DOCSLIB.ORG

The Bulletin Thank Our Executive Director Mariana Whitmer for the Time and Energy She of the S OCIETY for a MERICAN M USIC Put In

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Bulletin Thank Our Executive Director Mariana Whitmer for the Time and Energy She of the S OCIETY for a MERICAN M USIC Put In The launching of a new journal came about only through the hard work of many people in the Society. I especially want to thank Susan Key, who headed the Journals Concerns Committee and who has invested an extraordinary amount of work in this issue. I also want to The Bulletin thank our Executive Director Mariana Whitmer for the time and energy she put in. Many members of the Journals OF THE S OCIETY FOR A MERICAN M USIC Concerns Committee, Carol Oja, Judith FOUNDED IN HONOR OF O SCAR G . T. S ONNECK Tick, George Keck, and Michael Pisani, also deserve special thanks – Carol and Vol. XXXII, No. 3 Fall 2006 Judith, in particular, as they took the lead in assembling the massive docu- ment that went before the Cambridge FROM THE PRESIDENT: Press Syndicate. The current editor, Ellie NEW JOURNAL FOR SAM Hisama, and the previous editor, David Nicholls, also contributed considerably. Beginning in 2007 our official journal has never offered us any royalties or profit Ellie deserves special kudos, not only will be the Journal of the Society for sharing on institutional members, which for all of her input, which only someone American Music (JSAM). We are delight- is a significant sum. That, we discovered, in the editor’s position could supply, but ed to have Cambridge University Press is unique for society journals. When we because she has been right in the middle as a publishing partner, and to have the indicated we were not renewing the cur- of the transition and has handled that resources of one of the most prestigious rent contract Illinois chose not to continue with aplomb and cool diplomacy. Finally presses in academia fully supporting it. further discussion. Rather than litigate the I want to thank James Mercer, an attor- With Cambridge, we can expect a greater title American Music, whose ownership is ney who, at the invitation of Susan Key, international presence at a time when the ambiguous in the contract, we chose to offered his services to us pro bono. Jim entire world is becoming interested in start afresh with a new press and a new deserves a special award for all the work American music; use of advanced digi- title that announces to the world who we this entailed. tal technology in both distribution and are. Now that we have our new journal, support of the journal – something that Our society is grateful for the early its future depends very much on its con- promises to become even more signifi- support University of Illinois Press gave, tent. The scholarly world as well as many cant as the world moves further into the when Sonneck was a new, fledgling soci- libraries will be looking at it closely to digital age; and a financial arrangement ety and the journal was only a vision for see just how it measures up. I would like that will help put our society on even our members who believed that American to encourage the entire society to support better footing. JSAM has the potential to music needed a stronger voice in the it, not only through your membership but become one of the premier journals in the scholarly community. Much has changed especially through your scholarly contri- field of music. since then, not the least the exponential butions. I know that Ellie has many ideas We did not make this move lightly. growth of American music as an area of and plans, but the quality cannot be better Rumors are rampant and the record needs scholarly investigation. 24 years ago there than the content she receives. I especially to be set straight. For 24 years SAM has was only a handful of scholars interested want to encourage senior scholars, as well published American Music as its offi- in the field, papers at conferences such as younger scholars, to submit material. cial journal with University of Illinois as the national meeting of the American In many ways the future depends on that. Press. I appointed the Journals Concerns Musicological Society were few and far Please join me in making JSAM an Committee because we have had serious between, and in many institutions stu- outstanding voice of our society. editorial problems with UIP for at least dents were actively discouraged from – Michael Broyles the past ten years. In attempting to look pursuing dissertations in American music. into this the committee met with hostility Now the musical landscape is quite dif- FAQs on SAM’s New Journal and resistance, and in some cases requests ferent. The study of American music for information were ignored or rejected. thrives, and has a central place in many – Ellie Hisama In addition SAM has recently run a small curricula. Composers, performers, and Editor, Journal of the Society for operating deficit, mostly because of the scholars together have demonstrated the American Music cost of the journal. Our contract was due richness and diversity of American musi- for renewal and prudence dictated that we cal culture, the foundation upon which all What is your background in American do some comparison shopping. We dis- scholarly investigation is built. The field music studies? covered six other presses that were eager of musicology itself has engaged all types I hold a Ph.D. in music theory from the to offer us much better terms, both finan- of music with a vigor inconceivable 25 Graduate Center of the City University cially and editorially. For instance UIP years ago. continued on page 55 STANDPOINTS Imagining an Ideal Graduate Program in American Music – The SAM Student Forum Editor’s Note: “Standpoint” appears in every fall issue of the Bulletin. It is meant to provoke discussion, of jazz and other popular musics; and reflection, and even controversy. Please respond with a letter to the editor or short essay; all responses the increasing frequency of advertised will be printed in a “Counterpoint” section of the winter Bulletin. Deadline is 17 December (when most of us are finishing semesters), so please consider sending your response early! And if you are interested academic positions for specialists in in writing a future Standoint, or have an idea for a topic, please let me know. It is hoped that this series American music. Reflecting on the grow- will engender discussions that we can continue at annual meetings and among ourselves, and that it will ing presence of American music stud- broaden our understanding of what we do – collectively and individually. ies in the academy, Cockrell exclaims, – Sandra Graham, Bulletin Editor “American Music as a subject worthy of [email protected] interest, study, and career planning has arrived!” (p. 277). Introduction American music – programs that will pre- But, even with all of this growth, pare the next generation of Americanists This installment of “Standpoint” has been Cockrell proposes that the development to take the field beyond what we can envi- renamed “Standpoints,” in the plural, of American music studies as an academic sion today. since it is the result of an ongoing col- discipline cannot yet be declared a com- – Ryan Raul Bañagale laborative effort by members of the SAM plete success, noting that “the fact that the Harvard University Student Forum. It is not an end result, one last step toward traditional discipline- hood is as yet untaken – the development but rather a launching point to consider I. Background the topic at hand. The study of American of doctoral programs – is of a magnitude music stands at a crossroads in imagining The Summer 2004 issue of American of significance not to be underesti- new paradigms for graduate programs Music presented the proceedings of a mated… Without Ph.D. programs of that transcend conventional boundaries panel held at the 2002 conference of standing, fields of scholarly interest are and incorporate interdisciplinary work the International Association of Music subjects; with them, they are disciplines” both within and beyond the academy. Libraries, Archives, and Documentation (p. 277). Taking Cockrell’s observation as The issues are manifold and, as observed Centres (IAML) entitled “Disciplining its starting point, the Society’s Student during our standing-room-only session at American Music: Issues Affecting Forum organized a panel discussion for the Chicago conference in March, highly Scholars, Teachers.” As part of that panel, the 2006 SAM/CBMR conference in contentious. Clearly the subject merits Dale Cockrell presented a position paper Chicago entitled “Imagining an Ideal further discussion. entitled “Can American Music Develop a Graduate Program in American Music” Just as the SAM History Project Method?” in which he identifies “seven with the primary goal of continuing the seeks to understand better how the study gestational stages that lead from general- discussion initiated by Cockrell and the of American music became institutional- interest topic or subject to fully developed other scholars who participated in the ized and validated through the work of scholarly discipline” (p. 273). These are: 2002 IAML panel. Furthermore, this the Society’s founding members, our 1) subject definition, 2) methodology panel sought to integrate the next gen- panel and this essay strive to gauge the development and expression, 3) scholarly eration of American music scholars into progress of American music studies and society formation, 4) scholarly publica- a discussion already taking place among to explore possible routes for its contin- tions, 5) curriculum development, 6) spe- more established scholars. These young ued development. In order to contemplate cialist faculty, and 7) doctoral programs. scholars will inevitably shape the future the “ideal,” we must first establish what Cockrell explains that, by his estimation, development of American music studies we have in the present. Following a brief all but one of these gestational stages as a discipline.
Load more

Recommended publications
  • Subjective (Re)Positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers *
    Subjective (Re)positioning in Musical Improvisation: Analyzing the Work of Five Female Improvisers * Marc Hannaford NOTE: The examples for the (text-only) PDF version of this item are available online at: h+p:,,www.mtosmt.org,issues,mto.10.12.1,mto.17.12.1.hanna ord.php 4E5WORDS: Feminist music theory, gender, improvisation, jazz, Shannon 7arne+, Caroline Davis, Ingrid 9aubrock, 9inda Oh, Anna Webber A7STRACT: This article analyzes the music o :ve emale improvisers. I employ these women’s lived experiences o discrimination as a basis or my analysis o improvisation in terms o what I call subjective (re)positioning. Given these women’s experiences o discrimination, trust means something ar richer than musically working together during per ormance. Trusting improvising partners create a conceptual space in which musicians are able to position and reposition themselves, thus expressing agency. Received March 2016 Volume 23, Number 2, June 2010 Copyright © 2017 Society for Music Theory A/B At a recent per ormance o improvised music at a venue in New 5ork, some musicians and I noticed that the cover o the March 2015 DWomen’s Eistory Month” issue o The New York Jazz Record eatured male pianist Vijay Iyer on the cover. Our jokes about dishpan hands soon gave way to melancholy: it seems that, despite some jazz progressivists, neo-classicists, and academics arguing that jazz is a site or the realization o egalitarian or democratic ideals ( 7urns 2004 , Fischlin 2012 , Nicholls 1012 ), there is still work to be done. (1) A1B This article analyzes music by composer,improvisers Shannon 7arne+, Caroline Davis, Ingrid 9aubrock, 9inda Oh, and Anna Webber in conjunction with interviews I conducted with each o them ( 7arne+ 1015 , Davis 2015 , 9aubrock 2015 , Oh 2015 , Webber 2015 ).
    [Show full text]
  • On Diversity*
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by University of Tennessee, Knoxville: Trace ON DIVERSITY* AMY CIMINI AND JAIRO MORENO DIVERSE: to “turn apart” (ME & OFr < L diversus, pp. of divertere, to turn aside < dis-, apart + vertere, to turn). he word “diverse,” etymology informs us, appears in the thirteenth century, perhaps in T analogy with a term used in geometry, “transverse.” Roughly four and a half centuries later, the word’s meaning becomes more or less fixed: an adjective signifying “different in char- acter or quality.” Late in the 1930s, “diverse” emerges as a verb to designate a new imperative in U.S. economics: to diversify, meaning the careful quantitative distribution of various invest- ments. By 1978, in a landmark United States Supreme Court ruling on university admissions, the word “diversity,” now a noun, comes to inscribe both a qualitative distinction of ethno-cultural groups and their quantitative distribution in institutions of higher education. Although the balance between quality and quantity, as well as their definition, was subject of much legal dispute, the notion became widely accepted that diversity of representation of various groups was fundamental to the educational mission of the university and the well-being of the social field. Whenever we speak of diversity in the U.S., we invoke the spirit of the Supreme Court’s definition. * The authors would like to thank Ana María Ochoa for comments on a draft of this article, and Clara Latham for expert research assistance. Jairo Moreno also thanks Philip Ewell and Frederick Bashour for the invitation to participate in the 2007 Society for Music Theory diversity panel in Baltimore.
    [Show full text]
  • Jmoriginal 143.Pdf
    JANUARY/FEBRUARY 1994 c 0 N T E N T s VOLUME 4 , NUMBER 4 ISSUE 22 F E A T U R E S 52 IN THE DAWG HOUSE A couple of decades after the Grateful Dead's American Beauty and the bluegrass milestone Old and in the Way, David Grisman and Jerry Garcia are teaming up again to celebrate their acoustic roots. Jeffrey Pepper Rodgers catches up with the dynamic duo in Grisman's home studio. 60 HARP OF GLORY Jody Stecher explores the legacy and genius of Bahamian guitarist Joseph Spence. Includes music and lyrics to "Won't That Be a Happy Time," plus reflections on Spence from Taj Mahal, John Renbourn, David Gris man, and Henry Kaiser. 68 DA CAPO The capo may be the most useful accessory a guitar player can buy, and a bewildering variety of brands and styles are now available. Dale Miller checks out 11 contenders to help you choose the right one. 32 74 FREESTYLE FOLK Fingerstyle master Duck Baker plays Irish airs, Appalachian ballads, barrelhouse jazz ... but it's all folk to him. Baker talks with Michael Crane about composing, arranging, and improvising, and introduces his solo "Opening the Eyes of Love." D E P A R T M E N T S A_ CONTRIBUTORS 42 SHOPTALK What's the Buzz: How to diagnose and repair fret wear ...6... LITTERS and buzz. By Harry Fleishman 46 10 MUSIC NOTATION KEY WOOD CHOPS Perpetual Motion: Exercises for developing a killer tremolo. By Muriel Anderson 12 JUMP STREET Jimmie Dale Gilmore, John McLaughlin's Notre 92 Blues biographies and Dame guitar, the Desert-IsleTop REVIEWS guitar rags on record.
    [Show full text]
  • The Microscopic Septet the History of the Micros, Vol
    Excerpts from what the press has said recently about the Microscopic Septet: THE MICROSCOPIC SEPTET THE HISTORY OF THE MICROS, VOL. 1: SEVEN MEN IN NECKTIES CD 2006 CUNEIFORM THE HISTORY OF THE MICROS, VOL. 2: SURREALISTIC SWING CD 2006 CUNEIFORM “DownBeat: Best CDs of 2007: Historical Microscopic Septet, Seven Men in Neckties: History of the Micros Volume One, Cuneiform, 4 1/2 stars/5: June Issue Microscopic Septet, Surrealistic Swing: History of the Micros Volume Two, Cuneiform, 4 stars/5: June Issue” – “Best CDs of 2007”, DownBeat, January 2008, Vol. 75, No. 1 “…during their run from 1980-’90, they managed to record four albums of seminal, brilliant post-modern jazz as well as their best-known piece, the “Fresh Air Theme,” heard daily on NPR stations for more than 15 years now. All of this material plus previously unreleased tracks are on these two double-CDs, handsomely packaged with liner notes by co-leader Phillip Johnston, now-and-then photos of the band and cover art by Art Spiegelman. The Septet…was a laboratory for experimentation for composers Johnston…and pianist Joel Forrester. Mixing the influences of the great early big band arrangers like Fletcher Henderson and Duke Ellington with the zaniness of Raymond Scott and Captain Beefheart, the edginess of Thelonius Monk and Charles Mingus with the theatrics and exploration of Sun Ra and the Art Ensemble of Chicago, and with references from “Hey Jude” to “Harlem Nocturne,” the Micros were dedicated to jazz that swung and was endlessly fun and inventive. Volume One is superior because of the youthful up-all-night sense of discovery and sheer joy found on both their first studio album and only live recording.
    [Show full text]
  • Annual Report 2020 1
    ACLS Annual Report 2020 1 AMERICAN COUNCIL OF LEARNED SOCIETIES Annual Report 2020 2 ACLS Annual Report 2020 Table of Contents Mission and Purpose 1 Message from the President 2 Who We Are 6 Year in Review 12 President’s Report to the Council 18 What We Do 23 Supporting Our Work 70 Financial Statements 84 ACLS Annual Report 2020 1 Mission and Purpose The American Council of Learned Societies supports the creation and circulation of knowledge that advances understanding of humanity and human endeavors in the past, present, and future, with a view toward improving human experience. SUPPORT CONNECT AMPLIFY RENEW We support humanistic knowledge by making resources available to scholars and by strengthening the infrastructure for scholarship at the level of the individual scholar, the department, the institution, the learned society, and the national and international network. We work in collaboration with member societies, institutions of higher education, scholars, students, foundations, and the public. We seek out and support new and emerging organizations that share our mission. We commit to expanding the forms, content, and flow of scholarly knowledge because we value diversity of identity and experience, the free play of intellectual curiosity, and the spirit of exploration—and above all, because we view humanistic understanding as crucially necessary to prototyping better futures for humanity. It is a public good that should serve the interests of a diverse public. We see humanistic knowledge in paradoxical circumstances: at once central to human flourishing while also fighting for greater recognition in the public eye and, increasingly, in institutions of higher education.
    [Show full text]
  • Talking Heads Musician Biographies: Pauline Oliveros
    PERFORMANCE: (Not Just) Talking Heads Musician Biographies: Pauline Oliveros (1932) is an internationally acclaimed composer, performer, humanitarian, and pioneer in American music. For five decades she has explored sound and forged new ground for herself and others. Through improvisation, electronic music, teaching, ritual, and meditation she has created a body of work with such breadth of vision that it profoundly affects those who experience it. Oliveros was born and raised in Houston, Texas to a musical family. In 1985 she started the Pauline Oliveros Foundation, a non- profit organization in New York, to “support all aspects of the creative process for a worldwide community of artists." Currently she serves as Distinguished Research Professor of Music at Rensselaer Polytechnic Institute in Troy, N.Y., and as Darius Milhaud Composer-in-residence at Mills College in Oakland, Calif. More information is available atwww.deeplistening.org/pauline. Roger Dean is an Australian sound and multimedia artist, and researcher in music computation and cognition. He is a participant in the Canadian SSHRC MCRI project on Improvisation, Community and Social Practice. He has performed in more than 30 countries, and his compositions include computer and chamber music, and commissions for many ensembles. His music is available on more than 30 commercial recordings originating in Australia, UK, US, and in several publications. He is particularly involved in computerinteractive sound and intermedia work. He has published five research books and many articles on improvisation, particularly in music. He is the founder and director of austraLYSIS, the international creative ensemble making sound and intermedia, and also formed the Sonic Communications Research Group at the University of Canberra.
    [Show full text]
  • The Extradition Series Leaven Community Center, Portland
    The Extradition Series THE PIECES Jurg Frey, Glafsered I Glafsered II Glafsered IV (2002). Swiss composer Leaven Community Center, Portland Jurg Frey, a mainstay of the Wandelweiser group, has long pursued a flexible January 21, 2017 approach to the canon form, often obscuring its strict musical structure by building it from silences and non-specific sounds. This performance links three of his earliest canons: Glafsered I for crotales and tuned flagstones, Glafsered II for piano and bass clarinet, and Glafsered IV for bass clarinet, crotales, and tuned flagstones. The titles refer to the village of Glafsered in Jurg Frey, southeastern Sweden, home to curator and canon enthusiast Björn Nilsson. Glafsered I Glafsered II Glafsered IV For this performance, the three pieces will be played sequentially, with short silences between. We ask that audience members also remain quiet during Loren Chasse & Matt Hannafin (percussion), these silences. Dana Reason (piano), Jonathan Sielaff (bass clarinet) Dana Reason, Proxemics (2017). Taking its cue from the discipline of proxemics — which studies how people convey cultural, behavioral, and Dana Reason, Proxemics sociological messages through the amount of personal space they keep between themselves and others — Proxemics is a kind of modular-action Lee Elderton (B♭ clarinet), Matt Hannafin (percussion), music that explores various sonic and personal spaces. Scored for any Catherine Lee (oboe), Dana Reason (piano), number and variety of instruments and comprising different “sections” of Andre St. James (double bass) generative materials (text instructions, templates, written melodies, concepts) that can be played in any order, the piece requires performers to oscillate between personal and public space, generating new sound patterns Vanessa Tomlinson, Still and Moving Paper and experiences as they reify the generative materials, and sounding them against the articulations of the rest of the ensemble.
    [Show full text]
  • Newsletter a Publication of the Society for Music Theory
    OPEN LETTER TO THE MEMBERSHIP At a time when the pace of national and international events is unusually brisk and the implications broad and deep, many of us are asking ourselves what we, as individuals and as scholars in the field of music theory, can reasonably do— SSocietyM for Music TheoryT how we can make a difference. There are many ways to respond, some vocal and external, others ostensibly silent and internal. But as musicians know all too well, silence can be highly charged, a point of reflection and projection. It can be a critical place of contemplation and discernment, the roots of determi- nation and resolve. Newsletter Two things we can do as a Society are 1) reaffirm our values as members of a scholarly community that transcends disciplinary boundaries and national borders and 2) redouble our commitment to do what we do best—educate A Publication of the ourselves and foster the high-level exchange of ideas. To quote a recent statement approved by the SMT Executive Board, “The Society for Music Society for Music Theory Theory reaffirms its values of inclusivity and diversity, open and respect- ful dialogue, academic freedom, and scholarly integrity. We further support the principle that all in the music-theoretic community and beyond should have the opportunity to study, work, and engage in free inquiry across cul- News from the Society tural, linguistic, and other social boundaries. The free movement of schol- ars and sharing of ideas is essential to the progress of scholarship and to Open Letter to the Membership..........................1-2 the intellectual health of our field.
    [Show full text]
  • Concert & Dance Listings • Cd Reviews • Free Events
    CONCERT & DANCE LISTINGS • CD REVIEWS • FREE EVENTS FREE BI-MONTHLY Volume 4 Number 6 Nov-Dec 2004 THESOURCE FOR FOLK/TRADITIONAL MUSIC, DANCE, STORYTELLING & OTHER RELATED FOLK ARTS IN THE GREATER LOS ANGELES AREA “Don’t you know that Folk Music is illegal in Los Angeles?” — WARREN C ASEY of the Wicked Tinkers Music and Poetry Quench the Thirst of Our Soul FESTIVAL IN THE DESERT BY ENRICO DEL ZOTTO usic and poetry rarely cross paths with war. For desert dwellers, poetry has long been another way of making war, just as their sword dances are a choreographic represen- M tation of real conflict. Just as the mastery of insideinside thisthis issue:issue: space and territory has always depended on the control of wells and water resources, words have been constantly fed and nourished with metaphors SomeThe Thoughts Cradle onof and elegies. It’s as if life in this desolate immensity forces you to quench two thirsts rather than one; that of the body and that KoreanCante Folk Flamenco Music of the soul. The Annual Festival in the Desert quenches our thirst of the spirit…Francis Dordor The Los Angeles The annual Festival in the Desert has been held on the edge Put On Your of the Sahara in Mali since January 2001. Based on the tradi- tional gatherings of the Touareg (or Tuareg) people of Mali, KlezmerDancing SceneShoes this 3-day event brings together participants from not only the Tuareg tradition, but from throughout Africa and the world. Past performers have included Habib Koité, Manu Chao, Robert Plant, Ali Farka Toure, and Blackfire, a Navajo band PLUS:PLUS: from Arizona.
    [Show full text]
  • Improvising Across Borders the Symposium on Improvisation
    Improvising Across Borders the symposium on improvisation http://www.the-improvisor.com/improvising_across_borders.htm Improvising Across Borders the symposium on improvisation ~a review and personal account~ by LaDonna Smith It has taken a long time to digest exactly "what happened" at the historic meeting of scholars, educators and improvisation practitioners at the 1999 "Improvising Across Borders" symposium, brainchild of Dana Reason, hosted by University of California in San Diego. One thing is certain, in terms of discussion of the phenomena of improvisation, it's practice, it's history, it's implication on sociological relationships in multi- dimensional and intercultural musics, borders were not George Lewis greets Tom Nunn, boundaries but quite Ingrid Monson looks on at the the opposite: borders reception, April 11, 1999 at UCSD. were diving boards upon which to enter the waters of meaning, relationships, and creativity. One purpose of the Symposium was to explore one of the most previously slighted, but critically important fundamentals in music creativity and it's true role in the shaping of musical traditions, styles, and current direction. The collective of panelists, artists, skeptics and practitioners merged their minds as well as their hearts in one of the most important meetings of the decade, to break down barriers and create dialog acknowledging improvisation as the true process to the imagination, and the common thread in all 1 af 11 28-08-2014 12:01 Improvising Across Borders the symposium on improvisation http://www.the-improvisor.com/improvising_across_borders.htm
    [Show full text]
  • Downbeat.Com July 2015 U.K. £4.00
    JULY 2015 2015 JULY U.K. £4.00 DOWNBEAT.COM DOWNBEAT ANTONIO SANCHEZ • KIRK WHALUM • JOHN PATITUCCI • HAROLD MABERN JULY 2015 JULY 2015 VOLUME 82 / NUMBER 7 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ĺDQHWDÎXQWRY£ Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Stephen Hall ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Pete Fenech 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York: Alan Bergman,
    [Show full text]
  • Program (As of 1 August 2018)
    AMS/SMT ANNUAL MEETING San Antonio, 1–4 November 2018 Preliminary Program (as of 1 August 2018) 10:00–12:00 SIMSSA: Single Interface for Music Score WEDNESDAY 31 October Searching and Analysis, Working Group 11:00–1:30 Society for Seventeenth-Century Music 9:00–12:00 Grove Editorial Board Governing Board 9:00–6:30 Staging Witches: Gender, Power, 11:00–7:00 Speaker Ready Room and Alterity in Music Sponsored by the AMS Committee on Women and Gender and 12:00–2:00 AMS Membership and the LGBTQ Study Group Professional Development Committee 1:00–8:00 Exhibits 1:00–5:00 Grove Editorial Board and Advisory Panel 2:00–6:00 SMT Executive Board THURSDAY AFTERNOON SESSIONS—2:15–3:45 2:00–8:00 AMS Board of Directors African-American Representations (AMS) 3:00 Diversifying Music Academia: Strengthening the Pipeline Thomas Riis (University of Colorado Boulder), Chair 3:00–6:00 The Mendelssohn Network: Current Mary Beth Sheehy (University of Kansas), “Portrayals of Female Exoti- Developments in Mendelssohn Research cism in the Early Broadway Years: The Music and Performance Styles of ‘Exotic’ Comedy Songs in the Follies of 1907” 6:15–7:30 SMT Executive Board, Networking Committee, Kristen Turner (North Carolina State University), “Back to Africa: Images Publications Committee, and of the Continent in Early Black Musical Theater” Publication Awards Committee Dinner Sean Lorre (Rutgers University), “Muddy Waters, Folk Singer? On the Discursive Power of Album Art and Liner Notes at Mid-Century” 7:30–11:00 SMT Networking Committee Cassettes (AMS) 7:30–11:00
    [Show full text]