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



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

                                                                —1—
                                             Houston—2003           continued from page 1      San Antonio, three hours southeast of Aus-
AMS Membership Records                                                                         tin, and four hours south of Dallas.
Please send AMS Directory corrections and    performance of Morton Feldman’s Rothko                 The 2003 Program Committee is chaired
updates in a timely manner in order to       Chapel at the Rothko Chapel.                      by Jann Pasler (University of California, San
avoid errors. The deadline for Directory          Although a comfortable walk, a free down-    Diego), the Performance Committee by Julie
updates is 1 December 2003. Send all         town shuttle can take one from Hyatt to the       E. Cumming (McGill University), and the
corrections, updates, membership inquir-     theater district or to other downtown attrac-     Local Arrangements Committee by Howard
ies, and dues payments to the AMS, 201       tions, including Astros Field, the new basket-    Pollack (University of Houston). Requests
S. 34th Street, Philadelphia, PA 19104-      ball arena, or the downtown Historic District,    by interest groups for meeting rooms should
6313; 215/898-8698; toll free 888/611-       the site of some popular late night clubs.        be sent no later than 1 May to the AMS Phila-
4267 (“4AMS”); fax 215/573-3673; <ams             Houston is a sprawling sun-belt city with    delphia office; tel. 888/611-4267 or 215/
@sas.upenn.edu>. See the AMS Web             a downtown area devoted mostly to business        898-8698; <ams@sas.upenn.edu>.
site for more information: <www.ams-         and cultural activities, but one can easily get                                 —Howard Pollack
net.org>.                                    to other areas of the city from the Hyatt by
                                             bus. About a five-minute drive south of
AMS Newsletter Address and                   downtown lies the Montrose, known for its
                                             restaurants, clubs, and gay bars; another five-
                                                                                                 Committee Membership
Deadlines                                    minute drive takes one to the museum dis-           The President would be pleased to hear
Items for publication in the August          trict, which includes the Museum of Fine            from members of the Society who
issue of the AMS Newsletter must be          Arts, the Contemporary Arts Museum, the             would like to volunteer for assignments
submitted by 1 May and for the Febru-        Museum of Health and Medical Science, the           to committees. Interested persons
ary issue by 10 November (25 Novem-          Holocaust Museum, and, closer to the Mon-           should write to Wye J. Allanbrook, Uni-
ber for reports) to                          trose, a remarkable cluster of museums asso-        versity of California, Department of
    Andreas Giger                            ciated with the Menil family, including the         Music, 104 Morrison Hall #1200, Berke-
    Editor, AMS Newsletter                   Menil Collection, the Cy Twombly Gallery,           ley, CA 94720-1201; tel. 510/642-2678;
                                             and the Rothko Chapel. Serious shopping,            <wyeja@socrates.berkeley.edu> and are
    <agiger1@lsu.edu>                                                                            asked to enclose a curriculum vitae and
                                             meanwhile, goes on in the uptown Galleria
    School of Music                                                                              identify their area(s) of interest.
                                             area, about twenty minutes west of down-
    Louisiana State University               town. The NASA space center, with its excel-
    Baton Rouge, LA 70803-2504               lent interactive exhibits, is about a twenty-       AMS Fellowships, Awards, and
    tel. 225/344-0427                        minute drive southeast of downtown; another         Prizes
    fax 225/578-3333                         twenty minutes southeast is the island of           Descriptions and detailed guidelines for
(Please note that e-mail submissions are     Galveston.                                          all AMS awards appear in the Directory
preferred.)                                       A large cosmopolitan seaport city, Hous-       and on the AMS home page.
                                             ton is famous for the excellence and diversity
    The AMS Newsletter is published          of its food and popular music. Local specialty      Alvin H. Johnson AMS 50
twice yearly by the American Musico-         cuisines include Cajun, Creole, Tex-Mex,            Dissertation Fellowship Awards
logical Society, Inc., 201 S. 34th Street,   Vietnamese, Chinese, Indian, and Southwest-         Deadline: 15 January.
Philadelphia, PA 19104-6313; tel. 888/       ern cooking, and one can find good zydeco,
611-4267 or 215/898-8698; fax 215/573-                                                           Otto Kinkeldey Award
                                             salsa, blues, Western swing, and country-           No specific deadline.
3673; <ams@sas.upenn.edu>; <www.             western bands throughout the city. Although
ams-net.org> and mailed to all members       downtown itself has experienced a revival in        Alfred Einstein Award
and subscribers. Requests for additional     recent years, with many new restaurants open-       Deadline: 1 June.
copies of current and back issues of the     ing up, much of this activity happens in areas
AMS Newsletter should be directed to                                                             Paul A. Pisk Prize
                                             close to downtown, such as the Montrose.            Deadline: 1 October.
the AMS Philadelphia office. Claims for           Houston has a number of colleges and
missing issues must be requested within      universities, including the University of           Noah Greenberg Award
six months of publication.                   Houston, a public institution with over             Deadline: 15 August.
                                             30,000 students; Texas Southern University, a
Next Board Meetings                                                                              Philip Brett Award
                                             historically African-American institution; Rice
                                                                                                 Deadline: 1 July.
The next meeting of the Board of             University; Houston Baptist University; Uni-
Directors will take place on 15 March        versity of St. Thomas; and a cluster of impor-      Howard Mayer Brown Fellowship
2003 in Houston, Texas; the fall meet-       tant medical colleges, including the Baylor         Deadline: 15 January.
ing will take place on 12 November           College of Medicine, which are associated
                                             with Houston’s medical center, one of the           AMS Publication Subventions
2003, again in Houston.                                                                          Deadlines: 15 March, 15 September.
                                             largest in the world. The University of Hous-
AMS Home Page                                ton’s Moores School of Music and Rice Uni-
                                             versity’s Shepherd School of Music feature
                                                                                                 Call for Dues
The address of the Society’s home page,      the new Moores Opera House, with its color-         If you have not paid your AMS dues for
on which may be found the front matter       ful Frank Stella murals, and the elegant Stu-       the calendar year 2003 by the time you
of the AMS Directory, e-mail addresses       dent Recital Hall, respectively. Events at both     read these lines, please do so immediately.
of musicologists, links to other sites       sites are being planned for the AMS weekend.        Prompt payment of dues saves the Soci-
such as DDM–Online and the Calendar               Houston has two major airports, George         ety the considerable expense of billing
of Musicological Events, is <www.ams-        Bush Intercontinental Airport and the smaller       you again and helps keep records up to
net.org>. It also includes a page of links   Hobby Airport. Bush Intercontinental is             date. Please send all payments to:
to graduate programs in musicology.          twenty-two miles north of the Hyatt and
Alterations or additions to the Web site,                                                            The American Musicological Society
                                             Hobby is twelve miles to the southeast. A taxi          201 S. 34th Street
including the list of e-mail addresses and   from Hobby should run around twenty-five
graduate program updates, should be                                                                  Philadelphia, PA 19104-6313, U.S.A.
                                             dollars, from Bush between forty and forty-
sent to the AMS Philadelphia office at                                                           You may also renew your membership
                                             five dollars. Various shuttle services are also
<ams@sas.upenn.edu>.                                                                             online at <www.ams-net.org>.
                                             available. The city is also three hours east of
                                                                —2—
President’s Message                          scholars addressing issues of ‘Anonymity        proverbially “interesting times.” Jessie’s
                                             and Identity’ within the Society and in         abiding concern that the Society be
My first act as President was, I suspect,    music history. Numerous interest groups,        responsive to all constituencies governed
a first for the Society as well: the new     study groups, and ancillary societies met       many of the practices instituted under
President missed her own installation.       during lunchtime, and receptions hosted by      her leadership, including public calls for
While you were disporting yourselves in      individual departments and publishers filled    candidates for positions such as the
Columbus, unavoidable medical issues         the evening hours. There was the usual rich     Newsletter and AMS Studies Series Edi-
kept me unhappily at home, cheated of        mix of scholarship and fellowship, as we        tors. Sensing the mood of stocktaking
the many conversations with friends I        had our annual conversations with friends       that has seized the Society as it faces the
see so rarely, the papers I had already      we see once a year or met scholars with         challenges of these dramatically changing
checked off as not to be missed, and the     similar interests.                              intellectual and financial times, she
crucial colloquies with the Board that           “We owe thanks to Jeffrey Kallberg          invited the Board to a retreat (its first-
would set my agenda for the two years        and his colleagues on the AMS Program           ever) to formulate responses to this diffi-
to come. I am very grateful to our new       Committee for assembling a varied roster        cult future. One immediate result was
Vice-President, J. Peter Burkholder, who     of excellent presentations; to Don O.           the institution of the Presidential Forum,
stepped up to take my place, and I have      Franklin and the Performance Committee          mentioned above, which I applaud and
asked him to share his impressions of        for a rich series of concerts and lecture-      plan to continue. Another was the estab-
the meeting with you:                        recitals; and to Charles Atkinson and Bur-
     “Columbus was our first joint meet-                                                     lishing of new committees to address
                                             dette Green, the Local Arrangements Com-        more flexibly the concerns of our
ing with the Society for Music Theory        mittee they chaired, and the many volun-
since the Toronto mega-meeting in                                                            broadly diversified membership: a Com-
                                             teers for making it all run so smoothly.”       mittee on Committees (to regularize
2000, and it was a pleasure to gather            I would like to continue on in the
with them again in a more intimate set-                                                      committee structures and ensure broader
                                             thanking mode, paying tribute to people         committee representation), another on
ting. The AMS program was expanded           who stepped down from their posts at the
from five parallel sessions to six in each                                                   Membership and Professional Develop-
                                             Columbus meeting. There is much substan-        ment (to design programs and services
morning and afternoon time slot, an          tive thanking to be done. Departing Board
innovation that will continue in coming                                                      for various segments of the Society), a
                                             members Jennifer Bloxam, John Daverio,
years. Together with two or three SMT                                                        third on Public Image (to further the
                                             and Michael Ochs have been important
sessions and some joint AMS/SMT ses-                                                         Society’s participation in the greater pub-
                                             contributors to Board discussions; their
sions, the added session provided for a      voices will be missed. And our President        lic discourse), and finally a Committee
greater number and variety of papers         and our Vice President leave behind a           on the Capital Campaign to ensure that
(and some difficult choices!). All corners   record of accomplishments that will have a      we can afford these new initiatives. The
of the field seemed well represented and     significant impact on the nature of the         mandates and structures of these com-
buzzing with activity. The papers I          Society both now and in the future. Vice-       mittees are described in Jessie’s Presiden-
heard, from Renaissance theory to bor-       President Elaine Sisman chaired the Ad          tial Message in the August 2002 Newslet-
rowing in popular music, were all well       Hoc Committee on the Annual Meeting             ter; their thrust is clear. The AMS is no
attended and stimulated much interest        Program, which began by teaching us a few       longer a unitary, inner-directed institu-
and discussion.                              things about the current state of the Society   tion. It must reach out to its membership
     “One of the things I noticed is the     that radically altered our perceptions of it.   simply in order to discover what it is.
increased mutual acceptance and even         (Who knew that the number of graduate           That we are undertaking this is due to
collaboration among scholars working in      students and recent Ph.D.s presenting           the tireless efforts of retiring President
newer and older paradigms. Not only          papers at the national meeting is usually       Jessie Ann Owens.
did sessions on race, gender, sexuality,     well over half of the total? This is why we          I need look no further for my agenda
and the body peacefully coexist with ses-    do research.) Under Elaine’s management         than the set of issues defined by Jessie
sions on sketches, notation, and sources,    the Committee moved with laudable effi-         and the Board in its March 2002 retreat.
but individual sessions often included a     ciency both to make and to implement rec-       Any one of them could occupy the ener-
variety of approaches and emphases. I        ommendations. One decision was in place         gies of the next President for her entire
began to wonder whether the skirmishes       in Columbus (the sixth paper session, men-      two-year term. And the support systems
over ‘the new musicology’ were over.         tioned above), and a modification to the        taking shape will probably be called upon
For me, this was symbolized by the win-      “blind” reading rule in effect for the 2003     sooner than expected: these interesting
ners of this year’s Einstein and Kinkel-     meeting allows program committees an ele-       times show no signs of abating. Stephen
dey awards (see p. 7 of this Newsletter),    ment of judgment in redressing imbalances       Greenblatt, President of the Modern
two studies that are models of tradi-        in the selection process. The Ad Hoc Com-       Language Association, has just announced
tional scholarly method yet address          mittee sensibly turned itself into a Standing   that listings for academic jobs in litera-
questions that would not have been           Committee on the Program to fine-tune           ture and languages have declined 20%
asked two decades ago, about propa-          over time the results of its recommenda-        since 2001—the first decline, surprisingly
ganda in film music and about Handel’s       tions (see Elaine Sisman’s report, p. 10).      and ominously, since 1995. In order to
sexuality.                                   The Committee is to be congratulated; it’s      support these new initiatives, the Society
     “Beyond the regular sessions and        the rare blue-ribbon commission that can        needs volunteers to serve on its various
evening special or study sessions, the       boast such immediate results!                   committees. You’ll find a call on p. 2. I
activities in the times between session          Elaine’s committee, appointed by for-       urge you to consider serving, and I wel-
slots continue to expand. Outgoing           mer President Ruth Solie, introduced issues     come your thoughts and reactions on
President Jessie Ann Owens hosted the        that became the special concern of her suc-     other subjects as well at <wyeja@socrates.
first AMS Presidential Forum, with a         cessor, President Jessie Ann Owens, who         berkeley.edu>.
panel of former presidents and other         has presided over the Society in a period of                            —Wendy Allanbrook


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

                                                                    —5—
             Richard Crocker                                  Kenneth Levy                                         David Hiley
            Honorary Member                                  Honorary Member                                  Corresponding Member


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


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


The 2002 Noah Greenberg Award, which             for “Jewish Nationalism in Art Music (1900–        others who have made significant and life-
recognizes outstanding contributions to his-     1951)”; and Martin Scherzinger (Eastman            long contributions to the field of early brass
torically aware performance and the study of     School of Music) for “Globalization and the        music.
historical performing practices, was awarded     Making of Music History in the Twentieth
to Maria I. Rose (New York University) for       Century: The Case of Africa.”
her “Nineteenth-Century Piano Recording                                                             The American Philosophical Society has
Project.”                                                                                           awarded M. Elizabeth C. Bartlet (Duke Uni-
                                                 Robert Torre, a recent graduate of the Uni-        versity) Franklin Research Grants for the
                                                 versity of South Carolina, has received a          summers of 2002 and 2003 in support of her
The Philip Brett Award, sponsored by the         2002–2003 Fulbright Scholarship to pursue          project “Queen Marie Leczinska as Patron
Gay and Lesbian Study Group of the Ameri-        his project “Johann Adolf Hasse’s Artaserse        of Music: Opera and Chamber Music at the
can Musicological Society, for exceptional       (1730): The Preparation of a Musical Edi-          Court of Louis XV.”
musicological work in the field of gay, les-     tion” at the Musikwissenschaftliches Institut
bian, bisexual, and transgender/transsexual      of the University of Tübingen.
studies, was awarded to Sophie Fuller (Uni-                                                         Ellen Rosand (Yale University) and Barbara
versity of Reading) and Lloyd Whitesell                                                             Haggh-Huglo (University of Maryland) have
(McGill University) for their book Queer Epi-    Susan C. Cook (University of Wisconsin,            been elected Directors-at-Large of the Inter-
sodes in Music and Modern Identity (University   Madison) has been awarded the Walt Whit-           national Musicological Society for the period
of Illinois Press, 2002).                        man Chair in American Culture Studies in           2002–2007.
                                                 the Netherlands as part of the Fulbright Sen-
                                                 ior Distinguished Lecturer Program. She will
The Paul A. Pisk Prize, awarded annually to      be teaching in the American Studies program        Rebecca Wagner Oettinger (University of
a graduate student for the best scholarly        at the Catholic University of Nijmegen dur-        Wisconsin, Whitewater) received the Roland
paper accepted for presentation at the           ing spring 2003 as well as lecturing at other      H. Bainton Prize of the Sixteenth-Century
annual meeting, went to Silvio dos Santos        universities throughout the Netherlands.           Studies Conference. The prize is given in
(Brandeis University) for his paper “Ascrip-                                                        three categories each year for the best book
tion of Identity: The Bild Motif and the                                                            published during the previous year. Her
Character of Lulu.”                              Emanuele Senici (University of Oxford) has         book Music as Propaganda in the German Refor-
                                                 been awarded the 2002 Jerome Roche Prize           mation (Ashgate, 2001) won the prize for Art
                                                 of the Royal Musical Association for his arti-     and Music History.
ACLS Fellowships have been awarded to            cle “Verdi’s Falstaff at Italy’s Fin de Siècle,”
Mauro P. Calcagno (Harvard University) for       published in The Musical Quarterly 85 (2001):
“On the Meanings of Voice in Seventeenth-        274–310. The Roche Prize is awarded annu-          The Commedia dell’Arte in Naples: A Bilingual
Century Italy: An Inquiry into the Permea-       ally “to honor a distinguished article by a        Edition of the 176 Casamarciano Scenarios (Scare-
bility of Boundaries of Baroque Arts”; Rich-     scholar in the early stages of his or her          crow Press, 2001), a book co-edited by
ard K. Wolf (Harvard University) for “Semi-      career.”                                           Thomas F. Heck (Ohio State University),
otics and Process in the Ritual Drumming of                                                         received a 2001 Robert W. Weiss/Howard
South Asia”; Nancy Yunhwa Rao (Rutgers                                                              Mayer Brown Publication Subvention Award
University, New Brunswick) for “Aesthetics       Trevor Herbert (Open University) has               from the Newberry Library. The award sup-
of Cultural Synthesis: Contemporary Chinese      received the 2002 Christopher Monk Award           ports the publication of outstanding works
Music”; Sean Gallagher (Harvard University)      of the Historic Brass Society. The Christo-        of scholarship that cover European civiliza-
for “The Poetics of Varietas: Johannes Tinc-     pher Monk Award is given annually to honor         tion before 1700 in the areas of music, thea-
toris and the Music of the Ockeghem Gen-         scholars, performers, teachers, instrument         ter, French or Italian literature, or cultural
eration”; Klara Moricz (Amherst College)         makers, curators, instrument collectors, and       studies.
                                                                    —8—
Alejandro L. Madrid (Ohio State Univer-
sity) is co-winner of the Third International   Grants and Fellowships Available
Samuel Claro Valdes Award (2002) for his        Programs included in this issue have application deadlines in spring and summer; for
essay “Transculturation, Performativity, and    programs with deadlines in fall and winter, see the August issue. Persons interested in the
Identity in Julian Carrillo’s Symphony No.      suitability of a particular program for their needs should check directly with that program
1.” The Samuel Claro Valdes Award is given      for current information on awards, eligibility, deadlines, and application procedures.
once every two years by the Universidad
Católica de Chile in recognition of outstand-   American Council of             Various opportunities. For more information: tel. 212/
ing scholarship in the field of Latin Ameri-    Learned Societies               697-1505; <grants@acls.org>; <www.acls.org>.
can music. Mr. Madrid also received the
2001–2002 A-R Editions Award for best           American Philosophical          For questions on eligibility of a project: tel. 215/440-3429;
student paper presented at the Midwest          Society Research                <eroach@amphilsoc.org>; <www.amphilsoc.org>.
Chapter of the AMS and has been awarded         Programs
a Ford Foundation Fellowship to conclude
his Ph.D. dissertation entitled “Writing        Dena Epstein Award              Grants for research in archives or libraries internationally
Modernist Music in Mexico: Performativity,                                      on any aspect of American music. For full information,
Transculturation, and Identity after the Rev-                                   contact Vincent Pelote (<pelote@andromeda.rutgers.
olution, 1920–30.”                                                              edu>); <www.musiclibraryassoc.org>.

                                                Fulbright Awards for U.S.       For full information, contact the CIES (Council for
Charles M. Atkinson (Ohio State University)     Faculty and Professionals       International Exchange of Scholars); tel. 202/686-4000;
has been awarded a Fellowship for Univer-                                       <www.cies.org>.
sity Teachers by the National Endowment
for the Humanities. The fellowship is for       Guggenheim Fellowships          For full information: tel. 212/687-4470; <fellowships@
the 2003–2004 academic year and was                                             gf.org>; <www.gf.org>.
awarded to support the completion of an
edition of the melodies for the Sanctus and     Humboldt Research               For full information: <avh@bellatlantic.net>; tel. 202/
Agnus Dei of the Roman Mass with their          Fellowships for Foreign         783-1907; <www.humboldt-foundation.de/en>.
tropes and prosulas. The edition will appear    Scholars/Humboldt
in the series Monumenta Monodica Medii Aevi,    Research Prizes
published by the Bärenreiter Verlag, Kassel.
                                                International Research &        For full information: tel. 202/628-8188; <irex@irex.org>;
                                                Exchanges Board Grants          <www.irex.org>.
W. Anthony Sheppard (Williams College)
received an NEH Fellowship for work on          Liguria Study Center for        For full information: <www.liguriastudycenter.org>.
his book “Extreme Exoticism: Japan in the       the Arts and Humanities
American Musical Imagination.”
                                                NEH Fellowships for             For full information: tel. 202/606-8400; <research@
Allan Atlas (City University of New York)       University Teachers/            neh.gov>; <www.neh.gov>.
was elected an Honorary Member of the           NEH Fellowships for
International Concertina Association in rec-    College Teachers and
ognition of the work he has done in pro-        Independent Scholars
moting the instrument in both scholarly and
performance contexts. He is the first Ameri-    Newberry Library                For full information: tel. 312/255-3666; <research@
can to be so honored.                           Fellowships                     newberry.org>; <www.newberry.org>.

                                                Wilk Book Prize for             For full information: tel. 213/740-9369; <www.usc.edu/
                                                Research in Polish Music        go/polish_music/wilkprizes/wprizes.html>; <polmusic@
                                                                                email.usc.edu>.


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

                                                                 —9—
Committee Reports continued from page 5            women into general music courses. Macdon-          Membership and Professional Development
                                                   ald emphasized two other themes: “pres-            Committee, formed in part as a response to
                                                   ence,” the need to raise awareness of the role     a perceived need for mentoring within the
sound recordings, but everyone who uses            of women in music history (she described           AMS.
sound recording for teaching or whose library      various projects at Oberlin in different                             —Sanna Pederson, Member,
distributes sound recordings to students.          venues); and “interaction,” the difficulty of                        and Margaret Notley, Chair
              —José Bowen, AMS Representative      realizing the interdisciplinary possibilities of
                                                   such a topic (outside funding for faculty
                                                   workshops on redesigning courses helps).           Final Report of the Ad Hoc Committee
The Committee on the                                                                                  on the Annual Meeting Program
History of the Society                                  In the second talk, “Being Inclusive:
                                                   Teaching about Music and Gender,” Jane
                                                   Bernstein of Tufts University described the        After two years of work, the Ad Hoc Com-
The purpose of the Committee is to make it                                                            mittee on the Annual Meeting Program
possible, one day, for a scholar as yet uni-       cross-cultural and cross-historical perspec-
                                                   tives of a forthcoming book that she has           (Elaine Sisman, chair; Scott Burnham, Geor-
dentified to write a history of the Society and                                                       gia Cowart, Jonathan Glixon; and Jessie
therefore, to some extent, a history of our        edited, Women’s Voices and Music. Having
                                                   included essays on both popular and art            Ann Owens, ex-officio) has concluded its
discipline in North America. Its central                                                              study with several recommendations offered
focus since 1996 has been an oral history          music, she hopes to reach a broader audi-
                                                   ence than musicologists usually do. Placing        to the Board (which approved them) on 31
project, which has undertaken to record and                                                           October and then to the membership at the
preserve information and reminiscences             this book in a historical context, she observed
                                                   that in the 1970s scholars of women and            Business Meeting in Columbus on 2 Novem-
about the Society by arranging for interviews                                                         ber. The principal recommendations con-
of all living Past-Presidents, Board Members,      music focused on unearthing data and in the
                                                   1980s grappled with ideology, and she noted        cern a change in the method of selecting
and “elder statesmen.” Under the assiduous                                                            papers and formal sessions and the estab-
guidance of Aubrey Garlington, who chaired         an increasing focus on performance and per-
                                                   formance theory. Bernstein asserted that           lishment of a regular Committee on the
the Committee from 1997 to 2001, more                                                                 Annual Meeting.
than twenty-six interviews were completed,         musical literacy is entirely irrelevant to her
                                                   book, making it useful for music majors and             The report values and seeks to maintain:
including those with all but two of our Past-                                                         (1) the canonical six time-slots (from Thurs-
Presidents. We are now embarking on the            women’s studies majors alike.
                                                        In her talk “Of Feminist Waves and            day afternoon to Sunday morning); (2) the
next phase of the project and, since our                                                              current forty-five-minute paper slot; (3) the
meeting in Columbus, the Committee has             Music,” Marcia Citron of Rice University
                                                   reflected on recent developments in femi-          principle of anonymity, up to a point; (4) the
initiated at least three more interviews of sig-                                                      current number of papers read at the meet-
nificant figures in the Society, with others to    nism and feminist theory. She described a
                                                   new or “third wave” of feminist thinking           ing (144) as begun in Columbus; and (5) the
be pursued in the near future.                                                                        250-word abstract.
     The Society’s archives are housed at the      characteristic of the generation born between
University of Pennsylvania under the able          1965 and 1979 and contrasted the new atti-         A. The selection process. 1. Blind readings:
watch of Marjorie Hassen, who logs in the          tudes to the earlier “second wave” with            the first reading and discussion should con-
interview tapes as they are received. The          which she identifies. Citron used anecdotes        tinue to be done “blind,” and 120 papers
Executive Director then arranges for the           and observations from the classroom to             selected. Then the authors of all abstracts
tapes to be transcribed and sends those tran-      characterize third-wave feminism, which            should be uncovered for the selection of the
scripts to the interviewers for review and         emphasizes display of beauty and sexuality         next 24 papers, which will lead to 144
editing. The Committee would be happy to           and in general is direct and unapologetic          accepted in total. No paper already accepted
hear from volunteers who might like to be          about sexual issues. Skeptical about or impa-      would be eliminated during this round.
involved at any stage of the process. The          tient with the notion that society determines      Rationale: the Committee does not see egre-
new chair is Barbara Hanning <bhanning@            sexual and gender identities, third-wave fem-      gious wrongs committed in the way papers
ccny.cuny.edu> and its members include             inism celebrates the term “girl” rather than       have been selected with respect to the
Mark DeVoto, Bonnie Jo Dopp, Aubrey                “woman.” Citron described the third wave           numbers, topics, or ranks of the authors. It
Garlington, James Grier, Marjorie Hassen,          as a reaction to the predominantly white,          thus believes that the principle of fairness
Barbara Heyman, David Josephson, and               heterosexual, and middle-class makeup of           should continue to inform the first round—
Rena Mueller.                                      both second-wave feminism and “post-               the full 120—of the selection process. More
                    —Barbara R. Hanning, Chair     feminism.” Discussion after her talk focused       information about the submitters will
                                                   on differences between post-feminism and           strengthen the second round because it will
                                                   third-wave feminism and how these are man-         address three related issues: (a) the tiny
The Committee on the Status of Women               ifested in music.                                  numbers of senior scholars presenting
                                                        In the closed meeting of the CSW, new         papers at the annual meeting; (b) the fact of
The Committee on the Status of Women               members Judith Peraino, Nina Treadwell,            papers by scholars respected in other areas
(CSW) sponsored an open session in Colum-          and Sindhu Revuluri were welcomed, the last        of the Society’s functioning and at all stages
bus that centered on the topic “Making Con-        as a student member. The outgoing chair,           of their careers being turned down year after
nections with the Women’s Studies Depart-          Judy Tsou, thanked outgoing members Olivia         year; and (c) the undeniable fact that some-
ment.” The talks of the three speakers             Bloechl, Claire Fontijn-Harris, and Sanna          times knowing the identity of an abstract’s
offered different perspectives on the inter-       Pederson for their work within the Commit-         author enables the reader to understand
section between women’s studies and musi-          tee. Discussion centered on the need to            how that topic fits into a particular project
cology. In a talk entitled “Are We There?          obtain reliable statistics about women in our      or life’s work. The proposal enables the Pro-
Women’s Studies in a Professional Music            field and of the difficulty of doing so. Such      gram Committee to use both criteria—
Program,” Claudia Macdonald described her          statistics would make it possible to compare       fairness and informed context—to shape
own experience at Oberlin College Conser-          salaries of women professors with those of         and balance the program. 2. Session chairs:
vatory, speaking of the “double isolation” of      their male colleagues at the same level as         would be discussed by the whole Commit-
the topic of women and/in music from both          well as to compare the number of women             tee to continue the policy already adopted
general music courses and general women’s          receiving doctorates with the number of            of broadening the pool of potential chairs.
studies classes. She has decided that the best     women in tenure-track positions. Pamela            3. Formal sessions: papers submitted together
approach for her is to integrate her work on       Potter joined the meeting to talk about the        as formal sessions should be considered as
                                                                      —10—
an integral unit, with a 500-word cover sheet       This year the Committee members also              ciency and administrative savvy served the
by the organizer as well as 250-word                mandated that the co-chairs publicize the         Committee well. Richard Agee generated
abstracts by the participants.                      MTF Fellows program in as many other              much of the activity surrounding the MTF
B. Shape of the program. 1. Plenary sessions:       musical organizations as possible to increase     Fellows. The informal forum titled “Issues in
the Presidential Forum is an excellent idea         the yield.                                        Cultural Diversity” at the 2002 conference
and should be a plenary session, perhaps                 While this was time-consuming work, it       produced lively discussion on strategies for
alternating with a plenary presidential ad-         paid off, resulting in eleven MTF Fellows         curricular expansion, the pooling of resources
dress. It is also possible that a donor might       for 2002 attending the annual meeting in          through an extended online discussion list,
endow a lectureship at the annual meeting;          Columbus. This number is nearly twice as          and the question of how cultural diversity in
this might form part of the Capital Cam-            many as in the previous year and four times       the study of musicology and music theory
paign. 2. Sessions devoted to teaching: pedagogi-   as many as in 2000. A great deal of energy        might impact future paradigm changes. The
cal issues would be valuable subjects for dis-      has been generated with these moves, as           Committee extends its sincere gratitude for
cussion, panels, papers, or sessions. The call      was made clear in the MTF Fellows recep-          the energetic leadership of Richard Agee.
for papers should encourage submissions on          tion in Columbus. There is a possibility that         Bob Judd was instrumental in the success
any aspect of teaching and pedagogy.                the name of the award might be altered in         of the CCD’s programs over the past couple
                                                    the near future, since a number of current        of years, and once again the CCD extends a
C. The Program Committee. The Com-
                                                    and past MTF Fellows have objected to the         sincere thanks for his facilitation of the Com-
mittee affirmed that the program committee
                                                    word “minority” in the name of the grant.         mittee’s programs.
should consist of a mix of senior and junior
                                                    Overall, though, the Committee is very                                       —Richard J. Agee and
people with adequate representation of
                                                    pleased with the direction that this program                                Johann Buis, Co-Chairs
areas, eras, and methodologies.
                                                    has taken.
D. Creation of a Regular Committee on                    This year the AMS Board approved the
the Annual Meeting. The Committee rec-              CCD’s request to broaden the scope of the         Committee on the
ommends the formation of a Committee on             Minority Travel Fund Fellows to include           Publication of American Music
the Annual Meeting, chaired by the Vice-            those students in terminal master’s pro-
President of the Society, with members to           grams, and indeed, in 2002 the Committee          The Society’s Committee on the Publication
include the Program Chair, a member of the          had one such candidate successfully apply to      of American Music (COPAM) is pleased to
Council, and others appointed by the Presi-         the program. The Board also approved the          report that Charles Ives’s 129 Songs, edited by
dent, who will be an ex-officio member.             Committee’s request to waive AMS registra-        H. Wiley Hitchcock, is now in press and
This Committee will be able to (1) act as a         tion fees for local minority faculty members      scheduled for publication by mid-2003. This
sounding board for the membership; (2)              who are not currently members of the AMS          landmark volume offers the first critical edi-
assess and fine-tune the results of these rec-      to attend the annual meeting. In Columbus         tions of the songs in 114 Songs, which Ives
ommendations after they take effect; (3) ini-       the Committee had no takers for this pro-         published privately in 1922, plus another fif-
tiate further recommendations when neces-           gram, probably because there are very few         teen that also found their way into print
sary; and (4) assess other aspects of the           minority music faculty in the region who are      without professional editing. Commissioned
annual meeting, including study sessions,           not already AMS members. The CCD will             by the Charles Ives Society, Professor Hitch-
panel discussions, meetings and paper-              publicize this program on its Web site in the     cock’s edition will appear as vol. 12 in the
sessions of special-interest groups and other       coming year as well as with the Local             AMS-sponsored Music of the United States of
societies, and other events falling outside of      Arrangements Committee in Houston and             America (MUSA) series thanks to an agree-
the canonical time-slots.                           anticipates a higher yield than in 2002.          ment negotiated between that society, the
     A final note: we believe that the annual            The Committee on Cultural Diversity          AMS, and the music’s copyright holders.
meeting is the central event in the life of the     “Alliance,” the consortium of schools who             Other projects nearing completion
Society and the source of a profound sense          have guaranteed a fellowship of at least          include a selection of transcribed piano solos
of connection to the profession we have             three years to qualifying minority applicants,    by Earl Hines, edited by Jeffrey Taylor; cho-
chosen. The program of the meeting allows           also has a record number of over twenty           ral works by Dudley Buck, edited by Lee
us to hear the best work being done in the          members as of this date. Nevertheless, the        Orr; and Leo Ornstein’s Quintette for Piano
field by scholars at all stages of their careers.   Committee was somewhat disappointed that          and Strings, Op. 92 (1928), edited by Denise
While all of us have felt disappointed by           not more representatives from these schools       Von Glahn and Michael Broyles. With newly
some of the papers we have heard, the hard          appeared at the MTF Fellows reception in          commissioned editions of (1) music from a
work of successive program committees has           Columbus. In 2003 the CCD plans to                Native American Pow Wow in Los Angeles,
nonetheless provided us with stellar experi-        strengthen contacts with these schools in the     (2) wind partitas by the Moravian composer
ences. We hope that these recommenda-               hope of increasing their active participation.    David Moritz Michael, and (3) Eubie Blake
tions will strengthen the annual meeting, a         The CCD is heartened that the AMS will be         and Noble Sissle’s Shuffle Along (1921) added
home, however brief, for scholarship and            instituting a mentoring initiative very soon      to MUSA’s docket in 2002, almost three-
friendship.                                         and looks forward to its implementation.          quarters of our projected forty-volume series
                         —Elaine Sisman, Chair           This year, the idea of establishing a Cul-   is now mapped out.
                                                    tural Diversity Study Group is being consid-          Joining the Committee at the Columbus
Committee on Cultural Diversity                     ered by the CCD to facilitate the creation of     meeting were three new members: Johann
                                                    special programs for the annual meeting of        Buis, Anne Dhu McLucas, and Michael V.
The Committee on Cultural Diversity (CCD)           the AMS, to establish a forum for publiciz-       Pisani; thanks are due to retiring Committee
has made tremendous strides in the last few         ing those issues directly concerning the mis-     members Carol J. Oja and Marva Griffin
years. In 2001 the CCD instituted a new and         sion of the Committee, as well as to bring        Carter. For ideas or questions about the
efficient application process that would pro-       together those scholars whose research            MUSA project, Executive Editor Mark Clague
vide information needed to evaluate candi-          interests deal with the music of groups who       may be contacted at the University of Michi-
dates for the Minority Travel Fund awards.          have been historically underrepresented in        gan through any or all of the following ave-
In this it was immeasurably aided by the dili-      the discipline.                                   nues: tel. 734/647-4580; fax 734/647-1897;
gent work of its student member, Charles                 With the conclusion of the Columbus          <musa-info@umich.edu>; or <www.umich.
Hiroshi Garrett, who created an attractive          meeting, Naomi André replaces Richard             edu/~musausa>.
and functional Web site for the Committee.          Agee as co-chair of the Committee. His effi-                           —Richard Crawford, Chair
                                                                       —11—
Philip Brett (1937–2002)                             and gallantry found all too rarely within the    beyond younger African-American students
                                                     academy. His partner, Professor George           and faculty members. As Deane Root aptly
Born in the English Midlands, Philip Brett           Haggerty, has asked that memorial contri-        said, she “inspired all of us to apply the
was a choirboy at Southwell Cathedral and            butions be made to the Philip Brett Award        musicological training we received in study-
a choral scholar at Cambridge, coming under          in Lesbian and Gay Musicology.                   ing European music to the music history
the formidable spell of Thurston Dart. He                      —Joseph Kerman and Susan McClary       from our own communities. In this sense,
later studied at Berkeley on a traveling fel-                                                         her intellectual progeny are legion. She was
lowship and joined the faculty in 1966. A
                                                                                                      a pioneer, and the legacy she left continues
stellar scholar and teacher, he was also a           Eileen Jackson Southern                          to grow.”
Grammy-nominated, Greenberg-Award-                   (1920–2002)                                                                    — Michael Ochs
winning choral conductor and a fine player
of harpsichord and viols.                            Most people who tried to get Eileen
     Philip’s contributions to musicology            Southern to talk about herself quickly rec-
began in his student days: tracking fifty-odd        ognized her gift for steering the conversa-
scattered Elizabethan manuscripts to a sin-          tion right back to them. Rarely has some-
gle documented scriptorium and attributing           one who commanded such great respect
nine consort songs in one of them to Byrd            and admiration carried herself with such
(thus uncovering an entirely unknown Spätstil        unassuming grace. She made it to the top                        Obituaries
repertory of a canonical composer). His              of the musicological world the old-                The Society regrets to inform its mem-
career took a decisive turn in 1977 with the         fashioned way, through solid scholarship           bers of the deaths of the following
publication of “Britten and Grimes,” the             and astounding contributions to the field          members:
first scholarly article to consider the influ-       of American music. Her landmark book,
ence of a composer’s sexual identity on the          The Music of Black Americans: A History                          Leon Stein
music itself, adumbrated at the 1976 annual          (MOBA), resembles Music in the Renaissance                       9 May 2002
meeting. In Britten he found a major                 by her mentor Gustave Reese, in that both
research interest and also developed influen-                                                                  Eileen Jackson Southern
                                                     authors strove to write coherent histories
tial theoretical models for the study of sexu-                                                                      13 October 2002
                                                     of their fields with full scholarly apparatus.
ality in culture. His many publications in this      But while Reese could fall back on a cen-
area include several pathbreaking co-                                                                                Philip Brett
                                                     tury’s worth of research, Southern faced a                     16 October 2002
authored collections: Queering the Pitch (1994),     nearly blank slate. Moreover, had anyone
Cruising the Performative (1995), and Decomposi-     in the academic world of the 1950s even                       Eugene K. Wolf
tion: Post-Disciplinary Performance (2000).          given it a thought, African-American music                    12 December 2002
     Philip did not restrict his political ener-     would have been deemed unworthy of
gies to his scholarship. He worked bravely           serious study.
to make sexuality an acceptable area of                   Eileen Southern changed all that, but
study within the discipline. In 1986 he star-        the change did not come easily. Through-
tled many by announcing a gay/lesbian                out much of her academic career, South-            Policy on Obituaries
cocktail party, and in 1992 he chaired the           ern was viewed with suspicion and even             The following, revised policy on discur-
first AMS session on composers and sexual-           downright hostility by some of her col-            sive obituaries in the Newsletter was
ity to a S.R.O. audience. 1989 saw the               leagues because she was writing (in part)          approved by the Board of Directors in
founding of the AMS Gay and Lesbian                  about nonclassical music, and she was an           2002.
Study Group, which instituted the Philip             African-American woman in what was still
Brett Award in 1999 “to honor each year              largely the preserve of white men. Even            1. The Society wishes to recognize the
exceptional musicological work in the field                                                             accomplishments of members who
                                                     her appointment as the first black woman
of gay, lesbian, bisexual, transgender/                                                                 have died by printing obituaries in the
                                                     ever to become tenured at Harvard was
transsexual studies.”                                                                                   Newsletter.
                                                     disparaged by some as a bow to political
     A veritable new musicologist avant la lettre,                                                      2. Obituaries will normally not exceed
                                                     correctness. In this connection, Southern
Philip never left the old. As general editor                                                            400 words and will focus on music-
                                                     once told me in an uncharacteristically
of a new Byrd Gesamtausgabe, he notably                                                                 related activities such as teaching,
                                                     personal admission that one of her proud-
refined principles of scholarly editing in the                                                          research, publications, grants, and ser-
ten volumes he undertook himself. He once            est achievements at Harvard was simply
                                                     standing up in front of a class of students        vice to the Society.
projected a monograph on Byrd’s music to
English words, but work on the Byrd edi-             whose only prior contact with a black per-         3. The Society requests that colleagues,
tion drew him to the composer’s “other,”             son had been with their “colored” maid.            friends, or family of a deceased member
Latin music. His extensive prefatory matter          And she bore it all with limitless polite-         who wish to see him or her recognized
to Gradualia (to be issued as a monograph)           ness, grace, charm, and good humor.                by an obituary communicate that desire
magnifies and politicizes our picture of the              I had the honor and pleasure of edit-         to the Editor of the Newsletter. The Edi-
composer’s great outcry on behalf of the             ing the third edition of MOBA, and I               tor, in consultation with the advisory
persecuted recusant community. The same              recall long days of working with her at her        committee named below, will select the
musicality that warms his famous essay on            home in New York. Although her health              author of the obituary and edit the text
the Schubert Grand Duo illumines his read-           was already failing, she would soldier on          for publication.
ings of Byrd motets.                                 till 6 P.M.
                                                                                                        4. A committee has been appointed to
     In 1991 Philip moved from the Univer-                Many students and disciples have been
                                                                                                        oversee and evaluate this policy, to
sity of California, Berkeley to the University       profoundly affected by her leadership:
                                                                                                        commission or write additional obituar-
of California, Riverside, and in 2001 he             Josephine Wright, Anne Dhu McLucas,                ies as necessary, and to report to the
moved to the University of California, Los           Suzanne Flandreau, and Rae Linda Brown             Board of Directors. The committee
Angeles. In addition to his brilliant scholar-       stand out among a veritable cohort of              comprises the Executive Director
ship, his generous mentoring, and his coura-         younger scholars who have followed on              (Chair), the Secretary of the Council,
geous interventions, Philip Brett brought to         the path she blazed. But Southern was              and one other member.
musicology qualities of compassion, grace,           also a role model for a population well
                                                                       —12—
Forthcoming Meetings                            2003. Hosted by the Korean Society for             studies, lesbian historiography, music theory
                                                Women Composers (KSWC) in cooperation              and historiography in the nineteenth cen-
Twenty-Ninth Annual Conference of the           with the International Alliance for Women          tury, historicizing popular music. For more
Society for American Music, 26 February–        in Music (IAWM), this conference-festival          information: Charles Wilson, RMA Histori-
2 March 2003, Tempe, Arizona. For more          will offer rich experiences in both Korean         ography 2003, Department of Music, Cardiff
information on the program and registra-        traditional and new music, perspectives on         University, 31 Corbett Road, Cardiff, CF10
tion, see the society’s Web site at <www.       the life style and cultural context in Korea,      3EB, England; <WilsonC@cardiff.ac.uk>.
American-Music.org>.                            and intellectually stimulating discussions
                                                about women from around the world in               Music in Art: Music Iconography as a
                                                music today. For musicians, arts organiza-         Source for Music History, Ninth Confer-
The Waltz: Re-examining and Re-inter-           tions, educators, and students, the confer-
preting a Popular Dance (A Symposium in                                                            ence of the Research Center for Music Ico-
                                                ence will feature internationally recognized       nography, City University of New York, co-
Honor of Robert Falck), University of           artists and scholars. The conference, which
Toronto, Faculty of Music, 1 March 2003.                                                           sponsored by the Department of Musical
                                                will present a variety of new musical styles, is   Instruments of the Metropolitan Museum of
This conference is sponsored by the gradu-      closely tied to the KSWC’s mission of sup-
ate students in musicology in conjunction                                                          Art, New York, 6–8 November 2003. The
                                                porting Asian artistic and cultural expres-        conference will commemorate Emanuel
with the division’s Symposium Series in         sions that integrate new music into the fabric
Musicology and Theory. For more informa-                                                           Winternitz (1898–1983), the Honorary Presi-
                                                of traditional and contemporary life styles.       dent of the Répertoire International d’Ico-
tion: Teresa Magdanz <t.magdanz@utoronto.       Performances will cover a broad range of           nographie Musicale, long-time curator of the
ca> or Alex Carpenter <alex.carpenter@          areas: new orchestral music, contemporary          Department of Musical Instruments at the
utoronto.ca>.                                   music for Korean traditional orchestra,            Metropolitan Museum of Art, and co-director
                                                chamber music, cross cultural music, music         of the Research Center for Music Iconogra-
The symposium Darius Milhaud’s Ameri-           technology, and theatrical works. For de-          phy. For more information: Zdravko Blaze-
can Legacy will be held on 14 March 2003        tailed information: <woman.composer.or.kr>         kovic, Research Center for Music Iconogra-
at the San Francisco Conservatory of Music      or Chan-hae Lee at <chhlee@yonsei.ac. kr>.         phy, City University of New York Graduate
in conjunction with the BluePrint Festival.                                                        School, 365 Fifth Avenue, New York, NY
The BluePrint Festival, directed by Nicole      Skip a Beat: Challenging Popular Music             10016-4309; tel. 212/817-1992; <zblazekovic
Paiement, is featuring a celebration of music   Orthodoxy, Second Annual Experience                @gc.cuny.edu>; <web.gc.cuny.edu/rcmi>.
from the twentieth and twenty-first centuries   Music Project (EMP) Pop Conference, Seat-
and is taking place in San Francisco from       tle, Washington, 10–13 April 2003. The con-
October 2002 to April 2003. For more infor-     ference connects academics, journalists,           Calls for Papers and Manuscripts
mation on the symposium program and con-        musicians, industry figures, and anyone else
cert schedule, please contact Faun Tiedge,      interested in ambitious music writing that         A joint meeting of the Rocky Mountain
Chair, Music History and Literature, San        crosses disciplinary walls. For more informa-      Chapters of the American Musicological
Francisco Conservatory of Music, 1201           tion: <www.emplive.com/visit/education/            Society, the Society for Music Theory, and
Ortega Street, San Francisco, CA 94122; tel.    pop_music.asp>.                                    the Society for Ethnomusicology will be
415/759-3420; <faun@tiedge.com>.                                                                   held in Tucson at the University of Arizona
                                                Thirty-Eighth International Congress on            11–12 April 2003. Paper abstracts of not
GAMMA-UT, the Graduate Association of                                                              more than 250 words for the AMS portion
Music and Musicians at the University of        Medieval Studies, Kalamazoo, Michigan,
                                                8–11 May 2003. For more information: Cyn-          of the meeting should be submitted to John
Texas (UT), announces its third annual con-                                                        T. Brobeck, President of the Rocky Moun-
ference, to be held 28–29 March 2003 at         thia Cyrus, 541 Holt Valley Road, Nashville,
                                                TN 37221; tel. 615/662-8514; <cynthia.cyrus        tain Chapter of the AMS, School of Music
the University of Texas, Austin. Scholars                                                          and Dance, University of Arizona, Tucson,
from the areas of music theory, composi-        @vanderbilt.edu>; <people.cs.uchicago.edu/
                                                ~elias/MEDIEVAL>.                                  AZ 85721. Abstracts can also be sent by e-
tion, musicology, and ethnomusicology will                                                         mail to <brobeck@u.arizona.edu>. The dead-
meet to share their research, and compos-                                                          line for submission of abstracts is 23 Febru-
ers will be presenting their works in a con-    Fourth international conference of the             ary 2003.
cert to be held the evening of Friday, 28       International Association for Word and
March. For a list of papers and more infor-     Music Studies (WMA), 18–22 June 2003,                                        continued on page 14
mation about GAMMA-UT, see their Web            Free University of Berlin, Germany. The
site at <gammaut.music.utexas.edu>. For         conference will focus on two themes: (1)
more information, contact the conference        “Music and the Spoken Word,” encompass-
chair, Gene K. Willet, at <gammaut@mail.        ing any aspect of a vast spectrum of possible       Fall Meetings of AMS and
music.utexas.edu>.                              topics, ranging from the melodrama of antiq-        “Sister” Societies
                                                uity to contemporary rap music and beyond;
Music of Japan Today 2003, 4–6 April            and (2) “Surveying the Field,” a regular fea-       2003    AMS: 13–16 November, Hous-
2003, University of Maryland, Baltimore         ture at WMA conferences, covering theoreti-                      ton, Texas
County (UMBC). UMBC will host a three-          cal and methodological questions innate to                  SMT: 5–8 November, Madison,
day symposium of performances, lecture-         the study of the relationship of words and                       Wisconsin
recitals, panel discussions, and paper pres-    music. For more information, contact Walter                 SEM/CMS: 1–5 October,
entations on topics that concern Japanese       Bernhart at <walter.bernhart@uni-graz.at>                        Miami, Florida
music from the widest possible range of         or Albrecht Riethmüller at <albrieth@zedat.         2004    AMS/SMT: 11–14 November,
disciplines and expertise. For more infor-      fu-berlin.de>.                                                   Seattle, Washington
mation: <kazukotanosaki@netscape.net> or                                                                    SEM: Tucson, Arizona
<emrichards@umbc.edu>; <home.sprintmail.        Royal Musical Association Annual Confer-            2005    AMS: 27–30 October, Washing-
com/~emrichards/MFJ2003.html>.                  ence 2003, Music Historiography, Depart-                         ton, DC
                                                ment of Music, Cardiff University, 12–14                    SEM: Atlanta, Georgia
                                                                                                    2006    AMS: 2–5 November, Los
The International Festival of Women in          September 2003. Topics will include, among
Music Today, Seoul, Korea, 8–12 April           others: multidisciplinarity in medieval music                    Angeles, California

                                                                   —13—
Calls for Papers and Manuscripts                         Now published by Routledge, the Journal       <www.mannes.edu/mi> and periodically
                                                    of Musicological Research is a peer-reviewed,      announced over the AMS List. The deadline
                          continued from page 13    quarterly publication with an international        for applications is 1 March 2003. Inquiries
                                                    circulation. Readership includes profession-       should be addressed to Wayne Alpern,
The Mozart Society of America, which will
                                                    als, academics, and students of musicology         Director, Mannes Institute, 150 West 85th
again hold its annual meeting in conjunction
                                                    as well as composers, historians, musicians,       Street, New York, NY 10024, USA, tel.
with the AMS meeting in Houston, solicits
                                                    and individuals interested in music scholar-       212/877-8350; <mannesinstitute@aol.com>.
proposals for presentations at the study ses-
sion on the topic “Did Mozart Succeed as a          ship.
Composer in Vienna? Issues of Perfor-                    Submissions should include three copies       On 15 July 2002 access to the Répertoire
mance, Audience, Dissemination.” Abstracts          of the proposed article and clear copies of        International des Sources Musicales (RISM)
of no more than 250 words should be sent            musical examples. Inquiries should be              Web site and the “RISM Online” electronic
by 1 June 2003 to Jane R. Stevens, either by        directed to: Deborah Kauffman and Jona-            resource at Harvard University <www.rism.
conventional mail at 3084 Cranbrook Ct., La         than Bellman, Journal of Musicological Research,   harvard.edu/rism/DB.html> was discontin-
Jolla, CA 92037 or by e-mail at <jrstevens          School of Music, University of Northern            ued. The removal of this resource coincided
@ucsd.edu>.                                         Colorado, Frasier Hall, Campus Box 28,             with the commercial publication of the
                                                    Greeley, CO 80639; <jmr@arts.unco.edu>.            majority of the same RISM data on the
                                                                                                       National Information Services Corpora-
Cambridge University Press is pleased to                                                               tion’s (NISC) online BiblioLine Internet
announce a new journal, Eighteenth-Century
Music, edited by W. Dean Sutcliffe (St. Cath-
                                                    News Briefs                                        search-and-retrieval service.
                                                                                                           The NISC interface provides access to
arine’s College, Cambridge) and Cliff Eisen                                                            RISM Series A/II: Music Manuscripts after
                                                    Current Musicology is pleased to announce the
(King’s College, London). The reviews edi-                                                             1600. It also provides access to three related
                                                    publication of a commemorative Festschrift
tor is Simon Keefe (Queen’s University, Bel-                                                           databases (Composer, Library Sigla, and
                                                    issue for Professor Mark Tucker (1954–
fast).                                                                                                 Bibliographic Citations) that can be searched
                                                    2000) on the topic of jazz studies. The 500-
    The journal is intended as a forum for all                                                         from hyperlinks in the Music Manuscripts
                                                    page issue will feature historical, cultural,
eighteenth-century music research, thus                                                                database or directly from a database search
                                                    and analytical studies, perspectives on jazz
attempting to overcome the divisions so                                                                menu. Further information is available on
characteristic not only of the historiography       studies, and reviews of recent jazz-related
                                                    publications by many of the leading jazz           NISC’s Web site at <www.nisc.com> or
of the long eighteenth century (1670–1830)                                                             from the RISM Central Editorial Office
but also of the scholarly methodologies nor-        scholars including Jeffrey Magee, Sherrie
                                                    Tucker, Scott DeVeaux, George Lewis, and           (Zentralredaktion) in Frankfurt <RISM@
mally associated with it. To this end, the edi-                                                        StUB.uni-frankfurt.de>. For questions re-
tors welcome not only traditional source,           Krin Gabbard. For ordering information,
                                                    please visit the Current Musicology Web site at    garding the U.S. RISM Office at Harvard
analytical, historical, and performance prac-                                                          contact Sarah Adams, Director of the U.S.
tice studies but also interdisciplinary contri-     <music.columbia.edu/~curmus>, or contact
                                                    the editor at <current-musicology@columbia.        RISM Office at <sjadams@fas.harvard.edu>.
butions, tapping into the institutional
strengths of many other areas of eighteenth-        edu>.
century research. In addition to standard                                                              The School of Music at the University of
journal-length articles and book reviews,           The Mannes Institute is a privately sup-           Texas, Austin, announces the founding of
Eighteenth-Century Music will also include a        ported, nonprofit musical think-tank dedi-         the Center for American Music. The Center
number of less common features such as              cated to communal inquiry at the highest           has three priorities: (1) to promote and sup-
                                                    level of scholarship. It offers a unique           port research in American music of all gen-
shorter articles (based on the model of the
                                                    opportunity for professional music academ-         res, eras, and styles; (2) to sponsor perfor-
“Kleine Beiträge” in some German journals).
                                                    ics around the world to convene outside of         mance and recording of American music,
    The first issue will be published in early
                                                    the conventional conference format to teach        particularly for use in courses on the history
2004, and the editors would be delighted to
                                                    and learn from one another in a sustained,         of American music; and (3) to facilitate the
receive submissions (four copies please) as                                                            teaching of courses in American music,
well as offers to review books, editions, re-       interactive, and interdisciplinary way. Instead
                                                    of traditional paper presentations, the work       including popular music and Texas music,
cordings, and eighteenth-century conferences                                                           to the general UT undergraduate popula-
at the following address: Editorial Office,         of the Institute is conducted through an
                                                    intensive series of participatory workshops,       tion. David Neumeyer has been appointed
Eighteenth-Century Music, Department of                                                                the first chair of the Center, with Elizabeth
Music, King’s College London, Strand, Lon-          roundtable discussions, plenary sessions, and
                                                    informal gatherings, all addressing a single       Crist as associate chair, and Gerard Béhague
don WC2R 2LS, England; <18cmusic@kcl.                                                                  as senior advisor.
ac.uk>.                                             subject under the guidance of rotating facul-
                                                    ties of distinguished experts drawn from the
                                                                                                       The Music Theory Society of the MidAtlan-
The Journal of Musicological Research invites the   international musical community. Prior pre-
                                                                                                       tic will be founded at the Peabody Conser-
submission of original articles on all aspects      paration and assigned reading are required.
                                                                                                       vatory of Music, 4–5 April 2003. This final
of the discipline of music: historical musicol-     Outstanding scholars are invited to join their
                                                                                                       region of the U.S. to have its own music
ogy, style and repertory studies, music the-        peers and share in this innovative and trans-      theory society will include Delaware, Mary-
ory, ethnomusicology, music education,              formative experience in collaborative learn-       land, New Jersey, Pennsylvania, Virginia,
organology, and interdisciplinary studies.          ing.                                               and West Virginia. Michael Rogers, author
Because contemporary music scholarship                   This year the Mannes Institute will con-      of Teaching Music Theory, will give a special
addresses critical and analytical issues from a     vene its third annual gathering at Mannes          presentation with time for discussion. A cel-
multiplicity of viewpoints, the Journal of          College of Music in New York City from 21          ebratory banquet will take place on Friday
Musicological Research seeks to present studies     to 24 June 2003 on the topic of Transforma-        evening; accommodation, registration form
from all perspectives, using the full spectrum      tional Theory and Analysis, one of the most        (please register before 14 March 2003), and
of methodologies. This variety makes the            important developments in our field during         activity information may be viewed on the
Journal of Musicological Research a place where     the last quarter century. The faculty includes     MTS MA Web site <mtma.shorturl.com>.
scholarly approaches can coexist, in all their      David Lewin, Richard Cohn, Joseph Straus,
harmony and occasional discord, and one             Robert Morris, Henry Klumpenhouwer,
that is not allied with any particular school       John Roeder, and Edward Gollin. Detailed
or viewpoint.                                       information is posted on the Web site at
                                                                       —14—
                                AMS Ballot – 2003
President (vote for one)

       !      Anne Walters Robertson

       !      Elaine Sisman

Secretary

       !      Rufus Hallmark

Directors-at-Large (vote for three)

       !      Virginia Hancock

       !      Ingrid Monson

       !      Massimo Ossi

       !      Deane Root

       !      Steven Saunders

       !      Michael Tusa

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

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

       Rufus Hallmark, Secretary, AMS
       Department of Music
       Mason Gross School of the Arts
       Rutgers University
                                                        *Recent Board action following upon Wye J. Allanbrook’s resigna-
       81 George Street                                 tion as AMS President January 13, 2003 means that Peter
       New Brunswick, NJ 08901 USA                      Burkholder now takes the office of President for the period 2003–
                                                        2004, and the office of Past President, 2005. Richard Kramer was
                                                        appointed by the Board as Vice President January 24, 2003.
CANDIDATES FOR PRESIDENT
Anne Walters Robertson. Professor of Music & Deputy Provost for Research and Education, U. Chicago; B.Mus., M.Mus., U.
Houston, M.Mus., Rice U., M.Phil., Ph.D., Yale U.; French medieval music, liturgy & architecture; interpretation, biography, music &
mysticism; Guillaume de Machaut and Reims: Context and Meaning in his Musical Works (2002); “Which Vitry? The Witness of the
Trinity Motet from the Roman de Fauvel,” in Hearing the Motet (ed. Pesce, 1997); “Remembering the Annunciation in Medieval
Polyphony,” Speculum 70 (1995); “The Mass of Guillaume de Machaut in the Cathedral of Reims,” in Plainsong in the Age of Polyphony
(ed. Kelly, 1992); “Benedicamus Domino: The Unwritten Tradition,” JAMS 41 (1988); Howard Found. Fellow (96-97), Med. Acad. of
Amer. Brown Prize (95), Guggenheim Fellow (92); AMS Einstein Award (87), NEH and ACLS grants; Chair, Music Dept., U. Chicago (92-
98), Internatl. Machaut Soc., Pres. (97-99), Vice-Pres. (96-97); AHJ-AMS 50 Fellowship Comm. (00-01, Chair 01-04), JAMS Ed. Bd. (92-
98), AMS Pub. Comm. (90-95), Chair, Loc. Arr. Comm. Chicago (91), Prog. Co-chair, Midwest Chap. (90-91), Comm. on the Status of
Women (84-86).

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

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

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

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

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

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

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


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




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

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


      See the AMS Web site for full details: <www.ams-net.org/>


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

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

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

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

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


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




                          Statement of Financial Position
                                 30. June 2002

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

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

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

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

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

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

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




                                               —28—

				
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