodies she learns and us find realistic ways to negotiate those cate- able pieces of monophonic chant from the remembers in that spiritual harmony to gories. entire Middle Ages, deliberately fashioned reverberate with the sound of voices, —21— and, remembering God, she makes a music and to history through music. Al- tions will ask them questions they might not feast day from what she remembers of though no music historian alive today is a have considered. Whatever our Society does, that spiritual music. Furthermore, she citizen of the twelfth century Rhineland, and it should embrace all of our learnings, and, composes hymns in praise of God and although we are ever in danger of not under- most importantly, it should mix them up in in honor of the saints and has those mel- standing context because of this, we can intriguing and productive ways, encouraging odies, far more pleasing than ordinary know more about Hildegard of Bingen than rivers to flow from our bellies, milk and human music, publicly sung in church. most of her contemporaries did because we honey beneath those musicological tongues. Who ever heard such things said about have worked so hard to gather evidence and any other woman? to make it available. If we were given the On American Identities in Musicology Guibert and Hildegard, working in con- chance to make a list of thirty-five questions (Richard Crawford, University of Michigan) cert, offer abundant understanding of what for Hildegard, they could be far more they both know about Hildegard’s identity as sophisticated, far more relevant to her work The first AMS meeting I ever attended— a composer. But it is nearly impossible for at than the questions offered by the monks of Washington, D.C., 1964—challenged head- least some of those they know to understand Gembloux. Even those contemporaries who on my right to consider myself a musicolo- the message. The initial exchange found in produced the great Riesencodex did not have gist: my identity as a scholar, in other words, Guibert’s letters disintegrates in an astonish- our knowledge; but we have it, and Dender- if I had known then what identity meant. ing way, although the personal relationship, monde, too, in facsimile in any major research The jolt came from a paper called “A Profile we know, did not. Once Hildegard had library. We have letters no single person had, for American Musicology,” delivered by responded to a long list of questions from and we have access to all her major treatises Joseph Kerman and later published in Guibert about the “compositional process,” in critical editions. I can say this confidently JAMS. Recommending that his colleagues giving us a view of how she worked and the about Hildegard and even before we have start devoting more energy to critical inter- powers of her inspiration, Guibert and the the much needed critical edition of her com- pretation and less to fact-finding, Professor monks he represents assaulted the seer with positions. In the case of composers from Kerman declared in passing that research on a second list of inquiries. The questions are later periods, sophisticated knowledge is earlier American composers was not the not about her at all or about the treatises or even more common, as our meetings and kind of thing he had in mind. He nailed music she made; they have nothing to do discussions at our meetings demonstrate. down that point with these hard-to-forget with the complex and unique ecclesiology We have critical editions of music, compila- words: “Francis Hopkinson, Lowell Mason, she lays out in her works. Rather, they are tions of far-flung materials, and the work of Theodore Chanler? Man, they are dead!” thirty-five conundra from the inky world of scholars in our sister disciplines on subjects This proclamation was hardly an encour- monastic and cathedral schools and from the that relate to musical repertory, brought to agement to a budding music historian soon kinds of questions Heloise sent to Abelard the table by musicologists who are ever more to finish a dissertation on an eighteenth- and in which he might have delighted. But aware of the importance of knowing the century American psalmodist less well known Hildegard is no Abelard, no “schoolman,” period in which the music they study was than the musicians on Professor Kerman’s and she tells us so repeatedly. She clearly made. Because the academy has encouraged obituary list. Yet, feeling around to assess wanted to try to help, perhaps feeling the us to specialize upon particular composers the damage from the harpoon that had just sting of pride that the men were coming to or groups of composers in ways no scholarly hit me, I decided that my aspirations had her with their textbook questions, and she community ever has before, we are, each of received a flesh wound, not a fatal blow. really would have to work to get up some us who has chosen this path, towers of Professor Kerman was right that the likes of responses. So she—old, tired, sick, and run- refined and profound understanding. song composers Hopkinson and Chanler ning a huge monastic enterprise—spent her Our work is not that of the amateur, but were too small to inspire much scholarly final years struggling with questions such as of the solidly trained professional living in a effort. But even as a respectful, though “what are the tongues of angels?” or “did society that has, for over four generations shaken, whippersnapper, I knew then, and Enoch and Elijah have need for food and now, supported the scholarly study of music still believe today, that his report of Lowell clothing after they were taken up bodily into history. We have not only our own work, Mason’s “death” was greatly exaggerated. paradise?” It is frustrating to someone who but libraries filled with the work of our pre- Michel Foucault’s article “What Is an knows Hildegard well that she would be decessors to help us, as I was recently Author?” ends with the question, “What given this list of inquiries, when there would reminded by the fascinating investigation of [does it] matter who’s speaking?” At this have been wonderfully relevant questions to a friend into the life and works of the great moment, if it does matter, the person speak- ask about her life and work, questions that medievalist Yvonne Rokseth. So we also ing to you is one who finds Lowell Mason would have inspired her brilliance because have a tradition that upholds and deepens not only a live musicological subject but one they were based on an understanding of her understanding. Of course, then, our greatest linked more closely to our scholarly identity identity and her music and writings. Yet, practitioners know more, not less, than has than we might realize or care to remember. even her reported efforts to compose ever before been possible to know. The In case you don’t already know it, Mason answers tell us much about her character, at chance to ask thirty-five questions of a con- was born in a small Massachusetts town in its root pedagogical. It is clear that the temporary musicologist who has spent his or 1792, and he lived until 1872. Three achieve- monks who issued these questions, and Gui- her life studying a composer is a unique ments make the case for his importance. bert, who becomes their nattering advocate opportunity to learn something, and the First, as a prolific composer of hymn tunes, in getting answers, do not understand Hilde- chance to do so comes only while that indi- Mason wrote some that were widely gard or her works. Clearly, they lacked both vidual is alive and can respond, teach, and accepted and a few that are still sung today. the skills to know her and even the primary push the conversation in directions we might Second, as a working musician—conductor, materials. A case in point of the fomer is not imagine. Every generation has different tunebook compiler, teacher, and teacher of offered by the pleas of a listener to Guibert questions to ask, too, so the encounter of old teachers as well as a composer and arranger to translate from Latin into his vernacular so and new approaches provides yet another —Mason invented, so to speak, the infra- he can understand, as he does not speak the way to learn. Our Society needs to ensure structure of children’s singing on which music language into which Guibert is translating. that future generations get to hear the most in American public schools has been based This vignette takes me, in conclusion, prominent senior scholars of their day, just ever since. Third, as an advocate for music, back to my colleagues, the ones who have as we benefited from hearing Howard Mayer Mason showed a perfect-pitch understanding been studying medieval music for all their Brown, Claude Palisca, and Philip Brett in of the society he lived in. He based his advo- professional lives, and back to the impor- the past, for they knew things nobody else cacy on the notion of music as an edifying tance of their contributions to the history of knows, and the people of younger genera- art—not art with a capital A, honoring patron —22— or state or probing the mysteries of existence, born music master broadened my hori- Papers Read at Chapter but art in the service of instruction and zons. In the 1820s and early 30s, I Meetings, 2001–2002 improvement, practiced as a branch of moral devoted myself to sacred music, recon- ciling hymn-book harmonies with fig- and religious knowledge. Allegheny Chapter Lowell Mason’s legacy—Protestant hymn ured-bass practice, composing new tunes that congregations could sing, bringing tunes, school music programs, and music as 13 October 2001 out tunebooks aimed at many different edification—could support more study than Geneva College, Beaver Falls, Pennsylvania musicologists have given it. On the first count, groups of buyers and, as president of the Boston Handel and Haydn Society, pro- the evolution of the hymn tune in the U.S., Dane Heuchemer (Kenyon College), “Le moting oratorio performances. But my with its ties to religious thought, geography bon vieux temps: Medievalism in Eight- and demographics, orality and writing, social epiphany came in the early 1830s. Amer- icans, I realized, were hungry for social eenth-Century Opéra comique” class, and the stylistic parameters of melody, Jason B. Grant (University of Pittsburgh), harmony, rhythm, and texture is a subject recreation, and I knew that few activities were more enjoyable than group singing. “The Interplay of Allegory, Style, and Genre worthy of a talented scholar or even a schol- in Telemann’s Late Liturgical Passions” arly team. On the second count, pedagogy, so But sacred group singing fostered a pious atmosphere that seemed to put Theodore Albrecht (Kent State University), far we have achieved only sketchy knowledge “The Paukenmesse at the Piaristenkirche: Spec- of how musical learning has spread in this enjoyment off limits. What if secular sing- ing were organized, formalized, even ulations about the Orchestral Personnel at country—through informal exchange, singing Haydn’s 1796 Premiere” schools, public schools, self-instruction, pri- taught? What if people sang together not only in the name of God but for some Irving Godt (Indiana University of Penn- vate instruction, advanced training, and the other worthy purpose? In fact, what if sylvania), “The Remains of Absalom: The rest—and how processes of learning have that instruction began with children, Continental Repertory” influenced the music that Americans have starting a process that promoted whole- Mark Peters (University of Pittsburgh), performed and composed. Third, as for music some, morally improving recreation and “Speech and Silence in Bach’s Cantatas on as an art marinated in edification, here is the the learning of skills that gave access to Texts by Christiana Marianna von Ziegler” key historical issue that Lowell Mason’s career any kind of music? In the 1830s, only a Alan Krueck (California University of raises. We certainly have good reason to view concept that seemed fresh, high-minded, Pennsylvania), Felix Draeseke’s Jugendsinfonie: the need to edify as a restriction on music and useful could justify my secularizing A Matter of Facts” and our thinking about it. Indeed, Joe Ker- move. Edification filled the bill, so under man’s harpoon was aimed at restrictions in the its banner I introduced my scheme in 20 April 2002 first place, if not specifically at this one. It Boston’s public schools and, over the University of Pittsburgh was thrown in the name of a scholarly agenda next couple of decades, it helped to that aspires to a particular American identity. transform our music making—sometimes Jeffrey Wasson (Barat College), “Pre-History The profile sketched in his 1964 talk and in ways I didn’t approve of and couldn’t of the Gregorian Gradual, Part One: Liturgi- 1965 article, fleshed out in his 1985 book, begin to control. Music took off on a cal Order, Music, and the Number of Bible Contemplating Music, and elaborated and argued huge scale: not just in schools but in Readings in the Ancient, Medieval, and about since then by a host of scholars is one homes with pianos and sheet music, in Modern Mass” of cosmopolitan intellectuals engaged with theaters and concert halls, and then there Robert Matthews (Edinboro University of the art of music in the Western world, in all were all these bands. I made a fortune Pennsylvania), “‘You Are Too Beautiful’: An its complexity, ambiguity, and power: music from tunebooks and what they’re now Analysis of a Popular Ballad by Richard as an art free from the need to demonstrate calling workshops. But I think my main Rodgers and Lorenz Hart” social usefulness. Measured by that yardstick, achievement was an idea: the idea that, Theodore Albrecht (Kent State University), Lowell Mason’s legacy of hymn tunes, teach- in a democracy like ours, operating in “Beethoven’s ’Bones: Viennese Trombonists ing, and edification may seem an episode of the name of art will win you a lot less in the First Performances of Beethoven’s past history that can safely be forgotten. territory than operating in the name of Works from Christus am Ölberge to the Ninth But forgetting Mason’s legacy will not edification. When the public feels that Symphony” make it go away. Nor would we want it to, music is being taught for the betterment Kathryn English (University of Pittsburgh), completely, since our livelihood as teachers is of society, they’re ready to cut artists and “A Musical Response to the Reformation: grounded in an institutional framework whose the musical art they practice quite a bit of Choirbooks 31, 32, 33, and 40 from the key elements he introduced in this country. I slack. Colleges today rely on that slack, even to the point of employing people Hofkapelle of Ulrich von Württemberg” take the subject of today’s forum as a remin- Robert F. Schmalz (Pittsburgh, Pennsylva- der that identity can have a long memory and who write the history of music. I under- stand these folks call themselves musi- nia), “Hyphenates and Harmony: Effects of that it owes something to inheritance as well the ‘Great War’ on American Professional as to choice. What does it mean to be an cologists, though I notice that they teach for a living. It’s really quite a story—how Musicians” American musician? That question about iden- Susan Filler (Chicago, Illinois), “Gustav tity—certainly the central question of our the idea of edification, since my time, has changed and prospered and freed up Mahler and the Veni Creator Spiritus” music historiography—was being wrestled Irving Godt (Indiana University of Penn- with long before the 1880s, when the first space for musical activity of all descrip- tions. I hope that some day one of those sylvania), “Polyphony under Analysis: Wrong histories of the subject were written. I know musicologists decides to write that story. Assumptions” of no individual who, at any time in history, Mary Ferer (West Virginia University), read the American musical scene more “Haydn and Mozart: Taste and a Profound astutely or with more impact on its structure Knowledge of Composition” than did Lowell Mason. Membership Dues 2003 Seeing Mason as one of our ancestors, I (for the calendar year) Capital Chapter am going to deliver the rest of these remarks in the voice of Mason himself, concocted as Regular member $80 Salary less than $30K 31 March 2001 if he were a time traveler who could see into $40 Virginia State University, Petersburg the present: Student member $30 Joint member Mason here: Christian believer, store- $30 Jarl Hulbert (University of Maryland), “A Sustaining Member $150 Forgotten Masterpiece: The Historical Sig- keeper and bank clerk, and American Lifetime Member musician whose training with a German- $1,250 nificance of Hummel’s Septet, Op. 74” —23— Matthew Bengston (Peabody Conservatory), Richard Reed (University of Maryland), Lynette Miller Gottlieb (State University of “The Mazurkas of Karol Szymanowski” “British Library, MS Harley 2951: Re- New York, Buffalo), “Show and Tell: The Deborah Justice (College of William and examining Our Understanding of Hymn Narrativity of Les Mariés de la Tour Eiffel” Mary), “The Place of Music in the Old Order Cycles” Jessica Sternfeld (Princeton University), “‘I Amish Community of Lancaster, Pennsylva- Robert Waters (University of Maryland), Could Look at Her Forever’: Gender and nia: An Ethnography under the Technologi- “Centrifugal Forces: Anti-Centralization, Re- Relationships in Sondheim’s Sunday in the cal Restrictions of the Plain People” gional Identity, and the Schola Cantorum” Park with George” Margaret Butler (University of Virginia), Cristina Magaldi (Towson University), Carol K. Baron (State University of New “‘Due opere … di buona poesia, e di buona “Foreign Music as National Symbol: Carlos York, Stony Brook), “Biography and Compo- musica’: Innovation in Opera at Turin” Gomes’s Opera Il Guarany (1870) as an Icon sitional Process in Charles Ives’s First Sym- Simon Sommer (University of Maryland), of Brazilianess” phony: Lessons Learned; Mastery Gained” “In Defense of a Victory: Ludwig van Bee- Ruth Steiner (Catholic University of Amer- Charles F. Frantz (Conservatory of Music, thoven’s Opus 91” ica), “Chants on Text from the Book of Lawrenceville, New Jersey), “Images as Jennifer DeLapp (University of Maryland), Judith” Heard: The Magical World of Childhood in “Dangerous Dialogues, Borrowed Techniques: John Gingerich (Towson University), Debussy’s Children’s Corner” How Copland Made Serialism His Own” “Schubert’s Pattern of Telescoping and Exci- sion in the Texts of His Latin Masses” 20 April 2002 6 October 2001 State University of New York, Stony Brook Western Maryland College, Westminster Greater New York Chapter Maria Rose (New York University), “La Stuart Cheney (University of Maryland), 13 October 2001 Coquette: A Competition on the Eve of the “Recently Discovered Marais Manuscripts New York University French Revolution” and Evolving Variation Practices” Woo Shingkwan (Rutgers University, New Robert Kolt (University of Maryland), Richard Wattenbarger (Philadelphia, Penn- Brunswick), “A Doubtful Note in Schu- “Aspects of Nationalism in American Opera: sylvania), “Richard Strauss, Modernism, and bert’s B-flat Sonata” A Preliminary Investigation and Report” the Breakdown of Humanist Communica- Louis Hajosy (University of Georgia), Ryan Bunch (University of Maryland), tion” “Robert Schumann’s Violin Concerto, WoO “‘Over the Rainbow’: Difference, Utopia, Antonius Bittmann (Rutgers University, 23: A Reappraisal of the Work and Its Sup- and The Wizard of Oz in Queer Musical Expe- New Brunswick), “A Modernist’s ‘Heroic’ pression” rience” Battle with Tradition: Brahms, Strauss, and Mary Wolinski (University of Western Kentucky), “Medieval Paired-Breve Nota- Mark Katz (Johns Hopkins University), Reger’s ‘Zoological Sonata’” tion: The Proper and Frisky Ways Recon- “Early Jazz and the Phonograph” Anna Sofie Christiansen (New York, New ciled” A. Peter Westbrook (University of Mary- York), “Mechanical Music in Weimar, Ger- many: ‘Absolute Musik’ as Performance Para- David Kidger (Oakland University), “Zar- land), “Music, Metaphysics, and Meaning” lino’s Biography of Willaert” digm” Deborah Lawrence (University of Chicago), Dean F. Smith (State University of New Larry Hamberlin (Brandeis University), “Reading and Singing Ballads in Renaissance York, Stony Brook), “Showcasing Sup- “Red Hot Verdi: European Allusions in the Spain: The Sources as Links to Performance pression: Pierre Boulez and Technology in Practice” Music of Jelly Roll Morton and Louis Arm- Répons” Richard E. Reed, Jr. (University of Mary- strong” Stefan Hyman (State University of New land), “Polyphonic ‘Te Deums’ from Pre- Elliott Hurwitt (City University of New York, Stony Brook), “‘Fighting the Power?’: Reformation England” York), “Abbe Niles among the Jazz Critics” The MP3 Phenomenon and Cyberlibertari- William Bauer (Rutgers University, New- anism” 26 January 2002 ark), “On Revolution, Evolution, and Pro- American University, Washington gress in Jazz History: The Case of Lionel Midwest Chapter Hampton and Bebop” Elise Kirk (Catholic University of Amer- Mark Berry (State University of New 29–30 September 2001 ica), “Wagnerism and the American Muse” York, Stony Brook), “The Uses of African National-Louis University, Chicago Homer Rudolf (University of Richmond), Musical Quotation in Jazz Fusion: Black “Burlesque in Lynchburg, Virginia: JRC Sarah Power Nationalism in the United States and Jeffrey Wasson (Barat College), “Pre- Jane, HMS Pinafore, and Minstrelsy” Herbie Hancock’s ‘Watermelon Man’” history of the Gregorian Gradual, Part 1: Joshua Weiner (University of Maryland), Ursel Schlicht (New York, New York), Liturgical Order, Music, and the Number of “Zero to the Bone: Thelonious Monk, Emily “Contributions of Women Jazz Artists in Bible Readings in the Ancient, Medieval Dickinson, and the Rhythms of Modernism” the Context of Jazz as Aesthetic and Politi- and Modern Mass” Ronit Seter (Cornell University), “Jewish- cal Liberation Process” Hans Tischler (Indiana University), “On Israeli Art Music Americanized: Identity, Transcribing Two-Part Conductus” Ideology, and Idioms” 9 February 2002 Vivian Ramalingam (Roseville, Minnesota), Patricia Norwood (Mary Washington Col- Rutgers University, New Brunswick “Occasional Motets from Padua, Tournai, lege), “Music in Fredericksburg, 1786–89: A and Rome, and the Iconography of Joseph” Case Study of Cultural Life in Early Federal Laura Lohman (DePauw University), “Be- Dawn De Rycke (University of Chicago), Period America” yond Captivity and the Alla Turca Style: “A Gift of Song: Perisone Cambio’s Four- Robynn Stilwell (Georgetown University), Gender Roles and Multi-Media Turkomania” Voice Madrigals and the Hidden Aesthetics “The X-Files: Sound Boundaries, Sound Iden- Daniel Chiarilli (Columbia University), of Solo Performance” tity” “Beethoven’s Violin Concerto and the Bur- Christina Fuhrmann (Ashland University), den of ‘A Real Violin Piece’” “‘Sechse treffen, sieben äffen’: Seven Ver- 23 March 2002 Mark Burford (Columbia University), sions of Der Freischütz in London, 1824” Mary Washington College, Fredericksburg “Music as Monument: The ‘Classical’ Ideal Naomi André (University of Michigan), in Vormärz Musical Culture” “Meyerbeer and Balzac: Listening to the Kristina Libenhofer (Peabody Conserva- Michelle Duncan (Cornell University), Castrato in the Early Nineteenth Century” tory), “Shostakovich’s Fifth Symphony: Sin- “Malady, Apparition, Fetish: Staging Schoen- Frank E. Kirby (Lake Forest College), cere or Subversive?” berg’s Erwartung at the Wiener Festwochen” “Wagner and the Pastoral” —24— Inna Naroditskaya (Northwestern Univer- Paul Carlson (Boston University), “Where Francesca Brittan (Cornell University), sity), “Evaporating Heroines: Women and Artistry Meets Ambiguity: Early Recordings “Musical Picture and the Eighteenth- Nationalism in Russian Fairy Tale Opera” of La Cathédrale engloutie” Century Murder Ballad: Settings of Gott- Billee Bonse (Columbus, Ohio), “Musorg- Benjamin Givan (Yale University), “Duets fried Bürger’s Leonore” sky’s Boris Godunov as Inversion of the Tragic for One: Louis Armstrong and the Transfor- Stephen Meyer (Syracuse University), Rise and Fall” mation of American Popular Singing” “Beyond Samiel: Supernatural Evil and Art Timothy Flynn (Lansing, Michigan), “A Paul Verrette (University of New Hamp- Religion in Early Nineteenth-Century Opera” Glimpse at the Letters of Camille Saint- shire), “Jazz Goes to College: Septuagenar- James Davis (State University of New Saëns in the Northwestern University Music ian Reflections on the Evolution of Dispar- York, Fredonia), “More Work than Play: Library” ate Expectations” Insights from the Letters of J. Herbert Olga Haldey (Ohio State University), George, Civil War Musician” “Savva Mamontov, the Moscow Private 2 February 2002 Edward Komara (State University of New Opera, and the Transition from Realism to Smith College, Northampton York, Potsdam), “The Twelve-Measure Blues: Modernism on the Russian Operatic Stage” A Reconsideration of Its Origins and towards Sarah Hamilton (Olathe, Kansas), “Mario Steve Swayne (Dartmouth College), “Sond- a Reaffirmation of Blues-ness” de Andrade, Music, and Modernism in Bra- heim’s ‘Hindemith Phase’” Jay Hodgson (McMaster University), “The zil, 1920–45” Susanne Dunlap (The Connecticut Opera), Experience of Time, Space, and the Body Alejandro L. Madrid (Columbus, Ohio), “The Nightingale and the Nun: Nature, through Post-production Practices: Miles “Aspects of Ideology and Identity in the Gender, and Power in Handel’s L’Allegro” Davis’s Nefertiti and Bitches Brew” Avant-Garde Music of Carlos Chavez” Michael Hamad (Brandeis University), Mary Ingraham (Toronto, Canada), “On “Vagabond Harmonies: Representations of Goethe, Love, and Duty: Gender Politics in 13–14 April 2002 Ambiguity in Two Versions of Liszt’s Die Brahms’s Rinaldo” Indiana University, Indianapolis Loreley” Albrecht Gaub (Hamburg, Germany), “Two Silvio dos Santos (Brandeis University), Soviet Glinkas” K Marie Stolba (Indiana University–Pur- “Berg, Alwa, and the Dialectics of Love” James Leve (Fitchburg State College), due University, Fort Wayne; and Colorado Northern California Chapter Christian University, Lakewood), “Ancient “Alessandro Stradella’s Milo, Pollione, and Music Prior to the Greeks—Unlocking Trespolo: The Evolution of the Basso Buffo Ancient Egyptian Music Notation” Role during the Seventeenth Century” 23 February 2002 Annett Richter (University of Minnesota), Melissa Mann (University of Connecti- University of San Francisco “An Intimate View of Queen Elizabeth I as cut), “Changing Modes of Criticism: Recep- a Musician: Sources in Context” tion of Beethoven’s Late Piano Sonatas dur- David M. Powers (Oakland, California): ing His Lifetime” Jonas M. Westover (University of Minne- “Blacks in Opera: The Long Tradition” sota), “‘Love’s God is a Boy’: The English Michelle Fillion (Mills College): “‘A Love 23 March 2002 More Mysterious’: Beethoven and His Sona- Lute Song in the Context of the Children’s Boston Public Library Acting Companies of London” ta Op. 111 in E. M. Forster’s A Room with a Stacey Jocoy Houck (University of Illinois, View” Jason Grant (University of Pittsburgh), Susan Erickson (Davis, California): “Eli- Champaign-Urbana), “Rump Songs: Subver- “The Interplay of Allegory, Style, and Genre sive Royalist Resistance in Civil War Eng- sabeth Jacquet de la Guerre’s Sonatas of in Telemann’s Late Liturgical Passions” 1707: A Feminist Perspective” land” Alain Frogley (University of Connecticut), William S. Everett (University of Missouri, “Vaughan Williams, Nazi Cultural Propa- Kansas City), “The Desert Song (1926) and ganda, and the Hamburg Shakespeare Prize” 27–28 April 2002 American Orientalism” Arni Ingolfsson (Harvard University), “‘This Stanford University Stephanie Heriger (University of Michi- Music Belongs to Us’: Scandinavian Music gan), “Surface and Subtext: Handel’s Susanna and ‘Nordic’ Ideology in the Third Reich” (Joint Meeting with the Pacific Southwest and the Pastoral Tradition” Ira Braus (The Hartt School), “Brahms’s Chapter) Stefano Mengozzi (University of Michi- Tristan Syndrome” gan), “The Subject Restrained: On the Kevin Karnes (University of Idaho), “A Luisa Nardini (University of California, Meaning of the Folia in the Slow Movement Lost Compositional Machine in William Santa Barbara): “Prosulas for Graduals and of Beethoven’s Fifth Symphony” Bathe’s ‘A Briefe Introduction to the Skill of Tracts: An Italian Feature?” Julie Hedges Brown (Oberlin College), “Re- Song’ (ca. 1596)” Ilias Chrissochoidis (Stanford University), /De-flecting the Past: Schumann’s 1842 Slant John Daverio (Boston University), “‘Mate- “The Doomed Challenger: John Brown’s on Sonata Form and Arabeske” rial Content,’ ‘Truth Content,’ and ‘Mythic Reform of Handelian Oratorio” Michael Strasser (Baldwin-Wallace Col- Images’ in Schumann Biography” David Powers (Oakland, California), “Shap- lege), “‘La Société Nationale c’est nous!’: ing the Concept of the Other: A Cultural D’Indy and the Franckists Stage a Coup” New York State–St. Lawrence Political Campaign and Its Musical Signifi- cance” New England Chapter 6–7 April 2002 Susan Harvey (Stanford University), State University of New York, Geneseo “Strangers on Parnassus: Representations of 29 September 2001 La Parodie and La Critique in Two Opéra- University of New Hampshire Ellen Burns (College of St. Rose), “A comiques from Eighteenth-Century France, Peircean Aesthetic for Arthur Honegger’s and Implications for an Understanding of Zbigniew Granat (Boston University), “On Pacific 231 by Jean Mitry” Opera Parody” the Sounding Side of Music: A Theory of Rob Haskins (Eastman School of Music), David Malvinni (University of California, the Actual Sound Shape of the Musical “Toward a Critical Description of John Cage’s Santa Barbara), “Brahms’s Double Concerto Work” Musical Composition” and the Scene of Forgiveness” Nancy Newman (Brown University), “‘The Alan Dodson (University of Western Benjamin Carson (University of California, Lights’ versus ‘The Rival Party’: New Find- Ontario), “Remapping the Generative Tra- San Diego), “Developing Variation as a ings on the Repertory of the Germania jectory: Performance Analysis in Musical Bodily Encounter: Representation and Crisis Musical Society” Semiotics” in Das Buch der hängenden Gärten” —25— Robert Stevenson (University of California, Kenneth DeLong (University of Calgary), L. Christine Amos (University of Texas, Los Angeles), “John Cage’s Salad Years on “Dueling Titans: The Shaw-Newman Con- Austin), “Pygmalion’s Domestication of the the Pacific Rim” troversy Concerning Richard Strauss” Hollywood Musical” Marie-Raymonde Lejeune Loeffler (Sunny- Mekala Padmanabhan (University of Not- Jocelyn Nelson (University of Colorado, vale, California), “The Narrativity Support tingham), “Compositional Aesthetics in the Boulder), “Scheidler’s Sonata No. 2 in C and Its Dislocation at the Internationale Late Eighteenth-Century Lied” Major for Guitar: Comments on Form, Ferienkurse für Neue Musik, Darmstadt, Jamie Weaver (University of Oregon), Style, and Performance Practice” until the Presence of György Ligeti” “Rhetorical Questions: Classical Rhetoric and Thomas L. Riis (University of Colorado, Kerry McCarthy (Stanford University), Monody in Seventeenth-Century Italy” Boulder). “Form and Invention in Charles “Self-fashioning in Byrd’s Gradualia Prefaces” Sue Neimoyer (University of Washington), Ives’s Fourth Violin Sonata” Peter Schmelz (University of California, “The Tune’s the Thing: A New Look at Bonnie Ashby (Brigham Young Univer- Berkeley), “The Man Who Was Forbidden Form in Gershwin’s Rhapsody in Blue” sity), “‘My Subject is War’: Musical Com- Harald Krebs (University of Victoria), to Eat Chocolate: Edison Denisov’s Sun of mentary in Benjamin Britten’s War Requiem” “Josephine Lang’s Munich Circle” the Incas and Unofficial Music in the Soviet Daphne Leong (University of Colorado, Boulder), “Rhythmic Transformations in Union, ca. 1965” Pacific Southwest Chapter Eric Smigel (University of Southern Cali- Bartók: Folk-Music Studies and Three Com- positions” fornia), “David Tudor: Alchemist of the 16 February 2002 Crystal Young (Brigham Young Univer- Avant-Garde” University of California, Los Angeles sity), “The Complex of Periodicities be- tween Rhythmic and Melodic Prolongation Pacific Northwest Chapter Hiroyuki Minamino (Mission Viejo, Cali- fornia), “Johannes Tinctoris on the Inven- in John Cage’s String Quartet in Four Parts” Brian Moon (University of Colorado, 5–6 April 2002 tion of the Spanish Plucked Viola” Boulder), “Metaphor or Delusion: Cognitive Eugene, Oregon Sara Gross (University of California, Los Angeles), “Transcendence through Song in Dissonance in Schubert’s ‘Letzte Hoffnung’” Janice Dickensheets (University of North- Charles Madsen (University of Oregon), Monteverdi’s Mentre vaga angioletta” Valeria Wenderoth (University of Hawaii, ern Colorado), “Brahms and Poetics: A “Songs without Words: Text and Interpreta- Reading of the Piano Sonata No. 2 in F- tion in Selections from Franz Liszt’s Tran- Manoa), “Inventing and Reinventing the Exotic: The Parisian and Tahitian Perfor- sharp Minor” scriptions of Schubert’s Lieder” Jonathan Bellman (University of Northern Kevin Pih (University of Washington), mances of Hahn’s L’Ile de rêve” Lisa Musca Colorado), “Chopin’s Pilgrim Ballade” “The Harlem Connection of George Gersh- (University of California, Los Angeles), “Schoenberg and the Viennese David Korevaar (University of Colorado, win” Crisis of Identity: A Reading of the Six Little Boulder), “Fiction and Non-Fiction in Schu- Marc E. Johnson (Seattle, Washington), Piano Pieces, Op. 19” mann’s Kreisleriana: Hoffmann’s Kater Murr “Against Modernity: The Making of Ameri- Cecelia Sun (University of California, Los and the Letters of Robert Schumann and can Folk Music” Angeles), “Performing History: Terry Riley’s Clara Wieck” Eugene Casjen Cramer (University of Cal- In C” Daniel Brigham (University of Colorado, gary), “The Holy Week Music of M. Ioanne Maja Trochimczyk (University of Southern Boulder), “Landscape as Regeneration: Schu- (Gardano, 1551)” California), “From Circles to Nets: On the bert’s Winter Journey” Jamie Weaver and Christopher Randall (Uni- Signification of Spatial Sound Imagery in Amy Holbrook (Arizona State University), versity of Oregon), “Arnold Schoenberg’s New Music” “Allegorical Representations of the Disci- Musical ‘Idea’ Revealed in Der Wanderer, Op. Erik Leidal (University of California, Los pline of Music in Medieval Latin Literature” 6, No. 8” Angeles), “‘Because I Have Loved So Deeply’: Deborah Kauffman (University of North- Barbara Reul (University of Victoria), Mapping the Interior through Late 1950s ern Colorado), “Fauxbourdon in Eighteenth- “‘Footnotes’—From the Travel Diaries of Sentimental Jazz/Pop Ballads” Century France” International Organ Recitalist Graham Steed William Thomson (University of Southern Hidemi Matsushita (Arapahoe Community (1913–1999)” California), “The Golden Age of Jazz in College), “A Connecticut Yankee in Em- Brian Black (University of Lethbridge), L.A.: South Central Avenue to Hermosa peror Meiji’s Court: Ferdinand Beyer’s Vor- “The Problem of the Recapitulation in Schu- Beach” schule im Klavierspiel, Op. 101 and the Incep- bert’s Sonata Forms” tion of Piano Pedagogy in Japan” George-Julius Papadopoulos (University of Rocky Mountain Chapter Blase S. Scarnati (Northern Arizona Uni- Washington), “From Pathos to Bathos (and versity), “Willie Nelson’s Construction of a 19–20 April 2002 Back up Again!): A New Exegesis for the Religious Context in His Concept Albums” University of Colorado, Boulder Scherzo of Brahms’s Fourth Symphony” Suzanne Moulton-Gertig (University of Den- Scott Unrein (University of Oregon), “Ber- Steven Bruns (University of Colorado, ver), “Insanity, Caricature, and Stereotype: nard Herrmann’s Vertigo: Theme and Psychol- The Musicologist in Literary Fiction” ogy in the Filmic Narrative” Boulder), “Sound and Symbol in the Music of George Crumb: Some Cross-Cultural Alessandra Moschetti-Wishart (Ontario, Ore- Questions” South-Central Chapter gon), “The Role of Music Culture in the Dale Monson (Brigham Young University), Oral Tradition within the Art Music of the “Gesture and Drama in Pergolesi’s Opere 5–6 April 2002 Twentieth Century” serie” University of Louisville J. E. Brand (University of Calgary), “Le Harrison Powley (Brigham Young Univer- Chat noir and the Musical Mainstream in Late sity), “Daphne: An Operatic Transformation” Cathy Mullins (University of Kentucky), Nineteenth-Century Paris” Karen M. Bryan (Arizona State Univer- “The Music of Cinderella” Peter Bergquist (University of Oregon), sity), “A Place on the Stage: The Evolving Bonnie Cutsforth-Huber (University of Ken- “The Two Editions of Lasso’s Selectissimae Mission of African-American Opera Com- tucky), “Pride and Perseverance: The Operas Cantiones, 1568 and 1579” panies” of William Grant Still” Bertil van Boer (Western Washington Uni- Lisa M. Cook (University of Colorado, David B. Beverly (University of Louisville), versity), “The Case of the Purloined Sym- Boulder), “Spirits and Saints: Connections “The Portrayal of the Israeli and Palestine phonies: Misattribution and Recovery of between Noh Drama and Messiaen’s Saint Conflict in John Adam’s Opera The Death of ‘lost’ Symphonies by Joseph Martin Kraus” François d’Assise” Klinghoffer” —26— Johanna Frymoyer (Vanderbilt University), 16 February 2002 Halina Goldberg (University of Alabama), “A New Approach to the Rhythm of Orga- University of North Carolina, Chapel Hill “Defining Russia ‘Polishly’: Glinka’s A Life num duplum” for the Tsar and the Polish Elements in Rus- Julia W. Shinnick (University of Louis- Matt Hafar (Winston-Salem State Univer- sian National Constructs” ville), “A Newly Recognized Polyphonic sity), “The Trombone Shout Band: A Caro- Timothy Crain (Florida State University), Christmas Gospel, Liber generationis: Another lina Tradition” “The Earliest Theatrical Seasons in Colonial Look at the Polyphony of Assisi 695” Timothy Dickey (Duke University), “The Charleston: Ballad Opera and the Dramatic Kevin Holm-Hudson (University of Ken- Craft of Modal Counterpoint: The Interac- Function of Music” tucky), “Your Guitar, It Sound So Sweet and tion of Modal Coherence and Imitative Maribeth Clark (New College of Florida), Clear: Semiosis in Two Versions of ‘Super- Technique in the Motetti Missales of Gaspar “Beyond Communication: The Poverty and star’” van Weerbeke” Pathos of Mime in La Muette de Portici” Andreas Giger (Louisiana State Univer- John Schuster-Craig (Grand Valley State Reeves Schulstad (Wake Forest University, sity), “Defining Stanzaic Structure in Verdi’s University), “Palindromes” Salem College), “Liszt’s Tasso: A Musical Actualization of Genius” French Librettos and the Implications for William Kinderman (University of Illinois, the Musical Setting” Urbana-Champaign), Keynote Address: “The Tim Carter (University of North Caro- lina, Chapel Hill), “A Monteverdian Prob- Genesis and Structure of Beethoven’s Final Southwest Chapter Sonata Trilogy” lem, Its Solution(s), and Why It Matters” Kenneth Kreitner (University of Memphis), Jennifer Hambrick (University of North Carolina, Chapel Hill), “Music beyond the 27 October 2001 “The Warhorses of Juan de Urrede” University of North Textas James S. MacKay (Loyola University, New Theater: The Hidden Reception of Hector Berlioz’s Roméo et Juliette Symphony and the Orleans), “Haydn’s Sonata in G Minor: A (concurrently with day 3 of the four-day Problem of Generic Hybridity” Rejected Work from the 173 Esterhazy international festival “Legacies: 500 Years of Christina Gier (Duke University), “In the Sonatas?” Printed Music”) Search of the Musical Aphorism: Berg’s Janet K. Page (University of Memphis), Altenberg and the Metaphysics of the Femi- Honey Meconi (Rice University), Keynote “Hymns for Women Young and Old: An nine in Op. 4” Eighteenth-Century Devotional Book from Address: “What Is a Music Collection? Petrucci vs. the Manuscripts” the Viennese Convent of St. Jacob” Southern Chapter Michael Strasser (Baldwin-Wallace Col- Linton E. Powell (University of Texas, Arlington), “Fermata Cadences in Eight- lege), “‘The Good Takes Hold of Us’: The 1–2 February 2002 Impact of the Franco-Prussian War on Pari- eenth-Century Spanish Keyboard Music” Florida State University, Tallahassee Graham G. Hunt (University of Texas, sian Concert Life” Arlington), “Wagner’s Fairy-Tale: The Use Alice Clark (Loyola University), “Liturgi- of Refrain as Dramatic Catalyst in Act II of Southeast Chapter cal Symbolism in the Late Thirteenth- Wagner’s Siegfried” Century Motet” Jeffrey Kallberg (University of Pennsylva- 29 September 2001 Charles Mueller (Florida State University), nia), Keynote Address: “Chopin’s Errors” East Carolina University “The Greatest Fake-Book of the Seven- Michael Dodds (Southern Methodist Uni- teenth Century: Nicola Matteis and The False versity), “Classifying and Representing the Andrew Oster (Davidson College), “Revo- Consonances of Musik” Tuoni ecclesiastici: An Epistemological Quan- lutionary Opera buffa: Hans Werner Henze’s Rebecca Burkart (Monticello, Florida), dary for Seicento Music Theorists” Der Junge Lord (1965) as Harbinger of Ger- “John Chetham’s A Book of Psalmody” Kevin A. Salfen (University of North many’s Counterculture” Dennis Hutchison (Florida State Univer- Texas), “Op. 130 and the More Appropriate Rose Theresa (University of North Caro- sity), “The Nazification of a Musical Institu- Finale: Criteria for Unity and Our Need for lina, Greensboro), “‘Je voudrais être Mar- tion: Der Allgemeine Deutsche Musikver- Beethoven the Hero” guerite’ or Identifying with Gounod’s Faust” ein” Ruskin Cooper (Davidson College), “From David Kushner (University of Florida), 20 April 2002 University of Houston Miniature to Masterpiece: A Schubert Waltz “Religious Ambiguity in the Life and Music Evolves into Schumann’s Carnaval” of Ernest Bloch” Thomas Cimarusti (Florida State Univer- Murl Sickbert (Hardin-Simmons Univer- Andrew Unsworth (Duke University), sity), “Beethoven’s ‘Vier Arietten und ein sity), “Jupiter: A Memorial for Leopold?” “Women as Professional Musicians: ‘Lady Duett,’ Op. 82: Profitable Hopes? . . . or Six Honey Meconi (Rice University), “Scribes Organists’ in Nineteenth-Century America” Pounds of Bread?” and Scholars: Another View of the Habs- Susan Boynton (Columbia University), Siegwart Reichwald (Palm Beach Atlantic burg-Burgundian Court Manuscripts” “Medieval Women and ‘Women’s Song’” College), “Two Days in the Workroom of a Alicia Doyle (University of Texas, El Stewart Carter (Wake Forest University), Composer: Schubert’s C Major Symphony, Paso), “The Sanctus of Tropes in Paris, Bib- “Benedetto da Maiano’s Coronation Group Mendelssohn’s Ruy Blas, and the Develop- liothèque Nationale Fonds Latin 1118: A for Alfonso II: Musical Instruments in ment of the Romantic Symphony” Comparative Study of Tenth-Century Aqui- Stone” Marian Wilson Kimber (University of tanian Concordances and Transmission” James Doering (Randolph-Macon College), Southern Mississippi), “Victorian Fairies and Paul Bertagnolli (University of Houston), “‘I Never Planned Anything in My Life’: Felix Mendelssohn’s A Midsummer Night’s “Heavenly Proclamation: The Wiener Män- Cool Hand Luke and the Musical Commen- Dream in England” nergesangverein and a Newly Found Kon- tary of Lalo Schifrin” Gregory Harwood (Georgia Southern Uni- zept-Brief” William McGinney Ivan Raykoff (University of South Caro- versity), “Issues of Genre and Title in Clara (University of North Texas), “The Modernist Monster of English lina), “Bahr’s ‘Konzert’: Towards an Iconog- Wieck’s Romanze Op. 11, No. 3” Progressive Rock: Emerson, Lake & Palmer’s raphy of the ‘Romantic’ Pianist in Holly- William Horne (Loyola University), “Recy- Tarkus” wood Films” cling Uhland: Karl G. P. Grädener and Antony John (Duke University), “Pre- Johannes Brahms” scribing Utopia: Ideology and the Title Song Jennifer Oates (Florida State University), in the Early Movie Musical” “Hamish MacCunn’s Jeannie Deans” —27—

American Musicological Society, Inc. Statement of Activities for the Fiscal Year Ending 30. June 2002

Current Fellowships & Revenue operations Publications Awards TOTALS Dues & subscriptions $237,976 $237,976 Annual meeting $99,940 $99,940 Sales/Royalties $25,873 $7,352 $33,225 Government grants $63,988 $63,988 Contributions $10,542 $335 $14,965 $25,842 Investment income $1,959 $16,833 $115,421 $134,213

Total revenue $376,290 $88,508 $130,386 $595,184

Expenses Salaries & benefits $60,987 $60,987 Fellowships & awards $34,248 $49,338 $83,586 Dues & subscriptions $2,990 $2,990 Publications $81,879 $88,627 $170,506 Professional fees $93,641 $93,641 Annual meeting $59,562 $8,565 $68,127 Chapters $5,118 $5,118 Office expense $34,939 $185 $1,530 $36,654 Unrealized loss on investment $61,538 $95,399 $156,937

Total expenses $373,364 $150,350 $154,832 $678,545

Change in Net Assets $2,926 $(61,842) ($24,446) $(83,361)

Statement of Financial Position 30. June 2002

Current Fellowships & Assets Operations Publications Awards TOTALS Cash $(1,646) $(1,646) Accounts receivable $1,568 $1,568 Investments $106,408 $601,496 $1,182,573 $1,890,477 Equipment Funds held in trust $17,516 $6,374 $23,890

Total assets $123,846 $601,496 $1,188,947 $1,914,289

Liabilities Accounts payable $5,747 $5,747 Accrued expenses Payroll taxes payable $25 Deferred Income $17,355 Funds held in trust $17,516 $6,374 $23,890

Total Liabilities $40,643 $6,374 $47,017

Net assets $83,203 $601,496 $1,182,573 $1,867,272

Total Liabilities & Net assets $123,846 $601,496 $1,188,947 $1,914,289

Total Liabilities & Net Assets, June 30, 2001: $2,018,033

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