AMS NEWSLETTER

THE AMERICAN MUSICOLOGICAL SOCIETY

CONSTITUENT MEMBER OF THE AMERICAN COUNCIL OF LEARNED SOCIETIES

VOLUME XXXVI, NUMBER 2 August,  ISSN 0402-012X

The Society’s 2006 Annual Meeting

AMS/SMT Los Angeles 2006 2–5 November www.ams-net.org/LosAngeles/

The American Musicological Society and the Society for Music Theory will hold their joint Annual Meeting – November at the Hyatt Century Plaza Hotel in Los Angeles, California. Located in Century City—the former location of the Twentieth Century Fox studio lot that was razed and redeveloped in the s—the Century Plaza is set on seven acres on the fash- ionable West side of Los Angeles. It is close to Beverly Hills, and provides easy access to all of West LA, including Westwood (home of UCLA), Brentwood, Santa Monica, and Ven- ice Beach. Hollywood and West Hollywood are Michele & Tom Grimm, copyright © Los Angeles Convention & Visitors Bureau. only slightly farther away. Los Angeles, site of the Fall  AMS meeting El Pueblo de Nuestra Señora la Reina de Los Angeles de Porciuncula, to give it its full name, was founded by the order of King Carlos III of Spain in , a few years after the first Fran- OPUS Campaign reaches First Million ciscan missions were established among the The OPUS Campaign ended its second fis- These impressive accomplishments enabled a Tongva and Tataviam people. From its very cal year with a total balance, including both successful conclusion to the first third of the beginning, LA was intensely multicultural and donations and pledges, of just over $ mil- OPUS Campaign. multi-ethnic, its first citizens including people lion—$, of which came in over the The handsome Web site went live in April of European, Native American, and African past twelve months. Altogether there were , making it easy to assess new develop-  donors, including sixty above the $, ments as they occur and convenient to donate continued on page  level, twenty of whom contributed above the online. With its frequently updated messages $, level. to the membership and visual evocations of The OPUS Campaign Committee extends our Society’s work over its seventy-odd years, In This Issue… lasting thanks to all who gave for the first time the Web site invites your repeated visits— in the past year; to all who continued their preferably with credit card in hand:  President’s message ...... pledge faithfully month by month; and espe- www.ams-net.org/opus Exectutive Director’s report ......  cially to those who stepped forward in the last Student members Ana Alonso-Minutti, Er- News from the AMS Board ......  month of the fiscal year to help OPUS make Awards, Prizes, Honors ......  ika Honisch, and Rob Pearson answered the significant achievements. The M. Elizabeth call to gather that constituency into a potent Committee Reports......    C. Bartlet Fund attained its $ , goal, force in the campaign, to which end students Los Angeles Preliminary Program . . . . thus allowing the fund to be permanently Conferences ......  attending the Annual Meeting in Los Ange- designated to support research in France; and les are invited to meet each other Thursday Grants and Fellowships ......  the Harold Powers World Travel Fund, sup- Calls for Papers, News Briefs ......  evening at the Student Reception. Plans for porting travel throughout the world for re- a soirée amicale et fiscale for all donors are AMS Quebec City ......  search on music, has been established, thanks Obituaries ......  to a very generous inaugural contribution. continued on page  –– President’s Message

Does musicology matter? A recent article by sion of knowledge, to the reading or listening of the Society. Our by-laws established stand- Alan Kozinn in the New York Times, “This public, and to the Society itself. At the annual ing committees, annual committees, Council is the Golden Age,” asserted that the classi- meeting of the American Council of Learned committees, and fellowship and award com- cal music scene is more vibrant than ever, but Societies, we were enjoined to make a pub- mittees. The  retreat proposed Board flourishes in hitherto unforeseen ways: lic case for the importance of the humanities committees, established at the Columbus and not to be trapped in the terms set by the Woody Allen’s “Annie Hall” observation meeting, to improve the functioning of the  about relationships and sharks—that both attackers (“impractical”). Don Randel, in- Society. The retreat evaluated the work- must either move forward or die—also coming president of the Mellon Foundation, ings of the three C’s—Committees, Council, works for culture. In classical music, lots of quoted William Carlos Williams: “It is diffi- Chapters—and considered ways to stream- people really just want the dead shark. They cult/ to get the news from poems/ yet men line, expand, or coordinate them. Our Board pine for the days when Bernstein, Reiner, die miserably every day/ for lack/ of what is committees focus on the Annual Meeting, on Szell and Toscanini stood on the podium, found there.” career development issues (which we exam- with Heifetz fiddling, Horowitz at the piano The AMS at Bowdoin College. Fortu- ined at length), on communication within the and Callas and Tebaldi locked in a perpetual nately, there are leaders in higher education Society and as the “public face of musicology,” diva war. Most of all they want their reper- who recognize the importance of the humani- and on keeping committees well-stocked. I tory dials set between  and . ties and of musicology in particular. One is am deeply grateful to the hard-working chairs You can send those people your condolences. President Barry Mills of Bowdoin College, and their members on all of our committees. who has welcomed the AMS to its new home. In conjunction with Council Secretary An- For the rest of us, the shark is still moving. (Perhaps the shark metaphor is less appropri- drew Dell’Antonio, we are exploring ways to We’re getting our revivals of Machaut and ate here, but I consider this moving forward.) increase communication and collaboration Rameau along with vigorous reconsiderations Last May, when Bob Judd and I had lunch with the Council, an advisory body so crucial of Bach, Mozart, Beethoven and Mahler and with him at lovely Cleaveland House, he to the Board that its secretary participates in a varied gallery of contemporary composers. was eloquent in declaring the AMS an asset We may be hearing much of this in small, hi- all Board meetings. It meets with the president to his campus, now in the midst of an arts tech halls instead of cavernous temples of the at the Annual Meeting and as of , those initiative. Immediate tangible benefits for the arts or finding it online instead of in shops minutes form part of the Board’s agenda. Key Society, in addition to welcoming and well- or on the radio. But it’s all there, constantly aspects of the Society and our musicological renewing itself. You just have to grab onto equipped quarters, will be high-quality tech lives in general take place in the chapters, the dorsal fin. support for the AMS Web site, increased sup- most of which hold at least two big meetings port staff for the office, and a high campus per year and send officers and representatives Letters did not pour in after this article ap- profile. The communication and outreach to the Annual Meeting and to Council. Jim peared, and the few that did were more pessi- aspects of our mission are likely to flourish in Briscoe is bringing welcome energy to the mistic; one said, simply, that appearances are Brunswick, Maine. That Bowdoin musicolo- Chapter Activities Committee, which has a deceiving because classical music doesn’t mat- gists Mary Hunter and James McCalla have new name and Board-approved mandate. ter any more. This struck me as a problem- long been deeply involved with the AMS is OPUS . Discussion of the OPUS Campaign atic but resonant assertion. I am privileged a matter for rejoicing too. (Indeed, I owe Jim with D. Kern Holomon took up a large part to teach at a university that still requires its belated thanks for his noble service as chair of of the retreat (see the OPUS report, p. ). I undergraduates to acquire listening literacy in the Performance Committee last year, culmi- am deeply grateful to Kern and to Anne Wal- classical music, so I can watch the develop- nating in the brilliant musical events at the ters Robertson, campaign co-chairs, who have ment of a community of interest in a non- Annual Meeting in Washington.) The AMS thrown themselves into the job with extraor- self-selected population. I’ve also noticed, in will be well placed as an exemplar of a tangi- dinary commitment. And I continue to be conversations with friends, colleagues, and ble commitment. I thank President Mills for awed at the generosity of our members and graduate students, that the scholarly direc- his compelling vision for Bowdoin and for his other donors. tions in which people are heading seem mo- wisdom in recognizing the value of the AMS Seventy-fifth Anniversary. We have been tivated by passion rather than duty, that we’re to his institution. in conversation with Council, with the Com- working not on What Needs Doing, but on Board Retreat . The near-midpoint of the mittee on the History of the Society, with the what we love. In some cases, that means put- OPUS Campaign afforded the Board a good chapter officers, and with the OPUS chairs ting oneself in the picture; I think the current opportunity for reflection on the state of the about ways to celebrate the Society’s seventy- popularity of reception studies reflects our Society. Thus, just before its regular March fifth anniversary in  together with the interest in imagining audiences and contexts meeting, the Board arrived in Los Angeles for end of the campaign at the Annual Meeting because of identification with our own em- a retreat, our first since Columbus in . We in Philadelphia. We are planning a chain of placements. For others, what matters emerges successfully disregarded the blandishments of events, something to read, and something to from signs of political engagement in music Beverly Hills and Santa Monica (wine tasting? look at. Mum’s the word. and text, in imagining a place for music in tango lessons? skeeball?), avoided bureaucratic This is a time of achievement and promise the contested ground beyond the rarefied pre- “retreat-speak,” and worked on making AMS for the AMS, and we can take pride in the work cincts of high culture. structures transparent and useful to the mem- of our members and of our organization. My As AMS members, we stand at any moment bership. (See the new feature, “News from the term ends after the Los Angeles meeting, and in varying relation to the field of musicology Board,” p. .) for the peroration of my valedictory message and its disciplines, to the academy and its de- Governance. The Administrative Hand- partments, to the humanities and their divi- book on the Web site describes the structures continued on page  –– AMS Los Angeles 2006 to the Century Plaza, features an upscale—but the bus from Century City to neighborhoods still reasonably affordable—food court, as well that are close by. If AMS members wish to do continued from page  as a number of fine restaurants. The famous any extended travel within LA, they may want shopping district of Rodeo Drive in Beverly to consider splitting the costs of a rental car mixed descents. During its long history under Hills is a walkable mile away, and there are nu- with others attending the conference. Parking colonial, Mexican, and finally U.S. governance, merous restaurants within two or three miles at the hotel is $ per day, and there are few the city has welcomed immigrants from all over serving quite a few cuisines and catering to all other ways to store a car close by. If you don’t the globe. Visitors will find constant reminders price ranges. wish to venture farther than downtown, taxi- of LA’s extraordinary variety in the assortment With so many attractions for visitors to Los cabs are a good way to go, especially if you can of restaurants, stores, and cultural sites all over Angeles, there are two problems—what to see share. It is safe to budget $ for the first mile, $ town, not to mention in the vibrant mix of its per additional mile, not citizenry. including tip. There is no LA offers a remarkable charge for extra passen- banquet of the visual arts gers. You’ll probably want in a variety of museums, to use your cell phones including the Los Angeles to order a ride, though, County Museum of Art since free-range cabs can (LACMA), the Museum be hard to find. of Contemporary Art— Program: The Los An- Los Angeles, the Norton geles program, found in Simon Museum of Art its entirety on pp. –, in Pasadena, the Armand includes an impressive Hammer Museum at array of presentations, UCLA, and the Getty including an exciting ses- Center. Simon Wiesen- sion devoted to newly- thal’s powerful Museum discovered trecento sourc- of Tolerance is within es, presentations by hon- walking distance. The George C. Page Museum, orary members Harold right beside the LACMA, Powers, H. Colin Slim, features the Pleistocene and Lewis Lockwood, fossils recovered from the sessions devoted to music Rancho La Brea Tar Pits. and politics, music and Of course there is classi- the occult, dreams and cal, jazz, pop, and a wide fantasies, manly music, variety of other musics to and so on. be found in the area. The The Getty Museum Conference Concerts: LA Opera performs at the Dorothy Chandler and how to get there. The local arrangements The Performance Committee, chaired by Elisa- Pavilion and the LA Philharmonic at Frank committee will provide an extensive list of ac- beth Le Guin (UCLA), has selected three highly Gehry’s astonishing Walt Disney Concert Hall, tivities that may be of interest to AMS mem- interesting events. In an elegant international completed in . Popular music is easy to bers, and offer help with directions. Travel is a gesture, Justo Sanz Hermida, clarinet, and Se- sample along Sunset Strip and at many other more uncertain proposition. Public transporta- bastián Mariné, piano, from the Real Conser- venues around the city. tion is practical only for trips of short duration; vatorio Superior de Música de Madrid, Spain, The Century City Shopping Center, adjacent (almost) nobody walks in LA, but many do take will present a concert entitled “Homenaje a Robert Stevenson,” to celebrate the composi- tional legacy of the great scholar of Hispanic AMS/SMT Annual Meeting Hotel Information musicology, long-time professor at UCLA and A block of rooms is being held for the Los Angeles conference attendees at the conference resident of Los Angeles. hotel: the Hyatt Regency Century Plaza Hotel,  Avenue of the Stars, Los Angeles CA In his lecture recital “Elgar at the piano,” ; tel. () -; toll-free reservations () -; centuryplaza.hyatt.com. A David Owen Norris of the University of South- link from the AMS Web site dedicated to room reservations is also available. We have ampton, England, will present his unique re- reserved a block of rooms at the Hyatt Regency Century Plaza Hotel at the special rate of constructions of Elgar’s own  piano impro- $ (single), $ (double), $ (triple), $ (quad), per night for reservations received visations, as well as the rarely-heard “Concert no later than  p.m. PDT  October . In order to qualify for the conference rate, you Allegro.” must quote the AMS/SMT Annual Meeting reservation code, G-MUSC, when making Finally, DoubleAction, consisting of Tomas reservations. Budget .% additional for city hotel tax. Gregg, tenor, and Emily Laurance, pedal harp, TheAMS negotiates a contract for meeting space and hotel room-nights with hotels four of the Boston Conservatory of Music, will of- or five years before each Annual Meeting. We agree to occupy a certain number of rooms fer an eclectic program entitled “Songs of the Harper: Early Lieder with Harp Accompani- and contract with hotels for this, in exchange for their agreement to provide hotel rooms as ment.” well as meeting space and services. We are liable to pay significant supplemental fees if we do These programs were chosen from a number not hold up our end of the agreement; thus your decision to stay at the conference hotels, of excellent proposals, for which the Program in addition to enabling convenient access to the Annual Meeting, helps to ensure that we meet our contractual obligations. continued on page  –– Committee is very grateful. We hope to see miles from the conference hotel. Super Shuttle please consult the Web site or contact the AMS large and eager audiences for all these events. (--BLUE VAN) and Prime Time Limousine office; reservations received prior to  August Other Performances: On Thursday and Fri- (--RED-VANS) offer shared shuttle service will appear in the program booklet. Job candi- day  and  November at  p.m., and Sunday for $ or $ one-way per passenger (look for dates can sign up via the Web or (if spots are  November at  p.m., the LA Philharmonic the orange “Shared Ride Vans” signs outside the still available) at the interview desk in the ho- will perform in Disnery Hall. The program will terminal). Taxi fare to the hotel is on the order tel. AMS policy prohibits interviews in private feature Henze’s Erlkönig, Brahms’s Violin Con- of $ and may be shared by up to four pas- rooms without appropriate sitting areas. certo with Joshua Bell as soloist, and (except sengers. Public transportation between airport Benefit programs: Members of the Society for Friday) Schubert’s Symphony No. . Jona- and hotel is not reasonably possible. Shared are urged to support the Committee on Cul- than Nott conducts. Also at Disney Hall, on shuttles from Burbank (BUR) are $ and from tural Diversity Travel Fund, the Howard Mayer Wednesday night,  November, Joshua Bell will Long Beach (LGB) $. Orange County (SNA) Brown endowment, and the AHJ AMS  en- join members of the Philharmonic in a cham- and Ontario (ONT) Airports are both about  dowment by contributing $ or more to these ber music concert. Tickets go fast; see wdch. miles away, hence not recommended. worthy causes. All members who contribute on laphil.com. On Saturday  November, the con- The most practical solution may be to rent a their registration forms will receive complimen- cert series Jacaranda (www.jacarandamusic.org) tary beverage tickets at the Thursday evening re-  will hold a marathon, “Twentieth-Century Mu- ception. If you contribute $ or more, you will “A remarkable banquet of the visual receive five tickets to share with your friends. sic of the Americas,” presented by some of the Registration: A registration form will be best performers in the West. The three concerts arts and music from classical to pop” mailed to all members in early August. All mem- begin at  p.m. (Golijov, Varèse, Ginastera, Ives, bers registering on or before  p.m. EDT  Sep- and Copland), : p.m. (Varèse, Revueltas, car (consider sharing!) to help get around town tember will receive a discounted rate. The AMS Ginastera, Adams, and Harrison), and  p.m. in addition to traveling to and from the airport. Web site also includes online and PDF registra- (Reich, Cage, and Riley). The concerts will be The Century Plaza is easily reached from LAX: tion forms.  held in a WPA theater in Streamline-Art Take Century Boulevard East to the San Diego Child care: If a sufficient number wish to ar-   Deco style, with a noted fire curtain mural and Freeway (Interstate ) North, proceed miles, range child care, the AMS office will assist with mosaic in the hall. and exit at Santa Monica Boulevard. Turn right arrangements. Please contact the AMS office if Other concerts being planned include a pro- onto Santa Monica Boulevard, proceed  miles, this is of interest. gram of music by composers interned in the and turn right onto Avenue of the Stars. The Scheduling: Please contact the AMS office to Nazi concentration camps, to be presented at hotel is located  blocks ahead on the right. reserve rooms for private parties, receptions, or nearby Beverly Hills Presbyterian Church on Weather: Weather in Southern California is reunions. Space is limited, so please communi- Thursday night; the Department of Ethnomu- mild year-round, and particularly so during the cate your needs as soon as possible. The AMS sicology and Systematic Musicology at UCLA fall. Daytime temperatures average in the low Web site provides further information. will also sponsor a concert of music from the s, and drop down to the s at night. No one Student Assistants: The Local Arrangements Near East, the Balkans, and Brazil. from Southern California will admit to the pos- Committee seeks students to help during the Further information will be available on the sibility of rain, although weathermen claim that conference in return for free registration and $ registration form and the conference Web site. it occasionally happens. per hour (six hours minimum). If this is of inter- Travel to Los Angeles: Of the several Los Interviews: A limited number of rooms at est, please see the Web site or contact the AMS Angeles area airports, Los Angeles International the Century Plaza will be available for job in- office. Airport (LAX) is much the closest—about  terviews during the meeting. To reserve a room,

Los Angeles Annual Meeting Program Selection President’s Message continued from page  Last January, the  AMS program committee (Anne Shreffler, chair) received five hundred proposals, from which they were mandated to choose  papers. Most submitted proposals I turn to Joshua Chamberlain, the rhetoric using the online form; ten used U.S. Mail. Categorization according to chronological period or professor turned Civil War general, Maine rubric was self-selected by those who submitted proposals. The committee did not rely heavily governor, and Bowdoin president (movingly on these categories when deliberating, although they strove for a healthy balance. Selection portrayed in Michael Shaara’s famous novel details follow. The Killer Angels): “Men reach their complet- est development, not in isolation nor working Category Received Accepted within narrow bounds, but through member- Medieval   ship and participation in life of largest scope Renaissance   and fullness.” As I think of the superb Board members I’ve worked with, of tireless secre- Seventeenth century   tary Rufus Hallmark and gold-thumbed trea- Eighteenth century   surer Jim Ladewig, of the incomparable Bob   Nineteenh century Judd, and of those in editorial positions and   Twentieth/Twenty-First century on committees, all of whom give so much North American Music   time to the workings and well-being of the Other*   Society, I realize what a privilege and honor Formal sessions [sessions (papers)]  ()  () it has been to serve the Society as president. I look forward to seeing you in Los Angeles. *Popular musics, world musical cultures, film music, interdisciplinary topics, etc. —Elaine Sisman

–– Executive Director’s Report News from the AMS Board As I write, the AMS is packing up books and files in preparation for the move to Bowdoin College. We have had a moving sale and divested ourselves of significant back stock from the The March  AMS Board meeting basement. It’s a bittersweet time, as the University of Pennsylvania’s Music Department has included a time of retreat similar to its been such a generous host to our society since . As the AMS draws to a close this chapter first-ever retreat in March . We of its history, marked by the leadership of Otto Albrecht and Alvin Johnson, we express our deep gratitude to the faculty, staff, and entire university community for their support of our discussed strategic aspects of the Society activities the past fifty years. Maryellen Malek, Jeff Kallberg, Gary Tomlinson, Larry Bern- including: stein, Marjorie Hassen, and many others have been outstanding to work with. John Bailey has • Activities and initiatives of the Board been a lifesaver in the office the past six months, as we go through the transition. Speaking committees established in ; personally, I’ll miss the hospitable digs at Penn very much—thanks to all at Penn who have • The OPUS Campaign (D. Kern Ho- worked with the AMS! loman, campaign co-chair, leading At the AMS Board retreat in Los Angeles last March we strategized about the future and the discussion); and worked on OPUS planning, with a view toward the  culmination of the campaign. I won’t • Plans for celebrating the completion repeat the news on OPUS you’ll find sprinkled elsewhere in the Newsletter; suffice it to say that of the campaign at the Society’s sev- the campaign goals of opening up new avenues and means to accomplish our goals are in the enty-fifth anniversary (, Phila- forefront of most of the office activities. I am in the enviable position of processing the many generous contributions and gestures of support. It is most gratifying to see so many members delphia). working so selflessly toward these worthy goals. Following the retreat, the Board met With the move to Bowdoin, the AMS office will change significantly. We are pleased to for ten hours to conduct its normal welcome to the office Kristen Lavoie, who becomes the office’s executive assistant in August. business stemming from reports from all In September, we will also be hiring another administrative assistant half time, thanks to the officers and committees of the Society. generous support of Bowdoin College. I am looking forward to seeing more of AMS members Among its actions, the Board: Mary Hunter and Jim McCalla, both of whom are on the faculty at Bowdoin College, as well • approved the Society’s budget for the as the many colleagues in the area who gather at New England Chapter meetings. upcoming year; —Robert Judd • authorized fucnding for four AHS- AMS  Fellowships and one Howard Mayer Brown Fellowship @ $, AMS OPUS hold dear: subventions for publication, nota- for –, and accepted the award bly including first books, funding for research recommendations presented by the continued from page  travel and other research expenses for every respective committees; category of membership, and recognition of currently in preparation. • approved the slate of candidates for leaders in music scholarship, from disserta- As we await word on various grant funding election to Council; tion writers to lifetime achievements. for which the OPUS Campaign has applied, • approved the slate of candidates for Every member stands to profit—intellectu- the campaign committee, with very gener- Honorary and Corresponding Mem- ally, morally, financially—from these efforts ous support from Oxford University Press on behalf of our profession’s good health. bers; (OUP) and the Grove dictionaries, challenges Hence every member needs a stake in Opening • approved the formation of two new members to join with their institutional col- Paths to Unlimited Scholarship. If you haven’t study groups: Pedagogy and Cold leagues in reaching substantial levels of com- yet made your pledge and contribution, now’s War and Music; mitment to the goals of the campaign. awards the time to visit the Web site, think about the • approved the Communications Com- in four categories (see the insert at the center campaign goals and what they will mean to of this Newsletter) range from gift certificates mittee’s proposals (see their report, p. the discipline and you personally, and join for OUP products to several multi-volume ); and the effort. You’ll be glad you did. sets, including The New Grove and Richard • agreed to rename the Chapter Fund —D. Kern Holoman and Taruskin’s New Oxford History of Music. The Committee the Chapter Activities Anne Walters Robertson deadline for the prizes is  October ; the Committee, in recognition of its ex- challenge awards are expected to continue in panded role in the Society. future years. AMS Web site The Board also received personal re- The campaign is now in what Anne Robert- ports from Anne Shreffler, Los Angeles With the AMS move to Bowdoin College, son calls the “hearts-and-minds phase.” Some Program Committee chair, who report- light math will suggest that the pace of the the AMS office plans to revamp the Web ed on that committee’s deliberations, endeavor will need to advance in all the im- site. On the table for inclusion are facili- portant categories—number of donors, level ties like calendars, colloquy spaces, and and Mitchell Morris, AMS Los Angeles of giving, and percentage of the membership even a means for real-time online discus- Local Arrangements Committee chair, involved—if we are to reach our ambitious sion at the Annual Meeting. Suggestions who presented plans for the fall meeting goal of $,, in the  months remain- are welcome: send them to ams@ams-net. of the Society. ing. That level of endowed funding will se- org. —Rufus Hallmark, Secretary cure in perpetuity an array of programs we all –– Awards, Prizes and Honors

AMS Awards and Prizes University of New York) will travel to Rome AHJ AMS 50 Fellowships: Four doctoral to look at sources related to his dissertation, candidates in musicology have been selected “Keyboard Seconda Pratica in Transmission: for Alvin H. Johnson AMS  Dissertation The Copper-Engraved Toccata Publications Fellowship Awards for –. In alphabeti- of Girolamo Frescobaldi.” cal order they are: Todd R. Decker (Univer- All AMS award recipients will be officially sity of Michigan), “Black/White Encounters honored at the AMS Annual Business Meet-  on the American Musical Stage and Screen, ing and Awards Presentation in Los Angeles,  –”; Margaret Martin (Stony Brook November . University), “Cultivating the Vernacular: Bang on a Can and the New American Avant- Other Awards, Prizes and Honors Garde”; Lisa Musca (University of California, National Endowment for the Humanities Los Angeles), “The Piano Fragment and the (NEH) fellowships have been given to: Ol- Decomposing of the Musical Subject from ivia Mattis (Salt Lake City, Utah) for “Edgar the Romantic to the Postmodern”; and Jesse Varèse and the Liberation of Sound”; Bar- D. Rodin (Harvard University), “Josquin and bara Heyman (SUNY, Brooklyn College) for the Polyphonic Mass in the Sistine Chapel.” “A Comprehensive Thematic Catalog of the Complete Works of the American Composer Howard Mayer Brown Fellowship: The Samuel Barber”; Bonnie Gordon (SUNY, Howard Mayer Brown Fellowship is pre- Stony Brook) for “Voice Machines: The Todd Decker sented by the Society to a promising minority Castrato, the Cat Piano, and Other Strange AHJ AMS  Fellow graduate student pursuing a doctoral degree Sounds”; Ellen Harris (M.I.T) for “Mr. Han- “Struggling to Define a Nation: American in music. The - fellowship is awarded del and His Friends: Music in the Context of Music in the Twentieth Century” (University to Charles Carson from the University of th-Century London Life”; and Barbara of California, Los Angeles, ). Pennsylvania. Mackenzie (CUNY Research Foundation), for “Abstracts of Music Literature: pre- The Music Library Association has awarded Wolf Travel Award: Two doctoral candidates Festschriften.” the following awards to AMS members: in musicology have been selected to receive NEH Summer Stipends have been awarded • The Richard S. Hill Award for the best ar- awards from the Eugene K. Wolf Travel Fund to: Gregory Barnett (Rice University) for ticle of a music-bibliographic nature: Kiri for European Research. Amy Brosius (New “Music and the Courtly in Early Modern Bo- Miller for “‘First Sing the Notes’: Oral and York University) will travel to Paris to examine logna”; Susan Boynton (Columbia Univer- Written Traditions in Sacred Harp Transmis- the correspondence of Cardinal Jules Mazarin sity) for “Cultural Nationalism and the Study sion,” American Music  (): -. held at the Ministère des Affaires d’Étrangers of Liturgy in Eighteenth-Century Spain”; and • The Eva Judd O’Meara Award for the best in Paris for her dissertation on the political Pierpaolo Polzonetti (University of North review published in Notes: Mary Sue Mor- aspects of singing culture in mid-seventeenth- Carolina, Greensboro) for “Italian Opera in row, for her review of Daniel Heartz, Music century Rome; and Michael Eisenberg (City the Age of the American Revolution.” The American Council of Learned Societies has awarded fellowships to Rachel Golden Carlson (University of Tennessee, Knoxville) for “Medieval Identities in Occitanian Cru- sade Song”; to Martha Feldman (University of Chicago) for “The Castrato as Myth: A Study of Virtuosity and Abjection, Money and Blood”; to Bryan Gilliam (Duke Uni- versity) for “Rounding Wagner’s Mountain: Richard Strauss’s Search for Modern German Opera”; and (under the Frederick Burkhardt Residential Fellowship Program for Recently Tenured Scholars) to Wendy Heller (Princ- eton University) for “Pan Pipes and the Tri- umph of Bacchus: Baroque Dramatic Music and the Uses of Antiquity.” The Society for American Music presented the Wiley Housewright Dissertation Award for the best dissertation in the field of Ameri- Charles Carson can music to Charles Hiroshi Garrett for Margaret Martin Howard Mayer Brown Fellow AHJ AMS  Fellow –– AMS Fellowships, Awards, and Prizes

Descriptions and detailed guidelines for all AMS awards appear in the AMS Directory and on the AMS Web site. Howard Mayer Brown Fellowship for minority graduate study in musicology Deadline:  January Alvin H. Johnson AMS 50 Disserta- tion-year Fellowships Deadline:  January Eugene K. Wolf Travel Fund for Euro- pean research Deadline:  March AMS Publication Subventions Jesse Rodin Deadlines:  March,  September AHJ AMS  Fellow Lisa Musca Alfred Einstein Award for an outstand- AHJ AMS  Fellow ing article by a scholar in the early stages of her or his career in European Capitals: The Galant Style, 1720- Baines Prize by the Galpin Society (UK) for Deadline:  June 1780, in Notes  (): -. contributions to organology. H. Colin Slim Award for an outstanding Anne Walters Robertson received the Haskins article by a senior scholar Ilias Chrissochoidis (Stanford University) Medal of the Medieval Academy of America Deadline:  June has received the John M. Ward Fellowship for her Kinkeldey-award-winning book Guil- Lewis Lockwood Award for an out- laume de Machaut and Reims: Context and in Dance and Music for the Theatre at the Houghton Library, Harvard University, and a standing book by a scholar in the early Meaning in his Musical Works (Cambridge: stages of her or his career Cambridge University Press, ). fellowship at the Folger Shakespeare Library for research on the British reception of Han- Deadline:  June Laurence Libin has been named honorary cu- del’s oratorios. Otto Kinkeldey Award for an outstand- rator of Steinway & Sons, a new title created ing book by a senior scholar for him, and has been awarded the Anthony Deadline:  June Claude V. Palisca Award for an out- standing edition or translation Deadline:  June Guidelines for Announcements of Awards and Prizes Robert M. Stevenson Award for out- standing scholarship in Iberian Music Awards and honors given by the Society are announced in the Newsletter. In addition, the Deadline:  June editor makes every effort to announce widely publicized awards. Other announcements come from individual submissions. The editor does not include awards made by the recipi- Philip Brett Award of the LGBTQ ent’s home institution or to scholars who are not currently members of the Society. Awards Study Group for outstanding work in made to graduate student members as a result of national or international competitions are gay, lesbian, bisexual, and transsexual/ also announced. The editor is always grateful to individuals who report honors and awards transgender studies they have received. Deadline:  July Paul A. Pisk Prize for an outstanding paper presented by a graduate student at the Annual Meeting ACLS Activities Deadline:  October MPD Travel Fund to attend the Annual The American Council of Learned Societies (ACLS) met jointly with the Association of Ameri- Meeting can Universities in Philadelphia last May, and offered an opportunity for humanities scholars Deadline:  July to consider issues currently facing our disciplines. A dozen musicologists participated in the Janet Levy Travel and Research Fund meetings, including ACLS chair Susan McClary. AMS Board member Thomas Christensen for independent scholars served on the ACLS Ryskamp Fellowship award committee, and Thomas J. Mathiesen, director Deadline:  July,  January of AMS Doctoral Dissertations in Musicology, served on the ACLS Digital Innovation Fellowship Noah Greenberg Award for outstanding award committee. Five musicologists were among the sixty recipients of full-year ACLS fel- performance projects lowships in the past round (see p. ), which garnered  applicants (see the AMS Web site for Deadline:  August more statistics). As culmination of the meeting, the ACLS announced the commencement of CCD Travel Fund to attend the Annual a new program of ninety fellowships for dissertation-year and post-dissertation work. This pro- Meeting gram, funded by the Mellon Foundation (now directed by musicologist Don Randel), nearly Deadline:  September doubles the number of fellowships awarded by the ACLS. –– Committee Reports

Committee on Cultural Diversity Committee on the Publication of ing slots. American Music MUSA is generously supported by grants The Committee on Cultural Diversity from the National Endowment for the Hu- (CCD) continues in its role of ensuring the The Music of the United States of Ameri- manities and the University of Michigan’s vitality and diversity of musicology. The Trav- can (MUSA) series continues to make prog- American Music Institute. Day-to-day opera- el Fund program (CCDTF), which brings ress. The year began with the publication tions of MUSA (www.umich.edu/~musausa) gifted undergraduates from traditionally of MUSA , Jeffrey Taylor’s edition of Earl lie in the hands of James Wierzbicki, musa- underrepresented minorities to AMS meet- “Fatha” Hines, Selected Piano Solos, 1928- [email protected], who will gladly respond to ings in order to encourage them to consider 1941, our second volume of transcriptions anyone contemplating an editorial project in a career in musicology, continues to attract from phonograph recordings. Not only cap- American music. extremely talented and qualified applicants. turing in notation the playing of one of the —Richard Crawford I urge everyone to make their promising most rhythmically venturesome of all jazz undergraduate and terminal master’s degree pianists, the volume also includes a highly Committee on Career-Related Issues students aware that they may be eligible for a original essay that makes a case for the jazz The Committee on Career-related Issues (CRI) free trip to the  Annual Meeting in Los piano solo as a musical genre in its own right, will host several sessions at the Los Angeles Angeles. Students chosen to attend the meet- with Hines one of the prime movers in that Annual Meeting as well as the Conference ing will be matched with a mentor and will direction. Buddy program managed by Darwin Scott. be honored at a reception where they will be At this writing, MUSA  is in production: Professor Edward Nowacki of the Cincinnati introduced to faculty representatives of music Nola Read Knouse’s edition of The Complete College Conservatory of Music is our “Master graduate programs. Wind Chamber Music of David Moritz Mi- Teacher” presenter this year. The CCDTF application form is available chael, Moravian-American composer of the The master teacher for AMS Quebec City online. Applications are due on or before  early nineteenth century. Included are more  will be selected from nominations sub- September . Students will be chosen by than a dozen “parthien”—three- to five-move- mitted to the CCRI before  November . a three-member panel including the com- ment works for small wind ensembles—plus Please contact Jim Davis (davisj@fredonia. mittee co-chairs and one additional com- two large programmatic suites of up to fifteen edu) if you have any questions about the mittee member. For further information, movements. Rouse, director of the Moravian “Master Teacher” sessions or would like to please contact CCD co-chair Yvonne Kendall Music Foundation in Winston-Salem, North nominate an inspiring teacher. The committee ([email protected]). Carolina, locates the Moravians in the world would be grateful for multiple nominations of I am proud to report that the Alliance for of American music, and this “secular” music one candidate by AMS members at different Minority Participation in Musicology (Al- in the life of a religiously inspired, German- stages in their careers, such as students, for- liance) has twenty member schools, seventy speaking society. This volume should appear mer students now teaching, and current and percent of whom had representatives at the in time to be unveiled at the Annual Meeting former colleagues.  CCDTF reception. Universities with in Los Angeles. The CRI is particularly excited to see the graduate programs in music history or musi- Four more MUSA projects are nearing latest AMS demographic survey come to frui- cology who want to make a commitment to completion. It is impossible to predict the or- tion (see the MPD report). Please participate diversify their graduate student population der in which these volumes will appear, since in the survey and in later survey modules to are urged to contact the CCD about joining work remains to be completed on at least one follow. Accurate and complete collective in- the Alliance. Exciting new plans are in store. aspect of each: formation about who we are and the kinds The CCD welcomes Jann Pasler, profes- • Gertrude Stein and Virgil Thomson’s Four of work we do helps the committee plan our sor of music at the University of California, Saints in Three Acts, edited by H. Wiley future activities, both at the Annual Meeting San Diego, as incoming co-chair. In  she Hitchcock and Charles Fussell; and in other venues. gained distinction as the first recipient of the • Charles Homann’s orchestral works, edited For further information on these and all H. Colin Slim Award for her article on musi- by Joanne Swenson-Eldridge; CCRI activities, visit the committee’s web cal instruments, race, and French colonialism • Florence Price, Symphonies Nos.  and , site, www.ams-net.org/cri/. (Journal of the Royal Musical Association , edited by Rae Linda Brown and Wayne —Kathryn Lowerre ). Shirley; and Finally, I am pleased to recognize the long- • Machito and his Afro-Cubans, edited by Committee on Communications standing service of outgoing co-chair Naomi Paul Austerlitz. André. Through incisive intelligence, kind in- When these four volumes are published The Board Committee on Communications clusiveness, and effective leadership, she has the MUSA series will be halfway home, with has implemented a number of changes in built upon the work of her predecessors to twenty of the projected forty volumes in the way the Society communicates electroni- continue the process of raising awareness of print. Seventeen further volumes have been cally with members and the public. Increas- the CCD’s important goals. Naomi, we thank commissioned, making thirty-seven MUSA ingly, our Web site serves as the public face you. volumes in print, in production, or commis- of musicology and one of our most effective —G. Yvonne Kendall sioned and being worked on by volume edi- means of public outreach; its redesign is now tors. At its March meeting the Committee on in progress. The committee wants to include the Publication of American Music discussed at the Web site materials that serve as a broad the possibilities for filling out the few remain- continued on page  –– AMS/SMT ANNUAL MEETING Los Angeles, 2–5 November 2006 Preliminary Program

WEDNESDAY  November Chopin and Brahms (Joint) Kevin Korsyn (University of Michigan), Chair 2:00–6:00 SMT Executive Board Meeting Jonathan Bellman (University of Northern Colorado), “Toward a Well- 2:00–8:00 AMS Board of Directors Meeting Tempered Chopin” 6:00–7:00 SMT Executive Board, Networking, Halina Goldberg (Indiana University), “Phrase Structure of Chopin’s Early Publications, and Awards Committees Works in Light of Józef Elsner’s Instruction” Dinner Peter H. Smith (University of Notre Dame), “New Perspectives on Brahms’s Linkage Technique” 7:00–10:00 SMT Networking Committee Meeting Daniel Stevens (University of Michigan), “Brahms’s Op.  ‘Song-Bou- 7:00–11:00 SMT Awards Committee Meeting quet’ as Critique of Romantic Ideology” 7:00–11:00 SMT Publications Committee Meeting Jazz (AMS) Charles Hiroshi Garrett (University of Michigan), Chair THURSDAY  November Brian Harker (Brigham Young University), “Trumpeters and Dancers in 7:30–9:00 Meeting Worker Orientation Early Jazz: A Forgotten Partnership” David Ake (University of Nevada, Reno), “The Emergence of the Rural 8:00–12:00 AMS Board of Directors Meeting American Ideal in Jazz” 8:00–12:00 SMT Executive Board Meeting Paul S. Machlin (Colby College), “Teddy Wilson’s ‘China Boy’” 9:00–5:00 Registration Frank Tirro (Yale University), “The Metamorphosis of ‘Anthropology’: Gil Evans’ Arrangements for Claude Thornhill and Miles Davis” 11:00–1:00 Society for Seventeenth-Century Music, Judaism (AMS) Governing Board Meeting 12:00–1:45 Showing of the Viola-Sellars Production Philip Bohlman (University of Chicago), Chair (2005) of Tristan und Isolde Lily E. Hirsch (Duke University), “The Jewish Culture League Conference (September –, ): Ernest Bloch, Arnold Schoenberg, and ‘Jewish 12:00–2:00 AMS Membership and Professional Music’ in Nazi Germany” Development Committee Meeting Joy Calico (Vanderbilt University), “‘A Survivor from Warsaw’ and Schoen- 12:00–2:00 SMT Officers Lunch berg Reception in West Germany in the s” 12:30–1:45 Lecture-Recital (sponsored by the AMS Benita Wolters-Fredlund (Calvin College), “Judas Maccabaeus As Revo- Performance Committee): “Elgar at the lutionary Jewish Hero: Progressive Jewish Readings of Handel’s Oratorio Piano,” David Owen Norris (University of during the Holocaust” Southampton), piano Michael Marissen (Swarthmore College), “Rejoicing against Judaism in Handel’s Messiah” 1:00–6:00 Exhibits Networks And Transformations (SMT) THURSDAY AFTERNOON SESSIONS Shaugn O’Donnell (City College and Graduate Center, CUNY), Chair 2:00–5:00 Lawrence B. Shuster (Graduate Center, CUNY) and Jerry G. Ianni (La- Beethoven (AMS) Guardia Community College/CUNY), “Subgroup Relations among Hans-Joachim Hinrichsen (University of Zurich), Chair Pitch-Class Sets within Tetrachordal K-Families” Michael Buchler (Florida State University), “Reconsidering Klumpenhou- Benjamin Walton (University of Bristol), “Rehearing Beethoven in Paris” wer Networks” Ryan Minor (Stony Brook University), “Choral Fantasies: Beethoven, von Julian Hook (Indiana University), “An Integrated Transformational Theory Schwind, and the Aesthetics of Choral Participation” of Diatonic and Chromatic Harmony” Michael Spitzer (University of Durham), “Beethoven-Hölderlin” Michael Callahan (Eastman School of Music), “Measuring K-Net Dis- David Levy (Wake Forest University), “‘Ma però beschleunigend’: Nota- tance: Parallels Between Perle and Lewin, and a Generalized Representa- tion and Meaning in Beethoven’s Op. /” tion of Sum-and-Difference Space”

–– Representation, Ethics, and Illusion in the Sketch Studies (SMT) Nineteenth and Twentieth Centuries (AMS) David Smyth (Louisiana State University), Chair Katharine Ellis (Royal Holloway, University of London), Chair Alan Gosman (Michigan State University), “Committing to Opening Peter Lamothe (University of North Carolina, Chapel Hill), “‘Quite Far Theme Possibilities: How Beethoven’s Sketchbook Struggles are Reflected from That State of Grace’: Debussy’s Score forLe Martyre de Saint Sébas- in Two Recapitulations” tien As Incidental Music” Don Traut (University of Arizona), “Bach’s Tetrachords and Stravinsky’s Nanette Nielsen (University of East Anglia), “Ethical Encounters: Voice Blocks: The Sketches for the ‘Grand Chorale’” and Freedom in Bekker and Krenek” Derek Katz (University of California, Santa Barbara), “Busoni’s Magic 4:30–5:30 AMS Development Committee Meeting Mirrors: Puppets, Magic and Representation in Doktor Faust” 5:00–5:30 SMT Conference Guides Meeting Glenn Stanley (University of Connecticut), “Rescuing Fidelio: Radical Interventions in German Productions c.  and their Aesthetic and 5:00–5:30 AMS Committee on Career-Related Issues Political Foundations” Conference Buddy Meeting THURSDAY AFTERNOON SHORT SESSIONS 5:30–8:00 No-Host Reception 5:15–6:15 AMS Committee on Career-Related Issues, 2:00–3:30 “Crossing Over: Teaching in Different Animation and Imagination (AMS) Disciplinary Frameworks,” Kathryn Lowerre Neil Lerner (Davidson College), Chair (Michigan State University), Chair Nancy Newman (University at Albany, State University of New York), 6:00–7:30 Journal of Musicology Editorial Board “Tingel-Tangel Cabaret Meets Dr. Seuss in Hollywood: Frederick Hol- Meeting lander’s Music for The Fingers of Dr. T” 6:00–8:00 Florida State University School of Music Daniel Goldmark (Case Western Reserve University), “Make Mine Music: Alumni Reception Music, Culture, and Disney, –” 6:30–8:30 Journal of Seventeenth-Century Music, Medieval Beauty (AMS) Editorial Board Anna Maria Busse Berger (University of California, Davis), Chair 7:00–11:00 Lyrica Society Paper Session Erinn Losness (Stanford University), “Ars Antiqua versus Ars Nova: A Rash or a Real Debate?” 8:00–10:00 AMS Committee on Career-Related Issues, Gabriela Ilnitchi (Eastman School of Music, University of Rochester), Student Session: “Enhancing Your Course “On the Generation of Beautiful Sounds: The Science of Sound in the Through Technology: Inside and Outside Fourteenth Century” the Classroom,” Kate Dacey-Tsuei (Columbia Re-Cycling Berg (SMT) University) and Jennifer Wilson (CUNY), Co- chairs Philip Lambert (Baruch College and Graduate Center, CUNY), Chair 8:30–10:00 AMS Committee on the Status of Women, Vasili Byros (Yale University), “‘Tonal oder Atonal?’: Interval Cycles, Open Meeting Whole-Tone Tonality, and the Dialectics of Musical Process in Berg’s Piano Sonata, Op. ” 9:30–11:00 Student Reception, hosted by AMS OPUS Patricia Hall (University of California, Santa Barbara), “Berg’s Interval Cycles: A Theoretical Trifle?” THURSDAY EVENING SESSIONS 3:30–5:00 8:00–11:00 Chansons and Attributions (AMS) Christopher Reynolds (University of California, Davis), Chair AMS Panel: Visualizing Tristan: The Viola-Sellars Production (2005) Adam Gilbert (University of Southern California), “Motives of Allusion and Attribution in the Anonymous Chansons (The Case of the Manu- Beate Perrey (University of Liverpool) Chair script Bologna, Q) Lawrence Kramer (Fordham University), Simon Williams Louise Litterick (Mount Holyoke College), “Implications of Florence (University of California, Santa Barbara), Esteban Buch  for the History of the French Chanson” (École des Hautes Études en Sciences Sociales) The Search for Origins (AMS) AMS Panel: “Art is in the streets”: Music Katherine Bergeron (Brown University), Chair and Politics around 1968 Susan Neimoyer (Okemos, Michigan), “The Kilenyi / Schoenberg Con- Amy Beal (University of California, Santa Cruz/Princeton nection: New Insights into George Gershwin’s Early Musical Education” University), Chair Catrina Flint de Médicis (McGill University/Vanier College), “Reading Robert Adlington (University of Nottingham), Eric Drott Beneath Vincent d’Indy’s Palimpsest: Sacred Rhythm as Key to Music (University of Texas at Austin), Sumanth Gopinath (University Drama in the Cours de Composition Musicale (vol. 1)” of Minnesota), Beate Kutschke (Universität der Künste, Berlin)

–– SMT Committee for Professional FRIDAY MORNING SESSIONS Development: Mid-Career Renewal John Cuciurean (University of Western Ontario), Moderator 9:00–12:00 Maureen Carr (Pennsylvania State University), Steve Larson American Popular Music and Our Brains (AMS) (University of Oregon), Elizabeth West Marvin (Eastman Felicia Miyakawa (Middle Tennessee State University), Chair School of Music), Joel Lester (Mannes College of Music), Severine Neff (University of North Carolina, Chapel Hill) Andrew Flory (University of North Carolina, Chapel Hill), “Motown and the Middle Class” SMT Music Informatics Special Session: Music Databases, David Brackett (McGill University), “Improvisation and Value in Rock, Music Analysis, and The Discipline of Music Theory ” Eric J. Isaacson (Indiana University, Bloomington), Moderator Rebekah Ahrendt (UC Berkeley), “Celts, Crusaders, and Clerics: The ‘Me- David Huron (Ohio State University), Respondent dieval’ in Gothic Music” Robert Walser (UCLA), “Learning From Our Brains: A Humanist Cogi- Eleanor Selfridge-Field (Center for Computer-Assisted Research in the tates” Humanities, Stanford University), “Challenges from Music Query to Music Theory” Medieval and Renaissance Sources (AMS) Leigh VanHandel (Michigan State University), “Trends in/over Time: Margot Fassler (Yale University), Chair Rhythm in Speech and Melody in Nineteenth-Century Art Song” Richard Agee (Colorado College), “The Printed Dissemination of the Ro- Cory McKay and Ichiro Fujinaga (Schulich School of Music, McGill Uni- man Gradual in Italy During the Early Modern Period” versity), “Style-Independent Computer-Assisted Exploratory Analysis of Travis Yeager (Indiana University), “The Old Office of St. Emmeram: A Large Music Collections” New Source Recovered” Jan Herlinger (Louisiana State University), “Singing Exercises from a Me- dieval Convent” FRIDAY  November Matthew Peattie (Harvard University), “Beneventan Music and Gregorian Modality: Evidence of Modal Change in the Melodic Fund of the Old 7:00–8:30 SMT Committee on the Status of Women Beneventan Chant” Breakfast Meeting Mozart and Haydn (AMS) 7:00–8:30 SMT Breakfast Reception for Graduate Neal Zaslaw (Cornell University), Chair Students (hosted by the SMT Professional Development Committee) Mark Evan Bonds (University of North Carolina, Chapel Hill), “Replac- ing Haydn: Mozart’s ‘Pleyel’ Quartets” 7:00–8:45 Alvin H. Johnson AMS 50 Dissertation Edward Green (Manhattan School of Music), “Haydn’s ‘Secret Dodeca- Fellowship Committee Meeting phonic Art’” 7:00–8:45 AMS Chapter Officers’ Meeting Carey Campbell (University of Minnesota), “The Soloist’s Role During Tutti Sections of Mozart’s Concerti for Violin and Woodwinds: A Re- 7:00–8:45 AMS Committee on Career-Related Issues evaluation” Meeting Jason Britton (University of Oregon), “What’s in a Name? The ‘Scherzo’ in 7:00–8:45 AMS History of the Society Committee Haydn’s Op.  Quartets” Meeting Post-War Pluralities (SMT) 7:00–8:45 AMS Joint Meeting of the 2006 and 2007 John Rahn (University of Washington), Chair Annual Meeting Program Committees Aaminah Durrani (University of Houston), “Symmetrical Constructions 7:00–8:45 Student Representatives to AMS Council in the Fourth Movement of Alfred Schnittke’s String Quartet No. ” Meeting Michael Klein (Temple University), “Lutoslawski, Bergsonian Temporal- 7:00–8:45 AMS Howard Mayer Brown Award ity, and the Narratives of Transcendence” Committee Meeting Matthew BaileyShea (University of Rochester), “Alberich after the Apoca- lypse: Christopher Rouse’s Sequel to Wagner’s ‘Ring’” 7:00–8:45 AMS Committee on Communications Paul Miller (Eastman School of Music), “A Theory for the Analysis of Spa- Meeting tial Music Derived from Stockhausen’s /Lichter-Wasser/ ()” 7:30–9:00 American Brahms Society Board of Directors Tonal and Formal Processes (Joint) Meeting James Hepokoski (Yale University), Chair 7:30–9:00 Society for Eighteenth-Century Music Board of Directors Meeting Michael Dodds (North Carolina School of the Arts), “Key Signatures, Fu- gal Answer, and the Emergence of the Major Mode: A Case Study in G 9:00–12:00 SMT Graduate Student Workshop Major” 8:30–5:00 Registration Boyd Pomeroy (Georgia State University), “Formal Fusion and Its Effect on Voice-Leading Structure: Beethoven’s Op. /I Revisited” 8:30–6:00 Exhibits

–– Brian Black (University of Lethbridge), “The Functions of Harmonic Mo- English National Identity (AMS) tives in Schubert’s Sonata Forms” Byron Adams (University of California, Riverside), Chair L. Poundie Burstein (Hunter College and Graduate Center, CUNY), “The Trimodular Block, the Three-Part Exposition, and the Classical Transi- Alain Frogley (University of Connecticut), “‘Dancing in the ‘City of tion Section” Dreadful Night’: Paris, Vienna and St. Petersburg in the  Scherzo- Nocturne of Vaughan Williams’s A London Symphony” FRIDAY MORNING SHORT SESSIONS Nalini Ghuman Gwynne (Mills College), “Elephants and Moghuls, Con- traltos and G-strings: How Elgar Got His Englishness” 9:00–10:30 Opera (SMT) Ives (Joint) Deborah Burton (Boston University), Chair Carol Baron (Stony Brook University), Chair Matthew Shaftel (Florida State University), “Semiotics, Pragmatics, and Tom Owens (George Mason University), “Concord and Dissonance: The Iconology: An Interdisciplinary Model for the Investigation of Opera” Relationship of Peter Yates and Charles Ives and the Role of Los Angeles in the Reception of Ives’s Music” Jamuna Samuel (Wellesley College), “Text and Twelve-Tone Process in Dallapiccola’s The Prisoner” Jennifer Iverson (University of Texas, Austin), “Spatial Structures of the Collage: The Case of Charles Ives’s Putnam’s Camp” 12:00–12:30 AMS Pedagogy Study Group Meeting Music in the German Democratic Republic (AMS) 12:00–1:00 AMS Committee on Career-Related Issues: Matthias Tischer (Berlin / Harvard University), Chair “Master Teacher Session” Speaker: Edward Laura Silverberg (University of Pennsylvania), “New Music and Musical Nowacki (Cincinnati College-Conservatory Tradition in the German Democratic Republic” of Music); Chair: James A. Davis (SUNY- Elaine Kelly (University of Edinburgh), “Ideology versus Pragmatism: The Fredonia) Politicization of the Nineteenth-Century Musical Canon in the German 12:00–1:15 Society for Seventeenth-Century Music, Democratic Republic” Business Meeting Nineteenth-Century Nation Building (AMS) 12:00–1:30 AMS Committee on Cultural Diversity: Naomi André (University of Michigan), Chair Reception for Travel Fund Recipients, Mary Ann Smart (University of California, Berkeley), “Donizetti’s ‘Philo- Associates, and Alliance Representatives sophical’ Opera: Marino Faliero and Giuseppe Mazzini’s Filosofia della 12:30–1:45 Concert (sponsored by the AMS musica” Performance Committee): “Homenaje a Karen Ahlquist (George Washington University), “Anglo-Conformity and Dr. Robert Stevenson,” works of Robert the ‘German Element’ at the Cincinnati Sängerfest, ” Stevenson, played by Justo Sanz Hermida, Shall We Dance? (Joint) clarinet, and Sebastián Mariné, piano (Real Gayle Murchison (College of William and Mary), Chair Conservatorio Superior de Música de Madrid) 12:00–2:00 SMT Committee on the Status of Women Eric McKee (Pennsylvania State University), “Watching Waltzers Waltz: Affiliates Lunch The Musical Visions of Lanner, Strauss, and Chopin” James Deaville (Carleton University), “Cakewalk contra Walzer: Negotiat- 12:00–2:00 SMT Philosophy Interest Group Meeting ing Modernity and Identity in Jahrhundertwende Vienna through Afri- 12:00–2:00 SMT Scholars for Social Responsibility can-American Music and Dance” Meeting 10:30–12:00 12:00–2:00 Mozart Society of America Meeting American Modernism (SMT) 1:00–2:00 AMS Pedagogy Study Group Poster Session Ellie Hisama (Columbia University), Chair 12:15–1:45 SMT Jazz Theory and Analysis Interest Group Meeting Ronald Squibbs (University of Connecticut), “‘Syntony’ and Harmonic Transformation in the Music of Dane Rudhyar” 12:15–1:45 AMS LGBTQ Study Group, Program and Stanley V. Kleppinger (Butler University), “An Analytic Approach for Post- Business Meeting Tonal Pitch-Centric Music Demonstrated in Two Works by Copland” 1:00–3:00 SMT CV Review Between the Wars in France and Czechoslovakia (AMS) 2:00–2:45 Naxos Demo Sessions Tamara Levitz (UCLA), Chair FRIDAY AFTERNOON SESSIONS Christopher Moore (Eastman School of Music, University of Rochester), “From ‘Lifestyle Modernism’ to ‘Populist Modernism’: The Musical Evo- 2:00–5:00 lution of the ‘Everyday’ in Interwar France” Composing and Teaching in Early Modern Italy (AMS) Hana Vlhová-Wörner (Duke University) and Felix Wörner (University Massimo Ossi (Indiana University), Chair of North Carolina, Chapel Hill), “Through Musical Education To De- mocracy? The International ‘Society for Musical Education’ ( –) Beth Glixon (University of Kentucky), “Pupil, Apprentice, Disciple: Stu- between Idealism and Politics” dents and Teachers of Music in Venice During the Age of Francesco Cavalli”

–– Giuseppe Gerbino (Columbia University), “Luca Marenzio’s Musical He- Nicholas Attfield (University of Oxford), “Bruckner’s ‘Farewell to Life’?: donism” Auflösung and the Absolute in Ernst Kurth’s Reading of the Adagio of the Claire Fontijn (Wellesley College), “‘Sotto la disciplina del Signor Cavalli’: Ninth Symphony” Vocal Music by Strozzi and Bembo” Poster Session (SMT) Mauro Calcagno (Harvard University), “Petrarchan Desire and Musical Subjectivity: the Madrigal Book as Canzoniere” John MacCallum and Aaron Einbond (Center for New Music and Audio Technologies [CNMAT], University of California, Berkeley), “Timbre as Film Music (AMS) a Psychoacoustic Parameter for Harmonic Analysis” Jeongwon Joe (University of Cincinnati), Chair Clifton Callender and Nancy Rogers (Florida State University), “More than Parsimonious Voice Leading: A Perceptual Study of Trichordal Dis- Miguel Mera (Royal College of Music), “The Evolution of the Score for tance” The Ice Storm” Tuukka Ilomäki (Sibelius Academy, Finland), “Isographies of Pitch-Class Lawrence Kramer (Fordham University), “Melodic Trains: Music in Po- Sets and Set-Classes” lanski’s The Pianist” David Temperley and Elizabeth West Marvin (Eastman School of Music, Mark Clague (University of Michigan), “Live Music, Living Meaning: University of Rochester), “Pitch-class Distribution and the Perception  Philip Glass’s Film Scores to the Qatsi Trilogy—Koyaanisqatsi ( ), Pow- of Key” aqqatsi (), and Naqoyqatsi ()” John Roeder, Scott Cook, Stephanie Lind, and Mustafa Bor (University of Kate McQuiston (Fordham University), “The Lolita Effect: Leitmotifs in British Columbia), “Animating the ‘Inside’: How Musical Spaces Shape Overdrive in Nelson Riddle’s Score for Kubrick’s Film” Transformational Signification” Italian Opera (AMS) Steven J. Cahn (University of Cincinnati, College-Conservatory of Mu- Alessandra Campana (Tufts University), Chair sic), Sinisa Pajevic (MSCL/DCB/CIT National Institutes of Health [NIH]), Gustavo Kunde-Rohde (Laboratory of Integrative and Medical Harold Powers (Princeton University), “Metastasio into Melodramma: Biophysics [LIMB], NIH), Peter J. Basser (LIMB, NIH), “Imaging the Act One” Performance: Analyzing Music with a Similarity Matrix” Gregory Bloch (University of California, Berkeley), “Manrico’s Manhood” Samples, Grooves, Mixes (Joint) Denise Gallo (Library of Congress), “Falstaff ’s Sonnet and the Petrarchan Voice” Adam Krims (University of Nottingham), Chair Roger Parker (St. John’s College, Cambridge), “Manon Lescaut: La Scala, ” John Cage and Friends (AMS) Jocelyn R. Neal (University of North Carolina, Chapel Hill), “Musical Style vs. Musical Structure: Shania Twain’s Songwriting Strategies” David Nicholls (University of Southampton), Chair Matthew Butterfield (Franklin & Marshall University), “The Power of Michael Hicks (Brigham Young University), “‘Our Webern’: Cage and Anacrusis: Engendered Feeling in Groove-Based Musics” Feldman’s Devotion to Christian Wolff” Joanna Demers (University of Southern California), “Second-Order Sim- Jeremy Grimshaw (Denison University), “‘Opposite Sides of the Same ulation in Sample-Based Pop” Coin’: John Cage and La Monte Young” Brent Auerbach (University of Massachusetts, Amherst), “Pedagogical Ap- Rob Haskins (University of New Hampshire), “‘Living within Discipline’: plications of the Video Game Dance Dance Revolution to the Aural Skills John Cage’s Music in the Context of Anarchism” Classroom” David W. Bernstein (Mills College), “John Cage’s Cartridge Music (): FRIDAY AFTERNOON SHORT SESSIONS ‘A Galaxy Reconsidered’” Music and the State (AMS) 2:00–3:30 Eighteenth-Century Literature and Music (AMS) Susan McClary (UCLA), Chair Ayana Smith (Indiana University), Chair Elizabeth B. Crist (Princeton University), “Cold War Politics in Aaron Copland’s The Tender Land and Leonard Bernstein’s Candide” Zachariah Victor (Yale University), “Love, Beauty, and the Eternal One: YouYoung Kang (Scripps College), “Educating the Musical Consciousness Neoplatonism and the Cantatas of the Early Arcadian Academy” of a Nation: The WPA Federal Music Project” JoAnn Taricani (University of Washington), “Henry Fielding: Provocateur Jennifer Campbell (University of Connecticut), “On Being a ‘Good of Music as Metaphor and Contrivance” Neighbor’: Roosevelt, Rockefeller, and the Exportation of ‘American’ Schenker (SMT) Musical Identity” David Gagné (Queens College and Graduate Suzanne G. Cusick (New York University), “Music as Torture, Music as Center, CUNY), Chair Weapon” Nineteenth-Century Chromaticism (Joint) Peter Franck (Eastman School of Music), “‘A Fallacious Concept’: The Role of Invertible Counterpoint within the Ursatz” Kevin Swinden (Wilfrid Laurier University), Chair Wayne Petty (University of Michigan), “Reconstructing Schenker’s Un- Robert Gauldin (Eastman School of Music), “Wagner’s Neighboring Ges- published Analysis of Beethoven’s Op. , First Movement” ture: The Origins and Evolution of a Romantic Schema” 3:30–5:00 Jill T. Brasky (American University), “Recognizing the Unrecognized: Un- Eighteenth-Century Berlin (AMS) covering the Provenance of Functional Half-Diminished Seventh-Chords on ˆ” Paul Corneilson (Packard Humanities Institute), Chair Ramon Satyendra (University of Michigan), “Liszt’s Second Diatonicism” Mary Oleskiewicz (University of Massachusetts, Boston), “Rewriting the Recent Past: Icons, Anecdotes, and the Music of Eighteenth-Century Berlin” –– James Parsons (Missouri State University), “‘Our mother’s tender voice in the far-away, foreign country of art’: Reichardt, Schiller, and the Eigh- FRIDAY EVENING SESSIONS teenth-Century Lied” 8:00–11:00 Schoenberg as Teacher and Theorist (SMT) Joint Special Session: SMT Performance and Severine Neff (University of North Carolina, Chapel Hill), Chair Analysis Interest Group: Performing Mozart Colleen Conlon (University of North Texas), “Teaching the ‘Musical Idea’: William Rothstein (Queens College and Graduate An Examination of the Unpublished Lectures of Arnold Schoenberg from Center, CUNY), Moderator the University of California, Los Angeles, –” Jaap Schröder, “Mozart Performance with Classical String Instruments: Áine Heneghan (University of Washington), “The Theorizing Composer: Appropriate Bows, Discoveries, and Consequences, with Reference to Revisiting Schoenberg’s Theory of Form” Mozart’s String Quartet in D Minor, K.” Joel Lester (Mannes College of Music), “Analysis and Performing Mo- 3:30–5:00 AMS/MLA Joint RISM Committee Meeting zart” 5:00–6:00 SMT Music Theory Pedagogy Interest Group Robert Levin (Harvard University), “Mozart and Improvisation” Meeting SMT Committee on the Status of Women: 5:00–7:00 SMT Queer Resource Interest Group The Subject of Musical Inquiry Meeting Lori Burns (University of Ottawa), Chair 5:00–7:00 SMT Music Cognition Interest Group Naomi André (University of Michigan), Respondent Meeting Sue-Ellen Case (UCLA), Respondent 5:00–7:00 Rice University Alumni Reception Karen Fournier (University of Michigan), “Subjectivity As an Agent of 5:15–6:15 AMS Committee on Career-Related Issues: Disciplinary Change” Presentation “Opening Doors: Exploring Marianne Tatom Letts (University of Texas at Austin), “‘I’m not here, this Issues about Electronic Access to Music isn’t happening’: Ambivalence in Radiohead’s Kid A and Amnesiac” Scholarship,” Melissa Ursula Dawn Gold- Daniel J. McConnell (University of Wisconsin-Madison), “‘Alternative’ Lifestyles and Alternative Music Theories: Reconsidering How We Teach smith (Louisiana State University) and Darwin One Another to Mind Music and the Social World” Scott (Brandeis University), Co-chairs Heather Laurel (City University of New York), “Subjectivity in Ani 5:15–6:30 JAMS Editorial Board Meeting DiFranco’s Political Music” 5:30–6:30 “Singing from Renaissance Notation,” Emily Wilbourne (New York University), “Hearing Writing; Reading Lis- directed by Valerie Horst and hosted by Early tening” Music America AMS Hispanic Music Interest Group 5:30–7:30 University of North Carolina at Chapel Hill Panel: The Music of Hispanic Film Alumni Reception Mark Brill (University of Dayton), Chair 6:00–7:00 American Bach Society Editorial Board Deborah Schwartz-Kates (University of Kansas), Rosa- Meeting Mireya Obregon-Mercado (Stanford University), Héctor Julio Pérez López (Universidad Politécnica de Valencia) 6:00–8:00 Boston University Alumni Reception 6:30–8:00 Oxford University Press Reception AMS Panel: European Nations, Nationalism, and the Writing of Music Histories 8:00–9:30 AMS Committee on Cultural Diversity Session Pamela M. Potter (University of Wisconsin-Madison), Chair Richard Taruskin (University of California, Berkeley), respondent 9 00 12 00 : – : University of Pittsburgh Alumni and Friends Celia Applegate (University of Rochester), Michael Beckerman Reception (New York University), Philip Bohlman (University of 9:00–12:00 University of Chicago Alumni Reception Chicago), Jane Fulcher (Indiana University), William 10:00–12:00 Harvard Music Reception Weber (California State University, Long Beach) 10:00–12:00 Reception, Forum on Music and Christian Scholarship SATURDAY  November 10:00–12:00 AMS LGBTQ Study Group Party 7:00–8:30 SMT Regional and Affiliate Societies 10:00–12:00 Columbia University Department of Music Meeting Reception 7:00–8:30 SMT Committee on Professional Development Meeting 7:00–8:30 SMT Committee on Diversity Meeting 7:00–8:45 AMS Committee on Cultural Diversity Business Meeting

–– 7:00–8:45 AMS Committee on the Status of Women Modern Opera, Musical Theater, and Film (AMS) Meeting Geoffrey Block (University of Puget Sound), Chair 7:00–8:45 AMS Publications Committee Meeting Carolyn Guzski (Hunter College, CUNY), “Progressive Era Rivalry for 7:30–8:45 AMS-L Committee Meeting American Opera and Opera in America” 7:30–8:45 Society for Seventeenth-Century Music: Todd Decker (University of Michigan), “Five Draft Librettos for Show  Editorial Board Meeting, Web Library of Boat ( ): Race and Showmanship in the Making of a Twenties Musical” Seventeenth-Century Music Raymond Knapp (UCLA), “Marking Time in Pacific Overtures: Reconcil- ing East, West, and History within the Theatrical Now of a Broadway 7:30–9:00 SMT Music and Disability Interest Group Musical” Organizational Meeting Richard Leppert (University of Minnesota), “Opera, Aesthetic Violence, 7:30–9:00 A-R Recent Researches Series Editors’ and the Imposition of Modernity: Herzog’s Fitzcarraldo” Meeting Music in Sixteenth-Century Italy (AMS) 7:30–9:30 Journal of Musicological Research Editorial Ruth DeFord (Hunter College, CUNY), Chair Board Meeting John Walter Hill (University of Illinois, Urbana-Champaign), “Two Re- 8:00–9:00 Beethoven Forum Editorial Board Meeting flections of Sixteenth-Century Italian Solo Singing in Luca Marenzio’s 8:00–9:00 Verdi Forum Editorial Board Meeting Villanelle (–)” Frank D’Accone (UCLA), “Politics and Musical Renewal in Two Tuscan 8:30–5:00 Registration Chapels of the Late Sixteenth Century” 8:30–6:00 Exhibits Davitt Moroney (University of California), “The Rediscovery of Alessan- dro Striggio’s Forty-Part Mass (?)” SATURDAY MORNING SESSIONS Philippe Canguilhem (Université de Toulouse Le Mirail), “On the Origins of Aristocratic Connoisseurship in Sixteenth-Century Florence” 9:00–12:00 Nineteenth-Century Dreams and Fantasies (AMS) Exoticism (Joint) Thomas Grey (Stanford University), Chair Joseph Auner (Tufts University), Chair Jonathan Kregor (Harvard University), “The Work of Art before the Age Taylor A. Greer (Pennsylvania State University), “Griffes’s White Peacock: of Mechanical Reproduction: A Reconsideration of the Nineteenth-Cen- An Unfolding Tale of Paradox” tury Piano Transcription” Jeremy Day-O’Connell (Knox College), “Debussy and the Pentatonic Tra- Reeves Shulstad (Salem College), “Franz Liszt’s Orpheus: le caractère dition” sereinement civilisateur” David J. Code (University of Glasgow), “Carnival and Ceremony: Rehear- Adeline Mueller (University of California, Berkeley), “The Land That Went ing the Festivities in Debussy’s Fètes” Forth to Learn Fear: Schaueroper and the Politics of Staging Horror” Ralph Locke (Eastman School of Music, University of Rochester), “Musi- Gabriela Cruz (Princeton University), “The Diva as Phantasmagoria” cal Exoticism: Toward a Second Paradigm” Ravel, Messiaen, and Beyond (SMT) From Modal Jazz To Post-Bop (SMT) Tim Koozin (University of Houston), Chair Steven Strunk (Catholic University), Chair Michael Puri (University of Virginia), “Sublimation of Desire in Maurice Jason Titus (Eastman School of Music, University of Rochester), “Toward Ravel’s Daphnis et Chloé” a Modal Jazz Common Practice: ‘So What’ as Case Study” Carissa Reddick (University of Connecticut), “Bass-Line Conjuring: How Robert Wason (Eastman School of Music, University of Rochester), “Bill Ravel Invokes the Gods in Daphnis et Chloé” Evans’s Entrée into Modal Jazz Composition ()” Rebecca Simpson-Litke (University of British Columbia), “Olivier Mes- Keith Waters (University of Colorado, Boulder), “Formal Processes in the siaen’s ‘Alléluias sereins d’une âme qui desire le ciel’: A Neo-Riemannian   Miles Davis Quintet – ” Transformational Analysis and Exploration of the Enneadic Mode” Ben Givan (Skidmore College), “Gunther Schuller and the Challenge of Philip Duker (University of Michigan), “The Visual Impact of Perfor- Sonny Rollins: Musical Context, Intentionality, and Jazz Analysis” mance: Integrating Gestures and the Body into Music Analysis” Intellectual History (Joint) Stravinsky in Los Angeles (AMS) Brian Hyer (University of Wisconsin-Madison), Chair Mark Swed (The Los Angeles Times), Chair Thomas Christensen (University of Chicago), “Harmonia Temporis: Calvi- Craig Parker (Kansas State University), “Franz Waxman’s Los Angeles Mu- sius and Musical Chronology” sic Festival: A Forgotten Forum for New Music” Nathan Martin (Schulich School of Music, McGill University), “Reap- Julia Randel (Hope College), “Stravinsky Agonistes: Classical Ballet and praising Rousseau” Stravinsky’s Second ‘Change of Life’” Maryam Moshaver (University of Alberta), “Structure as Process: Music Mary Davis (Case Western Reserve University), “Stravinsky in Vogue: Theory and Organicist Aesthetics” Neoclassicism and the Fashion Press” Judith Lochhead (State University of New York, Stony Brook), “‘Modern’ H. Colin Slim (University of California, Irvine), “Made in Los Angeles, Music Analysis” –: Stravinsky’s First Settings in English and His Star-Spangled Banner”

–– Trecento Sources (AMS) 2:00–5:00 John Nádas (University of North Carolina, Chapel Hill), Chair Americans of Influence and Impact (AMS) Michael Scott Cuthbert (Harvard University), “A New Source and a Reas- Carol Oja (Harvard University), Chair sessment of the Paduan Fragments and their Context” Beth Levy (University of California, Davis), “Arthur Farwell’s West” Francesco Zimei (Istituto Abruzzese di Storia Musicale), “Music in Small Nancy Rao (Rutgers University), “Ruth Crawford’s Influence on American Italian Villages: A New Source of Fifteenth-Century Polyphony from Composers” Rocca di Botte” Suzanne Robinson (University of Melbourne), “Discursive Acts: Virgil Marco Gozzi (Università degli studi di Lecce) and Agostino Ziino (Uni- Thomson on Cage (–)” versity of Rome), “The Oldest Source of the Italian Ars Nova: the Newly Discovered ‘Mischiati Fragment’” Eric Smigel (Utah State University), “‘I am of New York’: The Heroic Myth of the New York School of Painting, Poetry, and Music” Oliver Huck (University of Jena), “The Oldest Manuscript of the Italian Ars Nova? New Light on Perugia Inv.  N.F.” Ethereal Voices and Occult Presences (AMS) Elizabeth Randell Upton (UCLA), Chair 12:00–1:00 AMS Committee on Career-Related Issues: “Musicologists and Pre-Collegiate Kevin N. Moll (East Carolina University), “Translating Late Medieval Mysticism into Music” Teaching,” Eftychia Papanikolaou (Miami Emily I. Dolan (University of Pennsylvania), “Ethereal Voices and the Al- University), Chair ternative ‘Absolute’ Music of the Early Nineteenth Century” 12:00–1:00 North American British Music Studies Luciano Chessa (San Francisco Conservatory of Music), “Music the Dead Association Meeting Can Hear: Occult Presences in the Art of Noises” 12:00–1:30 SMT Performance and Analysis Interest Laura Dolp (Montclair State University), “Popular Transformation and Group Meeting the Orthodox Ethos: The Case of John Tavener and Arvo Pärt” 12:00–2:00 American Bach Society Advisory Board, Fin de siècle Vienna and After (AMS) Luncheon Meeting Thomas Peattie (Boston University), Chair 12:00–2:00 American Handel Society, Board Meeting Sheryl Zukowski (Indiana University), “Fantasy of Modernism: Mahler’s 12:00–2:00 American Musical Instrument Society Study Conflicted Hermeneutics and Contemporary Musical Understanding” Session Christian Thorau (Hochschule für Musik und Darstellende Kunst Frank- furt am Main), “Guided Listening: The Emergence of ‘Musical Baedekers’” 12:00–2:00 AMS Cold War and Music Study Group Anna Celenza (Johns Hopkins University), “Popular Darwinism and Mu- Meeting sic Aesthetics in Fin de siècle Vienna” 12:00–4:00 AMS Committee on the Publication of Lap Kwan Kam (Taipei Municipal University of Education), “The Musi- American Music, Luncheon Meeting cologist as Historian and Patriot: Imagining National Identity with the Musical Past in Modern Austria” 12:15–1:45 AMS Council Meeting Josquin in Context (AMS) 12:15–1:45 Early Music America Open Session for Early Music Directors Joshua Rifkin (The Bach Ensemble/Boston University), Chair 12:30–1:30 Concert (sponsored by the AMS David J. Rothenberg (Case Western Reserve University), “The Antiphon Performance Committee): “Songs of Virgo prudentissima and Isaac’s Music for Emperor Maximilian I” the Harper: early Lieder with Harp Richard Wexler (University of Maryland), “Bruhier, Isaac, and Josquin: A Accompaniment,” DoubleAction: Tomas Lost Mass Recovered” Gregg, tenor, Emily Laurance, pedal harp Lewis Lockwood (Harvard University), “‘It’s true that Josquin composes (Boston Conservatory of Music) better...’: The Short Unhappy Life of Gian de Artiganova” Jesse Rodin (Harvard University), “‘When in Rome...’: What Josquin 12 30 2 00 : – : Friends of Stony Brook Reception Learned in the Sistine Chapel” 12:45–1:45 Haydn Society of North America Meeting Romantic Song (AMS) SATURDAY AFTERNOON SESSIONS Susan Youens (University of Notre Dame), Chair 2:00–4:00 T. K. Nelson (Deer Lake Academy), “Mignon and Her Arcadian Dragons” Laura Tunbridge (University of Manchester), “‘Forbidden Chambers’: SMT Plenary Session: Mozart and Modes of Analysis Schumann at a Romantic Distance” Janet Schmalfeldt (Tufts University), Moderator Jon Finson (University of North Carolina, Chapel Hill), “Glance and Kofi Agawu (Princeton University) Word: Of Distichs, Poets, and the Literary Source for Schumann’s ‘Nur ein lächelnder Blick’” Robert Gjerdingen (Northwestern University) Marjorie Hirsch (Williams College), “Reanimating Antiquity: Wolf, James Webster (Cornell University) Goethe, and ‘Anakreons Grab’” 4:00–4:15 SMT Awards Presentations 4:15–5:15 SMT Business Meeting

–– Russian Twentieth-Century Music (AMS) Joint Special Session: History of Music Theory: Simon Morrison (Princeton University), Chair Past, Present, Future Nathan Seinen (Clare College, University of Cambridge), “Kutuzov’s Vic- Cristle Collins Judd (Bowdoin College), Moderator tory, Prokofiev’s Defeat: The Revised War and Peace” Scott Burnham (Princeton University), Thomas Christensen Kevin Bartig (University of North Carolina, Chapel Hill), “Sounds for a (University of Chicago), Alexander Rehding (Harvard ‘Glorious Russian Past’: Soviet Commemoration and Prokofiev’s Queen University), Brian Hyer (University of Wisconsin- of Spades” Madison), David Cohen (Columbia University) Francis Maes (University of Ghent), “Interpreting the Songs of Shosta- kovich”  Klára Móricz (Amherst College), “Shadows of the Past: Lourié’s Incanta- SUNDAY November tions and Akhmatova’s Poem without a Hero” 7:00–8:15 SMT 2006/2007 Program Committees Meeting 5:30–7:00 AMS Business Meeting 7:00–8:45 AMS Board of Directors Meeting 5:30–7:30 SMT Music Informatics Interest Group 7:00–8:45 AMS Directors of Graduate Studies Meeting Meeting 7:00–8:45 AMS Joint Meeting of the 2006 and 2007 5:30–7:30 SMT Popular Music Interest Group Meeting Local Arrangements Committees 8:00–11:00 Perspectives of New Music Coordination 7:00–8:45 AMS Performance Committee Meeting Meeting 8:00–10:00 American Musical Instrument Society Board 8:00–01:30 UCLA Alumni Reception of Governors Meeting 9:00–12:00 Cornell Reception 8:15–9:00 SMT Interest Group, Standing Committee, 9:00–11:00 University of Texas at Austin Reception and Program Committee Chairs Meeting 9:00–11:00 Ohio State Reception 8:30–12:00 Registration 9:00–12:00 Princeton University Department of Music 8:30–12:00 Exhibits Reception 9:00–12:00 Stanford Reception SUNDAY MORNING SESSIONS 9:00–12:00 Indiana University Musicology Reception 9:00–12:00 9:30–12:00 UC Berkeley Alumni Reception Berlioz and Wagner (AMS) 10:00–12:00 Yale Party Ralph Locke (Eastman School of Music, 10:00–12:00 McGill University Reception University of Rochester), Chair 10:00–12:00 University of North Texas Alumni Reception Julian Rushton (University of Leeds), “Berlioz and the Mezzo-Soprano Voice” SATURDAY EVENING SESSIONS Stephen Rodgers (University of Oregon), “Berlioz and the Nineteenth- Century French Romance: Convention, Ingenuity, and Autobiography 8:00–11:00 in His Late Songs, –” AMS Panel: The Transformation of Musical Francesca Brittan (Cambridge University), “Beyond Berlioz: The Other Culture in the Nineteenth Century Fantastic Symphonies and the ‘Genre fantastique’” David Kasunic (Haverford College), “Wagner’s ‘Träume’ and the Rise of William Weber (California State University, Long Beach) Chair the Orchestral Lied” Adrienne Fried Block (CUNY), Derek Scott (University of Salford), John Spitzer (San Francisco Conservatory) Dufay in His Time (AMS) Craig Wright (Yale University), Chair SMT Committee on Diversity: Collisions, Mashups, and Trajectories: New Intersections in the Analytic Landscape Elizabeth Randell Upton (UCLA), “Dufay the Singer” Michael Phelps (New York University), “Guillaume Du Fay’s Salve flos tus- Philip Ewell (University of Tennessee, Knoxville), Chair cae gentes Reconsidered” Adam Krims (University of Nottingham), Respondent Warwick Edwards (University of Glasgow), “Intuitive Syllable Deploy- Nina Sun Eidsheim (University of California, San Diego), “Mapping the ment: The Case of russelsB  and Its Concordant Sources” Space Between Musical Sound and the Listener: An Analytical Frame- Sean Gallagher (Harvard University), “The Berlin Chansonnier and French work to Understanding Vocal Timbre” Song in Florence, –: A New Dating and Its Implications” Philip Ewell (University of Tennessee, Knoxville), “Collision in Time: Mu- Radio and Politics (AMS) sical Changes in Reality Rap” Wayne Marshall (University of Wisconsin-Madison), “Mashup Poetics as Michael Beckerman (New York University), Chair Pedagogical Practice” Erica Scheinberg (UCLA), “Kurt Weill’s Radio Style: ‘Listening In’ to Yayoi Uno Everett (Emory University), “‘Screaming Against the Sky’: Lindbergh’s Flight in the Weimar Republic” Avant-garde Music in Japan, –”

–– Christina Baade (McMaster University), “Defining ‘Enemy Music’ at the Process Music (SMT) BBC, –” Rebecca Jemian (Ithaca College), Chair Claire Launchbury (Royal Holloway, University of London), “Program- ming Repertoire for Wartime Broadcasts at the BBC: the Case of le qua- Alexander Sanchez-Behar (Florida State University), “Dovetailing in John torze juillet, –” Adams’s ‘Chain to the Rhythm’” Jenny Doctor (University of York), “The Politics of Entertainment: Allied Kathleen Biddick Smith (Florida State University), “Form and Musical Music in the Proms” Process in Michael Torke’s ‘The Blue Pages’” Set Theory and Serialism (SMT) Real Men in World War I (AMS) Dora Hanninen (University of Maryland), Chair John Graziano (Graduate Center, CUNY), Chair Catherine Losada (College-Conservatory of Music, University of Cincin- Wayne Alpern (Mannes Institute for Advanced Studies in Music), “Hell- nati), “Simplifying Complex Multiplication” fighter: The Legacy of amesJ Reese Europe” Christoph Neidhöfer (Schulich School of Music, McGill University), Christina Gier (University of Alberta), “American Masculinity and the “Composing with Magic Squares” Fighting Soldier’s Song in World War I” Thomas Robinson (City University of New York), “On Multisets” 10:30–12:00 David Carson Berry (College-Conservatory of Music, University of Cin- Manly Men (AMS) cinnati), “Stravinsky’s Array-Pathway Analogues in Context: The Con- cept of an ‘Anasystemic Variation Procedure’” Howard Pollack (University of Houston), Chair Syncopation, Meter, Hypermeter (SMT) Carol Hess (Michigan State University), “‘Find Me a Primitive Man’: Mas- Justin London (Carleton College), Chair culinist Discourse, Primitivism, and the Music of Carlos Chávez in the United States” Samuel Ng (Louisiana State University), “Reinterpreting Metrical Rein- Patrick Warfield (Georgetown University), “Where ‘a man was a man even terpretation” though he played a saxophone’: The Musical Community of Washington, Daphne Leong (University of Colorado, Boulder), “The Problem with D.C.’s Navy Yard” Syncopation” Partimento (Joint) Scott Murphy (University of Kansas), “Metric Cubes and Metric Transfor- mations in Some Music of Brahms” Bertil von Boer (Western Washington University), Chair Frank Samarotto (Indiana University, Bloomington), “Fluidities of Phrase Giorgio Sanguinetti (University of Rome—Tor Vergata), “Partimento, and Form in the ‘Intermezzo’ from Brahms’s First Symphony” Fugue, and Improvisation in Late Eighteenth-Century Naples” Judith L. Schwartz (Northwestern University), “Galant Musical Gestures SUNDAY MORNING SHORT SESSIONS in Early French Symphonies: Partimento Schemata in Gossec’s Op. ” 9:00–10:30 Seventeenth-Century Composition and Sources (AMS) Baroque Programmatic Keyboard Music (AMS) Elisabeth LeGuin (UCLA), Chair Deborah Kauffman (University of Northern Colorado), Chair Marc Vanscheeuwijck (University of Oregon), “G. B. Degli Antonii’s David Schulenberg (Wagner College), “Traveling With Froberger: His Twelve Ricercate sopra il violoncello o clavicembalo (): Solos or Du- Programmatic Keyboard Pieces in the Light of Seventeenth- and Eigh- ets?” teenth-Century Aesthetics” Rebecca Herissone (University of Manchester), “‘Fowle Originalls’ and Sara Gross (UCLA), “‘Les folies françoises’: François Couperin and the ‘Fayre Writeing’: Reconsidering Purcell’s Compositional Process” Idea of Caractère” Bach and Telemann (AMS) Program and Abstracts Book at the Web site Jeanne Swack (University of Wisconsin-Madison), Chair The final program and abstracts book will be available in PDF format at the Web site mid-September. Rebecca Lloyd (King’s College, London), “Bach: Luther’s Musical Prophet?” Steven Zohn (Temple University), “Telemann’s Polish Style and the ‘True Barbaric Beauty’ of the Musical Other”

Call for Nominations: Interested in AMS Committees? Membership Dues Session Chairs, AMS Quebec The president would be pleased to hear from Calendar year   members of the Society who wish to volun- Regular member $ teer for assignments to committees. Those Nominations are requested for Session Salary less than $, $ interested should write Elaine Sisman, Mu- Chairs at the AMS Annual Meeting in Student member $ sic Department,  Dodge Hall, Columbia Quebec, – November . Please send Emeritus member $ University, MC ,  Broadway, New nominations via mail, fax, or e-mail to the Joint member $ York, NY ; es@columbia.edu; and office of the AMS, including name, con- Sustaining Member $ are asked to enclose a curriculum vitae and tact information, and area of expertise. Life Member $, identify their area(s) of interest. Self-nominations are welcome. Deadline: Overseas, please add $ for air mail  March . delivery. –– Conferences This is a highly selective listing; comprehen- sive and up-to-date listings of conferences in musicology are posted online. See the link on the AMS Web page (www.ams-net.org) for full details.

Shostakovich and Weinberg: An Artistic Dialogue, – September, Eastman School of Music, Rochester, New York. www.esm.rochester.edu/shostakovich/

New Paths: Robert Schumann, 1848–1856, – September , McGill University, Montreal, Canada. www.rhbnc.ac.uk/Music/Conferences/-- nps.html

The thirtieth annual conference of the Ger- man Studies Association,  September– October, Pittsburgh, Pennsylvania. The Board of Directors takes a break at its March  retreat www.thegsa.org/

AMS Committees ments. Current subscribers will automatically “Music as Local Tradition and Local Prac- be subscribed to both lists when the split is tice,” the twenty-ninth national conference continued from page  made. Details on subscribing and guidelines of the Musicological Society of Australia, introduction to musicology, information and for posting to the lists may by found on the  September– October , University of links for prospective graduate students in AMS Web site. New England, Armidale, Australia. —Cristle Collins Judd the discipline of musicology, musicology re- www.une.edu.au/music/MSAconf/ sources for K- teachers, and resources for Committee on Membership and Schumann Perspectives: A View Across the scholars in other disciplines. If you are aware Professional Development Disciplines, – September, Texas Tech of such resources (or have been involved in University, Lubbock. creating them for your institution or com- The The Committee on Membership and www.depts.ttu.edu/music/ munity) please contact the committee chair Professional Development (CMPD) has re- ([email protected]). cently completed, with the assistance of a International Shostakovich Centenary The society’s electronic mailing list, AMS- professional sociologist, a Web-based demo- Conference,  September– October  L, offers a vibrant and important forum for graphic survey instrument that will help track at the University of Bristol, England. the exchange of information for musicologists vital statistics of the AMS. As a follow-up to www.bris.ac.uk/arts/birtha/conferences/ and currently serves , subscribers. We are the  demographic survey, it is designed to shostakovich/ grateful to Indiana University for hosting this gather basic information about who we are in list. Recent threads have ranged from practi- a systematic way. The survey should be avail- Thirteenth Annual Conference of the Ital- cal matters such as techniques for computer able in early August. Please help us monitor ian Musicological Society, – October, video-editing in teaching and professional this data by taking a few minutes to respond. Turin, Italy. presentations, to an extended debate around Last year the committee continued its An- www.sidm.it/ issues of intertextuality, narrative in music, nual Meeting travel grant program; grants and semiotics.Thanks are due to the moder- were awarded to eleven AMS members to Leonard Bernstein, Boston to Broadway, ating team: Scott Warfield (lead moderator), help them attend the Annual Meeting. The – October, Harvard University. Murray Steib (assistant moderator), and James deadline to apply for the Los Angeles meeting www.bernsteinatharvard.org/ Parsons (backup moderator). They have given has passed. See the CMPD Web page (www. tireless service over the past year behind the theams.us/mpd) for more details. Domenico Scarlatti in Spain: The Neapoli-  scenes to keep the list up and running. The CMPD has plans to work with the tan Connection, The th International Sym- As the AMS office moves to Bowdoin Col- Committee on Career-Related Issues and the posium on Spanish Keyboard Music “Diego   lege, the Board of Directors has authorized Committee on the Status of Women to de- Fernández,” – October, Mojácar-Almería, moving mundane aspects of the list manage- velop its Web site to include more resources Andalusia, Spain ment into the Society office. This fall, AMS-L for career-related issues, information on issues www.fimte.org/ will become a discussion-only list and a new such as glass ceilings in promotion for wom- Rock and Roll Culture, Mid-Atlantic Popu- announcement-only list, AMS-Announce, en, and information on women as mentors. lar and American Culture Association, – will be created. A moderating team will Your suggestions and comments are always continue to oversee AMS-L while the office welcome: [email protected]. will manage subscriptions and announce- —Judy Tsou continued on page  –– Conferences Grants and Fellowships Available continued from page  Programs included in this issue have appli- American Academy in Rome: Rome October, Baltimore, Maryland. cation deadlines in fall and winter; for pro- Prize fellowships for artists and scholars in www .rhbnc.ac.uk/Music/Conferences/ -a- grams with deadlines in spring and summer, the early or middle stages of their careers. rar.html see the August issue. Information: www.aarome.org/prize.htm. Fiftieth Annual Meeting, Canadian Society Deadline:  November . American Council of Learned Societies: for Traditional Music, – November, Car- leton University, Ottawa, Ontario, and the Various research fellowships. Informa- Berlin Program for Advanced German tion: www.acls.org/fel-dead.htm. Dead- Canadian Museum of Civilization, Gatineau, and European Studies: Residential fel- Quebec. lines: from  September  through lowships for doctoral candidates and re-   www.yorku.ca/cstm/conferences.htm January . cent PhDs at the Freie Universität Ber- One Ring: Wagner in the 21st Century, National Endowment for the Humani- lin. Information: userpage.fu-berlin.de/ Midwest Modern Language Association, – ties:  ~bprogram. Deadline:  December . Summer Stipends for . Informa- November, Chicago, Illinois. tion: www.neh.gov/grants/guidelines/sti- Gladys Krieble Delmas Foundation Ve- www .rhbnc.ac.uk/Music/Conferences/- pends.html. Deadline:  October . netian Research Program: Pre- and post- b-wag.html doctoral grants for travel to and research Guggenheim Fellowships: Fellowships The Many Worlds of Vicente Martin y Sol- for research in any field of knowledge and in Venice and the Veneto. Information: er, – November, Valencia, Spain. creation in any of the arts. Information: www.delmas.org/programs/venice.html. www .rhbnc.ac.uk/Music/Conferences/- www.gf.org. Deadline:  October . Deadline:  December . b-sol.html

Columbia Society of Fellows in the Hu- Newberry Library Fellowships: Both Decolonizing Ethnomusicology, The Soci- manities at Columbia University, with short-term (one week to two months) and ety for Ethnomusicology  Annual Meet- grants from the Andrew W. Mellon Foun- long-term (six to eleven months) fellow- ing, – November, Honolulu, Hawaii. dation and the William R. Kenan Trust: ships for research at the library. Informa- www.indiana.edu/~semhome/  /index. post-doctoral fellowships in the humani- tion: www.newberry.org. Deadlines from shtml ties for the academic year –. Infor-   January to March. Music and Postmodern Cultural Theory, mation: www.columbia.edu/cu/societyof- – December, University of Melbourne, fellows. Deadline:  October . American Antiquarian Society-National Australia. Endowment for the Humanities Fellow- National Humanities Center Fellow- www .rhbnc.ac.uk/Music/Conferences/ -c- ships: Short-term fellowships for one to pom.html ships: Post-doctoral fellowships for se- three months, and long-term fellowships mester or academic year residence at the for four to twelve months. Information: Fifth Annual Hawaii International Confer- National Humanities Center in Research www.americanantiquarian.org/fellow- ence on Arts and Humanities, – January Triangle Park, North Carolina. Informa- ships.htm. Deadline:  January . , Honolulu, Hawaii. tion: www.nhc.rtp.nc.us. Deadline:  www.hichumanities.org October . Camargo Foundation: Residency pro- Joint meeting of the Music Library Associa- gram for scholars and artists in Cassis, Harvard University Center for Italian tion and the Society for American Music,  France. Information: www.camargofoun- Renaissance Studies: Post-doctoral fel- February– March , Pittsburgh, Pennsyl-   lowships for independent study of the dation.org. Deadline: January . vania. www.musiclibraryassoc.org/ Italian Renaissance. Information: www. French Ministry of Foreign Affairs Cha- itatti.it. Deadline:  October . www.american-music.org/ teaubriand Scholarship: Residency at a American Antiquarian Society Mellon French research institution for doctoral Performance Practice: Issues and Ap- post-dissertation fellowships, to extend candidates. Information: www.frenchcul- proaches, – March , Rhodes College, research and/or to revise the disserta- ture.org/education/support. Deadline:  Memphis, Tennessee.    tion for publication. Information: www. January . www .rhbnc.ac.uk/Music/Conferences/ - - americanantiquarian.org/longterm.htm. ppr.html Humboldt Foundation Fellowships: Deadline:  October . Victorian Soundscapes Post-doctoral fellowships for research in , Eighteenth North- ern Victorian Studies Colloquium,  March American Academy in Berlin: Post- Germany lasting six to twelve months. In- , Trinity and All Saints, Leeds, England. doctoral semester- or year-long resident formation: www.humboldt-foundation. www .rhbnc.ac.uk/Music/Conferences/-- fellowships in a variety of academic and de/en/. Applications may be submitted vss.html creative fields. Information: www.ameri- at any time; selection committee meets in canacademy.de. Deadline:  October November, March and July. TheEighteenth International Congress of the . International Musicological Society, –

–– July  at the University of Zürich Swit- bers about issues related to teaching music for studies beginning in fall . Further in- zerland. history at all levels, from non-major courses formation is available at music.ucsc.edu/grad/ www.musik.unizh.ch/html/ims_.html to graduate seminars; to share resources and doctorofphilosophy.html. strategies for courses taught by musicologists; and to provide a forum within the AMS for The Schubert Society of the USA seeks a considering the role of teaching in our work part-time editor for Arpeggione: Journal of the Calls for Papers as musicologists. Those interested are invited Schubert Society of the USA. Further informa- to attend the group’s meeting in Los Ange- tion: Dr. Janet I. Wasserman, Executive Di- Fifteenth Annual Conference of the Soci- les, which will include elections for officers rector, Schubert Society of the USA,  West ety for Seventeenth-Century Music, – and preparation of the coming year’s agenda. End Avenue #H, New York, NY -. April , University of Notre Dame, South Questions about the Pedagogy Study Group Bend, Indiana. Send proposals or requests for The 2005 Hollace Anne Schafer Award for may be addressed to Jessie Fillerup, ravel@ku. information to [email protected]. the best student paper read at an AMS New edu. Deadline: 1 October, 2006 England Chapter meeting during the –  academic year has been awarded jointly Music in the World of Islam, organized by The AMS Cold War and Music Study to Bruno Gingras for “German Partimento the Assilah Forum Foundation and the Mai- Group’s goals are to discuss, present, and Fugue in the First Half of the Eighteenth son des Cultures du Monde, – August, encourage new and recent research that Century: A Budding Composer’s Gradus ad , Assilah, Morocco considers the music of the Cold War (about Parnassum, from Thoroughbass Exercises to www.mcm.asso.fr/site /music-w-islam/con-  to ) from a global perspective. The Complete Fugues,” and to Anna Zayaruzny gresen.htm study group intends to meet at AMS Annual for “Lies, Damned Lies, and Hockets: Words Deadline: 15 October, 2006 Meetings, hold independent conferences, and set up a Web page and e-mail discussion and Music in Machaut’s Motet .” Third Conference on Interdisciplinary Mu- list. Those interested are invited to attend sicology (CIM07), – August, , Tal- the group’s meeting in Los Angeles. Ques-  Years Ago: 1981 linn, Estonia tions about the Cold War and Music Study www-gewi.uni-graz.at/cim/ Group may be addressed to Peter J. Schmelz, • , people attended the AMS meeting Deadline: 31 October, 2006 pschmelz@buffalo.edu. in Boston, . “All agreed that this was one of the finest meetings in recent American Handel Society/American Han- Claremont Graduate University is resuming memory; it had excitement, content, del Festival, – April , Princeton publication of the refereed music journal Per- variety and comfort.” The sessions most University formance Practice Review. PPR was published heavily attended were those on Bach, www .rhbnc.ac.uk/Music/Conferences/-- from  to , and all past issues are now chaired by Robert Marshall; Beethoven, ahs.html available at the journal’s home page, ccdl.li- 15 2006 chaired by Lewis Lockwood; Current Deadline: December, braries.claremenot.edu/col/ppr. PPR will ap- Methodology in Musicology, chaired pear exclusively online and new items will be Feminist Theory and Music 9, - June, by Claude Palisca; Studies in the Italian posted on a continuous basis. The scope of , McGill University, Montréal, Canada. Renaissance, chaired by Leeman Perkins; the journal is not confined to any historical Contact: [email protected] and Notre Dame Music and Theory, period. Submissions are now being accepted. chaired by Rebecca Baltzer. Sound, Music and the Moving Image, – Submission guidelines and further informa- September , Institute of Musical Re- tion are found at the Web site. • President Ronald Reagan initially search, University of London, England recommended that the budget for the TRANS: Transcultural Music Review is now www.sas.ac.uk/imr_event.html?id= National Endowment for the Humanities managed by SIbE, the Sociedad de Etnomusi- be cut by  percent, but came around CHARM (Centre for the History and Anal- cología (Spain). It is a refereed on-line journal to funding the NEH fully, thanks to ysis of Recorded Music) and Royal Musical founded by Ramon Pelinski in . See www. the efforts of the National Humanities Association, – September, , Royal sibetrans.com/trans/ for further information. Holloway, University of London, England. Alliance. www.charm.rhul.ac.uk/content/events/ The Music Department at the University of  Years Ago: 1956 conference.html California, Santa Cruz, recently announced the establishment of a Ph.D. in Music with an emphasis in cross-cultural studies. The pro- • The Society purchased an addressograph; gram aims to provide doctoral students with “the early use of this machine should greatly News Briefs an integrative framework for music scholar- facilitate the sending out of materials,” ship, emphasizing the ways in which musicol- advised Secretary Luise Cuyler. Two new AMS Study Groups were approved ogy and ethnomusicology interact with and by the Board of Directors at its March meet- complement one another. The new program • JAMS was over a year behind schedule. ing. will encourage the integration of scholarly • The Annual Meeting, held at the Uni- research with musical performance. The de- The AMS Pedagogy Study Group’s goals versity of Illinois, consisted of fifteen partment will accept applications in fall  are to foster discussion among AMS mem- papers in five sessions.

–– Annual Meeting, Quebec City 1–4 November 2007

Call for Papers Length of presentations: The length of and will take place during the evenings. Or- presentations submitted by individuals and ganizers of panel discussions should submit Deadline: 5 p.m. EST, those proposed as part of formal sessions will the names of all panelists in a proposal of no 16 January 2007 be limited to thirty minutes in order to allow more than  words that outlines the issues, ample time for discussion. Position papers de- clarifies the rationale behind the proposal, de- The Annual Meeting of the AMS will be held livered as part of a panel discussion should be scribes the activities envisioned, and explains  in Quebec City, Canada, from Thursday, no more than ten minutes long. why each panelist has been chosen. Such a  November, to Sunday, November. The Pro- Individual proposals: Proposals should proposal will not be vetted anonymously and gram Committee welcomes proposals for in- represent the talk as fully as possible. A suc- will be considered only as a whole. Organizers dividual papers, formal sessions, and evening cessful proposal typically articulates and sub- of panel discussions may not also present a panel discussions in all areas of musicology. stantiates major aspects of its argument or formal paper in the same year or in the preced- We will continue to follow the guidelines ad- research findings clearly, points out the nov- ing one, but panelists may do so. Organized,  opted in , which allow longer abstracts elty of the proposal (and its relation to earlier on-going study groups and affiliated societies and thirty-minute papers. Please read these work), and indicates its significance for the should contact Robert Judd at the AMS office guidelines carefully, as proposals that do not scholarly community. Authors will be asked about scheduling a room for their meetings conform to them will not be considered. to revise their proposals for the book distrib- rather than applying under this category.  Proposals must be received by p.m., uted at the meeting; the version read by the Program Committee procedures: The 15 2007 EST, Monday, January . All persons Program Committee can remain confidential. Program Committee will evaluate and discuss submitting proposals are invited to do so by If a submission is not an individual proposal, all the proposals anonymously (i.e., with no mail, addressed to AMS Quebec City Pro- it should be labeled as belonging to one of the knowledge of authorship) and initially choose gram Committee, attn: Robert Judd, Ameri- following categories. roughly  papers. The authors of all propos- can Musicological Society, Bowdoin College, Formal sessions: An organizer represent- als will then be revealed, and approximately  - College Station, Brunswick ME ing several individuals may propose a Formal twenty-four more papers will be selected from , or on the Web at www.ams-net.org. Session, which may take the form of () an the remaining proposals, for a total of .  words, Proposals must not exceed and, entire session of four papers, or () a half ses- No paper accepted during the first round of   if mailed, must be printed in - or -point sion with two papers. In a -word anony- discussion will be eliminated in the second . single-spaced sans serif typeface on one x mous proposal, the organizer should set out round. Session chairs will be discussed by the  -inch or A4 page. Proposals sent by regular the rationale for the session, explaining the whole committee, taking into account nomi- mail must include (on a separate page): the importance of the topic and the proposed nations, including self-nominations, sent to author’s name, institutional affiliation or city grouping of papers, together with a suggest- the AMS office by  March . of residence, audio-visual requirements, and ed chairperson (who would be named). The full return address, including e-mail address organizer should also include a proposal for whenever possible. If submitting electroni- each paper, which conforms to the guide- cally, the on-screen directions should be fol- lines for individual proposals stated above. Call for Performances lowed carefully. Please note that proposals Formal Session proposals will normally be  Deadline: 16 January 2007 longer than words will be automatically considered as a unit, accepted or rejected as truncated. As in the past, only one submis- a whole. Applicants who would permit their The Performance Committee for the  sion per author will be considered. proposal to be considered in the event that Annual Meeting in Quebec City invites No one may appear on the Quebec City the complete Formal Session proposal is not proposals for lunch-time or evening perfor- program more than twice. An individual may accepted should indicate as much at submis- mances, either as strictly musical concerts or deliver a paper and appear one other time on sion (a check-off box for this is included in as lecture-recitals. The committee encourages the program, whether participating in an eve- the online form). All organizers, including proposals that demonstrate the Society’s di- ning panel discussion, functioning as a chair- those who wish to include respondents, must versity of interests, range of approaches, and organizer of a session, or serving as a respon- observe the forty-five-minute slots for paper geographic and chronological breadth. We dent, but may not deliver a lecture-recital or presentation and discussion. especially welcome performances that are in- concert. Not counting as an appearance is Evening panel discussions: Evening pan- spired by or complement new musicological participation in extra-programmatic offerings el discussions are intended to accommodate finds, that develop a point of view, or that of- such as interest-group meetings or standing proposals that are amenable to an exchange of fer a programmatic focus. committee presentations (e.g., the Commit- ideas in a public forum. These may examine Free-lance artists as well as performers and tee on the Status of Women). a central body of scholarly work, a method- ensembles affiliated with colleges, universi- Receipts will be sent to all who submit ological theme, or research in progress. Such ties, or conservatories are encouraged to sub- proposals. Those who submit proposals via panels should comprise participants’ brief mit proposals, specifying concert or lecture- mail should provide either an e-mail address position statements, followed by general dis- recital. Applicants should send three copies or self-addressed stamped postcard for this cussion among panelists and audience. Panel of the materials listed below to: Professor purpose. Receipts will be sent by the begin- discussions will be scheduled for the same du- William P. Mahrt, Stanford University, Braun ning of February . ration of time as full or half sessions of papers Music Center,  Lasuen Mall, Stanford, CA,

–– -; [email protected]. Required materials include: () a proposed Obituaries program, listing repertory, performer(s), and The Society regrets to inform its members of the deaths of the following members: the duration of each work; () a list of audio- visual needs; () the applicant’s e-mail address Peter J. Davies Mary Beeson Ellison and a short (-word) biography of each per-  July   December   former; ( ) three copies of a CD, cassette, or Eleanor M. Stull Ethel Thurston video of no longer than twenty minutes that  July   January  is representative of the program and perform- ers; () for concerts, a one-page explanation Beekman C. Cannon Elliot Forbes of the significance of the program or manner  October   January  of performance; or for lecture-recitals, a maxi- Conrad H. Rawski Audrey E. Davidson mum of two pages explaining the significance  October   June  of the program or manner of performance, plus a summary of the lecture component, Abraham Veinus including information about the underlying  November  research, its methodology, and conclusions. An individual may not present both a pa- per and a performance or lecture-recital at the Stuart Feder (1930–2005) Audrey E. Davidson (1930–2006) meeting. If an individual submits proposals to Stuart Feder died  July  in New York. Audrey Ekdahl Davidson died  June . both the Program Committee and the Perfor- Born  May , he received his B.A. from She was born in Willmar, Minnesota, on  mance Committee and both are selected, she Johns Hopkins University, and his M.A. from August , and attended Bethel College, St. or he will be given an early opportunity to Harvard University. He earned his medical Cloud State University, and Wayne State Uni- decide which invitation to accept and which degree from Albert Einstein College of Medi- versity. She received her Ph.D. in musicology to decline. The AMS can sometimes offer ex- cine and completed a residency in psychiatry in  from the University of Minnesota. tremely modest stipends to performers whose at Mt. Sinai Medical Center. After graduating In  she began teaching at Western Mich- proposals are accepted for the purpose of re- from the New York Psychoanalytic Institute, igan University, and the next year she founded imbursing extraordinary performance-related he became a member of their faculty. At the the Society for Old Music, which for a quarter expenses. time of his death Feder was also a clinical asso- of a century under her direction had a distin- ciate professor of psychiatry at Albert Einstein guished record of performances, including College of Medicine, a faculty member at the frequent concerts of early music for the Inter- Juilliard School, and an attending psychiatrist national Congress on Medieval Studies. Her at Beth Israel Hospital. Colleagues at Beth Is- efforts and the efforts of her colleagues in this rael praised Feder in the New York Times “for conference helped to establish “Kalamazoo” as his extraordinary contributions to the field of the largest annual gathering of medievalists in Meetings of AMS and Related psychiatric medicine.” the world. Societies Society members will remember Stuart for Her publications include an edition of Hil- his insights into the psychological complexi- degard of Bingen’s Ordo Virtutum which has : ties of Charles Ives and Gustav Mahler. In His been used widely as a basis for performance. AMS/SMT: –  Nov., Los Angeles, Ca- book Charles Ives: “My Father’s Song”: A Psy- Her most recent book is Olivier Messiaen and choanalytic Biography (), which received the Tristan Myth (). lif. the Society for American Music’s Irving Low- An activist for the rights of the disabled, she CMS: – Sep., San Antonio, Texas ens Award, Feder applied his psychiatric ex- never allowed her hereditary bone disease to SEM: – Nov., Honolulu, Hawai‘i pertise to support the thesis that Ives’s music impede her many musicological activities. served as an “ongoing intrapsychic collabora- —Clyde Brockett : tion” between Ives and his father, teacher, and Eva Einstein (1910–2005) AMS: – Nov., Quebec City, Canada mentor George Ives, who died in . In CMS: – November, Salt Lake City Gustav Mahler: A Life in Crisis (), Feder Eva Einstein, daughter of musicologist and explored the four crises that marked Mahler’s AMS member Alfred Einstein, died on  No- SAM: – March, , Pittsburgh, Pa. productive but stressful life. Feder offered vember . Eva often reminded me that her SEM: Columbus, Ohio documentary and psychological evidence to birth in  was on the one-hundred-nine- SMT: – Nov., Baltimore, Md. aid an imaginative reconstruction of Mahler’s teenth anniversary of Mozart’s death on De- famous meeting with Freud the same year cember . She died just two weeks short of her : () and presented a plausible psychiatric ninety-fourth birthday. SAM: San Antonio, Texas theory that emotional strains paved the way I lived near Eva and was a friend for some  AMS/SMT: – Nov., Nashville, for Mahler’s death in . thirty years. For much of the time that I knew Throughout his varied career he made a her, she lived in a house in El Cerrito that her Tenn. significant contribution to both psychiatric father had bought in anticipation of joining SEM: Middletown, Conn. medicine and the art of musical biography the faculty at the University of California, and ably demonstrated their compatibility. Berkeley. Unfortunately, his failing health pre- : —Geoffrey Block vented him from actually teaching there. Eva AMS: – Nov., Philadelphia, Pa. continued on page  –– Eva Einstein rial and making it accessible to scholars. Next Board Meetings It is because Eva devoted her entire life to continued from page  her father’s work that we have the benefit of The next meeting of the Board of Directors his magnificent Nachlass, still used frequently will take place on  November  in Los kept the house as a shrine to her father’s work. at U.C. Berkeley. She was also her father’s sec- Angeles; the Spring meeting will take place She donated her father’s entire estate to U.C. retary during the years of creation of the third – March  in Quebec. Berkeley and spent years organizing the mate- edition of the Köchel catalogue, and while Eva claimed to know nothing about Mozart, she had absorbed more in her years of work on K AMS Newsletter Address and than most of us will ever know. Deadlines Eva Einstein’s legacy also includes the estab- lishment of the AMS Alfred Einstein Award, Items for publication in the next issue of the instituted in  to recognize outstanding AMS Newsletter must be submitted by  De- journal articles in musicology written by a cember to: scholar in the early stages of her or his career. Peter Alexander After an accident in her home, she moved into a retirement community where I would The University of Iowa often go to take her out to lunch. She enjoyed Arts Center Relations getting out, though she had to use a walker.  Plaza Center One Her mornings were often spent, as a member Iowa City, IA  of “Grannies Against War,” publicly protest- fax: /- ing on street corners. She was a typically feisty Berkeley resident. —Daniel Leeson The AMS Newsletter (ISSN -X) is Eva Einstein published twice yearly by the American Musi- Society Election Results Moving? cological Society, Inc. and mailed to all mem- The results of the 2006 election of AMS of- To send AMS mailings accurately, the AMS bers and subscribers. Requests for additional ficers and the Board of Directors: must receive notice of changes of address at copies of current and back issues of the AMS least two weeks prior to each mailing. Vice President: Walter Frisch Newsletter should be directed to the AMS of- AMS Treasurer: James Ladewig fice. Bowdoin College Directors-at-Large:  College Station Claims for missing issues must be made Michael Beckerman Brunswick ME - within ninety days of publication (overseas: Tim Carter () -; toll free () -  days). Judith Tick www.ams-net.org

American Musicological Society Nonprofit org. Bowdoin College U.S. Postage  College Station PAID Brunswick ME - Springfield, IL Address service requested Permit No. 500