AMS Newsletter August 2013 - American Musicological Society

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AMS NEWSLETTER T H E AMERICAN MUSICOLOGICAL SOCIETY CONSTITUENT

MEMBER

OF THE

A M E R I CA N

COUNCIL

OF

LEARNED

VOLUME XLIII, NUMBER 2

SOCIETIES August 2013 ISSN 0402-012X

Pittsburgh: From Steel to LEED

In the twenty-two years since the AMS last met in Pittsburgh in 1992, the city has worked to transform itself from a Rust Belt survivor to a city focused on banking, technology, and the environment. The transition is not yet complete, nor is the fossil fuel economy finished. Evidence of the city’s industrial past remains in the coal-fired power plants that dot the region, in the historical mansions in Shadyside, and in the arts, where foundations and family money established and continue to support institutions and museums. Many of these institutions are looking toward the future. Emblematic for this transition is the Pittsburgh Opera (celebrating its seventyfifth season), which recently purchased and renovated a factory built in 1869 for its offic-

In This Issue… President’s Message . . . . . . . . . . . . . . . 2 What I Do in Musicology . . . . . . . . . 4 President’s Endowed Plenary Lecture . 5 Executive Director’s Message . . . . . . . 5 Awards, Prizes, Honors . . . . . . . . . . . . 6 AMS Public Lectures . . . . . . . . . . . . . 9 AMS / Newberry Library Short-Term Fellowship . . . . . . . . . . 9 ACLS Annual Meeting 2013 . . . . . . . 10 News from the AMS Board . . . . . . . . 10 Pittsburgh Performances . . . . . . . . . . 11 Pittsburgh Program Selection . . . . . . 12 Chapter News, News Briefs . . . . . . . . 12 Pittsburgh Preliminary Program . . . . . 13 Committee News . . . . . . . . . . . . . . 22 AMS Milwaukee 2014   . . . . . . . . . . .  24 Study Group News . . . . . . . . . . . . . 26 CFPs, Conferences . . . . . . . . . . . . . 29 Legacy Gifts . . . . . . . . . . . . . . . . . . . 30 Grants, Fellowships . . . . . . . . . . . . . 30 Obituaries . . . . . . . . . . . . . . . . . . . . . 31

Credit: David Reid/VisitPittsburgh

AMS Pittsburgh 2013 7–10 November www.ams-net.org/pittsburgh

The three rivers of Pittsburgh

es, rehearsal spaces, and costume shops. The restoration took a path that is becoming the standard in the “new” Pittsburgh: architects preserved historic features but completely revamped its environmental footprint, resulting in a highly efficient building that received the silver level of LEED (Leadership in Energy and Environmental Design) certification. Visitors can see hundreds of LEED buildings in Pittsburgh, including the David L. Lawrence Convention Center and three new wings of the Phipps Conservatory in the Oakland neighborhood. Along with its exotic plants and spectacular glass sculptures by Dale Chihuly, the Phipps has become a leader in green building. Oakland has many other attractions, including the Carnegie Museums of Art and Natural History, the Carnegie Library, and the Stephen Foster Memorial. With its rivers, hills, and tunnels, Pittsburgh’s geography can be fascinating to navigate. Directly in front of the Wyndham Grand, our conference venue, is Point State Park with the Fort Pitt Museum. From the park, the Three Rivers Heritage Trail System runs along both sides of all three rivers with fantastic views to enjoy while walking

or biking. The Port Authority operates an extensive bus network as well as two light rail lines (known as “the T”). Until 7 p.m., buses are free within the “Golden Triangle” (from the Point to 11th Street/Ross Street). From Gateway Station, one block east of the hotel, one can ride the T gratis under the Allegheny to the North Side to visit PNC Park, Heinz Field, the Andy Warhol Museum, the Car­ negie Science Center, the Manchester Craftsmen’s Guild (jazz), and the Rivers Casino. Going the opposite direction, one can ride free for three stations but must pay $2.50 to cross the Monongahela to Station Square, a renovated train station with shopping and restaurant options, as well as the dock for the Gateway Clipper river cruises. On Saturday, the Captain’s Dinner Dance Cruise boards at 5:30 p.m. and returns at 9 ($55, www.gatewayclipper.com). Also at Station Square is the Monongahela Incline, a funicular operating since 1870; a fantastic view of the city awaits at the top of Mt. Washington (formerly “Coal Hill”). There are several bus options to get to Oakland; see the trip planner at www.portauthority.org. continued on page 

President’s Message: Three New AMS Initiatives (Public and Private) Good news this summer comes in threes. To detail them one by one: 1. New AMS Member Directory. Well, this initiative is not quite “new,” having been announced in these pages in 2011 by then-president Anne Walters Robertson. As you have already been notified by Bob Judd, rather than simply providing our contact information, the new AMS Member Directory makes it possible to upload all kinds of information, including photos, curricula vitae, and links to personal web sites, databases, and blogs. One of its most important features is the ability it provides us to list research interests. This tool will help us to be better aware of the range of our collective interests and to track the shifts of those interests from year to year. It will also be enormously useful for the Committee on Committees in seeking to balance the scholarly representation on the Society’s committees. Please make use of it (and please let us know how we might improve it). 2. New AMS blog. In the February 2012 AMS Newsletter, Anne Walters Robertson also announced a quest to improve the way we as a society “do” public musicology. The discussion of what that might mean occupied the Board at a retreat in New Orleans in March 2012. It also reverberated through numerous postings to AMS-L in June 2011, in a healthy debate about our relevance and visibility to the world at large. Prodded by an email from Bill Meredith lamenting our relative invisibility, many—including me—identified the variety of ways in which individual members have successfully made an impact outside of academia and professional journals. Not to rehash those emails, which are archived and therefore still available, but Bill’s basic point is correct: we can do better. An exploration of some best practices will take place at this fall’s Annual Meeting in Pittsburgh, with an evening session sponsored by the Committee on Communications and the Committee on Career-Related Issues entitled “Beyond the Academy: Musicology in the Real World” (see p. 23 for more details). The Board wanted to find a way to communicate what it is we do in language that would be accessible to constituencies we want to reach, including performers and 

concert-goers. After considering various possibilities we agreed at our March 2013 meeting to launch an official AMS blog, which we dubbed Musicology Now. To get this project underway we agreed that we needed someone of uncommon initiative, entrepreneurial creativity, and scholarly distinction; someone who had demonstrated both an ability to communicate with a general public and web literacy; someone with both the energy and also the time to undertake a project such as this. I am delighted to report that D. Kern Holoman has accepted the Board’s invitation to become the inaugural curator of Musicology Now. Kern has all of the desired attributes and then some. Among his entrepreneurial efforts, he co-founded 19th-Century Music, he was a guiding force in the creation of AMS-L in the mid1990s, his two latest books (a biography of

Directory + Blog + Endowed Plenary Lecture Charles Munch, and The Orchestra: A Very Short Introduction) reach a wide audience, he has been a tireless mentor of graduate and undergraduate students … and after forty years of teaching, he is retiring. Asked to provide two or three sentences to describe the new blog, he sums it up in these words: “Musicology Now is a blog from the American Musicological Society, written by its members for the general public. It seeks to promote the results of recent research and discovery in the field of music history, foster colloquy, and generate enthusiasm for the subject matter. Using links, images, and sound, it references conversations within and around the academy and in the principal institutions of music making around the world.” He reports that the prototype is up and running and may be reviewed by communicating with him at [email protected]. The launch is expected at the beginning of the academic year 2013–14, and members who would like to propose a blog entry for the early weeks should submit it to the same email address.

3. New endowed plenary lecture at the Annual Meeting. As I reported in my message in last February’s AMS Newsletter, I discovered in my New Orleans dinner with the other music society presidents that we have been the only society that does not have a regular plenary lecture at the Annual Meeting. The AMS sponsors lectures at the Library of Congress and at the Rock and Roll Hall of Fame and Museum, but we have done nothing of the kind for ourselves since the early 1990s, when there was a tradition of an annual presidential address that took place at the business meeting. In the years before the proliferation of awards, it had been possible for the president to hold forth for a lengthy scholarly address. The Board’s enthusiasm for this idea blossomed quickly into what will be called the AMS President’s Endowed Plenary Lecture, an event made possible by the philanthropic altruism of Elaine Sisman and her husband Martin Fridson. Their inspired choice for the first recipient of this honor is Richard Crawford (in future years the selection of the plenary lecturer will be made by the Board). The lecture will take place at the end of the first afternoon of papers, Thursday from 5:30 to 6:30, and will exit directly into the Thursday evening reception. The intent is to provide an occasion that brings together as many members of the Society as possible for a moment that is at once intellectually stimulating and socially festive. For those who are unable to be there in person, we intend to film the lecture and make it available on our web site. The new directory, the blog, and the endowed plenary lecture are each in their own way steps toward a Society that is better able to comprehend the breadth and diversity of its members and their varied interests. In the earliest decades, when the membership was numbered in the hundreds, this was accomplished by the Journal. The AMS Newsletter emerged in 1971 to convey different sorts of information to a field and a Society then in rapid expansion. More recently the AMS-L, our web site, and the first online directory added new means of communication. Outreach and enhanced self-awareness (which we might think of as “inreach”) promote each other. —Christopher Reynolds AMS Newsletter

AMS Pittsburgh 2013 continued from page 1

Pittsburgh cuisine has historically leaned towards filling blue-collar fare, with the Primanti Bros. “Strip” sandwich (topped with French fries) its best-known example. In the Cultural District near the hotel, however, there are many excellent kitchens turning out every sort of modern dish. A best bet near the hotel is Market Square, planned as the center of town in 1764 and now a piazza ringed by restaurants of all price categories. The Strip (a narrow piece of land along the Allegheny just east of downtown) has far more to offer than Primanti’s, with boutique grocers and inventive new restaurants. Across the Monongahela is Carson Street, home of many popular bars and fine eateries. Beer lovers can head to the Penn Brewery on the North Side, the Church Brew Works in a decommissioned Catholic church in the Strip, or the huge Munichowned Hofbräuhaus near Carson Street on the river, all of which brew their own. The Program. This year’s program features fifty-five formal sessions, in addition to seven alternative-format sessions and, new this year, one poster session. Subject areas represent the full range of work in the field. Ecomusicology, disability studies, and Latin American topics made strong showings last year at the New Orleans meeting, and this year they continue to grow. Other areas well represented on this year’s program are minimalism, opera (across periods), and early-twentieth-century modernism (across Europe, North America, and Latin America). Round-table discussions (in alternative-format sessions) review the impact of the politics of difference and of post-colonial studies on musicology, as well as launch enterprising new projects in sound studies and the cultural study of musical instruments. Daytime performances include a concert of English Restoration solo sacred music, a lecture-recital of eighteenth-century lute music, and an open reading session of “number pieces” by John Cage. In addition to panels organized by AMS committees and Study Groups, evening sessions include “Music and Disability on Screen” and a reconsideration of Thomas Morley as theorist and teacher. The traditional opening reception on Thursday will begin at 6:30 p.m. (one hour later than usual), as it will be preceded by the inaugural AMS President’s Endowed Plenary Lecture at 5:30 (see p. 5). Whet your appetite by browsing the Preliminary Program (pp. 13–22) for more details! Special Performances. With the help of Pittsburgh’s Renaissance & Baroque concert series, the Performance Committee has arAugust 2013

ranged a concert by the venerable early music ensemble Sequentia, which last performed for the AMS at the Boston meeting in 1981. The group will present “Frankish Phantoms,” exploring the music of the Carolingian court, on Saturday evening in Trinity Episcopal Cathedral (see p. 11 for further information). The Performance Committee has also arranged a concert of big band music by Mary Lou Williams, recently published in the MUSA series (see p. 23), which will take place on Thursday evening. On Friday and Saturday nights the Pittsburgh Symphony Orchestra will perform Prokofiev’s Violin Concerto no. 1 with Arabella Steinbacher, along with Sheherazade and Leonardo Balada’s Symphony no. 6, conducted by Rafael Frühbeck de Burgos. On Saturday, the Pittsburgh Opera will perform The Magic Flute (in English). At the Manchester Craftsmen’s Guild on Friday and Saturday, Paul Winter will return to his early jazz days with his Sextet, revisiting charts from 1960 to 1963. Also in the Cultural District is the Pitts-

burgh Public Theater, where Sam Shepherd’s True West will be playing. Weather. In early November western Pennsylvania is pleasantly cool, with average highs just above fifty and lows in the mid-thirties. On average, the city receives some precipitation every other day. No weather condition will prevent Steelers fans from tailgating before the 1 p.m. home game with the Buffalo Bills on Sunday. Ancillary Meetings. Organizations with ties to the AMS continue to participate enthusiastically during the Annual Meeting. This year, the American Bach Society, American Beethoven Society, American Brahms Society, American Handel Society, American Institute for Verdi Studies, Early Music America, Forum on Music and Christian Scholarship, Lyrica Society, Mozart Society of America, North American British Music Studies Association, Society for EighteenthCentury Music, and Society for Seventeenthcontinued on page 

Annual Meeting Hotel and Travel Information The Wyndham Grand Pittsburgh Downtown, 600 Commonwealth Place, was opened by Conrad Hilton in 1959 as part of the Gateway Center project that remade the Point into an office park. With over seven hundred rooms, it has unobstructed views of the rivers on three sides. Rates are $144 per night for up to five people, plus tax (allow 14%). Complimentary internet access is available in all conference attendee guest rooms. Reservations may be made either through the meeting web site or by telephone: (800) 996-3426 (group code “American Musicological Society”). Conference rates are valid through 6 October, subject to availability. Air Travel. Pittsburgh International Airport (PIT) is served by Air Canada, AirTran, American, Delta, Frontier, Jet Blue, Southwest, United, and US Airways. The airport is nineteen miles west of the conference hotel on I-376, a twenty-five- to forty-five-minute journey by car depending on the traffic. Ground transportation is on either side of the baggage claim area, with private cars on the parking lot side and taxis, vans, and buses on the other side. Taxi fares to the hotel run around $40–45, with no extra charge for cab sharing. Super Shuttle offers van service for $24 per passenger ($46 round trip), with no sharing discount. The Port Authority’s 28X Airport Flyer Bus leaves from door no. 6 every thirty minutes on the hour and half hour (except for an afternoon stretch of 4:35, 5:10, 5:40, 6:10, 6:40, 7:10, and 7:35) and arrives across the street from the conference hotel forty to forty-five minutes later; the fare is $3.75 (bills and coins only, no change given). The Flyer returns to the airport from the hotel at ten and forty minutes after the hour, from 4:40 a.m. to 11:10 p.m. Trains and Buses. Amtrak’s Capitol Limited and Pennsylvanian Lines stop in Pittsburgh daily, connecting the city to Chicago, Washington, D.C., and New York City. Trains arrive at Union Station, 11th and Liberty. Greyhound’s bus terminal is across the street, and Megabus stops a block away at 10th and Penn. All three stations are about three quarters of a mile from the hotel. Driving directions. A downtown area map and links to detailed driving directions are available at the Hotel and Travel Information web page. Parking rates at the Wyndham Grand: valet parking with in/out privileges at $28 per night, or self-service parking at $20 per night but no in/out privilege. Other parking is available near the hotel at 300 Liberty Ave ($20/day, $5/day on weekends); see www.downtownpittsburgh.com/getting-around/ parking for further options. Additional information. The Hotel and Travel Information page found at the AMS web site (www.ams-net.org/pittsburgh/travel-info.php) provides full travel information. 

“What I Do in Musicology”: Thoughts from the Field

For me, the process of building a career outside academe was part necessity, part choice. As a later-in-life Ph.D. with a family, I had less flexibility than someone with a more traditional profile. I also confess that I was spoiled by living in great places: first Washington, D.C., then the San Francisco Bay area. Even so, I was in the second year of a three-year appointment at Stanford when I took a one-quarter leave to coordinate the San Francisco Symphony’s American Mavericks Festival. My assumption that I would return to Stanford and continue my career in academe soon gave way to the realization that I was enjoying the SFS way too much for that! For twelve years I worked at the SFS in a variety of roles: speaking, writing, and designing exhibits, adult education courses, and web and education components of the Symphony’s multi-media Keeping Score project. I am now Executive Director of the StarSpangled Music Foundation, a 501(c)(3) non-

AMS Pittsburgh 2013 continued from page 

Century Music will hold public meetings or receptions. Additionally, the standard array of receptions and parties will take place over the course of the weekend. Details can be found in the Preliminary Program (pp. 13–22), and announcements from the membership about meetings events can be found at the meeting web site. Interviews. A limited number of rooms at the conference hotel will be available for job interviews during the meeting. To reserve a room, please consult the web site or contact the AMS office. Job candidates can sign up via the web or (if spots are still available) at the interview desk in the hotel. AMS policy prohibits interviews in private rooms without appropriate sitting areas. Registration. Conference registration fees: Early (until 5 p.m. ET 30 September): $105 ($45, student/retired); Regular (until 5 p.m. 

profit formed by a small group of performers and educators (including fellow musicologist Mark Clague) to spearhead a series of projects commemorating the two hundredth anniversary of The Star-Spangled Banner. Along with various partner institutions, we are developing educational resources, exhibits, recordings, and conferences. (Check out our web site at www.starspangledmusic.org; we’d love to have you involved!) What do I love about engaging with the world beyond academe? It’s the opportunity to see the impact of scholarship in action— to work with museums, public libraries, performing arts organizations, and media companies on projects that reach a broad public. I firmly believe that not only our scholarship but also our culture would be strengthened by more awareness of the intersecting worlds of performance, education, academe, and public policy. While musicologists have made great efforts to be inclusive in our scholarship and curricula, we need to ask ourselves tough questions about the implications of how exclusive our field remains in practice. How socially significant is it to opine polysyllabically about the need to expand “the canon” when only the wealthiest boys and girls in this country have any awareness of—and thus any access to—music within any canon except the most commercial? How socially responsible is it to teach a course on hip-hop at an elite university while the school district in the same

town can’t support a band? It would be a hollow victory indeed if our efforts resulted exclusively in intellectual enrichment for those privileged few behind ivy-covered walls. I have talked to many young musicologists who are intrigued by the possibilities of “public musicology” but who are discouraged by the continuing reality that tenure decisions in most universities give lip service to “outreach” but are actually based on publication. I applaud the AMS for beginning this conversation and hope that the Society will go further and take a lead role in challenging this practice.

ET 1 November): $135 ($75, student/retired); Late/Onsite: $155 ($85 student/retired). AMS members receive a conference registration form via U.S. mail; a PDF version, as well as online registration, is available at the web site. Child Care. If a sufficient number wish to arrange child care, the AMS office will assist in coordinating it. Please contact the AMS office if this is of interest. Scheduling. Please contact the AMS office to reserve rooms for private parties, receptions, or reunions. Space is limited, so please communicate your needs as soon as possible. The Pittsburgh meeting web site provides further information. Student Assistants. The AMS seeks students to help during the conference in return for free registration and $11 per hour (six hours minimum). If this is of interest, please see the web site or contact the AMS office. —Matthew Baumer Local Arrangements Chair

Pittsburgh’s Grand Concourse, Station Square

Susan Key

Credit: VisitPittsburgh

In the second installment of our new column focusing on public musicology and careers outside the traditional tenure-track faculty line, we hear from Susan Key, who has adapted an essay originally published in the Bulletin of the Society for American Music. If you are interested in contributing to this column in the future, please contact AMS Newsletter editor Andrew H. Weaver ([email protected]) with a brief description of your contributions to public musicology.

AMS Newsletter

Richard Crawford to Deliver Inaugural Plenary Lecture As announced in the President’s Message (see p. 2), this year’s Annual Meeting in Pittsburgh will inaugurate the AMS President’s Endowed Plenary Lecture, which will be held Thursday at 5:30 p.m., immediately preceding the traditional opening reception. This year’s speaker is Richard Crawford. Crawford, a native of Detroit, attended public schools there, learning to play both the alto and tenor saxophone in an attempt to emulate Lester Young on the latter and Paul Desmond on the former. He attended the University of Michigan, receiving a bachelor’s degree in music education (1958), a master’s in music history and literature (1959), and a Ph.D. in musicology (1965). From 1962 until his retirement in 2003, he taught at the University of Michigan School of Music, with stints as a visitor at Brooklyn College, CUNY (1974) and the University of California, Berkeley (1985). During that time he supervised more than two dozen Ph.D. dissertations. A founding member of the Sonneck Society for American Music (now Society for American Music) in 1974, he twice won that group’s Irving Lowens Book Award, for The Core Repertory of Early American Psalmody (1984) and

America’s Musical Life: A History (2001). The latter spawned a textbook version, An Introduction to America’s Music (2001), republished in 2013 in an expanded and revised second edition with Larry Hamberlin. Serving the AMS as President in 1982–84, he has chaired the Society’s Committee for the Publication of American Music since 1985, and since 1993 he has also served as editor-in-chief of the Society’s national series of scholarly editions, Music of the United States of America (MUSA), which now has twenty-five volumes in print. Reflecting his youthful interest in early American sacred music, he co-authored with David P. McKay William Billings of Boston, which won the AMS’s Kinkeldey Award in 1975. He also completed American Sacred Music Imprints 1698–1810: A Bibliography (1990), begun by Allen P. Britton and Irving Lowens. His year as Bloch lecturer at Berkeley helped to direct his attention to the broader sweep of American music making, the result being The American Musical Landscape (1993/2000). He is now writing a biographical study entitled Summertime: George Gershwin’s Life in Music. The lecture he will give in Pittsburgh is entitled “Mr. Gershwin’s Catfish Row Spirituals.” Set in an African American neighborhood

of Charleston, South Carolina, the opera Porgy and Bess has a libretto by DuBose Heyward, song lyrics by Richard Crawford Heyward and Ira Gershwin, and music by George Gershwin. On 20 October 1935, shortly after the Theatre Guild mounted the opera’s first New York production at the Alvin Theatre on Broadway, the composer declared in a New York Times article that he had called his work a folk opera because he considered it a folk tale, meaning that the people in it “naturally would sing folk music.” Noting a crucial choice he had faced, Gershwin explained that “when I first began work on the music I decided against the use of original folk material because I wanted the music to be all of one piece. Therefore I wrote my own spirituals and folksongs.” The lecture, centered upon selected numbers and moments in Porgy and Bess, will explore the artistic impact of Gershwin’s decision to write his own spirituals rather than selecting them from preexistent oral and written sources.

Executive Director’s Message The AMS regularly receives requests for information on job placement and hiring, and we would like to be able to point to reliable information. What are the job placement statistics according to demographics such as race and gender? How does our discipline compare with other humanities disciplines? We do not have good answers to these questions. Plans are afoot, however, to improve our understanding of who we are as a discipline and what the job prospects are for those considering musicology as a degree program. Three levels of information are required. The first is basic demographics. We have conducted periodic demographic surveys of the membership (See the August 2002 and 2007 AMS Newsletters for summaries). The picture gleaned from what we know is helpful enough that we want to continue this in some form; we are planning another iteration of the survey this fall. Second, we need to improve our understanding of the current situation in American higher education. The U.S. Department of Education’s National Center for Education Statistics (NCES) gives an excellent picture of academia overall, but disciplinespecific information is lacking or unrefined. August 2013

The AMS would like to develop means to answer discipline-specific questions related to the NCES data. Third, the statistics regarding job placement need to be established and codified over time in annual installments. Since the AMS regularly publishes vacancy notices on its bulletin boards, we have a toehold on the information, but much more can be done. Regarding the latter, the AMS 2009 survey of departments conducted by the Graduate Education Committee was a good beginning

Our need for data (see the summary in the February 2010 AMS Newsletter). We may find ways to regularize and improve this survey in future. Recently, a new blog at the Chronicle of Higher Education has taken to crowdsourcing to address this area: the Ph.D. Placement Project (www. chronicle.com/blogs/phd/). The project’s goals are to gather reliable data about job placements for Ph.D.s: who gets jobs? where are they? which doctoral programs are doing well at placing their Ph.D.s in tenure-track positions, which not so well? and what are

universities doing to help their Ph.D.s land nonacademic jobs? Time will tell, but the idea of crowdsourcing has great appeal, and we’re monitoring this initiative closely. Finally, in 2012 the AMS agreed to support efforts by the American Academy of Arts and Sciences (AAAS) to meet the critical need for data regarding the state of the humanities. Their Humanities Indicators project (HIP; see www.humanitiesindicators.org) has set ambitious goals to provide scholars, policymakers, and the public with a comprehensive picture of the state of the humanities, from primary to higher education to public humanities activities. The collection of empirical data is modeled after the National Science Board’s Science and Engineering Indicators and creates reliable benchmarks to guide future analysis of the state of the humanities. As the AAAS points out, “without data, it is impossible to assess the effectiveness, impact, and needs of the humanities.” The next data rollout from the HIP is due late this year, and we eagerly look forward to seeing how musicology fits into the larger picture of the state of the humanities in higher education. 

tion “Musical Descents: Creating and Recreating Hell in Italian Opera, 1600–80.”

Awards, Prizes, and Honors AMS Awards and Prizes 2013 Three doctoral candidates in musicology received Alvin H. Johnson AMS 50 Dissertation Fellowship Awards for 2013–14: Hyun Kyong Chang (University of California, Los Angeles), “Musical Encounters in Korean Protestantism: A Trans-Pacific Narrative”; Emily Frey (University of California, Berkeley), “Russian Opera in the Age of Psychological Prose”; and Jeremy Strachan (University of Toronto), “Music, Communications, Place: Udo Kasemets and Experimentalism in 1960s Toronto.” The Howard Mayer Brown Fellowship is presented by the Society to promising minority graduate students pursuing a doctoral degree in music. The 2013–14 fellowship recipients are Matthew D. Morrison (Columbia University) and Roseen Giles (University of Toronto). One of the recipients accepted the award on an honorary basis. Grants from the M. Elizabeth C. Bartlet Fund for research in France were awarded to Alexandra Kieffer (Yale University) to conduct research on her dissertation on French musical culture ca. 1890–1910, and Erin Maher (University of North Carolina, Chapel Hill) for research for her dissertation “Milhaud in the United States.” The inaugural grant from the Virginia and George Bozarth Fund for musicological research in Austria was awarded to MarieHélène Benoit-Otis (University of Montreal) for research on music propaganda during the Third Reich. A grant from the William Holmes/Frank D’Accone Endowment for travel and research in the history of opera was awarded to Martin Nedbal (University of Arkansas) to study archival materials to support his project

“Early Singspiel Adaptations of Mozart’s Da Ponte Operas at the Viennese Court-Theater (1798–1819).” A grant from the Jan LaRue Travel Fund was awarded to Sara Pecknold (Catholic University of America) to conduct research for her dissertation “‘On lightest leaves do I fly’: Redemption and the Renewal of Identity in Barbara Strozzi’s Sacri musicali affetti (1655).” The Janet Levy Fund for independent scholars supports travel and research expenses for independent scholars. In late 2012, Byron Avior received a Levy Grant for the book pro­ ject “Schoenberg’s Writings on Aesthetics and Interpretation in Performance,” and in early 2013 Sheryl Kaskowitz received a Levy Grant for work on the book project tentatively titled “A Collective Songprint: Communal Singing in American Culture.” A grant from the Harold Powers World Travel Fund was awarded to Cesar Favila (University of Chicago) for research on his dissertation “Music in Early Modern Conceptionist Convents of New Spain (1610–1790).” A grant from the Ora Frishberg Saloman Fund for musicological research was awarded to Jeremy Zima (University of WisconsinMadison) to conduct research for his dissertation “Aesthetics and Economics of the German Artist-Opera, 1912–34.” A grant from the AMS Teaching Fund was awarded to Eric Hung (Westminster Choir College, Rider University) for the project “Incorporating Local Musics in the Undergraduate Music History Curriculum.” A grant from the Eugene K. Wolf  Travel Fund was awarded to Aliyah Shanti (Prince­ ton University) for research on her disserta-

AMS Chapter Student Awards The Capital Chapter presented the Irving Lowens Award for Student Research to Douglas Buchanan (Peabody Conservatory) for “Rhetoric Rethought: Affektenlehre in Context.” The Greater New York Chapter presented the student paper prize to Nicholas J. Chong (Columbia University) for “Beethoven’s Favorite Theologian? Johann Michael Sailer, the Missa Solemnis, and the Question of Beethoven’s Faith.” The Midwest Chapter presented the A-R Editions Award to Brian MacGilvray (Case Western Reserve University) for “Shaping the Memento Mori: Froberger’s Méditation faite sur ma morte future and Seventeenth-Century Vanitas Art” and the Indiana University Press Award to Jeremy Zima (University of Wisconsin-Madison) for “Strauss’s Intermezzo: A New Look at the German ‘Artist-Opera.’” The New York State–St. Lawrence Chapter presented the student paper prize to Amanda Lalonde (Cornell University) for “The Music of the Living Dead.” The Northern California Chapter and the Pacific Southwest Chapter presented the Ingolf Dahl Memorial Award to Valerio Morucci (University of California, Davis) for “Secular Patronage at the Orsini Court: Music, Poetry, and the Rhetoric of Early Monody.” The Pacific Northwest Chapter presented the Best Student Paper prize to Juliana Madrone (University of Colorado) for “Utile dulci: Constructing a Swedish Identity.” The South-Central Chapter presented the Rey M. Longyear Student Paper Award to Sarah Dietsche-Ford (University of Memphis) for “F the President: Reactions to George W. Bush in Popular Music.” The Southeast Chapter presented the Student Presentation Award to Samuel Brannon (University of North Carolina, Chapel Hill) for “‘Full of a Thousand Beautiful and Graceful Inventions’: The Compilation of Gardano’s 1545 Willaert Motet Print.”

Hyun Kyong Chang AHJ AMS 50 Fellow



Emily Frey AHJ AMS 50 Fellow

Jeremy Strachan AHJ AMS 50 Fellow

The Southern Chapter presented the award for best paper read by a student to Toni CasamasAMS Newsletter

sina (Florida State University) for “Poetry, Art, and Music: Lied Sources in NineteenthCentury Düsseldorf.” The Southwest Chapter presented the HewittOberdoerffer Award to Jonathan Sauceda (University of North Texas) for “Opera and Society in Early-Twentieth-Century Argentina: Felipe Boero’s El matrero.”

Other Awards, Prizes, and Honors Karen Ahlquist (George Washington University) won the 2013 Irving Lowens Article Award from the Society for American Music for “Musical Assimilation and ‘the German Element’ at the Cincinnati Sängerfest, 1879,” Musical Quarterly (2011). Micaela K. Baranello (Princeton University) received a Mellon/ACLS Dissertation Completion Fellowship for “The Operetta Empire: Viennese Music Theater and Austrian Identity, 1900–35.” Barbara Barry (Lynn University) received a fellowship from the Institute for Music Research at the School of Advanced Studies of the University of London, to pursue work on the paradigm of Possible Worlds and the Many Worlds Interpretations in theoretical physics, explored in her book ‘Lebewohl’: Reconstructions of Death and Leave-taking in Music (2013). Margaret Bent (University of Oxford) was elected to membership in the American Philosophical Society. Marianne Betz (Hochschule für Musik und Theater Leipzig) received the Adrienne Fried Block Fellowship from the Society for American Music for “G. W. Chadwick’s The Padrone (1913) or: Opportunities and Obstacles for Opera in Boston.” Philip Bohlman (University of Chicago) has been awarded a 2013–14 Guggenheim Fellowship for “Music after Nationalism.” Patrick Bonczyk (Michigan State University) won the 2013 Irene Alm Memorial Prize for outstanding student paper presented at the Annual Conference of the Society for Seventeenth-Century Music for “Temple-Musick: Exploring the Musical Metaphor in George Herbert’s The Temple.”

NEH for “American Vernacular Music Manuscripts, ca. 1730–1910,” a project that will digitize, catalogue, and provide web-based public access to approximately 250 music manuscripts held by the Center for Popular Music at Middle Tennessee State University. Suzanne G. Cusick (New York University) received an ACLS Fellowship for “Men Hearing Women in Medicean Florence.” Drew Edward Davies (Northwestern University) received the inaugural J. M. Thomson Prize for the best article by an early career scholar published in Early Music for “Villancicos from Mexico City for the Virgin of Guadalupe” (2011). Emily M. Gale (University of Virginia) won the 2013 Mark Tucker Award for outstanding student paper presented at the Annual Meeting of the Society for American Music for “Sentimental Songs for Sentimental Men.” Kate Galloway (Memorial University of Newfoundland) won the 2013 Cambridge University Press Award for outstanding paper presented by an international scholar at the Annual Meeting of the Society for American Music for “Sounding and Composing the Harbour: Recontextualizing and Repurposing the Soundscape and Sense of Place in the Harbour Symphony.” Edmund J. Goehring (University of Western Ontario) received an NEH Summer Stipend for “A Troubling Genius: Early Mozart Reception and Modern Music Historiography.” Glenda Goodman (University of Southern California) received an ACLS New Faculty Fellowship for “American Identities in an Atlantic Musical World: Transhistorical Case Studies.” She also won the 2012 Richard L. Morton Award for the best essay in the William and Mary Quarterly by an author who was a graduate student at the time of first submission, for “‘But they differ from us in sound’: Indian Psalmody and the Soundscape of Colonialism, 1651–75” (October 2012). Bruce Gustafson (Franklin & Marshall College) was named an Honorary Member of the Society for Seventeenth-Century Music.

Joy H. Calico (Vanderbilt University) was elected to the Executive Board of the German Studies Association and has joined the Editorial Board of the Brecht Yearbook/Brecht Jahrbuch.

William E. Hettrick (Hofstra University) received the 2013 Curt Sachs Award from the American Musical Instrument Society “in recognition of his distinguished contributions as professor of music, author of books and articles on musical instruments, editor of critical scholarly editions, president of the Society, and editor of its Journal and its Newsletter.”

Dale Cockrell (Vanderbilt University) received a Humanities Collections and Reference Resources grant of $127,956 from the

Lisa Jakelski (Eastman School of Music, University of Rochester) received an NEH Summer Stipend for “The Warsaw Autumn

August 2013

Roseen Giles Howard Mayer Brown Fellow

Matthew D. Morrison Howard Mayer Brown Fellow

Festival: Musical Encounters in Poland from the Cold War to the Twenty-First Century.” Sheryl Kaskowitz (Providence College) won the 2013 Wiley Housewright Dissertation Award from the Society for American Music for “As We Raise Our Voices: A Social History and Ethnography of ‘God Bless America,’ 1918–2010” (Harvard, 2011). Karl Kügle (Utrecht University) was elected Christensen Visiting Fellow at St. Catherine’s College, Oxford University, for Trinity Term 2014. In 2012, he was elected a member of the Academia Europaea, a European-based, nongovernmental network of scholars acting as an academy on a global scale. Lewis Lockwood (Harvard University) was elected to membership in the American Philosophical Society. Deirdre Loughridge (University of California, Berkeley) received an ACLS New Faculty Fellowship for “Technologies of the Invisible: Optical Instruments and Musical Romanticism.” Andrei Pesic (Princeton University) received a Mellon/ACLS Dissertation Completion Fellowship for “The Enlightenment in Concontinued on page  

AMS Fellowships, Awards, and Prizes Descriptions and detailed guidelines for all AMS awards appear in the AMS Directory and on the AMS web site. Publication subventions are drawn from the AMS 75 PAYS, Anthony, Brook, Bukofzer, Hanson, Hibberd, Jackson, Kerman, Picker, Plamenac, and Reese Funds. Application deadlines are 15 February and 15 August each year. Janet Levy Travel and Research Fund for independent scholars Deadline: 1 March M. Elizabeth C. Bartlet Fund for research in France Deadline: 1 March William Holmes/Frank D’Accone Fund for research anywhere Deadline: 1 March Jan LaRue Travel Fund for European research Deadline: 1 March Harold Powers World Travel Fund for research anywhere Deadline: 1 March

Eugene K. Wolf Travel Fund for European research Deadline: 1 March Alfred Einstein Award for an outstanding article by a scholar in the early stages of her or his career Deadline: 1 May Otto Kinkeldey Award for an outstanding book by a scholar beyond the early stages of her or his career Deadline: 1 May Lewis Lockwood Award for an outstanding book by a scholar in the early stages of her or his career Deadline: 1 May Music in American Culture Award for outstanding scholarship in music of the United States Deadline: 1 May Claude V. Palisca Award for an outstanding edition or translation Deadline: 1 May

Robert M. Stevenson Award for outstanding scholarship in Iberian music Deadline: 1 May Philip Brett Award of the LGBTQ Study Group for outstanding work in gay, lesbian, bisexual, and transsexual/transgender studies Deadline: 1 July MPD Travel Fund to attend the Annual Meeting Deadline: 25 July Thomas Hampson Fund for research and publication in classic song Deadline: 15 August Noah Greenberg Award for outstanding performance projects Deadline: 15 August Eileen Southern Travel Fund to attend the Annual Meeting Deadline: 1 June Paul A. Pisk Prize for an outstanding paper presented by a graduate student at the Annual Meeting Deadline: 3 October

Ora Frishberg Saloman Fund for research anywhere Deadline: 1 March

H. Colin Slim Award for an outstanding article by a scholar beyond the early stages of her or his career Deadline: 1 May

Teaching Fund for innovative teaching projects Deadline: 1 March

Ruth A. Solie Award for an outstanding collection of essays Deadline: 1 May

Alvin H. Johnson AMS 50 Dissertation-year Fellowships Deadline: 15 December

Medieval Venice and its Maritime Colonies, 1204–1450.”

article of a music-bibliographic nature for “Gustav Mahler’s Second Century: Achievements in Scholarship and Challenges for Research,” Notes 67/3 (2011): 457-482.

Awards, Prizes, and Honors continued from page 

cert: The Concert Spirituel and Religious Music in Secular Spaces, 1725–90.” Hilary Poriss (Northeastern University) received an ACLS Fellowship for “Writing a Musical Life: Pauline Viardot.” Michael J. Puri (University of Virginia) received a 2013–14 Fellowship from the National Humanities Center for a book on cosmopolitanism in the music and thought of Maurice Ravel. Iain Quinn (Western Connecticut State University) received an award from the Music & Letters trust to fund materials for an edition of the complete anthems of John Goss (A-R Editions). Jamie Greenberg Reuland (Princeton University) received a Mellon/ACLS Dissertation Completion Fellowship for “Sounding Resemblances: Music and Ritual in Late

Alanna Ropchock (Case Western Reserve University) received a Fulbright grant to Germany for the 2013–14 academic year to pursue research on her dissertation, “The Body of Christ Divided: Josquin’s Missa Pange lingua in Reformation Germany.” Kay Kaufman Shelemay (Harvard University) was elected to membership in the American Philosophical Society. James Steichen (Princeton University) received a Mellon/ACLS Dissertation Completion Fellowship for “George Balanchine in America: Institutions, Economics, and Aesthetics of the Nonprofit Performing Arts, 1933–54.” Judith Tick (Northeastern University) won the 2013 Lifetime Achievement Award from the Society for American Music. James L. Zychowicz received the Music Library Association’s Richard S. Hill Award for the best article of music librarianship or best

Howard Mayer Brown Fellowship for minority graduate study in musicology Deadline: 15 December

Guidelines for Announcements of Awards and Prizes Awards and honors given by the Society are announced in the Newsletter. In addition, the editor makes every effort to announce widely publicized awards. Other announcements come from individual submissions. The editor does not include awards made by the recipient’s home institution or to scholars who are not currently members of the Society. Awards made to graduate student members as a result of national or international competitions are also announced. The editor is always grateful to individuals who report honors and awards they have received. AMS Newsletter

AMS / Library of Congress Lecture Series

AMS Co-Sponsors Short-Term Fellowship at the Newberry Library

The next AMS / Library of Congress Lecture will take place in the Coolidge Auditorium at noon on Tuesday 24 September. Kendra Preston Leonard (Loveland, Ohio) will present a lecture entitled “Meaning and Myth in Louise Talma’s First Period Works.” Kendra Preston Leonard writes, “The Library of Congress houses the Louise Talma Collection, the largest collection of the materials of this twentieth-century composer (1906–96). I have uncovered a significant amount of new information on Talma’s life, career, compositional processes, and works in the Collection, including previously unknown or ‘lost’ compositions and materials illuKendra Preston Leonard minating the development of Talma’s three major compositional periods, her influences, and the impetus behind several works. In this lecture, I will examine Talma’s youth and early musical training and their implications in the context of her earliest works, a number of unpublished songs and a work for chamber orchestra. I will frame this by addressing two myths about Talma and her career and provide new archival findings that help explain this part of Talma’s life and inform recurring tropes in these and later works. “The first myth involves Talma’s family history. Because Talma herself actively discouraged interviewers from asking about her childhood, even supplying them with inconsistent and incomplete information, it is easy to understand how accounts of it have become distorted. I will uncover secrets in Talma’s past that will help us understand the meanings behind Talma’s earliest songs, which set melancholy and grieffilled texts about the loss of beauty, the need for secrecy, and the pain of silent mourning. “The second myth maintains that Talma’s interest in composition began when she attended the Conservatoire Américain de Fontaine­ bleau in 1926 to study piano and harmony, and was encouraged there by Nadia Boulanger to return the next year as a composition student. However, Talma had already begun working seriously with Harold Brockway and Percy Goetschius at the Institute of Musical Art (later the Juilliard School). Her earliest extant works suggest that Talma was developing a more avant-garde approach to composition before undergoing Boulanger’s regimen. I will demonstrate the ways in which Talma’s compositional approaches were influenced by Boulanger’s training and how Talma later moved away from her mentor’s rules as she developed her own compositional voice. Ultimately, the analysis of the connections between Talma’s inspirations for and approaches to her early works will contribute to a fuller understanding of her later life and career.” The Communications Committee welcomes proposals from AMS members interested in giving a lecture as part of this distinguished series, which is intended to showcase research conducted using the extraordinary resources of the Library of Congress Music Division. All lectures are available as webcasts. Links to the webcasts and application information can be found at www.ams-net.org/LC-lectures. The application deadline is 1 December 2013.

Chicago’s Newberry Library will partner with the AMS to offer a short-term fellowship to a Society member for research at the library beginning in academic year 2014–15. The fellowship recipient will receive $2,000 to fund a one-month research period. Post-doctoral scholars and Ph.D. candidates from outside the Chicago area who have a specific need for research in the Newberry collection are eligible. (The Newberry is authorized by the Department of State to issue DS-2019 forms, which can be used by international scholars to secure a J-1 visa for the period of their research.) Applicants must be members of the AMS in good standing at the time that applications are submitted to the Newberry and throughout the duration of the fellowship. Fellowship recipients are required Chicago’s Newberry Library to be in residence continuously at the Newberry during the term of the award. The Newberry staff will select the fellow as part of its short-term fellowship review process. Applications will be evaluated on the significance of the proposal, the applicant’s ability to complete the proposed project, and the appropriateness of the proposed project to the Newberry’s collection. For information about the Newberry’s core collection, see www.newberry.org/core-collections. For information about the Newberry’s music collection, see www.newberry.org/music. Applications are due 15 January 2014 for research conducted between 1 July 2014 and 30 June 2015. Information about the Newberry’s shortterm fellowship program is available at www.newberry.org/short-termfellowships. The Newberry-AMS Short-Term Fellowship will continue in future years.

August 2013

AMS / Rock and Roll Hall of Fame and Museum Lecture Slated for 25 September The next AMS / Rock and Roll Hall of Fame and Museum (RRHOFM) Lecture, postponed from Spring 2013, will take place 25 September in the Foster Theater of the RRHOFM, Cleveland, Ohio. Loren Kajikawa (University of Oregon) will present a lecture entitled “Before Rap: DJs, MCs, and Pre-1979 Hip Hop Performances.” See the February 2013 AMS Newsletter, p. 15, or www.ams-net.org/RRHOFM-lectures/ for full details.

Spring 2014 Lectures AMS/LC Lecture: Tuesday 22 April 2014: Nancy Newman (University at Albany, SUNY) will speak on the Germania Musical Society. AMS/RRHOFM Lecture: Date TBA: Christopher Doll (Rutgers University) will present “Nuclear Holocaust, the Kennedy Assassination, and ‘Louie Louie’: The Unlikely History of Sixties Rock and Roll.” 

ACLS Annual Meeting 2013 The annual meeting of the American Council of Learned Societies (ACLS) brought over two hundred attendees to Baltimore, 9–10 May 2013, close to half of whom were delegates or executive officers of the constituent societies. AMS members in attendance included John Graziano (SAM delegate), Richard Leppert (ACLS Board), and Susan McClary (ACLS Board chair emerita). In the 2012–13 fellowship competition, the ACLS awarded $14.5 million to 270 domestic scholars and $740,000 to forty-six scholars based outside the U.S. Over three thousand applications were submitted to the twelve categories of fellowships that support scholars at all stages of their careers. The number of awardees and dollar expenditure were somewhat lower than last year, as assets declined by two percent, but applications declined as well. The New Faculty Fellows program has unfortunately come to an end, and several other programs face renewal challenges. The ACLS needs to find sources of funding beyond Mellon and has begun to develop promising partnerships in East Asia, though not for its central programs. The humanities’ best friend in Washington, Jim Leach, stepped down as chair of the NEH shortly before the annual meeting but was nonetheless willing to delineate the “State of the Humanities” as luncheon speaker. A misconceived cleavage between the humanities and STEM (science, technology, engineering, mathematics) fields, he argued, has obscured

their complementary rather than competitive natures. He believes the “two cultures” are not the sciences and humanities, as C. P. Snow asserted in the 1950s, but rather those on either side of the “digital divide,” and those with diverse sources of information vs. those with but a single purveyor. Democracy demands access to knowledge, and “the fourth ‘R’ is Reality.” This year’s Haskins Prize Lecturer was Robert Alter, the ground-breaking scholar of the Bible as literature, whose talk (“A Life of Learning”) revealed the astonishing turns a career can take in response to student interests. Next year, as already announced, the speaker will be pioneering ethnomusicologist and longtime AMS member Bruno Nettl. The longest session was a panel devoted to the rationale, implementation, and implications of MOOCs (massive open online courses), because the Executive Committee of the Delegates decided last September that their challenges for the humanities were profound. Moderated by James J. O’Donnell, the new chair of the ACLS Board, who noted that “Sunrise Semester” on network television from 1957 to 1971 might have been the prototype, the session featured three speakers who have respectively taught a MOOC (Jeremy Adelman of Princeton), researched MOOCs for the California State system (Jennifer Summit of Stanford), and sponsored MOOCs (Howard Lurie of edX). Each was simultaneously upbeat about the value (and inevi-

Richard Griscom Appointed AMS Archivist Richard Griscom has been appointed archivist of AMS, succeeding Marjorie Hassen, who served since 1989. Griscom is head of the Otto E. Albrecht Music Library at the University of Pennsylvania and previously was head of the music libraries at the University of Louisville (1988–97) and the University of Illinois (1997–2004). He is a past editor of the Music Library Association’s quarterly journal, Notes, and is currently editor of the MLA’s Richard Griscom Index and Bibliography Series. His AMS Archivist 1994 book The Recorder: A Research and Information Guide, written with David Lasocki, was named a Choice Best Academic Book and is now in its third edition (2011). 

tability) of such massive online courses and candid about expense, pedagogical problems (inadequate class discussion, thinness of peer grading, better fit for STEM courses than for humanities), and possible administrative or even legislative meddling. ACLS President Pauline Yu continues to be an immensely important and visible advocate for the humanities. In her address to the Council, she stressed that humanistic knowledge offers the means for inquiring into value, and she noted the deep connections between scholarly research in the liberal arts and the public good in a civil society. As a member of the Commission on the Humanities and Social Sciences, she also previewed the conclusions of its report, “The Heart of the Matter,” officially released in June (available at the American Academy for Arts & Sciences web site, www.amacad.org) and since widely publicized. Finally, as ACLS committee chair I attended the launch event for that report, an evening at the U.S. Capitol Visitors Center on 19 June. In contrast to the generalities and committeedriven blandness of the report itself, most of the speakers—in person and in the airing of a new short film by Commission member Ken Burns—sought to convey what they found inspiring in the study of literature, art, philosophy, and music: the very heart of what is missing from “The Heart of the Matter.” —Elaine Sisman

News from the AMS Board The AMS Board met in Pittsburgh in March 2013. In addition to reviewing reports from the officers and committees of the Society and reviewing nominations and appointments to committees and Society positions, the Board: • Approved a proposal to establish a plenary lecture at the Annual Meeting (see p. 5). • Agreed to a proposal for D. Kern Holoman to direct a new AMS blog-style web site oriented to the general public (see p. 2). • Agreed to reprint currently out-of-print editions of the collected works of Johannes Ockeghem and William Billings. • Approved revised procedures for the Program Committee for 2014 (see pp. 22 and 24). • Approved a jointly-sponsored short-term fellowship at the Newberry Library (see p. 9). • Agreed to form an ad-hoc committee to consider whether Study Groups should be accorded formal acknowledgment in its Bylaws. AMS Newsletter

Performances in Pittsburgh The AMS Pittsburgh 2013 Performance Committee received sixteen proposals and selected four to be performed at the Annual Meeting. On Thursday night, Ted Buehrer, Professor of Music at Kenyon College and editor of the recent MUSA volume Mary Lou Williams: Selected Works for Big Band, will direct the Indiana University of Pennsylvania Jazz Band in a performance of music from that edition. Mary Lou Williams (1910–81), a native of Atlanta who considered Pittsburgh to be her home, was earning a living playing piano on the black vaudeville circuit by the age of twelve. As a member of her husband Andy Kirk’s band, she began to arrange and compose music that was performed by Kirk as well as such important band leaders as Duke Ellington and Benny Goodman. In 1977, Williams joined the faculty at Duke University, holding the post until her death. The IUP band will perform several of her works dating from 1929 to 1968. A 2:00 concert on Friday afternoon at Trinity Episcopal Cathedral features male soprano Robert Crowe and organist Peter Sykes, who will perform a concert entitled “From Carissimi to Croft: The Influence of the Italian Solo Motet in English Sacred Solo Music of the Restoration.” Charles Stuart’s return to England in 1660 also marked the introduc-

tion of the continental music he so loved, particularly Italian solo motets. By the end of the century, English composers Purcell, Blow, and Croft were writing their own solo motets in the Italian style. The music performed on this concert is drawn primarily from Harmonia Sacra (1714), which includes works by the aforementioned English composers as well as works by Roman composers Carissimi and Bonifatio Gratiani. On Saturday at 12:15, a lecture-recital entitled “Fortunate Love: Timbre, Texture, and Tessitura in the Gallot/Weiss Renderings of ‘L’Amant Malheureux’” will be presented by lutenist Christopher Wilke. His presentation demonstrates important ways in which timbre functioned as a vital consideration when composing and performing lute music. As he explains, “Unlike mensural notation, [lute tablature] ciphers do not indicate abstract pitch information to be realized in whatever way deemed suitable to the performer; rather, tablature graphically illustrates the hand’s physical movements. For non-lutenists, this makes it a ‘hidden,’ yet highly nuanced vehicle for the transmission of eighteenth-century ideas about tone color.” Wilke demonstrates this point with reference to the allemande “L’Amant Malheureux” by Jacques Gallot (ca. 1625–ca. 1695) and a reworking of the piece by

Sylvius Leopold Weiss (1687–1750). He will perform the allemande by both composers as well as several other pieces. An open reading session of large-scale “number pieces” by John Cage on Saturday at 12:30 will be presented by the Eclectic Laboratory Chamber Orchestra (David Gerard Matthews, Artistic Director, and Alan Tormey, Associate Creative Director). The event will take place at Bellefield Hall on the University of Pittsburgh campus (with bus service provided). The concert features Twenty-Eight, Seventy-Four, and 101, pieces by Cage that occupy an important place in late-twentiethcentury American music. The concert offers an opportunity to experience this music in a live setting. The open reading session will include members of the Eclectic Laboratory Chamber Orchestra, guest musicians from the Pittsburgh area, and any AMS member who wishes to participate. This opportunity is especially timely in light of the recent celebrations of the Cage centennial. Committee members Matthew Baumer, Steven Swayne, Kenneth Hamilton, and I invite you to attend (and participate in) what are sure to be exciting, interesting, and enjoyable concerts. —Catherine Gordon-Seifert Performance Committee Chair

Sequentia Saturday 9 November, 8 p.m. Trinity Episcopal Cathedral, 328 Sixth Avenue Unreserved seating: $25, $20 (student/retired)

Sequentia: Benjamin Bagby, Norbert Rodenkirchen, Wolodymyr Smishkewych

In partnership with Pittsburgh’s Renaissance & Baroque concert series, the AMS will host Sequentia for their first appearance at our Annual Meeting since 1981. Sequentia is one of the world’s most respected and innovative ensembles for medieval music. Under the direction of Benjamin Bagby, for over thirty-five years Sequentia has brought to life innovative concert programs that encompass the enAugust 2013

tire spectrum of medieval music. Based on meticulous and original research, intensive rehearsal, and long gestation, Sequentia’s virtuosic performances are compelling and surprising in their immediacy; they strike the listener with a timeless emotional connection to our own past musical cultures. Sequentia will present the program “Frankish Phantoms: Echoes from the Carolingian Palaces,” in which they explore the musical world of the Carolingian clan. Much is known about Christian liturgical chant under the Franks, but Bagby, using all of the available manuscript sources and reconstructing lost melodies with the collaboration of musicologist Sam Barrett (University of Cambridge) and others, will bring back to life lost musical works from a golden age of European song, when scholars and poets from England, Spain, France, and Germanic lands flourished under these enigmatic and powerful rulers. Bagby’s colleagues Norbert Rodenkirchen and Wolodymyr Smishkewych are veterans and long-time collaborators with Sequentia. Instrumentalist Rodenkirchen has been an integral part of their “Lost Songs Project.” Vocalist Smishkewych has appeared since 2000 with the Sequentia ensemble of men’s voices. Concert tickets are available via the Pittsburgh conference registration form: $25 ($20 student/retired), or at the door ($30). See www. ams-net.org/pittsburgh/concerts/ for further information. 

Pittsburgh Program Selection In April the Program Committee met in Philadelphia for two and a half days to select and assemble the program for the upcoming Annual Meeting in Pittsburgh. This year’s committee included Mark Everist, Robert Fink, Marina Frolova-Walker, Christine Getz, Diana Hallman, and Richard Will (chair, 2014), and I thank them warmly for putting in overtime both evenings. We could not have done our work without the speedy and precise work of Bob Judd, who provided indispensable support through all stages of this complex, multi-stage process. We received 708 proposals, including individual papers, formal sessions (two or four papers), alternative-format sessions (90 minutes or 180 minutes), and evening panels. This represents an increase of about seven percent on the previous year’s total. All proposals were read anonymously and scored by the individual members of the committee before we arrived in Philadelphia to discuss them. We accepted 178 individual papers, one of which belongs to a poster session. Out of fifteen alternative-format proposals we accepted seven, and from nine Formal Session proposals we accepted one four-paper and two two-paper

sessions. The overall acceptance rate, about thirty percent, indicates that our Annual Meeting remains exceptionally selective. Throughout the weekend the committee discussed ways in which the selection process and the overall design of the conference could potentially be improved. What balance do we seek between individual free papers and thematic or collaborative sessions, and how can our selection process help achieve such a balance? How do we weigh the advantages and disadvantages of the program’s high selectivity? How can the procedures of the committee be revised to ensure the fairest evaluation of proposals? These issues have been discussed in consultation with the Committee on the Annual Meeting over the past year, and some of the resulting changes are reflected in the Call for Papers for the 2014 meeting (see also the report from the Committee on the Annual Meeting, p. 22). Society members are encouraged to voice their views on the design of the program and the selection process as we continue to work on a system that is fair and satisfying to all. —Dana Gooley Program Committee Chair

Chapter News

ucdavis-today/2013/march/08-teaching-prize. html.

On 16 February 2013, the Greater New York Chapter sponsored an opera education panel during its Winter Meeting at the Metropolitan Opera Guild. The purpose of the panel was to encourage dialogue concerning opera education. Some questions that arose include: Who are we educating and why? Is it not opera education so much as opera evangelism? Should new operas be populist? How is the delivery of opera in HD changing the way operas are written and produced? How should opera be introduced to youth? Details: amsgny-announcements.blogspot.com/2013/04/ opera-education-panel-summary-of.html.

News Briefs Two AMS members were recently honored with substantial teaching awards from their home institutions. On 27 February 2013, Giuseppe Gerbino was awarded the Lenfest Distinguished Faculty Award from Columbia University, an award totaling $75,000. In addition, on 8 March 2013, AMS president Christopher Reynolds was presented with the 2013 UC Davis Prize for Undergraduate Teaching and Scholarly Achievement, an award in the amount of $45,000. Details: news.columbia. edu/oncampus/3070 and www.ucdavis.edu/ 

The Institute for Advanced Study, a community of scholars focused on intellectual inquiry free from teaching and other university obligations, invites applications from scholars of all nationalities for membership for up to a year, either with or without a stipend. Residence in Princeton is required, and members’ only other obligation is to pursue their own research. Eligibility requirements are a Ph.D. and substantial publications. Application deadline is 1 November 2013. Details: www. hs.ias.edu.

Internet Resources News RILM announces the launch of RILM Retrospective Abstracts of Music Literature on the EBSCO platform. This comprehensive music bibliography covers music literature as far back as the early 1800s, including journals that continued to be published after 1950. Details: www.rilm.org. On 1 January 2013, The Stanford University Archive of Recorded Sound began continuous web streaming of the Riverwalk Jazz programs consisting of more than 350 hours of

Russian and Hungarian Musicologists Invited to Pittsburgh Special Session For the third year in a row, the AMS has arranged for distinguished scholars from abroad to attend the Annual Meeting. Our guests in 2013 will be Professor Liud­mila Kovnatskaya (Russia) and Dr. Lóránt Péteri (Hungary). Prof. Kovnatskaya, who teaches at the St. Petersburg Conservatory, is the author of groundbreaking monographs on Benjamin Britten (1974) and twentieth-century British music (1986). More recently, she has produced important publications on Dmitri Shostakovich as well as on musical ties between Russia and Great Britain. Dr. Péteri is a Reader in Musicology at the Liszt Academy of Music. His article “Form, Meaning, and Genre in the Scherzo of Mahler’s Second Symphony” appeared in Studia Musicologica in 2009. He is also the author of several articles on Hungarian musical and musicological life under state socialism, including an extensive study of Zoltán Kodály and socialist cultural politics (2007). During a special lunchtime session on Friday 8 November, Prof. Kovnatskaya and Dr. Péteri will speak about musicology in Russia and Hungary during the Cold War. This promises to be a stimulating and highly informative event. Prof. Kovnatskaya’s and Dr. Péteri’s visits are part of an AMS outreach initiative to facilitate further interaction with our colleagues in other countries. This program began in 2011, when four scholars from China joined us in San Francisco, and it continued last year in New Orleans, where we hosted two musicologists from Latin America. historic radio broadcasts. Each show features rich narrative, oral histories and interviews, clips of historic musical recordings, and live musical performances by the Jim Cullum Jazz Band. Details: riverwalkjazz.stanford.edu. The Archive of Seventeenth-Century Madrigals and Arias provides freely downloadable critical editions for study and performance. Details: www.ascima.bham.ac.uk. Oxford Music Online has been named a Webby Award Official Honoree in the category of Best Writing (Editorial) by the International Academy of Digital Arts and Sciences. Details: winners.webbyawards.com/2013/. AMS Newsletter

AMS ANNUAL MEETING Pittsburgh, 7–10 November 2013 Preliminary Program (as of 16 July 2013)

WEDNESDAY 6 November 2:00–8:00

AMS Board of Directors

9:00–5:00

Third New Beethoven Research Conference

THURSDAY 7 November 9:00–7:00

Registration & Speaker Ready Room

1:00–6:00 Exhibits 7:30–9:00

Meeting Worker Orientation

8:00–12:00

AMS Board of Directors

9:00–12:00

Third New Beethoven Research Conference

11:00–1:30

Society for Seventeenth-Century Music, Governing Board

12:00–2:00

Membership and Professional Development Committee

12:00–2:00

Mozart Society of America Board

THURSDAY AFTERNOON SESSIONS 2:00–5:00

Roundtable: Critical Organology Emily I. Dolan (University of Pennsylvania), Chair Joseph Auner (Tufts University), Eliot Bates (University of Birmingham), J. Q. Davies (University of California, Berkeley), Jonathan De Souza (University of Western Ontario), Bonnie Gordon (University of Virginia), Ellen Lockhart (Princeton University), Deirdre Loughridge (University of California, Berkeley), Thomas Patteson (University of Pennsylvania), Annette Richards (Cornell University)

Opera Displacements Gundula Kreuzer (Yale University), Chair Tamsin Alexander (University of Cambridge), “Showing Paris How It’s Done: Glinka’s A Life for the Tsar in Nice, 1890” Alexandra Amati-Camperi (University of San Francisco), “Adapting to Changing Conditions: Rossini’s Neapolitan Cambiale di matrimonio” Harriet Boyd (University of Oxford), “Modernizing Opera: Stravinsky’s The Rake’s Progress, Venice 1951” Francesca Vella (King’s College London), “Simon Boccanegra and the 1881 Milan Exposition”

Performance and Aesthetics in Popular Music Justin Williams (University of Bristol), Chair Brian Jones (University of North Carolina, Chapel Hill), “Process-Oriented Aesthetics in Rock Analysis” August 2013

Loren Kajikawa (University of Oregon), “Before Rap: DJs, MCs, and Pre1979 Hip-Hop Performances” Amanda Sewell (Traverse City, Mich.), “On ‘Collage’ as Term and Concept in Sample-Based Hip-Hop” Edward Wright (University of Toronto), “The ‘Live Set’: Analog Performance Practice as Composition in Techno and House Music”

Philosophical Interventions Alexander Rehding (Harvard University), Chair Wayne Alpern (Mannes College of Music), “Tonal Inequality and Musical Justice” Michael Gallope (University of Minnesota), “Félix Guattari’s ritournelle, Schumann’s Fantasiestücke, and the Musical Interiors of Creaturely Life” Holly Watkins (Eastman School of Music, University of Rochester), “Toward a Posthumanist Organicism” Golan Gur (Humboldt University of Berlin), “Musical Experience in the Age of Technique: Günther Anders’s Existential Phenomenology of Music”

Politics, Performance, and Spectacle Charles Garrett (University of Michigan), Chair Jessie Fillerup (University of Richmond), “Robert Heller’s Magical Mystery Tour” John Koegel (California State University, Fullerton), “Christopher Columbus, Nero, and the Queen of Sheba: The Ringling Bros. and Barnum & Bailey Circus Spectacles as Musical Theater” Leta Miller (University of California, Santa Cruz), “Opera as Politics: The Social History of San Francisco’s War Memorial Auditorium” David C. Paul (University of California, Santa Barbara), “Fairground Fantasies: Sheet Music, Dime Novels, and the World’s Columbian Exposition”

Social Tensions in Sixteenth-Century Music Giovanni Zanovello (Indiana University), Chair Vanessa Blais-Tremblay (McGill University), “‘The Ways’ [‘I Modi ’] of Black-Note Erotica” Remi Chiu (Loyola University Maryland), “Madrigals, Mithradatium, and the 1576 Plague of Milan” Nicholas Johnson (Butler University), “Hermeticism in Prague: The Cultural Roots of Philippe de Monte’s Compositional ‘Crises’” Jeffrey Levenberg (Princeton University), “The ‘Gesualdo Controversy’ Averted: Reconsidering Giovanni d’Avella’s Regole di Musica”

Women and Institutions in the Nineteenth Century Ruth Solie (Smith College), Chair Candace Bailey (North Carolina Central University), “The Music Book as Signifier of Antebellum Culture” Maribeth Clark (New College of Florida), “Whistling as Women’s Work in the United States, 1887–1936” 

Laurie McManus (Shenandoah University), “‘New Paths’: The Reception of Wagner by the Allgemeiner Deutscher Frauenverein” Michael Joiner (University of California, Santa Barbara), “The Influence of Women and Gender on the Acceptance of Music in the American Academy”

World War II: Propaganda and Resistance Annegret Fauser (University of North Carolina, Chapel Hill), Chair Elizabeth Dister (Washington University in St. Louis), “Remembering France, Remembering Honegger: Music Dedicated to Joan of Arc under Vichy” Colette Simonot-Maiello (Brandon University), “Opera as Resistance: Francis Poulenc’s Les Mamelles de Tirésias and the Vichy Regime” Brian Locke (Western Illinois University), “The Ass and His Shadow (1933): Anti-Fascist Satire and Cosmopolitan Self-Mockery in an Interwar Czech Jazz Revue” Emily Richmond Pollock (Massachusetts Institute of Technology), “Opera by the Book: Defining Music Theater in the Third Reich and After”

THURSDAY AFTERNOON SHORT SESSIONS 2:00–3:30

Left and Right in the 1970s Alexander Stewart (University of Vermont), Chair Siel Agugliaro (Università di Siena), “The Enlightened Factory: La Scala and Its Concerts in Milanese Factories (1974–79)” Walter Aaron Clark (University of California, Riverside), “Paco de Lucia’s Entre dos aguas and the Politics of Rehabilitation in Franco’s Spain”

3:30–5:00

Seventeenth-Century Instrumentalists Alexander Silbiger (Duke University), Chair Michael Bane (Case Western Reserve University), “French Noble Amateurism and the Aesthetic of Ease: The Case of Francesco Corbetta’s ‘Royal Guitar’” Andrew Woolley (Bangor University), “‘Without basses’: Tune Books, Dancing Master-Violinists, and Memory Culture in Late SeventeenthCentury England”

8:00

Indiana University of Pennsylvania Jazz Band Music of Mary Lou Williams Ted Buehrer (Kenyon College), Director

9:30–11:00

Student Reception

THURSDAY EVENING SESSIONS 8:00–11:00

Commemoration and Revival Sponsored by the Jewish Studies and Music Study Group Richard Taruskin (University of California, Berkeley), Chair Amy Lynn Wlodarski (Dickinson College), “Two Witnesses, One Kaddish: Reflections on the Pisar-Bernstein Revival (2009)” Tina Frühauf (Columbia University),“Reviving Prewar Memories: The Louis Lewandowski Festival in Berlin as a Space for Commemoration” Thomas J. Kernan (University of Cincinnati), “Setting Gettysburg: Jewish-American Identity in Jacob Weinberg’s Lincoln Commemorations” Lillian Wohl (University of Chicago), “‘Para que no perdamos la memoria’: The Politics of Memory, Jewish Heritage, and Musical Commemoration at the Associación Mutual Israelita Argentina (AMIA) in Buenos Aires” Yael Sela-Teichler (Max Plank-Institut für Bildungsforschung), “Who Remembers? The Musical Commemoration of Moses Mendelssohn in Berlin, 1786 and 2012”

From Landscapes to Cityscapes: Shaping the Sonic Geography of Place Sponsored by the Ecocriticism Study Group Denise Von Glahn (Florida State University), Chair and Respondent Robert Fallon (Carnegie Mellon University), “The Sounds of Steel and Emeralds: Musical Representations of Pittsburgh’s Industrial and Green Identities” Kate Galloway (Memorial University of Newfoundland), “Sensing and Composing Acoustic Environments: Sensory History and Emplaced Memory in Derek Charke’s Tundra Songs and Nanook of the North” Dana Gorzelany-Mostak (Dickinson College), “From Plains to Hope: Sounding the South in the Presidential Campaigns of Jimmy Carter and Bill Clinton” Travis Stimeling (West Virginia University), “The American Midwest as Industrial Wasteland in the Music of Uncle Tupelo, Son Volt, and Wilco”

Music and Disability on Screen 4:30–5:30

Development Committee

Fred Maus (University of Virginia), Chair

4:45–5:30

Committee on Career-Related Issues Conference Buddy Mixer

James Deaville (Carleton University), Stephanie Jensen-Moulton (Brooklyn College, CUNY), Jeannette DiBernardo Jones (Boston University), Kendra Preston Leonard (Journal of Music History Pedagogy)

5:30–6:30

AMS President’s Endowed Plenary Lecture: “Mr. Gershwin’s Catfish Row Spirituals” Richard Crawford (University of Michigan) (see p. 5)

Popular Music of the Rust Belt

6:30–7:30

Popular Music Study Group Business Meeting

6:30–8:00

Opening Reception

7:30–9:30

Journal of Seventeenth-Century Music, Editorial Board



Sponsored by the Popular Music Study Group John Covach (University of Rochester), Chair Christopher L. Collins (University at Buffalo, SUNY), “Ministry of Dissent: The Ecocriticism of Al Jourgensen” Ian MacMillen (Oberlin College), “Affect, Becoming, and Whiteness in Professional South Slavic Tamburitza Bands, from Pittsburgh to Chicago” Eric Hung (Westminster Choir College of Rider University), “The Sounds of Asian American Trauma: Memorializing the Murder of Vincent Chin in Detroit, 1982” AMS Newsletter

Music, Sound, Affect Sponsored by the Music and Philosophy Study Group

A Tribute to Robert Murrell Stevenson (1916–2012) Sponsored by the Ibero-American Music Study Group Walter Aaron Clark (University of California, Riverside), Chair Marcelo Campos Hazan (University of South Carolina), Cristina Magaldi (Towson University), Grayson Wagstaff (Catholic University of America), Respondents John Koegel (California State University, Fullerton), “Robert Murrell Stevenson (1916–2012)” Walter Aaron Clark (University of California, Riverside), “Robert Stevenson’s Inter-American Music Review: Thirty Years of Landmark Publishing” Craig B. Parker (Kansas State University), “Robert Stevenson as Teacher, Mentor, and Friend”

FRIDAY 8 November 8:30–6:00

Registration & Speaker Ready Room

8:30–6:00 Exhibits 7:00–8:45

Chapter Officers

7:00–8:45

Committee on Career-Related Issues

7:00–8:45

Committee on Communications

7:00–8:45

History of the Society Committee

7:30–8:45

Alvin H. Johnson AMS 50 Dissertation Fellowship Committee

7:30–8:45

Graduate Education Committee

7:30–8:45

Program Committees for the 2013 and 2014 Annual Meetings

7:30–8:45

Student Representatives to AMS Council

7:30–9:00

American Brahms Society Board

FRIDAY MORNING SESSIONS 9:00–12:00

Ballet and the Modern

diana University), Ryan Skinner (Ohio State University); Lisa Jakelski (Eastman School of Music, University of Rochester), Organizer

Eighteenth-Century Music and Aesthetics Nina Treadwell (University of California, Santa Cruz), Chair Regina Compton (University of Rochester, Eastman School of Music), “The Tyrant’s Wife and the Continuo Player: Using Recitative to Read Handel’s Operatic Characters” Keith Chapin (Cardiff University), “The Neo-Classical and the Rhetorical Sublime: Gellert’s and C. P. E. Bach’s Musical Renditions of Gellert’s Geistliche Oden und Lieder (1757)” Jonathan Lee (University of California, Berkeley), “Sentimentalism, Latitudinarianism, and the Man of Feeling in Handel’s Joseph and his Brethren” Steven Zohn (Temple University), “Morality, German Cultural Identity, and Telemann’s Faithful Music Master ”

European Film William Rosar (University of California, San Diego), Chair Ewelina Boczkowska (Youngstown State University), “Chopin in Film: Music, Politics, and Memory in Poland, 1944–91” Per F. Broman (Bowling Green State University), “Ingmar Bergman’s Sublime Failure: Music, Madness, and the Hour of the Wolf   ” Hannah Lewis (Harvard University), “‘The Music Has Something to Say’: The Musical Revisions of L’Atalante (1934)” Stephen Meyer (Syracuse University), “Suoni nuovi/Suoni antichi: Mario Nascimbene’s Biblical Epic Film Scores”

French Opera, Entrepreneurs, and Culture, 1870–1930 Jane Fulcher (University of Michigan), Chair Katharine Ellis (University of Bristol), “Lessons of a Theatre Director: Hyacinthe-Olivier Halanzier (1819–96) and Opera in France” Cesar Leal (University of Kentucky / University of the South), “Gabriel Astruc and the Théâtre des Champs-Élysées: A Representation of Parisian Culture” Louis Epstein (University of Massachusetts, Amherst), “Christophe Colomb and France’s Official Discovery of Darius Milhaud” Jann Pasler (University of California, San Diego), “Race and the Pre-Modern between the Wars: La musique ancienne et moderne from Algiers to Casablanca”

Jewish Representations

Wayne Heisler, Jr. (College of New Jersey), Chair

Joshua Walden (Peabody Conservatory, Johns Hopkins University), Chair

Matilda Ann Butkas Ertz (University of Louisville), “Uncle Tom’s Cabin in Italy: Music and Story in the Ballet Bianchi e negri” Gavin Williams (University of Cambridge), “Excelsior as Mass Ornament: Ballet and the Reproduction of Gesture” Timothy Cochran (Muhlenberg College), “Metric Dislocation and Crisis in Prélude à l’après-midi d’un faune” Rebecca Schwartz-Bishir (University of Michigan), “The Rite’s Moves: Physical Motion in Le sacre du printemps”

Daniel R. Melamed (Indiana University), “J. S. Bach’s Christmas Oratorio BWV 248 and the Jews” Daniel Goldmark (Case Western Reserve University), “The Musical Roots of The Jazz Singer ” Robert Waters (Seton Hall University), “Searching for American Identity: Nationalism and Anti-Semitism in American Music Societies, 1918–39” Ronit Seter (Peabody Conservatory, Johns Hopkins University), “Of Ideological Stereotypes, Biases, and Israelism in Steve Reich’s Tehillim”

Cross-Border Encounters in the Global South: A New Look at Cold War Cultural Diplomacy Sponsored by the Cold War and Music Study Group Susan Thomas (University of Georgia), Chair Carol A. Hess (University of California, Davis), Respondent Danielle Fosler-Lussier (Ohio State University), Eduardo Herrera (University of Illinois at Urbana-Champaign), Marysol Quevedo (InAugust 2013

New World Transformations Glenda Goodman (University of Southern California), Chair Drew Edward Davies (Northwestern University), “‘Mexican Minerva’: Myth and Erudition in a Coronation Ode for Charles III of Spain” Myron Gray (University of Pennsylvania), “Renaud de Chateaudun’s ‘Queen of France’ and the Royalist Lament in Federal Philadelphia” Todd Jones (University of Kentucky), “Handel in Early America and the Politics of Genteel Reception” 

Jennifer C. H. J. Wilson (Graduate Center, CUNY), “The New Orleans French Opera Company in New York City, June–September 1845: Performing ‘Modern Opera’”

FRIDAY MORNING SHORT SESSIONS 9:00–10:30

Music, Discipline, and Institutions in the Nineteenth Century David Gramit (University of Alberta), Chair Trevor Herbert (Open University), “A Legacy of Orphans: The British Military and the Music Profession in the Long Nineteenth Century” Kailan Rubinoff (University of North Carolina, Greensboro), “Towards a Revolutionary Model of Music Pedagogy: The Paris Conservatoire and the Disciplining of the Musician, ca. 1795–1820”

Sources and Scribes Robert Nosow (Jacksonville, N.C.), Chair Jessica Chisholm (Youngstown State University / Grove City College), “Cambridge University Ms 4405(9), a Missing Jubilate Deo upon the Square of In Exitu, and Evidence for the Continuation of a FifteenthCentury English Compositional Practice” Michael Phelps (New York University), “Du Fay the Scribe?”

Lisa Jakelski (Eastman School of Music, University of Rochester), Chair Liudmila Kovnatskaya (Saint Petersburg Conservatory), “Self-censorship during the Cold War and Beyond: Experience of Self-Knowledge through Memoirs and Diaries by Prof. Mikhail Druskin” Lóránt Péteri (Liszt Academy of Music), “Hungarian Musicology under State Socialism: Institutions, Informal Networks, Scholarly Projects, and Ideologies”

3:30–5:00

AMS/MLA Joint RISM Committee

FRIDAY AFTERNOON CONCERT 2:00–3:30

Recital: Carissimi to Croft: The Influence of the Italian Solo Motet in English Sacred Solo Music of the Restoration Robert Crowe (Boston University), Soprano; Peter Sykes (Boston University), Organo Portativo

FRIDAY AFTERNOON SESSIONS

10:30–12:00

2:00–5:00

Beyond “Isorhythm”

Audio-Vision

Sean Gallagher (New England Conservatory), Chair

James Buhler (University of Texas at Austin), Chair

Emily Zazulia (University of Pittsburgh), “What Was Rhythm?” Anna Zayaruznaya (Yale University), “What Is a talea?”

David Cosper (New Zealand School of Music), “The Sonic Camera: Visual Models of Contemporary Jazz Composition” Mary Simonson (Colgate University), “‘Visual Symphonies,’ Live Performance, and the Cinematic Avant-Garde” Jeremy Strachan (University of Toronto), “McLuhan’s Music: Acoustic Space and Udo Kasemets’s Trigon ” Alexandra Wilson (Oxford Brookes University), “Puccini and the Period Film: Constructing the Past through Operatic Fantasy in A Room with a View and Atonement ”

Mahler Karen Painter (University of Minnesota), Chair Thomas Peattie (Boston University), “Sonic Mapping and Mahler’s Mobile Subject” Anna Stoll Knecht (New York University), “Beckmesser in a New Light: Die Meistersinger in Mahler’s Seventh Symphony”

12:00–1:30 12:15–1:15

Committee on Cultural Diversity Annual Reception Committee on Career-Related Issues, Session I: “Surviving the Guilt: A Conversation on Work/Life Balance” Kathryn Welter (Composers Conference), Chair

Domesticating Music in the U.S. Melissa De Graaf (University of Miami), Chair Beau Bothwell (Columbia University), “Alexander Maloof ’s Musical Model for Arab-American Nationalism” Lydia Hamessley (Hamilton College), “Elizabethan Music in 1930s America: Music in Paul Green’s Symphonic Drama The Lost Colony (1937)” Lars Helgert (Catholic University of America), “Lukas Foss’s American Cantata: A ‘Lover’s Quarrel’ with America” Joshua Plocher (University of Minnesota), “Curating New Musical America: Lincoln Center’s 1976 ‘Celebration of Contemporary Music’”

12:15–1:45

Eighteenth-Century Music Editorial Board

12:15–1:45

JAMS Editorial Board

Institutional Cultures in the Middle Ages

12:15–1:45

Mozart Society of America, General Meeting

Jeremy Llewellyn (Schola Cantorum Basiliensis), Chair

12:15–1:45

Music and Philosophy Study Group Business Meeting

12:15–1:45

Society for Seventeenth-Century Music Business Meeting

12:15–1:45

Musicology in Russia and Hungary during the Cold War

Lisa Nielson (Case Western Reserve University), “Musician Narratives and the Literary Performance of Musical Identity in the Early Abbasid Courts” Margot Fassler (University of Notre Dame), “Dunstan of Canterbury: Many Lives Expressed in a Musical Office” Sarah Long (Michigan State University), “The Construction of Confraternity Devotions at the Cathedral of Tournai in the Fourteenth and Fifteenth Centuries”



AMS Newsletter

Emma Dillon (King’s College London), “Remembering to Forget: Music, Conversion, and the Early Cistercian Experience”

Music, Diplomacy, and Social Networks in the Long Eighteenth Century Emily Abrams Ansari (University of Western Ontario), Chair Nicholas Mathew (University of California, Berkeley), Respondent Rebekah Ahrendt (Yale University), Mark Ferraguto (Pennsylvania State University), Estelle Joubert (Dalhousie University), Damien Mahiet (Denison University)

Nineteenth-Century Instrumental Music Kenneth Hamilton (Cardiff University), Chair Paul Berry (Yale University), “Grief and Transformation: Brahms’s First Violin Sonata in Clara Schumann’s Hands” April L. Prince (Loyola University New Orleans), “(Re)Considering the Priestess: Clara Schumann, Historiography, and the Visual” Scott Messing (Alma College), “Schubert’s Marche militaire in War and Peace” Marie Sumner Lott (Georgia State University), “Musical Style as Commercial Strategy in Nineteenth-Century String Chamber Music”

3:30–5:00

Critical Perspectives on Postwar Modernism Tiffany Kuo (Mount San Antonio College), Chair Amy Bauer (University of California, Irvine), “Genre as émigré: The Return of the Repressed in Ligeti’s Second Quartet” Trent Leipert (University of Chicago), “Cold Monsters: Luigi Nono and the Inhuman”

Restaging Opera Wendy Heller (Princeton University), Chair Carlo Lanfossi (University of Pennsylvania), “Rehabilitating Agrippina on the Opera Seria Stage between Venice and Milan” Martin Nedbal (University of Arkansas), “Between the Court and the Suburbs: Die Zauberflöte’s Aesthetic Background and Early Viennese Reception in View of the Opera’s 1801 Court-Theater Production”

5:00–6:30

Graduate Education Committee Reception for Prospective Graduate Students

5:00–6:30

Journal of Musicology Board

Soviet and Post-Soviet Identities

5:00–6:30

Rice University Alumni Reception

Marina Frolova-Walker (University of Cambridge), Chair

5:00–7:00

University of Illinois Reception for Alumni and Friends

5:15–6:15

Committee on Career-Related Issues, Session II: “Search Committee, What Do You Want from Me?” Olga Haldey (University of Maryland), Chair

6:45–7:45

Committee on Career-Related Issues, Session III: “New Teaching Philosophies: A Master Teacher Roundtable” Colin Roust (Roosevelt University), James Maiello (Vanderbilt University), Co-Chairs

5:30–6:30

Singing from Renaissance Notation hosted by Early Music America Valerie Horst, Director

5:30–7:30

University of North Carolina at Chapel Hill Alumni Reception

6:00–7:00

Society for Eighteenth-Century Music, General Meeting

6:00–7:30

W. W. Norton Reception

6:00–8:00

Boston University Reception

6:00–8:00

Florida State University College of Music Alumni Reception

6:30–8:00

Oxford University Press Reception

7:30–8:00

Music and Dance Study Group Business Meeting

8:00

Pittsburgh Symphony Orchestra Rafael Frühbeck de Burgos, conductor, Arabella Steinbacher, violin Rimsky-Korsakov, Scheherazade ; Balada, Symphony No. 6; Prokofiev, Violin Concerto No. 1 Heinz Hall, 600 Penn Avenue

Kevin Bartig (Michigan State University), “Music History for the Masses: Reinventing Glinka in Post-War Soviet Russia” Elena Dubinets (Seattle Symphony), “‘Other’ Russians: Émigré Composers in a Globalizing World” Peter Schmelz (Washington University in St. Louis), “The Devil and Aerobics: Alfred Schnittke Confronts the Popular” Joan Titus (University of North Carolina, Greensboro), “Dmitry Shostakovich and his Girlfriends ”

What’s the Difference? Sindhumathi Revuluri (Harvard University), Chair Olivia Bloechl (University of California, Los Angeles), Nina Eidsheim (University of California, Los Angeles), Melanie Lowe (Vanderbilt University), Gayle Murchison (College of William and Mary), Carol J. Oja (Harvard University), Ruth Solie (Smith College), Gary Tomlinson (Yale University), Judy Tsou (University of Washington)

FRIDAY AFTERNOON SHORT SESSIONS 2:00–3:30

Materializing Puccini Gabriel Dotto (Michigan State University), Chair Erin Brooks (Colburn School), “‘It was sung as Mme. Bernhardt might have spoken it’: Tosca, Music, and Sarah Bernhardt” W. Anthony Sheppard (Williams College), “Puccini and the Music Boxes”

Minimalism: Alternative Histories Ryan Dohoney (Northwestern University), Chair David Chapman (Rose-Hulman Institute of Technology), “Improvisation, Watermelons, and Steve Reich’s Piano Phase” Cecilia Sun (University of California, Irvine), “Recording as History: Tony Conrad and the Sound of Early Minimalism” August 2013



From Objectives to Methodology: Models for Teaching Music History to Undergraduates

9:00–11:00

Eastman School of Music Alumni Reception

9:00–12:00

University of Chicago Alumni Reception

9:00–12:00

University of Pittsburgh and Hawaii Alumni and Friends Reception

Sponsored by the Pedagogy Study Group

10:00–10:30

Pedagogy Study Group Business Meeting

10:00–12:00

Columbia University Department of Music Reception

10:00–12:00

Harvard Music Reception

10:00–12:00

Society for Christian Scholarship in Music Reception

James R. Briscoe (Butler University), “Personal Integration and Ownership: Music History as Musicology” Matthew Baumer (Indiana University of Pennsylvania), “Identifying and Prioritizing the Objectives for Undergraduate Music History Courses” Kevin R. Burke (Franklin College), “Assessing the Role of Music History in the General Studies Curriculum”

10:00–12:00

LGBTQ Study Group Party

FRIDAY EVENING SESSIONS 7:00–9:00

Gesualdo Between Art and Artifice Sponsored by the Lyrica Society for Word-Music Relations Paul-André Bempéchat (Center for European Studies, Harvard University), Chair Alexandra Amati-Camperi (University of San Francisco), Zhu­qing (Lester) Hu (Amherst College), Lydia Rilling (Freie Universität Berlin)

8:00–10:00

How to Sound Gay: David M. Halperin in Conversation with Ryan Dohoney Sponsored by the LGBTQ Study Group Nina Treadwell (University of California, Santa Cruz) and Emily Wilbourne (Queens College, CUNY), Co-Chairs 8:00–11:00

Beyond the Academy: Musicology in the Real World Sponsored by the Communications and Career-Related Issues committees Carol A. Hess (University of California, Davis), Eric Hung (Rider University), Drew Massey (Binghamton University, SUNY), Moderators Gabriel Boyers (Schubertiade Music / Primary Source), Jason Hanley (Rock and Roll Hall of Fame and Museum), Deane Root (University of Pittsburgh), Barbara Haws (New York Philharmonic), Libby van Cleve (Yale University)

J. Peter Burkholder (Indiana University), Moderator

Recent Research in Music and Disability Studies Sponsored by the Music and Disability Study Group Stephanie Jensen-Moulton (Brooklyn College), Blake Howe (Louisiana State University), Moderators Christopher Macklin (University of Illinois at Urbana-Champaign), “Plague as a ‘Disabled Other’ in Early Modern Music” Samantha Bassler (Rutgers University, Newark / Westminster Choir College), “Music and Disability in Early Modern England: A Case Study in Mad Songs” Stefan Sunandan Honisch (University of British Columbia), “Disability, Self-Formation, and the Educative Function of Musical Performance” Neil Lerner (Davidson College), “Listening to Disabled Veterans in Three Hollywood Films: The Big Parade (1925), Pride of the Marines (1945), and The Best Years of Our Lives (1946)”

SATURDAY 9 November 8:30–5:00

8:30–6:00 Exhibits 7:00–8:45

Committee on Women and Gender

7:00–8:45

Publications Committee

7:00–9:00

A-R Recent Researches Series Editors’ Breakfast

7:00–9:00

Journal of Music History Pedagogy Editorial Board

7:00–9:00

Web Library of SeventeenthCentury Music Editorial Board

7:30–8:30

American Institute for Verdi Studies Board

7:30–8:45

Committee on Cultural Diversity

7:30–9:00

Alexander Street Press Breakfast Reception

7:30–9:00

Society for Eighteenth-Century Music Board of Directors

7:30–9:00

Journal of Musicological Research Editorial Board

7:45–8:45

American Bach Society Editorial Board

Music and Dance Studies Sponsored by the Music and Dance Study Group Daniel Callahan (University of Chicago), Chair Panelists: Carlo Caballero (University of Colorado, Boulder), Tomie Hahn (Rensselaer Polytechnic Institute), Rebecca Harris-Warrick (Cornell University), Tamara Levitz (University of California, Los Angeles), Marian Smith (University of Oregon)

Ecomusicology Listening Room 2013 Sponsored by the Ecomusicology Study Group Mark Pedelty (University of Minnesota), Chair Justin Burton (Rider University), Michael Baumgartner (Cleveland State University) 

Registration & Speaker Ready Room

AMS Newsletter

SATURDAY MORNING SESSIONS 9:00–12:00

Poster Session: The Complete Theoretical Works of Johannes Tinctoris: A New Digital Edition Jeffrey J. Dean (Birmingham Conservatoire)

The Gendered Soundscape Lisa Barg (McGill University), Chair Tara Rodgers (University of Maryland), Joseph Auner (Tufts University), Mara Mills (New York University), Andra McCartney (Concordia University), Pauline Oliveros (Deep Listening Institute)

Morgan M. Rich (University of Florida), “Theodor Adorno and Alban Berg: The Crossroad Between Kant and Beethoven”

Opera and Voice in Nineteenth-Century France Mark Pottinger (Manhattan College), Chair J. Q. Davies (University of California, Berkeley), “‘Voice, Voice, Voice’” David Kasunic (Occidental College), “Tubercular Singing” Sarah Hibberd (University of Nottingham), “Rossini’s Siège : An Archaeology of the Senses” Helena Kopchick Spencer (University of Oregon), “‘Un jardin rempli de jolies femmes’: Intimate Gardens and Gendered Space in French Grand Opera (1828–48)”

How Frankish, How Roman? Discerning the Origins and Development of Gregorian Chant

Race and Politics in the U.S.

Margot Fassler (University of Notre Dame), Chair

Jennifer DeLapp-Birkett (Ithaca, N.Y.), “Decoding the FBI’s File on Aaron Copland” Daniel E. Mathers (University of Cincinnati), “More than Child’s Play: Aaron Copland and Tin Pan Alley” Christopher Lynch (DePauw University), “Reconstructing the First Broadway Opera: The 1942 Revisions to Porgy and Bess” Kristen Turner (University of North Carolina, Chapel Hill), “‘For the Musical Elevation of a People’: The Theodore Drury Grand Opera Company Crosses the Color Line”

Benjamin Brand (University of North Texas), “Barbarous Franks or Treacherous Romans? The Creation and Transmission of the Earliest Office Responsories for the Sanctorale” Daniel DiCenso (College of the Holy Cross), “Revealing Rubrics: New Evidence of Distinct Layers of Roman and Frankish Influence in the Earliest Sources for the Mass Proper” Thomas Kelly (Harvard University), “The Paschal Vigil in Medieval Rome” Luisa Nardini (University of Texas at Austin) and Rebecca Maloy (University of Colorado, Boulder), “Musical Hybridization in the Roman Mass for the Dead”

Margins and Peripheries Rachel Cowgill (Cardiff University), Chair Joanna Bullivant (University of Nottingham), “Musical Communists and British Society: The Case of Alan Bush” Graham Raulerson (University of California, Los Angeles), “‘One More Train to Ride’: Hobo Recording Artists and the Hobo Renaissance” David Gramit (University of Alberta), “The Business of Music on the Peripheries of Empire: A Turn-of-the-Century Case Study” Adalyat Issiyeva (McGill University), “From Oriental Other to Stigmatized Brother: Ethnographic Concerts at the Service of Empire”

Carol J. Oja (Harvard University), Chair

SATURDAY MORNING SHORT SESSIONS 9:00–10:30

Music in the Age of Animanities James Currie (University at Buffalo, SUNY), Chair Max Hylton Smith (University of Pittsburgh), “Depth Psychology and Genre in Stephen Sondheim’s Into the Woods” Jonathan Shold (University of Pittsburgh), “Why Listen to Animals? The Human-Animal Limit in Blended New Age Nature Recordings”

Travel and Migration in the Early Modern Era

Marketing and Branding Contemporary Music

Erika Honisch (University of Missouri, Kansas City), Chair

Phil Ford (Indiana University), Chair

Scott Edwards (Harvard University), “Linguistic Plurality and Italian Song in Sixteenth-Century Central Europe” Jonathan Glixon (University of Kentucky), “Shall We Go to the Opera or to Church? A Visitor’s Guide to Music in Baroque Venice”

Peter Kupfer (Southern Methodist University), “‘And Then There’s the AllNew Hyundai Sonata’: The Cultural Values of Classical Music in TV Advertising” Mark Samples (Millikin University), “Timbre and Legal Likeness: The Case of Tom Waits” John Pippen (University of Western Ontario), “Virtuosity, Friendliness, and Branding of an American New Music Ensemble” Jessica Wood (Durham, N.C.), “Selling ‘Bach to Rock’: Classical Composers as Marketing in the Age of Hip Consumerism”

Modernism and Modernizations Daniel Grimley (University of Oxford), Chair Joel Haney (California State University, Bakersfield), “Musicking in the ‘Between’: Player-Directed Form and Contemporaneity in Hindemith’s Duo Sonatas” Lauren Holmes Frankel (Yale University), “The Preacher, the Farmer, and the National Opera: Creating the Finnish Opera Boom” Mark Martin (University of California, Los Angeles), “‘The Desiccated Remains of Tradition’: Sibelius and Adorno” August 2013

10:30–12:00

The Concert Spirituel Jacqueline Waeber (Duke University), Chair Andrei Pesic (Princeton University), “The ‘Dangerous’ Concert: Rigorist Critiques of Religious Music in a Secular Context” Beverly Wilcox (University of California, Davis), “The Widow Royer’s Music Collection: Bricolage and Repertoire at the Concert Spirituel”

Remediations William Cheng (Harvard University), Chair Christopher Morris (University College Cork), “Opera Comes to the Projects: The Politics of Site-Specific Performance” Bettina Varwig (King’s College London), “Beware the Lamb: Staging Bach’s Passions” 

12:00–2:00

American Handel Society Board

12:00–5:00

Committee on the Publication of American Music, Luncheon

12:15–1:15

North American British Music Studies Association Business Meeting

12:15–1:45

Committee on Career-Related Issues, Session IV: “Publishing a Book-Length Project: People in the Know Tell All” James Zychowicz (A-R Editions), Chair

12:15–1:45

AMS Council

12:15–1:45

Haydn Society of North America

12:30–2:00

Friends of Stony Brook Reception

Faith and Fantasy, 1800–1840 Nicholas Mathew (University of California, Berkeley), Chair Francesca Brittan (Case Western Reserve University), “Fantasy, Philology, and the Romantic Inferno” Nicholas J. Chong (Columbia University), “Beethoven’s Theologian: Johann Michael Sailer, the Missa Solemnis, and the Question of Beethoven’s Faith” Deirdre Loughridge (University of California, Berkeley), “Beethoven’s Phantasmagoria” Maria Rose (Répertoire International de Littérature Musicale), “New Insights into Beethoven’s ‘Waldstein’ Sonata, Op. 53: A Showpiece for Paris?”

Producing Minimalist Opera Ryan Minor (Stony Brook University), Chair

Christopher Wilke (Nazareth College), lute

David Gutkin (Columbia University), “Meshing with the Eternal Present: Allegory, Actuality, and History in Robert Ashley’s Operas” Sasha Metcalf (University of California, Santa Barbara), “The Future of American Opera? Harvey Lichtenstein’s Role in Promoting Philip Glass” Alice Miller Cotter (Princeton University), “Sketches of Grief: John Adams’s On the Transmigration of Souls and the Writing of Doctor Atomic ” Paul Schleuse (Binghamton University, SUNY), “Reviving Einstein: Race, Gender, and Interpretation in Einstein on the Beach, 1976–2012”

12:30

Psalm Settings and Politics

An Open Reading Session of Large-­Scale “Number Pieces” of John Cage

Andrew H. Weaver (Catholic University of America), Chair

SATURDAY AFTERNOON CONCERTS 12:15–1:45

Lecture-recital: Fortunate Love: Timbre, Texture and Tessitura in the Gallot/Weiss Renderings of “L’Amant Malheureux”

Eclectic Laboratory Chamber Orchestra: David Gerard Matthews, Artistic Director; Alan Tormey, Associate Creative Director

SATURDAY AFTERNOON SESSIONS 2:00–5:00

The Ars Antiqua Leo Treitler (Graduate Center, CUNY), Chair

Peter Bennett (Case Western Reserve University), “Hearing King David at the Court of Louis XIII: Psalm Settings from the Musique de la Chambre and the Rise of the ‘Absolute’ Monarchy” Derek Stauff (Indiana University), “Psalm 83, Confessional Strife, and the Leipzig Convention of 1631” Stacey Jocoy (Texas Tech University), “‘Welcome to all the Pleasures’: The Political Motivations of the St. Cecilia’s Day Celebrations”

Race, Nation, and Theater in Latin America Tala Jarjour (University of Notre Dame), Chair

Gregorio Bevilacqua (University of Southampton), “Notation and Transmission ‘from the Time of Perotin the Great’? Manuscript 1471 of the Médiathèque of Troyes” Jennifer Saltzstein (University of Oklahoma), “Cooperative Authorship in the Thirteenth-Century Motet” Kathleen Sewright (Winter Springs, Fla.), “Matthias Flacius Illyricus and a Lost Source of Thirteenth-Century French Polyphony” Katherine Kennedy Steiner (Princeton University), “Polyphony and Liturgy for the Keledei at Medieval St. Andrews”

Jonathan Sauceda (University of North Texas), “Opera, Culture, and Class in Early Twentieth-Century Argentina: Felipe Boero’s El Matrero” Bernardo Illari (University of North Texas), “Alberto Williams (1852– 1962), Occidentalist: Music, Liberalism, and the Nation in Argentina around 1900” Alejandro L. Madrid (Cornell University), “National and Post-National Transfigurations in Julián Carrillo’s Opera Matilde” Susan Thomas (University of Georgia), “Lyric Blackface from Havana’s Stages to Latin American Screens: The Cinematic Transformation of the Cuban Zarzuela”

Edward Said and Music Studies Today

Virtuosity and Performance

Brigid Cohen (New York University), Moderator Kofi Agawu (Princeton University), Rachel Beckles Willson (Royal Holloway, University of London), James Currie (University at Buffalo, SUNY), Sindhumathi Revuluri (Harvard University), Michael Figueroa (University of Chicago)

The Nightingale Rachel Mundy (University of Pittsburgh), Chair Robert Fallon (Carnegie Mellon University), Elisabeth Le Guin (University of California, Los Angeles), Andra McCartney (Concordia University)



Anne MacNeil (University of North Carolina, Chapel Hill), Chair Dario Sarlo (Library of Congress), “Studying Concert Performances: The Iconic Career of Jascha Heifetz” Lindsey Strand-Polyak (University of California, Los Angeles), “Virtù e Virtuoso: Giuseppe Colombi, Private Spectacle, and Social Standing at the Este Court” Craig Monson (Washington University in St. Louis), “‘Le pene sofferte per Te son glorie, vittorie d’un’Alma ch’ha fe’: Bodily Mortification in Convent Choir Lofts” AMS Newsletter

SATURDAY AFTERNOON SHORT SESSIONS

SATURDAY EVENING SESSIONS

2:00–3:30

8:00–11:00

Song Tracks

Graduate Education in the Digital Age: Challenges and Opportunities

Robert Walser (Case Western Reserve University), Chair Ross J. Fenimore (Davidson College), “Desires in Conflict: Madonna, Sexual Propriety, and Singing ‘Like a Virgin’ in the 1980s” S. Alexander Reed (Ithaca College), “Burning Down Freedom’s Road: The Strange Life of ‘Brown Baby’”

3:30–5:00

Sonic Illusions Albin Zak (University at Albany, SUNY), Chair Ming-Lun Lee (University at Buffalo, SUNY), “Opera Recording as Audio Drama: A Study of John Culshaw’s Stereophonic Production Notes for the 1958 Decca Recording of Benjamin Britten’s Peter Grimes” Marissa Steingold (University of California, Los Angeles), “Auto-Tune: Coming Clean”

Sponsored by the Graduate Education Committee Mary Ann Smart (University of California, Berkeley), Moderator Michael Scott Cuthbert (Massachusetts Institute of Technology), Carol Muller (University of Pennsylvania), Don Michael Randel (University of Chicago), Tara Rodgers (University of Maryland), Zachary Wallmark (University of California, Los Angeles)

Towards a New View of Thomas Morley as Theorist and Teacher Jessie Ann Owens (University of California, Davis), John Milsom (Liverpool Hope University), Co-Chairs Bonnie Blackburn (University of Oxford), Denis Collins (University of Queensland), Ruth DeFord (Hunter College, CUNY), Theodor Dumitrescu (University of Utrecht / University of California, Davis), Leofranc Holford-Strevens (University of Oxford), Cristle Collins Judd (Bowdoin College), Davitt Moroney (University of California, Berkeley), Paul Schleuse (Binghamton University, SUNY), Jeremy Smith (University of Colorado, Boulder)

5:30–7:00

AMS Business Meeting and Awards Presentation

7:30–8:00

CUNY Graduate Center Reception

7:00–9:00

Duke University Alumni Reception

7:30–9:00

North American British Music Studies Association Reception and Musicale

8:00

The Sequentia Ensemble (see p. 11)

8:00

Pittsburgh Symphony Orchestra (see p. 17)

8:00

Pittsburgh Opera The Magic Flute Benedum Center, 803 Liberty Ave.

9:00–12:00

9:00–11:00

AMS Dessert Reception

9:00–11:00

Indiana University Reception

9:00–12:00

University of California at Berkeley Alumni Reception

10:00–1:00

Cornell Reception

10:00–1:00

Princeton University Department of Music Reception

Antonia L. Banducci (University of Denver), “How Do You Solve a Problem Like Quinault’s Amadis?” Blake Stevens (College of Charleston), “Transpositions of Spectacle and Time: The Entr’acte in the Tragédie en musique” Margaret Butler (University of Florida), “On the Origins of ‘Operatic Reform’ at Parma: Rameau, Traetta, and the Tradition of Adaptation in the 1750s” John A. Rice (Rochester, Minn.), “Staging at the Paris Opéra in the 1780s as Seen through the Eyes of a Cellist in the Orchestra”

10:00–1:00

Stanford Reception

10:00–1:00

UCLA Musicology Alumni Reception

10:00–1:00

University of Cincinnati, CollegeConservatory of Music Reception

10:00–1:00

University of North Texas Alumni Reception

10:00–1:00

University of Pennsylvania Party

10:00–1:00

Yale Party

August 2013

SUNDAY 10 November 8:30–12:00

Registration & Speaker Ready Room

8:30–12:00 Exhibits 7:00–8:45

AMS Board of Directors

7:00–8:45

Performance Committee

SUNDAY MORNING SESSIONS French Opera, 1680–1790 David Charlton (Royal Holloway, University of London), Chair

Historiography Matthew Gelbart (Fordham University), Chair David Blake (Stony Brook University), “Homo Omnivorus: Inclusiveness, Popular Music, and the Class Borders of University Taste” Bryan Proksch (Lamar University), “Croatian Tunes and Slavic Paradigms: Forging the ‘Modern Anglophone Haydn’” Linda Shaver-Gleason (University of California, Santa Barbara), “Presentations of Felix Mendelssohn in George Grove’s Dictionary as Reflections of the English Musical Renaissance” Kristy Johns Swift (University of Cincinnati), “Donald Jay Grout and ‘The Lunatic Fringe’” 

International Politics in the Twentieth Century Amy Beal (University of California, Santa Cruz), Chair Hyun Kyong Chang (University of California, Los Angeles), “The Politics of Exilic Suffering: The Formation of Cold War Cosmopolitanism in South Korea” Aaron Judd (Yale University), “Mapping Music History: Mountains, Borders, and the Emergence of Modern Space in Chinese Composition, 1425–1989” Abby Anderton (Baruch College, CUNY), “Denazifying Beethoven: The American Cultural Agenda in Postwar Berlin” Stephanie N. Stallings (Los Angeles, Calif.), “The Pan-American Association of Composers (1928–34) and the Dawn of U.S. Musical Diplomacy”

Modernism and Aesthetics Klára Moricz (Amherst College), Chair Alexandra Kieffer (Yale University), “Sound and Symbol: Anxieties of Listening in Debussyism” William Fulton (Graduate Center, CUNY), “Stravinsky’s Ebony Concerto, Atomized Listening, and the Importance of Missing Voices” Beth Snyder (New York University), “Hearing the Utopian/Composing the Utopian: Ernst Bloch’s Aesthetic Theory and Discourse about Music in Early Postwar East Germany” David Walters (Marmara University), “‘Le sérialisme est un existentialisme’: An Examination of the Role of Existentialism in the Post-War Transformation of the Serial Principle”

Music, Jews, and Others David Josephson (Brown University), Chair Yoel Greenberg (Bar Ilan University), “The Dance around the Golden Calf: Schoenberg’s Moses und Aron and Fin-de-siècle Anti-Semitic Imagery” Armin Karim (Case Western Reserve University), “‘My People, What Have I Done to You?’: A History of the Good Friday Reproaches” Kirsten Paige (University of California, Berkeley), “The Nightingale, the Owl, and the Jew in the Thornbush: Reassessing Walther’s Trial Song in Die Meistersinger ” Wayne Heisler, Jr. (College of New Jersey), “Slonimsky’s Held”

Music and the Moving Image Robynn Stilwell (Georgetown University), Chair Gregory Camp (University of Auckland), “‘What’s This Music?’: The Performance of Recordings in the Films of Wes Anderson” Todd Decker (Washington University in St. Louis), “‘It’s over now I

think’: Film Form, Musical Meaning, and the Cinematic Auditorium of the Post-Vietnam Combat Movie” Jessica Getman (University of Michigan, Ann Arbor), “Music and the Metaphoric Alien in Star Trek” Alexandra Roedder (University of California, Los Angeles), “A Comparison of the Japanese and American Scores for Kiki’s Delivery Service, and the Theoretical Implications Therein”

Music as Resistance Barbara Milewski (Swarthmore College), Chair Christina Bashford (University of Illinois at Urbana-Champaign), “‘If I practice I can make a fair show’: The Power of the Violin in the Ballykinlar Internment Camp during the Anglo-Irish War (1919–21)” María Natalia Bieletto Bueno (University of California, Los Angeles), “Crusades for Beauty: The Mexican Council of Culture against the People’s Music Shows” Andrea F. Bohlman (University of North Carolina, Chapel Hill), “Hearing Beyond the Censor: Music and Oppositional Agency in Polish Independent Culture, 1977–90” Cindy Bylander (San Antonio, Tex.), “Charles Ives and Poland’s Stalowa Wola Festival: Inspirations and Legacies”

Order and Disorder in Early Music David Crook (University of Wisconsin-Madison), Chair Geneviève Bazinet (McGill University), “What’s in a Rubric? Liturgical Assignments in Pierre Attaingnant’s Motet Series” Rebecca Cypess (Rutgers, State University of New Jersey), “Keeping Time with Girolamo Frescobaldi’s Toccate e partite . . . libro primo (1615–16)” Michael Dodds (University of North Carolina School of the Arts), “Modal Orderings in Renaissance and Baroque Keyboard Cycles” Asher Vijay Yampolsky (University of Southampton), “Carolingian Conceptions of Mode: Exploring Modal Significance and Signification”

Revisiting the Risorgimento Mary Ann Smart (University of California, Berkeley), Chair Douglas L. Ipson (Southern Utah University), “‘Ispirazione Religiosa e Nazionale’: Reconsidering Verdi’s Nabucco in Its Political Context” Francesco Izzo (University of Southampton), “Defining the Islamic ‘Other’ in the Late July Monarchy: Verdi’s Jérusalem in Context” Cormac Newark (University of Ulster), “Opera as History: Rovani’s Cento anni (1856–64)” Claudio Vellutini (University of Chicago), “The Costs of Singing: Politics and Opera Discourse in Restoration Vienna”

Committee News AMS-Music Library Association Joint RISM Committee The Joint RISM Committee continues its effort to identify music manuscripts in American collections that do not appear in the A/ II database (opac.rism.info). The U.S. RISM Office at Harvard University and the Joint RISM Committee encourage scholars to help identify individual manuscripts and collections that are not represented in the A/II database. In addition to  academic and research 

libraries, particular consideration might be given to whether local historical societies or special collections in smaller public libraries may include manuscripts that fall within the purview of RISM A/II (sources dating from the seventeenth through the nineteenth century). Please contact Sarah Adams at the U.S. RISM Office ([email protected]) if you have knowledge of materials or collections in the United States that have not yet been cataloged for RISM. —Daniel F. Boomhower

Committee on the Annual Meeting Over the past year the Committee on the Annual Meeting (CAM) closely reviewed the Annual Meeting Call for Papers and Program Committee procedures, and proposed to the Board a number of significant changes. They were accepted at the Board’s March 2013 meeting and are slated for implementation for the 2014 AMS/SMT Annual Meeting in Milwaukee (see p. 24). Modifications to the Call for Papers for individual proposals are AMS Newsletter

intended to encourage authors to keep in mind the wide range of areas of specialization represented on the program committee. The individual proposals category has been expanded for the first time to include poster session proposals for material better suited to this mode of graphic presentation. There are also several clarifications for proposals for formal sessions, evening panel discussions, and alternative-format sessions. The substantial revisions to the Program Committee procedures, developed by CAM in consultation with current and past program chairs, respond to challenges of fairly and efficiently evaluating the large number proposals that are submitted. (For Pittsburgh Program Chair Dana Gooley’s report on this year’s process, see p. 12.) The two-stage selection process described in the Call for Papers is designed to allow the committee to focus its efforts on the set of proposals that have proven to be the most difficult to evaluate. Previous chairs report that out of the approximately seven hundred proposals submitted each year, there is general consensus about the hundred strongest as well as the approximately three hundred that will not be accepted. The hardest work comes with determining which of the remaining proposals should be chosen for the available eighty to one hundred slots. In order to make the initial reading load less daunting for committee members, the new procedures include a first stage in which proposals are anonymously evaluated by the program chair and three randomly selected committee members. For the second stage, the full committee then considers all those proposals that receive strong rankings. In 2005 the Board approved the practice of revealing names of authors at the end of the selection process to help the Program Committee form topically balanced sessions and adjust the balance between senior and junior scholars on the program. The number of papers selected after the initial blind-read has varied considerably over the years; for example, the CFP for the 2011 San Francisco meeting left open the possibility of as many as forty. As the increasing number of proposals has made acceptance ever more competitive, the Board at its November meeting approved a CAM proposal to limit potential additional acceptances after the reveal to five. As before, no paper accepted during the blind-read will be removed from the program after names are revealed. CAM and the Board will closely monitor the efficacy of these revised procedures and report back to the membership in a year; until then we welcome your suggestions and comments. —Joseph Auner August 2013

Committee on Communications Public musicology—the presentation and engagement of musicological research outside academia and historically informed performers—has long been a goal of the AMS. In the past quarter century, many musicologists, performers, scholars in other fields, journalists, and arts administrators have engaged in various forms of public musicology beyond program notes and pre-concert lectures. Despite all this activity, we currently lack a theoretical foundation to the field of public musicology and an evaluation of which strategies work best for different audiences and circumstances. For this reason, the Committee on Communications and the Committee on CareerRelated Issues jointly will be presenting a Friday evening session at the Pittsburgh Annual Meeting entitled “Beyond the Academy: Musicology in the Real World.” In the first part of the session, panelists will discuss the following questions: 1) What is public musicology? 2) Is public musicology necessary, and what role should the AMS play in increasing public musicology? 3) What can public musicology learn from such established fields as public history and public science? 4) How do I become a public musicologist? Can it be an extension of, or an alternative to, an academic career? Afterwards, panelists will give ten-minute presentations on successful examples in different areas of public musicology, including museum/performing arts center exhibitions and events, newspaper/magazine articles and blogs written for lay audiences, digital archives, and oral history. —Andrew Dell’Antonio

Committee on Cultural Diversity In 2012 the Committee on Cultural Diversity (CCD) received thirty-four applications for the Eileen Southern Travel Fund (ESTF) awards. Of these, we selected twelve awardees, two of whom presented papers in New Orleans. Our Friday reception was very well attended, and we hope it will continue to serve as an annual “meet-and-greet” for underrepresented minorities attending the annual meeting. Other activities recently undertaken by the CCD include a survey of past ESTF recipients—all respondents spoke highly about the Fund’s impact on their professional development and careers—and, recently, the setting up of a Facebook site to encourage networking among underrepresented minorities in musicology. In the near future, we are planning to assemble a “Virtual Library” with two online bibliographies: one encompassing topics in music and race, the other focusing

on professional development for underrepresented minorities in academia. Last but not least, this year the CCD moved the ESTF application deadline to June 1. We received eighteen applications (the smaller number reflecting the fact that Pittsburgh is an AMSonly meeting, whereas for New Orleans we had applicants from all three societies), and we will announce the results of the competition in the early fall. —Roe-Min Kok and Mitchell Morris

Committee on the Publication of American Music The Committee on the Publication of American Music (COPAM) is pleased to announce the publication in April 2013 of a new volume in the series Music of the United States of America (MUSA): Mary Lou Williams: Selected Works for Big Band (MUSA 25), edited by Theodore E. Buehrer. Mary Lou Williams (1910–81) was a jazz pianist, composer, and arranger, with a career that spanned five decades. The eleven selections in this volume represent her work for big band, tracing her development across her career: six works for Andy Kirk (1929–38), three for Duke Ellington (Scorpio, 1946; Lonely Moments, 1947; and Gravel (Truth), 1967), one for Dizzy Gillespie (In the Land of Oo-Bla-Dee, 1949), and finally Aries Mood (1968), composed for the Danish Radio Jazz Orchestra. The edition is based on a variety of source materials, including manuscript scores and parts, and (where no written music survives) transcriptions from recordings. The edition and accompanying essay shed new light on this gifted yet still relatively unknown giant of American jazz. Big band aficionados can look forward to hearing some of this music performed live at the Pittsburgh Annual Meeting, in a concert directed by Buehrer. Several exciting projects are in MUSA’s immediate pipeline. Over the next few months, MUSA will be preparing for publication Noble Sissle and Eubie Blake’s Shuffle Along (1921, edited by Rosalyn Schenbeck), a landmark in the history of black music and the Broadway musical, and George Whitefield Chadwick’s opera The Padrone (edited by Marianne Betz). COPAM is also pleased to welcome a new Executive Editor of MUSA, Dexter Edge. Edge started the position at the beginning of March 2013, coming to the University of Michigan from Boston. He holds a Ph.D. in music history from the University of Southern California, where he wrote his dissertation “Mozart’s Viennese Copyists” (2001) under the supervision of Bruce Alan Brown. Edge continued on page  

Annual Meeting, Milwaukee, Wisconsin, 6–9 November 2014 Call for Papers  Deadline: 5 p.m. EST, 15 January 2014 The 2014 Annual Meeting of the AMS will be held jointly with the Society for Music Theory (SMT) in Milwaukee, Wisconsin, from Thursday 6 November to Sunday 9 November. The Program Committee welcomes proposals for individual papers or poster presentations, formal sessions, evening panel discussions, sessions using alternative formats in all areas of scholarship on music, and sessions held jointly with the SMT. Please read the guidelines carefully: proposals that do not conform will not be considered. Proposals will be accepted according to the following five categories: Individual proposals. Proposals should represent the presentation as fully as possible. A successful proposal typically articulates the main aspects of the argument or research findings clearly, positions the author’s contribution with respect to previous scholarship, and suggests the paper’s significance for the musicological community, in language that is accessible to scholars with a variety of specializations. Proposals for poster sessions should follow the guidelines for submission of individual proposals, and include an explanation of the content and goals of the graphic presentation. Technical guidelines for posters will be distributed with acceptance information. Proposals will be evaluated anonymously and should contain no direct or indirect signal of authorship. Maximum length: 350 words. Formal Sessions.  An organizer representing several individuals may propose a Formal Session, either a full session of four papers, or a half session of two papers. For this proposal, organizers should prepare a rationale, explaining the importance of the topic and the proposed constituent papers, together with the names of the organizer, participants, respondent (if applicable), and a suggested chairperson. The organizer should also include a proposal for each paper, which conforms to the guidelines for individual proposals above. Formal Session proposals will be considered as a unit and accepted or rejected as a whole. The proposed session’s consistency and coherence is an important part of the evaluation process. Paper abstracts included in a formal session proposal will not be considered for separate individual presentation. Maximum length: 350 words for the 

rationale, and 350 words for each constituent proposal. Length of presentations: Forty-five minutes are allotted for each individual proposal and constituent Formal Session proposal. The length of presentations is limited to thirty minutes in order to allow ample time for discussion. Evening panel discussions. Evening panel discussions are intended for more informal exchange of ideas. They can cover a wide range of topics: for example, they may examine a central body of scholarly work, investigate a methodology or critical approach, or lay the groundwork for a new research direction. Evening panels should comprise participants’ brief (no more than ten minutes) position statements, followed by general discussion among panelists and audience. Evening panel proposals should outline the rationale and issues behind the proposal, identify the panelists and describe the activities envisioned, explain why each panelist has been chosen, and identify the duration of the session (90 minutes or three hours).  Maximum length: 500 words. Daytime sessions using alternative formats. Examples of alternative formats include, but are not limited to, sessions combining performance and scholarship, sessions discussing an important publication, sessions featuring debate on a controversial issue, and sessions devoted to discussion of papers posted online before the meeting. Sessions may be proposed by an individual or group of individuals, a Study Group, a smaller society that has traditionally met during the Annual Meeting, or an AMS committee wishing to explore scholarly issues. Position papers delivered as part of alternative-format sessions should be no more than ten minutes long. Proposals for alternative-format sessions should identify the participants, outline the intellectual content of the session, describe the structure of the session, and identify the duration of the session (90 minutes or three hours). Maximum length: 1000 words. Joint sessions.  For this meeting the Program Committees of the two societies invite proposals for joint sessions, bringing together participants from both societies. These may take the form of a joint session Paper Panel or a joint session of Alternative Format. Guidelines for both are set out below. A joint session Paper Panel is a session that includes a balance of participants from the two societies and in which multiple approaches, methodologies, or framing dis-

courses are presented. Joint session proposals will be considered as a unit by the program committees of the AMS and the SMT, and will be programmed only if accepted by both committees. Proposals must include 1) a session rationale, and 2) abstracts for each paper on the session. The session rationale must identify the proportion of participants from each society. Paper abstracts included in a joint session proposal are components of the session proposal as a whole, and will not be considered for individual presentation. All proposals will be evaluated anonymously and should contain no direct or indirect signal of authorship. Maximum length: 350 words for the rationale, and 350 words for each constituent paper. Papers will be allocated forty-five minutes each, thirty minutes for the paper and fifteen minutes for discussion. Proposals may be for sessions of ninety minutes (two papers) or three hours (which in addition to a maximum of four paper proposals may include one or two respondents.) Joint sessions of Alternative Format are also encouraged. Alternative Format sessions might include: performance and scholarship, discussion of an important publication, a debate on a controversial issue, “flipped” papers, “lightning talks,” or the like. Proposals for Alternative Format joint sessions should outline the intellectual content of the session, the participants and their society affiliations, and the structure of the session. As with the joint session Paper Panels, joint sessions of Alternative Format should include a balance of participants from the two societies. Proposals will be considered as a unit by the two program committees and will be programmed only if accepted by those committees. Proposals may be for sessions of ninety minutes or three hours. Maximum length: 1000 words. Proposals for joint session Paper Panels and joint sessions of Alternative Format should be submitted via a shared web site to be announced closer to the submission deadline. Program Committee procedures:  The Program Committee will evaluate and discuss individual paper and poster proposals anonymously (i.e., with no knowledge of authorship) using a two-stage process. All proposals are initially evaluated on a scale from zero to five by the chair and three randomly selected members of the committee. Their scores are collated and averaged, and the proposals ordered accordingly. Proposals ranked in the top half are then evaluated by AMS Newsletter

submits different proposals to the AMS or SMT and more than one is accepted, only one of the papers may be presented. Submission procedure.  Proposals must be received by 5 p.m. EST, 15 January 2014. Electronic proposal submission is encouraged. Please note that electronic proposal submission ceases precisely at the deadline. In order to avoid technical problems with submission of a proposal, it is strongly suggested that proposals be submitted at least twenty-four hours before the deadline. Due to the volume of proposals received, proposals received after the deadline cannot be considered. A FAQ on the proposal submission process is available at the web site, and those planning to submit proposals are encouraged to review the information posted there. Those unable to submit a proposal electronically should contact the AMS office by 10 January 2014 regarding accommodation procedures. Receipts will be sent to all who submit proposals by the beginning of February 2014. AMS committees and Study Groups; Affiliated Societies. Sessions organized by such groups are not reviewed by the Program Committee. They should contact Robert Judd at the AMS office to schedule their meetings. —Richard Will Program Committee Chair

AMS office or at www.ams-net.org/milwaukee); 2) a proposed program, listing repertory, performer(s), and the duration of each work; 3) a list of audio-visual and performance needs; 4) a short (100-word) biography of each participant named in the proposal; 5) for concerts, a one-page explanation of the significance of the program or manner of performance; for lecture-recitals, a description (two pages maximum) explaining the significance of the program or manner of performance, and a summary of the lecture component, including information about the underlying research, its methodology, and conclusions; 6) audio or visual materials (twenty minutes maximum) that are representative of the program and performers. An individual may not present both a paper and a performance (or lecture-recital) at the meeting. If an individual submits proposals to both the Program Committee and the Performance Committee and both are selected, s/he will be given an early opportunity to decide which invitation to accept and which to decline. Although the AMS is unable to offer a fee to artists, oc-

casionally modest subsidies are available for performance-related expenses. Please see the application cover sheet for proposal submission details. Materials must arrive at the AMS office no later than 5 p.m. EST, 15 January 2014. Due to the high volume of applications, exceptions cannot be made to this deadline, so plan accordingly. Receipts will be sent to those who have submitted proposals by the deadline, and the committee will communicate its decisions by 15 April. —Catherine Gordon-Seifert Performance Committee Chair

Credit: Milwaukee DCD

Committee may remain confidential. Application restrictions. No one may appear on the Milwaukee program more than twice. An individual may deliver a paper and appear one other time on the program, whether participating in an evening panel discussion or alternative-format session, functioning as a chair-organizer of a formal session, or serving as a respondent, but may not deliver a lecturerecital or concert. Participation in extra-programmatic offerings such as interest-group meetings or standing committee presentations (e.g., the Committee on Career-Related Issues) does not count as an appearance for this purpose. Only one submission per author will be accepted. Authors who presented papers at the 2013 AMS meeting may not submit proposals for the 2014 meeting. Organizers of evening panel discussions or alternative-format sessions may not also present a formal paper in the same year or in the preceding one, but participants may do so. Authors may not submit the same proposal to both the AMS and SMT program committees. If an author

Milwaukee Art Museum

the entire committee. The scores are again collated, averaged, and ranked accordingly, after which the committee meets to discuss final selection. During this meeting, the committee first selects roughly two hundred presentations, including Formal Sessions and Alternative Format sessions. The committee then reveals authors of proposals, after which it may, at its discretion, select no more than five additional presentations. Knowledge of authorship facilitates the work of the committee in forming topically balanced sessions and improving the balance between senior and junior scholars on the program. Authors for all submissions that are chosen will be invited to revise their proposals for the Program and Abstracts, distributed at the meeting; the version read by the Program

Call for Performances Deadline: 15 January 2014 The AMS Performance Committee invites proposals for concerts, lecture-recitals, and other performances and performance-related events during the 2014 Milwaukee Annual Meeting. The committee encourages proposals that demonstrate the Society’s diversity of interests, range of approaches, and geographic and chronological breadth. We welcome performances that are inspired by or complement new musicological finds, that develop a point of view, or that offer a programmatic focus. Performances related to the meeting’s venue are especially encouraged. Freelance artists as well as performers and ensembles affiliated with colleges, universities, or conservatories are encouraged to submit proposals. Available times for presentations include lunch hours, afternoons, and Thursday evening, 6 November 2014. Required application materials include: 1) an application cover sheet (available from the August 2013

Call for Nominations: Session Chairs, AMS Milwaukee 2014 Nominations are requested for Session Chairs at the AMS Annual Meeting in Milwaukee, 6–9 November 2014. Please visit the web site (www.ams-net.org/milwaukee) for full details. Self-nominations are welcome. Deadline: 17 March 2014. 

Committee News continued from page 

was formerly Senior Editor of Carl Philipp Emanuel Bach: The Complete Works (a project of the Packard Humanities Institute), and he has taught at Cardiff University, Louisiana State University, and the University of Memphis. Edge is widely regarded as one of the Dexter Edge world’s leadMUSA Executive Editor ing experts on the analysis and evaluation of manuscript and printed musical sources, and he has published widely on musical sources and documents pertaining to Mozart and musical life in Vienna in the second half of the eighteenth and the first quarter of the nineteenth century. He is also an accomplished classical and jazz pianist and has worked as a piano teacher, vocal coach, and accompanist in a variety of styles, including jazz, Broadway, pop, cabaret, and classical. In addition to Mozart, musical sources, documents, and editing, his research interests include jazz, the history of black music in the United States, American musical theater, the history of the piano and piano playing, the history of singing, music cognition, the biological evolution of music, and the digital humanities. COPAM thanks Dorothea Gail for her excellent work as MUSA’s Executive Editor from 2010 until 2012, and we wish her all the best for her future career. —Dexter Edge

Graduate Education Committee The Graduate Education Committee (GEC) will sponsor two events at the Pittsburgh Annual Meeting. On Friday 8 November, the GEC will host its annual reception for prospective graduate students from 5:00 to 6:30 p.m. This will be an opportunity for prospective students to meet faculty and students from the schools they are considering and to become familiar with graduate programs across the country. Directors of graduate programs in musicology will also have an opportunity to introduce themselves to prospective students and to each other. The committee co-chairs will contact schools with graduate programs at the end of August to make arrangements for the event.     

On Saturday evening, 9 November, the GEC will present a panel discussion entitled “Graduate Education in the Digital Age,” with speakers Michael Scott Cuthbert, Carol Muller, Don Michael Randel, Tara S. Rodgers, and Zachary Wallmark. Issues to be addressed include digital resources and their impact on research and writing, the pros and cons of online teaching and MOOCs (massive open online courses), instructional technologies in the classroom, and the role of the internet and social media in building a career. We hope to see many of you at one or both of these events. —David Grayson and Mary Ann Smart

Howard Mayer Brown Fellowship Committee: Call for Applicants The AMS strongly encourages eligible graduate students in their first and second year of study to apply for the Howard Mayer Brown Fellowship. The fellowship is intended to increase the presence of minority scholars and teachers in musicology, and supports one year of graduate work for a student at a U.S. or Canadian university who is a member of an historically underrepresented group. All who have completed one year of full-time graduate work may hold the fellowship. Since the application deadline each academic year is in December of the previous year, even those who began their graduate study a few months prior to the deadline may apply. If you supervise or are aware of suitable candidates, please encourage them to submit an application. See www.ams-net.org/fellowships/hmb.php for full details. Questions? Send me a note: [email protected]. —Charles Carson

Publications Committee In Spring 2013, the Publications Committee awarded subventions for thirteen books for a total of about $21,000. They include the following: Gurminder Kaur Bhogal, Details of Consequence: Ornament, Music, and Art in Paris, 1890–1925 (Oxford University Press); supported by the AMS 75 PAYS Endowment Mark J. Butler, Playing with Something that Runs: Technology, Improvisation, and Composition in Electronic Music Performance (Oxford University Press); supported by the Reese Endowment Kevin Donnelly, Occult Aesthetics: Synchronization in Sound Cinema (Oxford University Press); supported by the AMS 75 PAYS Endowment

Alexander J. Fisher, Music, Piety, and Propaganda: The Soundscapes of Counter-Reformation Bavaria (Oxford University Press); supported by the Hanson Endowment Phil Ford, Dig: Sound and Music in Hip Culture (Oxford University Press); supported by the AMS 75 PAYS Endowment Sumanth Gopinath, The Ringtone Dialectic (MIT Press); supported by the AMS 75 PAYS Endowment Katherine McQuiston, We’ll Meet Again: Musical Design in the Films of Stanley Kubrick (Oxford University Press); supported by the AMS 75 PAYS Endowment Sonia Seeman, Sounding Roman: Music and Performing Identity in Western Turkey (Oxford University Press); supported by the AMS 75 PAYS Endowment Mary Simonson, Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century (Oxford University Press); supported by the AMS 75 PAYS Endowment Katherine Spring, Saying It With Songs: Popular Music and the Coming of Sound to Hollywood Cinema (Oxford University Press); supported by the AMS 75 PAYS Endowment Alexandra Vazquez, Listening in Detail: Performances of Cuban Music (Duke University Press); supported by the AMS 75 PAYS Endowment Carol Vernallis, Unruly Media: YouTube, Music Video, and the New Digital Cinema (Oxford University Press); supported by the Bukofzer Endowment Nicholas Wilson, The Art of Re-enchantment: Making Early Music Work in the Modern Age (Oxford University Press); supported by the AMS 75 PAYS Endowment In accordance with the Society’s procedures, these awards were recommended by the Publications Committee and approved by the Board of Directors. Funding for AMS subventions is provided through the National Endowment for the Humanities, the Andrew W. Mellon Foundation, and the generous support of AMS members and friends. Those interested in applying for AMS publication subventions are encouraged to do so. See the program descriptions for full details (www. ams-net.org/pubs/subvention.php). Next deadlines: 15 August 2013, 15 February 2014. —Judith Peraino

Study Group News Cold War and Music Study Group The Cold War and Music Study Group (CWMSG) is looking forward to the upcoming Annual Meeting in Pittsburgh, where we will sponsor an alternative-format session enAMS Newsletter

titled “Cross-Border Encounters in the Global South: A New Look at Cold War Cultural Diplomacy.” This panel will bring together a diverse panel of scholars to launch a collective discussion of issues that are at the core of our subfield: how music has been used to exercise soft power; how competing individual, state, and corporate interests have shaped musical life; and how the composition and performance of music has been used to establish borders, as well as to cross them. Danielle Fosler-Lussier, Eduardo Herrera, Marysol Quevedo, and Ryan Skinner will present, Carol Hess will respond, and Susan Thomas will chair. CWMSG members will also be interested in a special lunchtime session on Friday 8 November: two visiting scholars from EastCentral Europe—Liudmila Kovnatskaya (St. Petersburg Conservatory) and Lóránt Péteri (The Liszt Academy of Music)—will present their work on musicology in Russia and Hungary during the Cold War. Kovnatskaya and Péteri’s visit is sponsored by the AMS, as part of an outreach initiative to enable small groups of international scholars to attend the Annual Meeting; the CWMSG leadership assisted the AMS Board in arranging this session (see p. 12 for further details). All are welcome to attend these events. Please join us! —Lisa Jakelski

sions: “The Ecomusicology Listening Room” (ELR) and “The Nightingale.” This second edition of the ELR will build on the engaging and well-attended session of the same name held in New Orleans (see www.ecosong.org, as well as the story in the February 2013 AMS Newsletter). In “The Nightingale” session, the voice of the nightingale is the touchstone for a broader discussion about our ways of listening to nature and about the limitations of traditional discourse about human aesthetic identity; the panel will feature three human and one (virtual) avian participants. The ESG maintains an open door policy, and all are welcome to attend our events. Visit our web page to join our email list, consult resources (such as the dynamic Ecomusicology Bibliography), explore news of interest (such as recent Calls for Papers from Music and Politics and the Indiana University Press series, “Music, Culture, Nature”), and view archives of our activities. —Aaron S. Allen

Ibero-American Music Study Group Susan Thomas will take over as coordinator of the Ibero-American Music Study Group at this year’s Annual Meeting in Pittsburgh.  We thank Susan for agreeing to shoulder this important responsibility! —Walter A. Clark

Ecocriticism Study Group

Jewish Studies and Music Study Group

The Ecocriticism Study Group (ESG) is pleased to announce a revised web site available at www.ecomusicology.info, which hosts the Spring 2013 edition (volume two, number one) of the Ecomusicology Newsletter. Our conference web site (www.ecomusicologies. org) will continue to host information from the events inaugurated in New Orleans, which will continue in Brisbane, Australia, for Ecomusicologies 2013 (held on 22 November in conjunction with the International Music Council’s Fifth World Forum on Music). Following on our myriad outings and events in New Orleans, the ESG will be busy again at the 2013 Annual Meeting in Pittsburgh. At our business meeting we will hold an election to replace outgoing chair Aaron Allen. The ESG will host a Thursday evening session entitled “From Landscapes to Cityscapes: Shaping the Sonic Geography of Place.” That session will be paired with an excursion on Thursday morning prior to the start of the Annual Meeting; during that outing participants will engage with the collisions, confluences, and collaborations between Pittsburgh’s landscapes and cityscapes. The ESG is also involved with two alternative-format ses-

Building on the themes and methodologies discussed in its 2012 session in New Orleans, the Jewish Studies and Music Study Group (JSMSG) will present a session at the Pittsburgh Annual Meeting on the theme of “Commemoration and Revival.” Dealing with case studies from the late eighteenth century through the present day, and from Europe, the United States, and Latin America, the speakers will explore the negotiation of time and memory, and the ways that past and present converge in the realm of music. Amy Lynn Wlodarski reflects  on an alternate text for Bernstein’s Kaddish symphony written by a Holocaust survivor, Tina Frühauf addresses a Berlin festival honoring a major nineteenthcentury Jewish musical figure, Thomas J. Kernan considers a twentieth-century AmericanJewish composer’s settings of texts by Abraham Lincoln, Lillian Wohl follows music’s role in Jewish institutional identity in Buenos Aires,  and Yael Sela-Teichler compares the performance of an eighteenth-century oratorio with a recent restaging. Together these five papers present an array of approaches to commemoration that address in depth the intersection of musicology and Jewish Studies.

August 2013

The JSMSG also looks forward to a productive business meeting following the paper session, at which we hope to continue our discussion of collaboration with colleagues and counterpart groups in other scholarly societies. —Rebecca Cypess

Music and Dance Study Group The establishment of the AMS Music and Dance Study Group (MDSG), proposed by Sarah Gutsche-Miller, Samuel Dorf, Daniel Callahan, and Marian Smith, was unanimously approved by the AMS Board and announced at the 2012 AMS Business Meeting in New Orleans. The research interests of its members span topics from the Middle Ages to the present, include myriad genres and understandings of dance, and embrace methodologies as diverse as archival studies, dance reconstruction, and critical theory. The MDSG unites this diverse community of dance-interested scholars in order to promote a cross-pollination of ideas, to advocate for the study of dance across the humanities, and to provide a platform for presenting research at meetings of the AMS and other societies. All AMS members interested in dance are warmly encouraged to join the group. Please visit the MDSG web site (www.ams-net.org/ studygroups/mdsg), where you can sign up for the group and its email list, learn about upcoming conferences and other events, and view our ever-growing membership list, bibliography, and links to dance-related resources. Our inaugural evening session, “Music and Dance Studies,” will take place on Friday 8 November at 8:00 p.m. Six distinguished scholars will briefly review how they came to focus on music and dance, which challenges and rewards they have encountered, and how previous and current discussions have shaped their work. Each panelist will then offer a vision of how future research might productively engage and contribute to music studies, dance studies, and conversations across the humanities. Our six speakers include four AMS regulars: Carlo Caballero, Rebecca Harris-Warrick, Tamara Levitz, and Marian Smith. Joining them will be Tomie Hahn, the chair of the Society for Ethnomusicology’s Dance, Movement, and Gesture Section, and Susan Manning, the chair of the “Dance Studies in/as Humanities” Mellon Foundation initiative. Daniel Callahan will moderate the discussion between panelists and audience members. We hope that you join in this lively and productive exchange before dancing over to the Friday night parties. —Daniel Callahan continued on page  

Study Group News continued from page 

Music and Disability Study Group At the 2013 Annual Meeting in Pittsburgh, the Music and Disability Study Group (MDSG) will host a workshop on four papers: Stefan Honisch’s study of blind piano performance, Samantha Bassler’s examination of metaphors of music and disability in Elizabethan England, Christopher Macklin’s study of music and plague, and Neil Lerner’s investigation of representations of disabled veterans in Hollywood film. The workshop, which will begin with a general introduction to the field of Disability Studies, will be moderated by MDSG co-chairs Stephanie Jensen-Moulton and Blake Howe. To facilitate group discussions, papers will be posted on the MDSG web site in advance of the meeting. The MDSG has recently created both a Facebook page (www.facebook.com/groups/ musicanddisability/)  and a blog (musicdisabilitystudies.wordpress.com), which complement the more general Disability and Music web site (smt.esm.rochester.edu/dismus/), active since the inception of the Society for Music Theory Interest Group.  The Facebook page serves as a forum for announcements about upcoming events and forthcoming scholarship, while the blog will have several uses, including guest posts, announcements of new scholarship, and links to the Work and Family Group’s separate but connected blog.   We encourage any Facebook users to join “Music and Disability: The SMT Interest Group and AMS Study Group.” In addition to its promotion of scholarship, the MDSG maintains an active role in providing professional support to scholars. The recently formed Work and Family Group seeks ways to connect scholars with resources—including each other—to help with the many complicated issues that can arise when living with and/or caring for a disabled family member, whether a parent, spouse, or child. We have also created an ad hoc committee to review the Society’s current accessibility guidelines and to ensure that they are followed at the annual meetings. For more information, please contact Blake Howe and Stephanie Jensen-Moulton. —Stephanie Jensen-Moulton and Blake Howe

Music and Philosophy Study Group The Music and Philosophy Study Group (MPSG) would like to call attention to two recent publications dealing with music and philosophy. First, a recent issue of Contemporary Music Review (vol. 31, no. 5/6, 2012), 

guest edited by Martin Scherzinger, contains essays by a number of MPSG members, including Amy Cimini, James Currie, Michael Gallope, Jennifer Heuson, Brian Kane, Jairo Moreno, Gavin Steingo, Martin Scherzinger, and Stephen Decatur Smith. Second, Speaking of Music: Addressing the Sonorous (2013) is a collection of essays reflecting on the relationship between music and language from the perspective of music studies, philosophy, literary studies, and political theory. Both our evening panel session and our daytime business meeting at the AMS Annual Meeting will be devoted to the theme “Music, Sound, Affect.” Recent scholarship in fields as diverse as history, political theory, urban studies, theology, literature, and art history has been motivated by a conception of affect as something prior to or apart from meaning, conceptual rationality, or conscious subjectivity. In sessions designed to foster conversation, we have invited speakers to reflect critically upon the significance for music studies of this “affective turn” in the humanities. Our sessions will provide a forum to consider which new avenues of research the turn to affect can open for music studies, as well as how an affective turn could help us conceptualize old questions, problems, or themes. They will also provide occasion to think critically about the specific challenges that the study of music, sound, and affect might pose for one another. The MPSG invites you to visit our new tumblr at musicandphilosophy.tumblr.com. This site, maintained by Ted Gordon, serves as a source of information about events and publications pertaining to music and philosophy, as well as internet resources of interest to our members. If you have questions about the MPSG, or if would like to join its mailing list, please contact Stephen Decatur Smith, [email protected]. —Stephen Decatur Smith

Pedagogy Study Group The Pedagogy Study Group (PSG) celebrates the announcement that AMS members have approved the revision of the Society’s Object Statement to include teaching. We welcome this recognition of such an important activity and extend our thanks to the many people who shepherded this effort, including Matthew Balensuela, the members of the AMS Council, and Past President Anne Walters Robertson. Along with the College Music Society’s Musicology Advisory Committee, the PSG is pleased to announce that it will co-sponsor a pre-conference workshop at the CMS National Conference in Boston on Wednesday

30 October 2013. The workshop, entitled “Teaching Music History and Allied Courses for Non-Specialists and Graduate Students,” aims for a broad audience with such topics as “Teaching Film Music,” “Teaching Music in its Social Context,” “Teaching Writing in Music History and Allied Courses,” and “Teaching the American Musical Theater.” Presenters include Nathan Platte, Colin Roust, Mary Natvig, Steven Cornelius, Carol Hess, and Jessica Sternfeld, with moderator Todd Sullivan. Questions about the workshop can be directed to CMS Board Representative for Musicology John Koegel or PSG Program Chair Sandra Yang, who proposed the workshop to the CMS. At the AMS Annual Meeting in Pittsburgh, the PSG’s Friday evening session will address the topic “From Objectives to Methodology: Models for Teaching Music History to Undergraduates.” Panelists James Briscoe, Kevin Burke, and I will examine the role of music history within the music curriculum and in the context of university education as a whole, and we will establish through survey data which objectives music history instructors currently endorse. J. Peter Burkholder will moderate. The business meeting that follows will include the election of a new chair. Secretary Christina Fuhrmann will accept nominations for chair until 23 October; email her at [email protected]. The Teaching Music History Conference is now slated for June 2014 in Chicago, Illinois. Stay tuned for further details of what we hope will be a significant and stimulating conference. Finally, the second issue of the third volume of the Journal of Music History Pedagogy has been published, with articles on Bloom’s taxonomy and the monochord, a roundtable on the practice and pedagogy of jazz history in the twenty-first century, and reviews of the Taruskin/Gibbs textbook, the Smithsonian Jazz Anthology, and two books decrying the state of higher education. It is available to all at www.ams-net.org/psg. —Matthew Baumer

Popular Music Study Group At our 2012 meeting in New Orleans, the Popular Music Study Group (PMSG) adopted by-laws, and in accordance with them, we have held formal elections for leadership positions. We welcome aboard chair Eric Hung, webmaster Mandy Smith, and secretary-treasurer Joanna Love. The PMSG has also organized an exciting session for this year’s meeting in Pittsburgh, entitled “Popular Music of the Rust Belt.” We hope to see you there! —S. Alexander Reed AMS Newsletter

CFPs and Conferences The AMS has implemented a new internet site to list conferences and CFPs that is easy to search and sort. See musicologyconferences. xevents.sas.ac.uk for further details concerning listings presented here; additional conferences are listed at the web site. To subscribe to email notification regarding musicology conferences, see www.ams-net. org/announce.php.

Calls for Papers Retrospect and Prospect: Chinese Composers in the Age of Globalization CFP Deadline: 16 August 2013 4–7 December 2013 Chinese University of Hong Kong Society for Eighteenth-Century Music / Haydn Society of North America CFP Deadline: 1 September 2013 28 February–2 March 2014 Moravian College, Bethlehem, Pa. Gesualdo 400th Anniversary Conference CFP Deadline: 6 September 2013 23–24 November 2013 University of York (UK) Restaging the Song: Adapting Broadway for the Silver Screen CFP Deadline: 10 September 2013 14–16 May 2014 University of Sheffield Medieval and Renaissance Studies CFP Deadline: 15 September 2013 6–9 March 2014 New College of Florida, Sarasota American Bach Society CFP Deadline: 1 October 2013 1–4 May 2014 Kenyon College, Gambier, Oh. Montpellier 8 CFP Deadline: 1 October 2013 20–21 March 2014 Saint Hugh’s College, Oxford Society for Christian Scholarship in Music CFP Deadline: 1 October 2013 20–22 February 2014 Trinity Christian College, Palos Heights, Ill. Society for Seventeenth-Century Music CFP Deadline: 1 October 2013 4–6 April 2014 San Antonio Nineteenth-Century Music CFP Deadline: 14 October 2013 18–21 June 2014 University of Toronto August 2013

Music, Marxism, and the Frankfurt School CFP Deadline: 31 December 2013 2–4 July 2014 University College, Dublin Jewish Music and Jewish Identity CFP Deadline: 1 March 2014 19–21 October 2014 Youngstown State University

Conferences Staging Operatic Anniversaries 10 September 2013 Oxford Brookes University The Staging of Verdi & Wagner Operas 13–15 September 2013 Centro Studi Opera Omnia Luigi Boccherini, Pistoia Royal Musical Association Annual Conference 19–21 September 2013 Institute of Musical Research, London Training “Early” Musicians in the Age of Recordings 23–24 September 2013 Israel Conservatory of Music, Tel Aviv Enchanted Modernities: Theosophy and the Arts in the Modern World 25–27 September 2013 University of Amsterdam Movement—In History, Art, and Being 26–28 September, 2013 Duquesne University, Pittsburgh Verge Conference: Arts and Narrative 26–28 September 2013 Trinity Western University, Langley, BC

Società Italiana di Musicologia 18–20 October 2013 Foggia Conservatory of Music Women and the American Musical Landscape 21–26 October 2013 University of Redlands The Baroque Legacy: Past and Present in Hispanic America and Central and Eastern Europe 23–26 October 2013 Grand Valley State University, Allendale “Beyond the Semitone”: A Symposium on Tuning, Scale Systems, and Microtonality in Historical and Contemporary Contexts 24–27 October 2013 University of Aberdeen Benjamin Britten at 100: An American Centenary Symposium 24–27 October 2013 Illinois State University, Normal Britain and the British in World Culture: Celebrating Benjamin Britten’s Centenary 31 October–1 November 2013 Rimsky-Korsakov St. Petersburg State Conservatoire Music and Concentration Camps 7–8 November 2013 Council of Europe, Strasbourg Hobsbawm, Newton und Jazz 15–16 November 2013 Johannes Gutenberg Universität, Mainz

Music and Minimalism 3–7 October 2013 California State University, Long Beach

Music and Metamorphosis 17–21 November 2013 Queensland Conservatorium, Griffith University

Sources of Identity: Makers, Owners and Users of Music Sources Before 1600 4–6 October 21013 University of Sheffield

The Musical Worlds of Polish Jews, 1920–1960: Identity, Politics and Culture 17–19 November 2013 Arizona State University, Tempe

Verdi’s Third Century: Italian Opera Today 9–13 October 2013 New York University

The String Quartet from 1750 to 1870: From the Private to the Public Sphere 29 November–1 December 2013 Centro Studi Opera Omnia Luigi Boccherini, Lucca

The Renewal of Sacred Music and the Liturgy in the Catholic Church 13–15 October 2013 Church Music Association of America, St. Paul Britten: A Century of Inspiration 17–19 October 2013 Texas Tech University, Lubbock International Musicological Society East Asian Regional Association 18–20 October 2013 Taipei

Gender and Creation in the History of Performing Arts 12–14 December 2013 Ecole des Hautes Etudes en Sciences Sociales, Paris It Was 50 Years Ago Today!: An International Beatles Celebration 7–9 February 2014 Pennsylvania State University, Altoona 

AMS Legacy Gifts

He published numerous articles on a wide variety of nineteenth-century topics, as well as editions of Italian symphonies in the first half of the nineteenth century. He is also rememRey M. Longyear bered for his faithful encouragement of music (1930–1995) research at the University of Kentucky, where a fellowship and lecture series are named in his honor. Rey Longyear was a lifelong member of the Rey Morgan Longyear (1930–1995) completed his M.A. in musicology at the University of AMS, together with his wife Katherine Marie Eide Longyear (1914–2007). North Carolina in 1954, and (Her dissertation [Eastman his Ph.D. (“Daniel-FrançoisSchool of Music, University Esprit Auber (1782–1871): of Rochester] on the music a Chapter in French opéra of Henry F. Gilbert was comique”) at Cornell Unicompleted in 1968). Upon versity in 1957. He taught at Rey Longyear’s death, the University of Southern Katherine arranged for a Mississippi and beginning in $10,000 disbursement from 1960 the University of Kenhis estate in support of the tucky, where he remained AMS 50 Dissertation-Year until his death. Fellowship Endowment. His research was oriented In the eighteen years since to nineteenth-century topthe bequest was received it ics. His book in the Prentice has grown to about $25,000 Hall music history series and provides significant Ninteenth-Century Romansupport for the AHJ AMS ticism in Music (1969) was 50 fellowship program in popular and appeared in two perpetuity. further editions (1973, 1988). Rey M. Longyear

75 Years Ago: 1938 • The Society received a grant of $5,000 from the Carnegie Corporation in support of the planned 1939 International Congress in New York. • At its business meeting, the Society agreed to assist prominent scholars and performers from abroad who sought positions in the U.S. because of political conditions in their own countries.

50 Years Ago: 1963 • The Committee on Music in Secondary Education (Claude Palisca, Chair) met extensively. Their goal was to help music teachers develop greater competence in music literature, history, theory, and analysis materials; the committee recommended developing new teaching materials and aids of all kinds, and organizing and implementing summer training institutes for secondary teachers. • George Rochberg’s extensive review of George Perle, Serial Composition and Atonality (1961) was published in the Fall issue of JAMS. • The Society for Ethnomusicology declined an AMS overture suggesting a merger, responding that it was “not propitious at this time.” 

25 Years Ago: 1988 • Mary Lewis presented to the Board a proposal to establish two AMS committees to help integrate students, members who are involved in the work of other societies, and minorities into the activities of the Society. • Five musicologists from the Soviet Union were special guests at the Baltimore Annual Meeting as part of an exchange agreement coordinated by Malcolm H. Brown and Claude Palisca. Charles Hamm, Margaret Murata, Anthony Newcomb, Janet Schmalfeldt, and Robert Winter planned to travel to the USSR. • President Lewis Lockwood opined that “the bridges to ethnomusicology are firm. It looks as if it is only a matter of time before the organization of our professional life reflects the broad peopling of the field with travelers from both sectors, mingling with one another on a regular and productive basis” (AMS Newsletter, August 1988, p. 3). • The newly formed Committee on Career Options began to establish a list of persons trained in musicology and employed in music-related but nonacademic positions.

Grants and Fellowships Many grants and fellowships that recur on annual cycles are listed at the AMS web site: www.ams-net.org/grants.php. Grants range from small amounts to full-year sabbatical replacement stipends. The list of programs includes the following: • American Academy in Berlin • American Academy in Rome • American Academy of Arts & Sciences • American Antiquarian Society • American Brahms Society • American Council of Learned Societies • American Handel Society • Berlin Program for Advanced German and European Studies • Camargo Foundation • Columbia Society of Fellows in the Humanities • Delmas Foundation • Deutscher Akademischer Austauschdienst • Emory University, Fox Center for Humanistic Inquiry • French Ministry of Foreign Affairs: Chateaubriand Scholarship • Fulbright U.S. Scholar Program • Guggenheim Memorial Foundation Fellowships • Harvard University Center for Italian Renaissance Studies • Humboldt Foundation Fellowships • Institute for Advanced Study, School of Historical Studies • International Research & Exchanges Board • Kurt Weill Foundation for Music • Liguria Study Center for the Arts and Humanities • Monash University, Kartomi Fellowship • National Endowment for the Humanities • National Humanities Center Fellowships • Newberry Library Fellowships • Rice University, Humanities Research Center • Social Science Research Council • University of London, Institute of Musical Research • Yale Institute of Sacred Music AMS Newsletter

Obituaries The Society regrets to inform its members of the deaths of the following members: Ronald Cross, 21 February 2013 Ursula Kirkendale, 17 January 2013 Edward Lerner, 19 March 2013

Sewall Potter, 26 March 2013 Irwin Shainman, 8 July 2013 Norma Wright Weaver, 10 August 2012

Ursula Kirkendale (1932–2013)

Ursula and Warren Kirkendale (ordinarius emeritus, University of Regensburg) were happily married for fifty-four years, and their mutual scholarly interests and discipline continuously contributed to one another’s research and publications. An ample selection of their articles (translated into English, updated, and indexed) appeared in 2007: Music and Meaning: Studies in Music History and the Neighbouring Disciplines. Their bibliographies are published in a Festschrift in their honor, Musicologia Humana (1994), as well as in Rivista Italiana di Musicologia (2012). On 7 May 2013, a Latin Requiem for her, sponsored by Prince Sforza Ruspoli, was celebrated by the archivist-librarians of the Vatican, Cardinal Farina and Archbishop Bruguès, in Santa Maria in Trastevere in Rome, where the couple has resided for twenty-six years. Colleagues are invited to donate their publications, including offprints, to the Fondo Kirkendale in the Biblioteca Vaticana. —Calvin M. Bower

Ursula Kirkendale, a scholar deeply grounded in German humanistic tradition, died in Munich on 17 January 2013. Born in Dortmund, she studied musicology, classical archeology, and art history at the universities of Munich, Vienna, and Bonn. In 1961 she was awarded the doctorate in historical musicology summa cum laude in Bonn. Her dissertation, “Antonio Caldara: Sein Leben und seine venezianisch-römischen Oratorien,” was published in 1966 (a revised English edition appeared in 2007), and for this she was named honorary member of the Gesellschaft zur Herausgabe von Denkmäler der Tonkunst in Österreich. In 1968 Kirkendale received the Einstein Award for her article “The Ruspoli Documents on Handel” (JAMS, 1967), and thereafter she continued to pursue her interests in the eighteenth century, particularly the “Nachleben der Antike” and the relationship between classical rhetoric and music. Kirkendale held teaching positions at the University of Southern California, the University of California Santa Barbara, and Duke University, and in 1969 she was appointed associate professor at Columbia University. At the end of a year in Rome as fellow of the American Council of Learned Societies (1970–71), she suffered a debilitating stroke, which impaired her speech and right hand. While she was forced to give up teaching, she by no means retreated from her scholarly pursuits. A steady stream of publications continued through the first decade of the twenty-first century. Especially notable among these was her inquiry into the roots of Bach’s Musical Offering, the essential source of which she discovered in classical rhetorical writings:  “The Source of Bach’s Musical Offering: The Institutio oratoria of Quintilian” (JAMS 33, 1980). The larger German-speaking community became acquainted with Kirkendale’s latest archival researches into Handel’s years in Rome through a television production by the Zweites Deutsches Fernsehen in 2006, Händel in Rom, directed by Olaf Brühl. Through judicious editing, Kirkendale is heard to speak in this film. August 2013

Norma Wright Weaver (1923–2012) Norma Weaver was engaged for sixty years in research and writing on Florentine music of the late sixteenth to the mid-nineteenth centuries, work she carried out with her husband, Robert Lamar Weaver, in a collaboration that was truly a joint endeavor. She is probably best known for their co-authored two-volume 1,417-page A Chronology of Music in the Florentine Theater, 1590–1750 (1978); 1751–1800 (1993). Norma was also a principal researcher for The Music Library of a Noble Florentine Family: A Catalogue Raisonné of Manuscripts and Prints of the 1720s to the 1850s collected by the Ricasoli Family, now housed in the University of Louisville Music Library, a volume that also includes essays by Robert Weaver (2012). A Festschrift, Music in the Theater, Church, and Villa: Essays in Honor of Robert Lamar Weaver and Norma Wright Weaver, was published in 2000. A native New Yorker, Norma graduated from Hunter College with a Bachelor’s degree in music and English in 1943 and received a Master of Arts degree in music and music education at Columbia University Teachers’ College the following year. An avid chorister throughout her life, Norma met her husband

in the mid-1940s when both were members of the King’s Chapel Choir at Columbia. Early on, Norma taught music in public schools, worked in the University of North Carolina Library, and was an editor at Vanderbilt University Press. When Bob joined the University of Louisville faculty in 1975, Norma served as a staff accompanist in the School of Music. Very generous with her time, Norma was also in these years an inspiring mentor for some of Bob’s graduate students and a volunteer reader for the blind. James Haar, a fellow graduate student in Chapel Hill in 1950, remembering the pleasure of Bob and Norma’s welcoming friendship (then and thereafter), has described her “vigorous forthrightness” and how she “let it be known that nothing in the Southern Part of Heaven could match her native New York.” Calvin Bower, Bob’s first graduate student, has written, “Of wonderful Norma I recall most of all her vitality and her sassiness. She was one of the most honest persons I have ever known: there were no pretenses.” Later, in Louisville and Urbana, my husband and I, too, experienced the pleasure of Norma’s warm friendship, unabashed candor, and firm preference for blended whiskey, all infused with savvy humor. Norma Weaver died of a stroke on 10 August 2012. We miss her deeply. —Susan Parisi

Policy on Obituaries The Society wishes to recognize the accomplishments of members who have died by printing obituaries in the Newsletter. Obituaries will normally not exceed 400 words and will focus on music-related activities such as teaching, research, publications, grants, and service to the Society. The Society requests that colleagues, friends, or family of a deceased member who wish to see him or her recognized by an obituary communicate that desire to the editor of the Newsletter. The editor, in consultation with the advisory committee named below, will select the author of the obituary and edit the text for publication. A committee has been appointed to oversee and evaluate this policy, to commission or write additional obituaries as necessary, and to report to the Board of Directors. The committee comprises the executive director (chair), the secretary of the Council, and one other member. 

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Society Election Results

Changes to AMS By-laws

The results of the 13 election of AMS officers and the Board of Directors:

In balloting held in early 2013, the AMS membership voted in favor of all proposed by-laws changes. The Society’s revised object statement is “The object of the Society shall be the advancement of scholarship in the various fields of music through research, learning, and teaching. The Society shall be operated as a nonprofit corporation exclusively for this object.” Other minor changes pertaining to administration were made. See www.ams-net. org/by-laws-amendments-2012-11.php for details.

President: Ellen T. Harris Secretary: Michael C. Tusa Directors-at-Large: Gregory Barnett Susan Boynton Bruce Alan Brown

Next Board Meetings The next meetings of the Board of Directors will take place 6 November in Pittsburgh, and 1 March 2014 in Milwaukee.

AMS Enhanced Directory The new AMS online Directory includes features such as photo and document uploads, research interests, publication citations, and personal links. Nearly five hundred members have added information in the past few weeks. If you haven’t updated your Directory entry yet, please do! Log in at www.ams-net. org and follow the link.

Meetings of AMS and Related Societies 2013: CMS: 31 Oct.–3 Nov., Cambridge, Mass. SMT: 31 Oct.–3 Nov., Charlotte, N.C. AMS: 7–10 Nov., Pittsburgh, Pa. SEM: 14–17 Nov., Indianapolis, In. 2014: SAM: 5–9 Mar., Lancaster, Pa. CMS: 29 Oct–2 Nov., St. Louis, Mo. AMS/SMT: 6–9 Nov., Milwaukee, Wis. SEM: 13–16 Nov., Pittsburgh, Pa.

Next Newsletter Deadline Items for publication in the next issue of the AMS Newsletter must be submitted by 1 December to: Andrew H. Weaver AMS Newsletter Editor Catholic University of America [email protected] The AMS Newsletter (ISSN 0402012X) is published twice yearly by the American Musicological Society, Inc. and mailed to all members and subscribers. Requests for additional copies of current and back issues of the AMS Newsletter should be directed to the AMS office. All back issues of the AMS Newsletter are available at the AMS web site: www.ams-net.org/newsletter Claims for missing issues must be made within 90 days of publication (overseas: 180 days).