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issues, women’s spirituality, and Renais-sance print culture.Concerts. The Concert Committee, chairedby Neal Zaslaw (Cornell University) hasselected an equally colorful series of perfor-mances, ranging from parlour melodrama

In This Issue . . .President’s MessageExecutive Director’s ReportCommittee ReportsGrants and Fellowships AvailableAwards, Prizes, and HonorsForthcoming ConferencesCalls for PapersSeattle Preliminary ProgramObituariesAMS Washington, D.C.News Briefs

AMS/SMT Seattle 2004<www.ams-net.org/seattle>The American Musicological Society and theSociety for Music Theory will convene in Seat-tle, 11–14 November. The joint national meet-ing begins Thursday with afternoon sessionsand a spectacular opening concert and con-cludes Sunday at noon. The Sheraton Hoteland Towers will house the conference. Nes-tled in the historic Seattle downtown, the Sher-aton debouches on museums, shopping, con-cert halls, and many superb restaurants. A shortstroll leads to the famed Pike Place Market, aferry tour of the Puget Sound islands, or a sea-food restaurant serving fresh chinook salmon.

Seattle offers abundant tourist attractions,beginning with the idyllic setting. The snow-capped peaks of the Olympic and Cascaderanges frame the city to east and west, whileMount Rainier towers to the south. Ninebridges connect this watery city, which floatsamid lakes, bays, and inlets. The turning leavesmake November a visual feast. Rain falls spo-radically, mostly in refreshing drizzles, keepingthe air clean.

Seattle culture encompasses one of thebusiest theater calendars in America, a thrivingrock-music underground, and some of the fin-est coffees and microbrews in the world. Hip-sters will gravitate to Capitol Hill, where theycan tour the vinyl bins at Sonic Boom, read allnight in Twice Sold Tales, or sip Kool-Aid inthe Bauhaus Café. A fun monorail ride leadsfrom the Sheraton to the Experience MusicProject (EMP), an interactive popular-musicmuseum and Jimi Hendrix shrine. Numerous

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VOLUME XXXIV, NUMBER 2 August 2004ISSN 0402-012X

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Seattle Skyline with the Space Needle Courtesy of the Seattle Convention and Visitors Bureau

restaurants surround the Sheraton, offeringseafood, sushi, pan-Asian, pub food, oreclectic European cuisines.

Program. The AMS Program Committee,chaired by Robert Kendrick (University ofChicago), has assembled a diverse spectrumof papers, including sessions on film music,jazz, music and illness, African-American

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Society Election ResultsThe results of the 2004 election of AMS offi-cers and the Board of Directors:Vice President: Jeffrey KallbergTreasurer: James LadewigDirectors-at-Large:

M. Elizabeth C. BartletThomas ChristensenCristle Collins Judd

AMS Membership RecordsPlease send AMS Directory corrections andupdates in a timely manner in order to avoiderrors. The deadline for Directory updates is 1December 2004. Send all corrections, updates,membership inquiries, and dues payments tothe AMS, 201 S. 34th Street, Philadelphia, PA19104-6313; 215/898-8698; toll free 888/611-4267 (“4AMS”); fax 215/573-3673; <ams@sas.upenn.edu>. See the AMS Web site formore information: <www.ams-net.org>.

AMS Newsletter Address and DeadlinesItems for publication in the February issueof the AMS Newsletter must be submitted by4 November (21 November for reports) andfor publication in the August issue by 1 Mayto:

Peter AlexanderThe University of IowaArts Center Relations300 Plaza Center OneIowa City, IA 52242fax: 319/384-0024<peter-alexander@uiowa.edu>The AMS Newsletter is published twice a

year by the American Musicological Society,Inc., 201 S. 34th Street, Philadelphia, PA19104-6313; tel. 888/611-4267 or 215/898-8698; fax 215/573-3673; <ams@sas.upenn.edu>; <www.ams-net.org> and mailed to allmembers and subscribers. Requests foradditional copies of current and back issuesof the AMS Newsletter should be directed tothe AMS Philadelphia office. Claims formissing issues must be requested within sixmonths of publication.

Next Board MeetingsThe next meetings of the Board of Direc-tors will take place 10 November 2004 inSeattle, Washington, and 12 March 2005 inWashington, D.C.

AMS Home PageThe AMS home page address is <www.ams-net.org>. The Web site includes virtu-ally all the things that might come in handyregarding AMS membership: JAMS deliv-ery, recent JAMS tables of contents, onlineconference registration and full annualmeeting information, membership renewalinformation, general collections of URLs formusicological subjects, links to our jobs &conferences electronic bulletin board, etc.Send any and all Web site suggestions to theAMS office, <ams@sas.upenn.edu>.

to Balto-Finnish choral works (see the Pre-liminary Program, pp. 11–17, for the fullstory).

The evening entertainments spotlightSeattle’s early-music community. GalleryConcerts and Seattle Early Dance lead offThursday night with “Theatre Music andDance of the French Baroque Court,” apageant of dances by Lully, Rameau, andLeclair. Andrew Manze and the EnglishConcert follow on Friday with program-matic concertos by Vivaldi, Schmelzer,Biber, and Locatelli. Finally, on Saturday abus will convey concert-goers to magnifi-cent St. Mark’s Cathedral to hear theTudor Choir and Cappella Romana present“Everlasting Light,” a concert combiningByzantine chant, English polyphony, and amajor new work by Greek-Canadian com-poser Christos Hatzis. On Saturday after-noon the Experience Music Project willhost the first AMS popular-music concert,presenting rising Seattle band Visqueen.EMP has graciously offered half-pricemuseum tickets to all AMS/SMT mem-bers. Tickets for all events will be availableonline through the meeting’s Web site. Interviews. A limited number of rooms atthe Sheraton will be available for job inter-views during the meeting. To reserve aroom, please consult the Web site or con-tact the AMS office; reservations receivedprior to 15 August will appear in the pro-gram booklet. Job candidates can sign upvia the Web or (if spots are still available)at the interview desk, located near thehotel registration area. AMS policy prohib-its interviews in private rooms withoutappropriate sitting areas.Benefit programs. Members of the Soci-ety are urged to support the Committee onCultural Diversity Travel Fund, the HowardMayer Brown endowment, and the AHJAMS 50 endowment by contributing $50or more to these worthy causes. All mem-bers who contribute on their registration

forms will receive complimentary beveragetickets at the Thursday evening reception. Ifyou contribute $100 or more, you willreceive five tickets to share with yourfriends.Registration. This mailing includes a regis-tration form. All members registering on orbefore Friday, 1 October will enjoy a dis-counted rate. The AMS Web site alsoincludes online and PDF registration forms.Child care. In response to individualrequests, the AMS is considering a moreextensive child care program in Seattle thanwe have done in recent years. Please com-municate your interest to the AMS office assoon as possible.Transportation. Seattle-Tacoma Interna-tional Airport serves the Seattle area. TheGray Line Airport Express, running everyhalf hour, will get you to the hotel for only$8.50 (taxis run about $30). You can buyyour ticket online at <www.graylineofseattle.com/airport.cfm>. Members wishing todrive can take I-5 almost to the hotel garage.Take the Seneca Street exit from the southor Union Street from the north and drive afew blocks west. The hotel is on the right.Weather. Rain is always a possibility inSeattle, despite an unusually dry year so far.Umbrellas are seldom essential, although ashell or raincoat will help. Expect tempera-tures in the low 50s, dropping into the 40s.Scheduling. Please contact the AMS officeto reserve rooms for private parties, recep-tions, or reunions. Space is limited, so pleasecommunicate your needs as soon as possi-ble. The AMS Web site provides furtherinformation.Student assistants. The Local Arrange-ments Committee, chaired by StephenRumph (University of Washington), seeksstudents to help during the conference inreturn for free registration and $11 per hour(six hours minimum). If this is of interest,please see the Web site or contact the AMSoffice.

—Stephen Rumph

AMS/SMT Annual MeetingHotel InformationA hotel block is being held for the Seattleconference attendees at the conferencehotel: Sheraton Seattle Hotel, 1400 SixthAvenue, Seattle, Washington 98101; tel.888/627-7056 or 206/621-9000; fax 206/621-8441. A link from the AMS Web sitededicated to room reservations is alsoavailable.

We have reserved a block of rooms atthe Sheraton Hotel at the special rate of$159 per night (single) / $179 (double) forreservations received prior to 14 October2004, 5:00 p.m. PST.

In order to qualify for the conferencerate, you must identify “AMS Annual Meet-

ing” when making reservations. Budget15.9% additional for state and local hoteltaxes.

The AMS negotiates a contract formeeting space and hotel room-nights withhotels four or five years before eachannual meeting. We agree to occupy a cer-tain number of rooms and contract withhotels for this, in exchange for their agree-ment to provide hotel rooms as well asmeeting space and services. We are liableto pay significant supplemental fees if wedo not hold up our end of the agreement;thus, your decision to stay at the confer-ence hotels, in addition to enabling con-venient access to the annual meeting, helpsto ensure that we meet our contractualobligations.

Seattle—2004 continued from page 1

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Europe!), and many non-student mem-bers also lack access to travel funds.

Many of our members are indepen-dent scholars, work in corporations, orteach at smaller institutions that do notsupport their research, assist them inattending the annual meeting, or provideaccess to essential online scholarlyresources. We are seeking ways to pro-vide assistance in these areas throughthe AMS, helping to enable all our mem-bers to engage productively in researchand participate at our meetings.

Publication support. Academic pub-lishers are under pressure, and many arecutting back their lists or changing tomodels in which each book must beprofitable, putting smaller fields like oursat risk. We currently offer subventionsto support excellent books and editions,and our AMS Studies series has fundingfor two books each year. But we wouldlike to expand both programs and pro-mote scholarly publishing in other waysas well.

We are very proud of our seriesMusic in the United States of America(MUSA), publishing critical editions ofimportant American music. The serieshas been funded by the NEH, the AMS,and the University of Michigan. Wehope to create a publications endow-ment large enough to continue the serieswhen NEH funding ends.

Awards. Thanks to the generosity ofseveral members, we have alreadyachieved one of our goals, even beforethe campaign officially begins. I willannounce at our annual meeting thecreation of awards for the best book bya scholar in the early stages of his or hercareer, the best edition, and the best arti-cle by a mid-career or senior scholar,which will help us better recognize themost distinguished achievements of ourprofession.

After the campaign is launchedthis fall, details will be published in theFebruary Newsletter and on the AMSWeb site. I hope you will participatewith enthusiasm.

Thanks and farewell. This is AndreasGiger’s last issue as Editor of our News-letter. He has been a pleasure to workwith and has produced a beautiful prod-uct. On behalf of the entire AMS, thankyou, Andreas!

This is also my last President’s Mes-sage, for my term ends after the Seattlemeeting. Warmest thanks to all whohave helped me and the Society duringmy time in office, and keep in touch.

—J. Peter Burkholder

President’s MessageLooking back over the past academic yearand forward to the coming one, I have astrong sense of vibrancy and energy in theAmerican Musicological Society. Severalsignificant initiatives have come or arecoming to fruition, and others are wellunderway.

Accomplishments. This spring saw thefirst issue of JAMS from University ofCalifornia Press. The change to a newpublisher and the redesign of JAMS haverequired the time and commitment ofmany people, including especially JAMSEditor Joseph Auner, Reviews EditorPamela Starr, Assistant Editor CatherineGjerdingen, our Executive Director, Rob-ert Judd, and the staff of the University ofCalifornia Press. My profound thanks toall of them for a job well done.

This year also was the periodic reviewof Bob Judd’s performance as ExecutiveDirector. A review committee solicitedcomments from several people who hadworked with Bob over the years in variouscapacities. They were all glowing, callingBob “uniquely talented for the position ofExecutive Director” and “the best thingthat has happened to the AMS.” TheBoard of Directors renewed Bob’s con-tract for five years, and I am delightedthat he accepted. He continues to be amainstay of the Society, supporting theofficers, Board, committees, and mem-bers; overseeing the office and Web site;and providing institutional memory.

Another task completed is the newAdministrative Handbook for the AMS, pre-pared by the Committee on Committeesunder the leadership of its past threechairs—the late John Daverio, Past Presi-dent Jessie Ann Owens, and President-Elect Elaine Sisman. At its meeting inMarch, the Board adopted the Handbookas an official AMS document. It will soonbe published and made available on theAMS Web site. The Handbook will alwaysbe a work in progress, undergoing peri-odic revision. But adopting it officiallyand making it available to every memberwill clarify the structure and workings ofthe AMS, encourage more members toparticipate, and enable us to do more withless effort.

The Committee on Committees is oneof several new committees that grew outof the Board retreat in March 2002, wherethe Board considered what the AMSshould be doing and how we can do itbetter. The Committee on the AnnualMeeting is exploring ways to enhance ourannual gatherings. The Committee onCommunications is overseeing our com-munications with members and beginningto consider outreach to the general public.And the Committee on Membership and

Professional Development has an ambi-tious agenda, seeking better ways to addressthe needs of the entire range of our mem-bers. The Presidential Forum at the annualmeeting this fall in Seattle will focus on thework of this committee and on the broadquestion of how the AMS can better serveits members.

Development campaign. In order to domore, the AMS needs more resources towork with. One of the most exciting initia-tives now getting underway is a five-yearfundraising campaign, set in motion by theDevelopment Committee, chaired by Jes-sie Ann Owens and guided by an activeand growing Campaign Committee. Thecampaign is set to conclude in 2009, mark-ing our seventy-fifth anniversary as anorganization. We are now in the quietstage of the campaign, planning strategiesand making initial contacts, but I want toshare with you our goals and some of ourprogress so far.

Banquet. The campaign will be officiallylaunched during the annual meeting thisfall at a special Friday evening banquet towhich everyone is heartily invited (see theenclosed Annual Meeting RegistrationForm). The banquet is being chaired byAnna Maria Busse Berger and Michelle Fil-lion and will showcase what the AMS hasbeen able to do in the past, what the cam-paign seeks to accomplish, what has beenachieved so far, and what is yet to come.We hope everyone at the meeting will joinin the festivities.

Fellowships. Our latest major fundraisingcampaign, AMS 50, had one goal: to endowfellowships for graduate students to workon their dissertations. The AMS 50 pro-gram (subsequently named for our long-time Treasurer and Executive Director,Alvin H. Johnson) has been a resoundingsuccess. But the endowment has erodedover time and is no longer adequate. Wehave had to reduce the number of fellow-ships from five to four and draw on ouroperating funds. Moreover, the fellowshipstipend has not kept pace with similarawards available elsewhere. The same istrue of the Howard Mayer Brown Fellow-ship. So one goal of our forthcoming cam-paign is to add substantially to both ofthese endowments.

But fellowships are not our only need.Our forthcoming campaign must bebroader than the last one.

Travel and research funds. The newEugene K. Wolf Travel Fund made itsfirst awards this year, supporting two stu-dents to do dissertation research in Europe(see report on p. 6 of this Newsletter). Weknow the need is much greater; dozens ofgraduate students would benefit fromfunding for research travel (and not just to � � �

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The Society’s Membership and Profes-sional Development Committee has insti-tuted a pilot program intended to assistthose without funding to travel to the annualmeeting. See the Web site at <www.theams.us/mpd> for further information. The Com-mittee on Cultural Diversity continues tooffer support for underrepresented culturaland ethnic groups. Please encourage promis-ing students to apply for this fund.

Future annual meetings must, of course,be planned concurrently: we have bookedmeetings through 2007 and are close to set-tling on 2008. As those involved can attest,the “Local Arrangements” job at the AMShas changed considerably over the past fewyears, to the point where it is no longer thereputed “year of hell” of the bad old days. Ifthe idea of having the AMS visit your cityappeals to you, please feel free to phone andchat with me about the possibility.

Publications.

JAMS. This year has seen the appearance ofa new design for JAMS, coupled with thechange of publisher to the University of Cal-ifornia Press. The first issue came out onschedule in April, simultaneously with thefirst online issue. Thanks are due to all whomade the transitions proceed so smoothly:Joseph Auner, Editor-in-Chief, Pamela Starr,Reviews Editor, Catherine Gjerdingen, Assist-ant Editor, and the very capable staff at theUniversity of California Press journals divi-sion.

In the February 2004 AMS Newsletter, acall for applications for the position ofAssistant Editor appeared; we appointed theperson in early June (see p. 20).

The JAMS editor typically receives fromfifty to sixty submissions a year; she or he isable to accept about fifteen articles per year.The target response time (i.e. notification ofacceptance or decline) is three months orless.

AMS Studies. We expect two volumes tobe published in 2005. About a dozen propo-sals are currently with series editor MaryHunter and in various stages of review anddevelopment. We anticipate the full flower-ing of this influx of materials in about fiveyears.

Author subventions. Our semiannual callfor subvention applications typically yieldsfive to ten submissions, most of which areaccepted in one form or another. This pro-gram is intended to provide financial sup-port to authors directly for their out-of-pocket expenses, and all members areencouraged to pursue this line of funding ifappropriate. See the Web site for full detailsas well as the AMS “Trophy Case” of vol-umes (over twenty and growing) that havereceived support in this way.

Doctoral Dissertations in Musicology. TheWeb database directed by Thomas J.Mathiesen (Indiana University) flourishes;

The annual meeting proposal submis-sions process occupies quite a bit of theAMS office time and energy during themonth of January. Our Web site applicationprocess, now in its third year, went quitesmoothly this time. I would encourage allwho intend to submit a proposal for consid-eration by the AMS Program Committeenext year (the deadline is 17 January) to planahead and submit the proposal a few daysearly. Computers (or U.S. Mail) are not fool-proof, and preliminary planning, setting upyour account, etc. will save last-minute frus-tration.

For Seattle, we received a record 577proposals for the 144 openings. The newBoard Committee on the Annual Meeting islooking at this carefully and hopes to addressthe concerns surrounding the proposed/accepted ratio in an equitable way. Thebreakdown of submissions and acceptancesis as follows (categorizations are necessarilyrough but reflect something of the reality):

Category Received AcceptedMedieval 23 10Renaissance 34 16Seventeenth Century 35 12Eighteenth Century 52 10Nineteenth Century 113 27Twentieth/

Twenty-First Century 120 36North American Music 49 10Mass Media

(including film, popular) 44 10Miscellaneous 18 2World Music 7 2Formal Sessions

[sessions (papers)] 19 (77) 2 (4)

Executive Director’s Report

In this issue, I want to take a broad look atthe AMS and its goals and activities. Thepurpose of the AMS is well known: ourshared goal is to advance research in thevarious fields of music as a branch of learn-ing and scholarship. Our primary means todo this are three: annual meeting, publica-tions, and member support. I view my job(to speak graphically) as a kind of “triple-V”shape: there is a lot to take in on top, all ofwhich essentially funnels down to three foci.

Annual meeting. The Seattle meeting (jointwith the SMT; 11–14 November) is shapingup well. Program chair Robert Kendrick,performance chair Neal Zaslaw, and localarrangements chair Stephen Rumph (andtheir respective committees, over a dozenpeople in all) have put together an impres-sive lineup of events, published elsewhere inthis issue. Seattle has been on our “let’s gothere!” list for some time and promises tobe a very special meeting. I hope you willplan to attend. One little known but won-derful bonus: our hotel, the Sheraton, con-tains an impressive collection of Chihulyglass!

The AMS relies on the support of manypeople to present a successful conference.An important element is the book exhibit,and attendees uniformly enjoy browsingamong the publishers’ displays. This year, acommittee of exhibitors has helped organizethis aspect of the meeting: I am grateful toChristine Clark (Theodore Front Music Lit-erature), Jim Zychowicz (A-R Editions), andMargo Chaney (University of Illinois Press)for their help.

The Public Market Sign Hovers over Seattle’s Pike Place MarketCourtesy of the Seattle Convention and Visitors Bureau

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Committee Reports

Committee on Career-Related Issues (CCRI)

The CCRI will sponsor four sessions inSeattle. All will emphasize the concerns ofmusicologists (or aspiring musicologists)in and out of the academy and willinvolve discussion and questions from thefloor. This year’s student session, “‘Walk,Don’t Run’: Professionalism and Writingabout Music,” is a joint AMS-SMT effortco-chaired by Melissa Ursula Dawn Gold-smith, Melissa de Graaf, and StephaniePoxon (AMS) with Jean M. Hellner (SMT)and Panayotis Mavromatis (SMT). Intend-ed for students and scholars in the earlystages of their careers, the session will useKevin Korsyn’s ideas on scholarly com-munication and professionalism in musicresearch (Decentering Music: A Critique ofContemporary Musical Research) as a spring-board for discussion. Panelists will alsoexplore collaboration between musicolo-gists and music theorists, networking, andthe nature of professional versus publicservice. The session “Getting and Spend-ing: Applying for Grants & Fellowships,”chaired by Kathryn Lowerre, will examine“grantsmanship” from multiple perspec-tives. The panel will consist of indepen-dent scholars, advanced graduate students,entry-level college faculty (includinginstructors), and senior faculty. Memberswill share experiences and strategiesrelated to the grant-seeking process.Another session, “Stet! Career Choices inEditing for Musicologists,” will be chairedby James Zychowicz and will feature apanel of editors from various presses. Itsmembers will focus on the ways in whichthey brought their musicological back-grounds to publishing and consider pro-fessional training, work experience, andthe transition from the academy to theworld of academic or commercial publish-ing. The session “From Program Annota-tions to Weekend Critic and Beyond:Writing about Music for General Audi-ences,” chaired by Scott Warfield, willfocus on musical scholarship aimed atgeneral audiences. Panelists will empha-size the practical and professional dimen-sions of program annotations, press criti-cism and feature articles, liner notes, andpre-concert lectures. Last but not least isCCRI’s “Conference Buddy” program,which welcomes new members or thoseattending a national meeting for the firsttime. The program was so successful inHouston that CCRI plans to repeat it forSeattle, again with Darwin Scott as orga-nizer. Anyone wishing to be assigned aConference Buddy can indicate this onthe registration form. AMS members will-ing to volunteer as mentor-hosts are askedto contact Darwin at <dscott@brandeis.edu>.

—Carol A. Hess, Chair

progress over the past four years: there hasbeen a rise of funded applications from 520to 720 since 2000, including a rise of sum-mer scholarships from 117 to 142 in thesame period. Their Web site should be con-sulted for full reports on funded programsand instructions for how to apply for fund-ing. Since the AMS will be meeting in Wash-ington, D.C., in 2005, plans are afoot nowto arrange special meetings or presentationswith the staff of the NEH.

National Humanities Alliance (<www.nhalliance.org>). The NHA has continuedto support our shared goals for governmen-tal support for humanities initiatives. Eachyear it undertakes a regular series of projectsand activities intended to make legislatorsand the community at large more aware ofthe humanities and their importance to ourculture. The NHA represents the AMS inadvocating support for the NationalEndowment for the Humanities. This year,NHA director John Hammer will be step-ping down after a thirteen-year tenure, dur-ing which he led the organization to a posi-tion as leader in humanities advocacy. Johnis one of those rare persons who has beenin Washington for quite some time yet man-aged to stay on friendly terms with all sidesin his single-minded pursuit to encouragecongress to support the humanities.

AMS Newsletter. We owe Andreas Giger(Louisiana State University), Editor of theNewsletter for the past three years, an enor-mous debt of gratitude for his hard, diligent,and conscientious work. The issue you holdnow is his final one (I can hear him breath-ing a great sigh of relief!). If you, too, haveappreciated the Newsletter, please let Andreasknow and send him a word of thanks. It isan important Society job that paradoxicallycan be overlooked by the membership,especially when it is handled as smoothly asit has been by Andreas. The appointment ofthe new Editor is still under considerationas I write this report (though I hope we canpublish the name of the new Editor on p.2).

Office activities. The AMS office proceedssmoothly, with the capable assistance ofShawna Milazzo, administrative coordinator,who was appointed in November. The twodominant office cycles—annual meetingpreparation and annual member renewal—have gone according to plan the past fewmonths. The various Web site innovations,including full-fledged electronic renewal,electronic conference registration, and elec-tronic access to JAMS, has made a signifi-cant impact on the functioning of the officeand the Society as a whole. We hope thatthe developments on this front since lastAugust have been found helpful to themembership and encourage those with fur-ther thoughts or suggestions on this front tocommunicate them to Shawna or me.

—Robert Judd

over the past three years about two thou-sand records have been added, bringing thetotal to over 12,000. If you have not yetdone so, please check the database for yourown dissertation (whether complete or inprogress), and contact Tom with correc-tions or updates as necessary.

Membership support. The current mem-bership stands at 3,167. About four hun-dred 2003 members (roughly ten percent)have not yet renewed. This is on a par withprevious years; many members wait till theannual meeting to renew. The breakdownof members is as follows:

Regular 1503Sustaining 7Low income 413Student 656Emeritus 402Joint 84Life 48Honorary/Corresponding 43Complimentary 21

The “member services” component ofthe AMS comprises a broad array of tasksand initiatives. Among them are our two fel-lowship programs, article and book prizes,travel grant programs, and most AMS com-mittee work. The “workflow tree” is com-plex and too extensive to include here indetail, but the general idea can be obtainedby reviewing the Web site and AMS Direc-tory. I include under this component thebroader liaison of the AMS with the com-munity of scholarship at large, including theACLS, the National Endowment for theHumanities, and the National HumanitiesAlliance.

ACLS (<www.acls.org>). The emphasisat the ACLS May meeting in Washington,D.C., seemed to be on questions of fundingresearch in the humanities. The ACLS itselfis, of course, a major funder of research fel-lowships, and their programs are growingand strengthening. Please review the pro-grams and application guidelines (all ofwhich can be had at their Web site) andapply for support when appropriate.

Pauline Yu, ACLS President, will be vis-iting the AMS meeting in Seattle and willconsult with our Board of Directors at thattime. AMS member Susan McClary (Univer-sity of California, Los Angeles) continues aschair of the ACLS Board of Directors; Iwas elected to the Executive Board of theAdministrative Officers section of the ACLSduring the May meeting (a three-year term).

National Endowment for the Humani-ties (<www.neh.gov>). The We the Peopleinitiative last year enabled funding for theNEH to rise significantly for the first timesince 1991. NEH Chairman Bruce Colecontinues to strive for a stronger and bet-ter-funded endowment, targeted toward thewidely diverse goals inherent in humanitiesresearch. They have achieved significant

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ought to be in print. As editor-in-chief of theMUSA project, it is hardly my role to hypeits achievements. But the Ives volume, mar-shaling the resources of American artistry,scholarship, patronage, and music publish-ing, is precisely the kind of achievementwe—the AMS and its membership and theNEH—hoped for when the project waslaunched.

Also in production at this writing is anedition of Leo Ornstein’s Quintette forPiano and Strings, Op. 89, by Denise vonGlahn and Michael Broyles. Ornstein, whoselife spanned the entire twentieth century,was a Russian-born pianist and composerwho emigrated to the United States as a boy,won fame during the 1910s as a fire-breathing innovator, turned his back duringthe 1920s on both “ultramodernism” andsolo performance, and devoted himselfthereafter to piano teaching and composi-tion, continuing to write music well into hisnineties. The Quintette, composed in the late1920s, is an almost unknown example ofOrnstein’s later brand of modern music.

Next in line for publication after Ivesand Ornstein are a collection of solos by jazzpianist Earl Hines, transcribed, edited, andput in historical perspective by Jeffrey Tay-lor; and Lee Orr’s selection of choral worksby the Victorian American composer DudleyBuck.

At its Cleveland meeting in March, theCOPAM accepted proposals for two newvolumes in the MUSA series. One is a vol-ume of transcriptions: “Early New OrleansJazz Masters: Sam Morgan, ‘Kid’ Ory, andArmand J. Piron,” edited by a team fromTulane University: Anthony M. Cummings,John J. Joyce, and Bruce Boyd Raeburn. Theother is an edition of Symphony No. 2 (Jul-lien) by George Frederick Bristow (1825–98),edited by Katherine Preston.

The AMS and series publisher A-R Edi-tions are also in the process of finding a wayto reissue MUSA volume 2, The Early Songs ofIrving Berlin (1907–14), parts I–III, edited byCharles Hamm, which is now out of print.We hope to bring out a reprint of the Berlinvolumes that will be sold at a substantiallylower price than the original print run.

The day-to-day operations of MUSA liein the hands of executive editor JamesWierzbicki, who will be glad to be in touchwith any or all who might be contemplatingan editorial project in the field of Americanmusic. For ideas or questions about MUSA,Dr. Wierzbicki may be contacted at the Uni-versity of Michigan through the followingavenues: tel. 734/647-4580; fax 734/647-1897; <musa-info@umich.edu>; or <www.umich.edu/~musausa>.

—Richard Crawford, Chair

Publications CommitteeThe AMS Publications Committee has rec-ommended, and the AMS Board of Direc-tors has approved, subventions to the fol-lowing individuals: Jeffrey Magee for TheUncrowned King of Swing: Fletcher Henderson and

Big Band Jazz (Oxford University Press);Diane Pecknold and Kristine McCusker forA Boy Named Sue: Gender and Genre in CountryMusic (University Press of Mississippi); Katevan Orden for Music, Discipline, and Arms inEarly Modern France (University of CaliforniaPress); Deborah Burton, Susan Nicassio,and Agostino Zino for Tosca's Prism (North-eastern University Press); Mark Katz for ThePhonograph Effect (University of CaliforniaPress); Raymond Knapp for The AmericanMusical and the Formation of National Identity(Princeton University Press); Alexander Lin-gas for Sunday Matins in the Byzantine Cathe-dral Rite (Ashgate); and Cristina Magaldifor Music in Imperial Rio de Janeiro (Scare-crow Press). The next application deadlinefor AMS subventions is 15 September 2004.Please consult the Web site at <www.ams-net.org/subvention.html> for infor-mation and guidelines.

—Ruth A. Solie, Chair

Wolf Travel Fund Selection Committee

The inaugural competition of the EugeneK. Wolf Travel Fund for European Researchtook place this year. On behalf of the selec-tion committee (Maribeth Clark, PatrickMacey, and myself), I would like to congrat-ulate this year’s co-winners, Sarah Eyerly(University of California, Davis) and Greg-ory Bloch (University of California, Berke-ley). In its first competition, the Fundattracted considerable interest: we receivedtwelve applications of high quality, so thecommittee’s work was not easy.

The official description of the Fund isfound on the AMS Web site, in the AMSDirectory, and in the February 2004 AMSNewsletter. With it in mind, the Committeeused the following criteria to evaluate theapplications:

1. Quality of project. 2. Necessity for work with European

sources.3. Demonstration of preliminary knowl-

edge of the location and accessibilityof the required sources.

4. Level of support from referees.5. Realistic budget.With regard to proposed budgets, we

gave priority to research projects for whichWolf funding would be a significant compo-nent of overall funding (in other words,budgetary requests of modest dimensions).Although the awards are not large and thuscannot support the applicants’ full needs fortravel, we believe that it can fill in gaps andhelp students build a case for funding fromother sources.

We look forward to next year’s round ofapplications and hope that these commentswill be helpful to students and faculty advis-ors in putting them together.

—James Deaville, Chair,Wolf Travel Fund Selection Committee

Graduate Education Steering CommitteeThe third open meeting for Directors ofGraduate Studies/Musicology Liaisons toGraduate Programs was held on Sundaymorning at the annual meeting in Houston.Prior to the Sunday morning open meeting,the six-member Steering Committee metwith co-chairs Susan C. Cook and CristleCollins Judd. Kenneth Kreitner agreed tobecome the new co-chair, replacing CristleCollins Judd, whose term expired with theHouston meeting. Julie Cumming and Bert-hold Hoeckner finished their terms as well.Mary Lewis, Christine Getz, and Jan Her-linger will continue to serve through theSeattle meeting, and three new members willbe appointed.

About twenty-five people attended theopen breakfast meeting on Sunday morning,representing public and private institutionsfrom the U.S. and Canada. Over half were inattendance for the first time. The co-chairsshared information from the Council ofGraduate Schools (CGS) and the AMSGuidelines for Ethical Conduct. Anecdotalevidence suggests that a number of U.S.graduate music programs still do not complywith CGS guidelines regarding offers offunding and deadlines for student decisions.Attendees discussed how best to provideprospective graduates with the programinformation mandated by our ethics state-ment and suggested additional ways toexpand the links under the current GraduateEducation Web page to foster better com-munication among Society members, gradu-ate schools, and prospective graduate stu-dents.

Since the AMS Board has requested thatU.S. institutions with links on the “GraduatePrograms in Musicology” Web page affirmthe policies of the CGS, the Steering Com-mittee is now contacting schools and appris-ing them of this requirement. We expect tolaunch our graduate listserv soon, which willprovide an additional means of communica-tion among graduate directors and musicol-ogy liaisons within the Society.

In Seattle the Steering Committee isagain scheduled to meet on Sunday morn-ing. We welcome participation of all gradu-ate degree-granting institutions along withsuggestions for discussion of topics or otheritems of business. Members interested inreceiving additional information about thecommittee or wishing to subscribe to thelistserv are invited to contact one of the co-chairs directly.

—Susan C. Cook andKen Kreitner, Co-chairs

Committee on the Publication ofAmerican Music (COPAM)

Although the complexities surrounding thepublication of H. Wiley Hitchcock’s editionof Charles Ives: 129 Songs, volume 12 in theSociety’s Music of the United States (MUSA)series, make this a qualified forecast, by thetime you read this notice the Ives volume

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Grants and Fellowships Available

Programs included in this issue have application deadlines in fall and winter; for pro-grams with deadlines in spring and summer, see the February issue. Persons interested inthe suitability of a particular program for their needs should check directly with that pro-gram for current information on awards, eligibility, deadlines, and application proce-dures.

American Academy inBerlin

American Academy inRome

American AntiquarianSociety

American Council ofLearned Societies

American MusicologicalSociety

Berlin Program forAdvanced German andEuropean Studies

Camargo Foundation

ChateaubriandScholarship Program

Columbia Society ofFellows in the Humanities

Five College Women’sStudies Research Center

Fulbright Awards for U.S.Faculty and Professionals

Gladys Krieble DelmasFoundation

Guggenheim Fellowships

Humboldt FoundationFellowships

International Research &Exchanges Board Grants

The Center for JudaicStudies

National HumanitiesCenter Fellowships

NEH Research andEducation Division

Newberry LibraryFellowships

Villa I Tatti Fellowships

Semester- or year-long resident fellowships; tel. 212/588-1755; <www.americanacademy.de>

Rome Prize resident fellowships; tel. 212/751-7200;<www.aarome.org>

AAS-NEH and Mellon postdoctoral fellowships; <www.americanantiquarian.org>; tel. 508/755-5221

Various opportunities; Donna Heiland, Director of Fel-lowship Programs, <dheiland@acls.org>; tel. 212/697-1505 x124; <www.acls.org>

Publication subventions; <www.ams-net.org/subvention.html>

Residency at the Freie Universität; tel. +49 30/838 56671;<bprogram@zedat.fu-berlin.de>; <userpage.fu-berlin.de/~bprogram>

Residency in Cassis, France; <www.camargofoundation.org>; tel. 651/238-8805

For doctoral research in France; <www.frenchculture.org/education/support/index.html>; tel. 202/944-6294

Postdoctoral fellowships; <sof-fellows@columbia.edu>;<www.columbia.edu/cu/societyoffellows>; tel. 212/854-4631

Residencies as research associates; <fcwsrc@wscenter.hampshire.edu>; <wscenter.hampshire.edu>; tel. 413/538-2275

U.S. government program in international educationalexchange; <scholars@cies.iie.org>; <www.cies.org>; tel.202/686-4000

Grants for study in Venice. For more information: tel.212/687-0011; <info@delmas.org.>; <www.delmas.org>

For full information: tel. 212/687-4470; <fellowships@gf.org>; <www.gf.org>

Research residencies in Germany; <humboldt-fellow.select@avh.de>; <www.humboldt-foundation.de/en>

Predoctoral and postdoctoral grants for research inEurope, Eurasia, North Africa, and the Middle East; tel.202/628-8188; <irex@irex.org>; <www.irex.org>

Postdoctoral fellowship at the University of Pennsylvania;tel. 215/238-1290; <allenshe@sas.upenn.edu>; <www.cjs.upenn.edu/Program/index.html>

Resident fellowships; <nhc@ga.unc.edu>; <www.nhc.rtp.nc.us:8080>; tel. 919/549-0661

Summer stipends, collaborative research grants, andfellowships; <info@neh.gov>; <www.neh.gov>; tel. 800/NEH-1121

Fellowships at the Newberry Library; tel. 312/255-3666;<www.newberry.org>; <research@newberry.org>

Postdoctoral residency in Florence for study in ItalianRenaissance topics; <www.itatti.it>; tel. 617/495-8042

Interested in AMS Committees?New committee volunteers are alwayswelcome. Here is a list of our commit-tees and their chairs. Please take theopportunity in Seattle to talk with themabout various activities if you can, orcommunicate with them via e-mail. Committee on Membership and Profes-

sional Development: Judy TsouPublications Committee: Ruth SolieCommittee on the Publication of Ameri-

can Music: Richard CrawfordAMS-MLA Joint RISM Committee:

John ShepardChapter Fund Committee: Amy HolbrookCommittee on Career-Related Issues:

Carol HessCommittee on Cultural Diversity:

Johann Buis and Naomi AndréCommittee on the History of the Society:

Barbara HanningAMS-L Discussion List Committee:

Giulio OngaroCommittee on the Status of Women:

Heather HadlockGraduate Education Steering Committee:

Susan C. Cook and Kenneth Kreitner

Call for Nominations: SessionChairs, Washington, D.C., 2005Nominations are requested for sessionchairs at the AMS/SMT annual meetingin Washington, D.C., 27–30 October2005. Please send nominations via mail,fax, or e-mail to the Philadelphia office ofthe AMS, including name, contact infor-mation, and area of expertise. Deadline:15 March 2005.

Fall Meetings of AMS and Sister Societies

AMS/SMT: Seattle, Washington,11–14 November

SEM: Tucson, Arizona, 3–7November

CMS: San Francisco, California,4–7 November

AMS: Washington, D.C., 27–30October

SMT: Boston, Massachusetts, 9–13 November

SEM: Atlanta, Georgia, 16–20November

CMS: Quebec City, Quebec, 3–6November

AMS/SMT: Los Angeles, Califor-nia, 2–5 November

AMS: Quebec City, Quebec, 1–4November

2004

2005

2006

2007

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Guidelines for Announcementsof Awards and PrizesAwards and honors given by the Societyare announced in the Newsletter. In addi-tion, the Editor makes every effort toannounce widely publicized awards. Otherannouncements come from individualsubmissions (see p. 9 for deadlines). TheEditor does not include awards made bythe recipient’s home institution or toscholars who are not currently membersof the Society. Awards made to graduatestudent members as a result of nationalor international competitions are also an-nounced. The Editor is always grateful toindividuals who report honors and awardsthey have received.

Yossi MaureyAHJ AMS 50 Fellow

Prez: Courtly Patronage and Musical Strate-gies”; Roberta M. Marvin (University ofIowa), “Verdi’s Inno delle nazioni: A Docu-mentary History and Critical Edition”; GayleM. Murchison (Tulane University), “WilliamGrant Still in New York”; Howard J. Pollack(University of Houston), “Gershwin: A Crit-ical Biography”; Nancy Y. Rao (Florida Inter-national University), “Aesthetics of CulturalSynthesis: Contemporary Chinese Music”;Nancy B. Reich (Hastings-on-Hudson, NewYork), “The Girlhood Diaries of Clara Wieck:Translation and Annotations”; and DeborahSchwartz-Kates (University of Texas, SanAntonio), “The Film Music of Alberto Gina-stera.”

Deborah Schwartz-Kates (University ofTexas, San Antonio) received a grant fromthe Paul Sacher Stiftung in Basel, Switzer-land, for her project “The Film Music ofAlberto Ginastera.”

Timothy D. Taylor (Columbia University)has received a Charles A. Ryskamp Fellow-ship from the American Council of LearnedSocieties for his project “Music in Advertis-ing from Radio to the Internet.”

Rose Theresa (University of Virginia) is therecipient of a Harry Ranson Research CenterFellowship, awarded by the Andrew W. Mel-lon Foundation, for her project “Melo-drama, Minstrelsy, Shirley Temple and Me.”

Theodore Karp (Northwestern University)has been awarded a grant from the Weiss-Brown Fund to facilitate the publication ofhis forthcoming monograph and edition AnIntroduction to the Post-Tridentine Mass Proper,1590–1890 and an accompanying CD withperformances of chant that has not beenheard for centuries. The fund, established tocommemorate the career of Howard Mayer

ity graduate student pursuing a doctoraldegree in music. The 2004–2005 Fellowshipis awarded to Christina Sunardi (Universityof California, Berkeley), who is completing adissertation on “East Javanese Cross-GenderDance: Music, Movement, and the Expres-sion of Regional Identity in a Muslim Soci-ety.”

Wolf Travel Award. Two doctoral candi-dates in musicology have been selected asWolf Travel Award Recipients: GregoryBloch (University of California, Berkeley),for research in the manuscript department ofthe Bibliothèque Nationale in Paris and thearchives of the Musée d’Histoire de la Méde-cine et de la Pharmacie of the Faculté deMédecine of Lyon on his dissertation topic“Early Vocal Physiology and the Creation ofthe Modern Operatic Voice”; and SarahEyerly (University of California, Davis), forresearch at the Universitätsarchiv der Evan-gelischen Brüder-Unität in Herrnhut, Ger-many, on the improvisatory musical prac-tices of the Moravian church (1741–1750).

The following individuals have receivedNEH fellowships: Jennifer W. Brown (Uni-versity of Rochester), “Recovering Seven-teenth-Century Venetian Opera”; Beth L.Glixon (University of Kentucky), “VenetianOpera Theaters of the Seventeenth Century:A Documentary Study”; Jonathan Glixon(University of Kentucky), “Music at theNunneries of Venice”; Gabriela Ilnitchi (Uni-versity of Rochester), “Music Cosmologyand Medieval Scholasticism: Musica Mun-dana in the Thirteenth and Fourteenth Cen-turies”; Claudia R. Jensen (University ofWashington), “Music for the Tsar: Music atthe Muscovite Court in the SeventeenthCentury”; Patrick Macey (Eastman School ofMusic), “The Sacred Music of Josquin des

Awards, Prizes, and HonorsAHJ AMS 50 Fellowship. Four doctoralcandidates in musicology have been selectedfor Alvin H. Johnson AMS 50 DissertationFellowship Awards for 2004–2005. In alpha-betical order they are: S. Andrew Granade(University of Illinois, Urbana-Champaign),“‘I Was a Bum Once Myself’: The DustBowl and Harry Partch in the AmericanImagination”; Yossi Maurey (University ofChicago), “Music and Ceremony in Saint-Martin of Tours, 1205–1500”; Kiri Miller(Harvard University), “A Long Time Travel-ing: Song, Memory, and the Politics of Nos-talgia in the Sacred Harp Diaspora”; andHeather Wiebe (University of California,Berkeley), “Rituals of a Lost Faith: Brittenand the Culture of Postwar Reconstruc-tion.”

Howard Mayer Brown Fellowship. TheHoward Mayer Brown Fellowship is pre-sented by the Society to a promising minor-

S. Andrew GranadeAHJ AMS 50 Fellow

Kiri MillerAHJ AMS 50 Fellow

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Heather WiebeAHJ AMS 50 Fellow

AMS Fellowships,Awards, and PrizesDescriptions and detailed guidelines forall AMS awards appear in the Directoryand on the AMS Web site.Alvin H. Johnson AMS 50 Dissertation Fellowship AwardsDeadline: 15 January 2005Otto Kinkeldey AwardNo specific deadlineAlfred Einstein AwardDeadline: 1 JunePaul A. Pisk PrizeDeadline: 1 OctoberEugene K. Wolf Travel FundDeadline: 1 MarchRobert M. Stevenson AwardDeadline: 1 MayNoah Greenberg AwardDeadline: 1 AugustHoward Mayer Brown FellowshipDeadline: 15 JanuaryAMS Publication SubventionsDeadlines: 15 March, 15 September

Sarah EyerlyWolf Travel Award Recipient

Gregory BlochWolf Travel Award Recipient

Brown and administered by the NewberryLibrary of Chicago, supports the publica-tion of outstanding works of scholarshipthat cover European civilization before 1700in the areas of music, theater, French orItalian literature, or cultural studies.

Rebecca Wagner Oettinger (University ofWisconsin) received the 2004 William B.Hunter Lecture Prize from the South Cen-tral Renaissance Conference for her paper“Public Relations in the Sixteenth Century:Luther’s Image in Popular Songs,” presentedat a plenary session opening this year’s meet-ing in Austin.

Jon Finson (University of North Carolina,Chapel Hill) has won a 2003 Music EditionAward for his edition of Robert Schu-mann’s Symphony No. 4 (first version; Breit-kopf & Härtel, 2003). The award is pre-sented at the Frankfurt Music Exhibition bythe Association of German Music Publish-ers.

Michael Burden (New College, Oxford Uni-versity) has been appointed a Trustee of theRépertoire International des Sources Musi-cales Trust (U.K.).

Jeff S. Dailey (Brooklyn, New York) haswon the National Opera Association Dis-sertation Competition. This contest is heldbiennially, and Dailey’s New York Univer-sity dissertation “The Successful Failure:Arthur Sullivan’s Ivanhoe” was judged to bethe best submitted study on an operatictopic for the period 2000–2002.

Paul-André Bempéchat (Harvard Universityand Institut Culturel de Bretagne) has beenelected President of the Lyrica Society forWord-Music Relations.

Michael S. Cuthbert (Harvard University) hasbeen awarded the Lily Auchincloss Pre-Doctoral Rome Prize Fellowship to pursuehis work on Trecento music fragments.

J. Peter Burkholder (Indiana University)received the 2004 Irving Lowens Awardfrom the Society for American Music for hisarticle “The Organist in Ives,” published inthe Summer 2002 issue of JAMS.

Craig Wright (Yale University) received thehonorary degree of Doctor of Humane Let-ters from the University of Chicago.

Howard Mayer BrownFellowship The Howard Mayer Brown Fellowshipwas established by friends of the lateHoward Mayer Brown on the occasionof his sixty-fifth birthday. Intended toincrease the presence of minority schol-ars and teachers in musicology, the fel-lowship is awarded annually to supportone year of graduate work by a memberof a group historically underrepresentedin the discipline. Applicants must havecompleted at least one year of graduate-level academic work in music scholar-ship and must be presently continuingstudies with the intention of completinga Ph.D. in musicology, music theory, orethnomusicology. Nominations maycome from a faculty member (e.g., anadvisor or departmental chair), from amember of the AMS at another institu-tion, or, most typically, directly from thestudent. All application materials must bereceived by 15 January 2005. The award,which carries a twelve-month stipend of$15,000, will be announced in the Au-gust 2005 AMS Newsletter: Applicationsshould include a personal statement notto exceed five pages; a curriculum vitae;three letters of recommendation; andone writing sample (typically, a seminarpaper or section of a thesis chapter; thesample should not exceed thirty pages).Inquiries and applications should be ad-dressed to the chair of the committee,Ellen T. Harris, Department of Music,Massachusetts Institute of Technology,14N-112, 77 Massachusetts Ave., Bos-ton, MA 02139-4301; <eharris@mit.edu>.

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Conferences

Fourth Clavichord Performers’ Workshop,Magnano, Italy, 7–10 September 2004,taught by Menno van Delft (The Nether-lands), Bernard Brauchli (Switzerland), andDerek Adlam (England). In addition to les-sons, the seminar will include sessions andlectures on topics ranging from iconographyto examination of the various types of his-torical clavichords. For more information:<mam.biella.com/corsi.htm>.

Thirteenth international congress of theGesellschaft für Musikforschung, Music andCultural Identity, Weimar, 16–21 Septem-ber 2004. Languages of the congress areGerman, English, and French. For moreinformation: <kongress@hfm-weimar.de>;<www.hfm-weimar.de/v1/gfmkongress2004>.

The Institution of Opera in Paris fromthe July Revolution to the Dreyfus Affair:An International Symposium, organizedby M. Elizabeth C. Bartlet and AnnegretFauser and sponsored jointly by Duke Uni-versity and the University of North Carolina,Chapel Hill, 23–26 September 2004. For theprogram and other information: <www.unc.edu/music/frenchopera>.

The Fifth Biennial National Symposiumon Multicultural Music, sponsored by theUniversity of Tennessee School of Musicand the National Association for MusicEducation (MENC), University of Tennes-see, School of Music, 6–9 October 2004. Formore information: <www.music.utk.edu/multiculturalsymposium.html>.

International conference on Romanticism,Romantic Border Crossings, Laredo, TX,14–17 October 2004. For more information:Jeffrey Cass at <jcass@tamiu.edu>.

Annual conference of the InternationalAssociation for the Study of PopularMusic, University of Virginia, 15–17 Octo-ber. For more information: Kevin Dettmarat <kdettmar@siu.edu>; <www.iaspm-us.net/conferences>.

The Center for the History of Music Theoryand Literature together with the Departmentof Musicology at Indiana University willhost A Celebration of Scholarship inHonor of the 75th Birthdays of Profes-sors Malcolm H. Brown and George J.Buelow on 16 October 2004 at the Univer-sity’s Faculty Club. For further information:Thomas J. Mathiesen <mathiese@indiana.edu> and <www.music.indiana.edu/chmtl/BB.html>.

Sixth Bethlehem conference on Moravianmusic, Moravian Music: Then and Now,in celebration of the 250th anniversary ofthe Bethlehem Trombone Choir, MoravianCollege, Bethlehem, Pennsylvania, 21–23October 2004. For more information: Mora-vian College Department of Music, 1200Main Street, Bethlehem, PA 18018; tel. 610/861-1650; <music@moravian.edu>.

Conference of the Association for Tech-nology in Music Instruction (ATMI), SanFrancisco, 4–7 November 2004. The pro-gram will focus on technology in musicinstruction and MIDI performance. Formore information: <atmi.music.org>.

International scholarly symposium The Un-known Schubert: New Perspectives, NewInsights, Luther College, University ofRegina, Canada, 4–5 December 2004. Formore information: Barbara Reul, Luther Col-lege, University of Regina, 3737 WascanaParkway, Regina, Saskatchewan, S4S 0A2Canada; <barbara.reul@uregina.ca>.

Thirty-first annual conference of the Soci-ety for American Music, Eugene, Oregon,16–19 February 2005. For more informa-tion: Judy Tsou at <jstsou@u.washington.edu> or the Society’s Web site at <www.american-music.org>.

John Eccles and His Contemporaries:Theatre & Music in London, ca. 1700,Florida State University, Tallahassee, 24–27February 2005. For more information: Kath-ryn Lowerre <lowerre@msu.edu> (program)or Matthew Roberson <robersom@tcc.fl.edu> (local arrangements).

First conference of the Répertoire Interna-tional de Littérature Musicale (RILM),Music’s Intellectual History: Founders,Followers & Fads, City University of NewYork Graduate Center, 17–19 March 2005.For more information: <www.rilm.org>.

2005 conference of Frühe Neuzeit Interdis-ziplinär (FNI), Orthodoxies and Diversi-ties in Early Modern German-SpeakingEurope, Duke University, 7–10 April 2005.For more information: Randolph C. Head at<fni2005@earthlink.net>.

Christina SunardiHoward Mayer Brown Fellow

Calls for Papers

The American Handel Society will holdits 2005 conference in Santa Fe, New Mex-ico, 17–20 March 2005. The Society extendsa call for papers on any topic relevant to thestudy of Handel and his music. As the con-ference is to include a performance of Han-del’s Chapel Royal music, the program com-mittee would particularly welcome proposalsrelated to those works, but all proposals willbe evaluated on the basis of their intrinsicmerit. Applicants should submit a proposalof no more than 500 words to: AHS Pro-gram Committee, Prof. Roger Freitas, East-man School of Music, 26 Gibbs Street,Rochester, NY 14604. Proposals may alsobe sent by electronic mail to <rfreitas@esm.rochester.edu>. The deadline for sub-missions is 1 October 2004.

The third annual meeting of the MusicTheory Society of the Mid-Atlantic willbe held at Wilkes University, Wilkes Barre,PA, 1–2 April 2005. All are invited to attendand to mail seven blind proposals of nomore than five hundred words (one-sidedcopies and stapled if necessary) to: CarlWiens, Program Chair, Music Theory Soci-ety of the Mid-Atlantic, Nazareth College,Department of Music, 4245 East Avenue,Rochester, NY 14618-3790. Those wishingadditional information or to serve as pro-gram chairs are invited to e-mail ProfessorWiens at <wiens@narareth.edu> or PamelaL. Poulin, President, at <poulin@peabody.jhu.edu>. The deadline for submissions is 3December 2004.

Thirteenth annual conference of the Societyfor Seventeenth-Century Music, North-western University, Evanston, Illinois, 14–17April 2005. Proposals on all aspects of sev-enteenth-century music and its cultural con-texts are welcome, including those drawingon other fields as they relate to music. Fivecopies of the proposal (four anonymous andone identified with name, address, tele-phone, fax, and e-mail address) should besent to: Anne MacNeil, Chair, SSCM Pro-gram Committee, Department of Music—CB #3320, University of North Carolina,Chapel Hill, Chapel Hill, NC 27599-3320.For more information: <www.arts.uci.edu/sscm>. The deadline for submissions is 1October 2004.

International Mozart congress The YoungMozart 1756–1780: Philology—Analysis—Reception, hosted by the Akademie fürMozart-Forschung, Salzburg, 1–5 December2005. Those interested in reading a paperare herewith invited to send a brief abstract(in electronic form only: 3-inch or ZIP disk,MS-Word or a compatible program) to theAkademie für Mozart-Forschung, attentionof Dr. Faye Ferguson, Schwarzstraße 27, A-5020 Salzburg (or by e-mail: <faye.ferguson@nma.at>). The deadline for submissions is5 December 2004.

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WEDNESDAY 10 November2:00–8:00 AMS Board of Directors Meeting

THURSDAY 11 November8:00–12:00 AMS Board of Directors Meeting

8:00–6:00 Exhibits

9:00–5:00 Registration

11:00–1:00 Society for Seventeenth-Century Music, Gov-erning Board Meeting

12:00–2:00 Membership and Professional DevelopmentCommittee

12:30–1:30 Recital (sponsored by the AMS PerformanceCommittee): “Stories of Sturm und Drang:Melodrama from Benda to Beethoven,”Rebecca Plack (Cornell University), soprano; Fran-cesca Brittan (Cornell University), fortepiano

1:00–5:00 Job Interviews

2:00 Committee on Communications Meeting

THURSDAY AFTERNOON SESSIONS

2:00–5:00

Orchestral Issues

Peter Laki (The Cleveland Orchestra), Chair

John Spitzer (Peabody Conservatory), “Nineteenth-Century Entre-preneur-Conductors and Their Orchestras”

Nancy Newman (Worcester, Mass.), “Public Concerts and PrivateOrchestras: New Findings on the Repertory of the GermaniaMusical Society”

Christopher Anderson (University of North Dakota, Grand Forks),“Max Reger, the Meiningen Court Orchestra, and the Reinven-tion of the Nineteenth Century: Evidence from the RegerArchive at Meiningen”

Anna-Lise Santella (University of Chicago), “Century of Progress:Progressivism, Professionalism, and the Festival Performancesof the Women’s Symphony Orchestra of Chicago, 1935–45”

Knowing and Thinking Music in the Eighteenth and Nine-teenth Centuries

Wye J. Allanbrook (University of California, Berkeley), Chair

Steven Zohn (Temple University), “Telemann’s Wit: Burlesque,Parody, and Satire in the Ouverture-Suites”

Peter Hoyt (Wesleyan University), “Criticism’s ‘Strange Perversion’:The Problem of Originality in Haydn’s Assessment of Mozart”

Stephen Rumph (University of Washington), “The Sense of Touchin Don Giovanni”

Cristle Collins Judd (University of Pennsylvania), “The Diffusion ofMusical Knowledge: Anglo-American Theory in the NineteenthCentury”

AMS ANNUAL MEETINGSeattle, 11–14 November 2004

Preliminary ProgramPlease note that the AMS meeting this year is held jointly with the Society for Music Theory. Only AMS-

sponsored activities are listed here; for SMT activities, see <www.societymusictheory.org>.

Compositional Strategies in Renaissance Sacred Music

Richard Sherr (Smith College), Chair

Thomas Schmidt-Beste (University of Heidelberg), “Psallite noe!Christmas Carols in the Renaissance Motet”

Kenneth Kreitner (University of Memphis), “Two Early MoralesMagnificats”

Alison McFarland (Louisiana State University), “Another Look atPolyphonic Borrowing: Cristóbal de Morales, ‘Parody’ Tech-nique, and the Missa ‘Vulnerasti cor meum’ ”

Daniel Katz (Jüdische Gemeinde Duisburg), “The Hidden Rhetoricof Biblical Chant in Renaissance Polyphony?”

Politics and Music in Mid-Twentieth-Century Europe

Joy Calico (Vanderbilt University), Chair

Jeanne Thompson (University of Iowa), “The Cultural Politics ofDutch Opera during the German Occupation”

Nathaniel Lew (Yale University), “Socialist Realism in England:The Case of Alan Bush’s Wat Tyler”

Rachel Beckles Willson (Royal Holloway, University of London),“Doctor Faustus and the Demonization of Dodecaphony inHungary, 1947–1963”

Robert Adlington (University of Nottingham), “The Sounds ofStruggle: Modes of Protest in the ‘Politiek-DemonstratiefExperimenteel Concert’”

THURSDAY AFTERNOON SHORT SESSIONS

2:00–3:30

The Sacred in the Nineteenth Century

Jesse Rosenberg (Northwestern University), Chair

Julian Rushton (University of Leeds), “The Pre-History of Berlioz’sL’Enfance du Christ”

Francesco Izzo (New York University), “Verdi, the Virgin, and theCensors: The Cult of Mary in Mid-Nineteenth-Century Italy”

Problems in Wozzeck

Vera Micznik (University of British Columbia), Chair

Christopher Reynolds (University of California, Davis), “Why ‘ItAin’t Necessarily Soul’: On Porgy’s Debts to Wozzeck”

Shuann Chai (Brandeis University), “A New Perspective on Berg’sDrei Bruchstücke für Gesang und Orchester aus der Oper Wozzeck”

3:30–5:00

Iconography

Zdravko Blazekovic (City University of New York), Chair

H. Colin Slim (Berkeley, California), “The Identity of JosephWeber’s Diva, pinxit 1839”

Christopher Smith (Texas Tech University), “Ethnomusicology inOils: Celtic-Americans, African-Americans, and the Antebel-lum Paintings of William Sidney Mount”

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Elliott Carter (AMS/SMT Joint Session)

John Link (William Paterson University), Chair

Guy Capuzzo (University of North Carolina, Greensboro), “Orbitsin the Music of Elliott Carter”

Jeff Nichols (Queens College, City University of New York), “Mis-taken Identities in Carter’s Variations for Orchestra”

4:30–5:30 AMS Development Committee Meeting

5:00–5:30 AMS Committee on Career-Related IssuesConference Buddy Meeting

5:30–7:00 Journal of Musicology Editorial Board Meeting

5:30–8:00 No-Host Reception

6:30–8:00 Journal of Seventeenth-Century Music EditorialBoard Meeting

8:00 Seattle’s Gallery Concerts and Seattle EarlyDance, “Theatre Music and Dance of theFrench Baroque Court,” a pageant of dances byLully, Rameau, and Leclair. Town Hall, 8th Ave-nue and Seneca (four blocks from the hotel)

8:00–9:00 AMS Committee on Career-Related Issues,Student Session

8:30–10:00 AMS Committee on the Status of Women,Open Meeting

9:30–11:00 AMS Student Reception

11:00 American Brahms Society Evening Reception

THURSDAY EVENING SESSION

8:00–11:00—Panel

Heresies and Hear Says Revisited: Thoughts on InstrumentalPerformance of Untexted Parts and Repertories 1350–1550,Susan Weiss (Peabody Conservatory of Johns Hopkins University),Chair; click here for full list of participants.

FRIDAY 12 November7:00–8:45 AMS Committee on Career-Related Issues

Meeting

7:00–8:45 Howard Mayer Brown Award CommitteeMeeting

7:00–8:45 Alvin H. Johnson AMS 50 Dissertation Fel-lowship Committee Meeting

7:00–8:45 AMS Chapter Officers’ Meeting

7:00–8:45 AMS History of the Society CommitteeMeeting

7:00–8:45 AMS Program Committees for the 2004 and2005 Annual Meetings

7:00–8:45 Student Representatives to AMS CouncilMeeting

7:30–8:30 Journal of Music Theory Pedagogy EditorialReview Board Breakfast

7:30–8:45 American Brahms Society Board of Direc-tors, Breakfast Meeting

8:00–9:00 Society for Eighteenth-Century MusicBoard of Directors Meeting

8:00–5:00 Job Interviews

8:30–5:00 Registration

8:30–6:00 Exhibits

FRIDAY MORNING SESSIONS

9:00–12:00

Film Topics

Robyn Stilwell (Georgetown University), Chair

Giorgio Biancorosso (Columbia University), “Melodrama and ItsAura: Jean-Luc Godard’s Contempt ”

David Brackett (McGill University), “Bob Dylan’s Eat the Documentand the Limits of Mass Cult Modernism”

Lloyd Whitesell (McGill University), “Concerto Macabre” Anna Nisnevich (University of California, Berkeley), “Russian Ark:

Temporary Floods, Eternal Returns”

African-American Musics

Samuel Floyd (Columbia College/Center for Black Music Research),Chair

Willie Strong (University of South Carolina), “African-AmericanMusic Criticism at the Dawn of the Harlem Renaissance:James Weldon Johnson’s Books of Negro Spirituals”

Sarah Schmalenberger (University of St. Thomas), “Tom Tom: TheSignal Call of Shirley Graham Du Bois”

Lisa Barg (McGill University), “Between the Sugar Plum Fairy andSugar Rum Cherry: The Ellington-Strayhorn Nutcracker Suite”

Loren Kajikawa (University of California, Los Angeles), “Millennar-ian Soul: Aesthetics of Transcendence in D’Angelo and Char-lie Hunter’s ‘The Root’”

Women and Music in Early Modern Europe

Kimberlyn Montford (Trinity University), Chair

Craig Monson (Washington University in St. Louis), “‘They Singwith Herodias in Herod’s Palace’: Confronting the PerilousAllure of Convent Singing”

Colleen Baade (University of Nebraska), “Two Centuries of NunMusicians in Spain’s Imperial City”

Catherine Gordon-Seifert (Providence College), “‘Precious’ Eroti-cism and Hidden Morality: Salon Culture and French Airs(1640–1660)”

Peter Bennett (Oxford University), “A Seventeenth-Century ‘Dou-ble Entendre’?: Antoine Boësset’s Parallel Repertories for theCourt of Louis XIII and the Royal Benedictine Abbey ofMontmartre”

German Romanticism

K. M. Knittel (University of Texas, Austin), Chair

Jason Geary (Yale University), “Greek Tragedy as German Drama:From Mendelssohn to Wagner”

Elizabeth Kramer (University of North Carolina), “The Concert asGottesdienst: Sacred Time and Sacred Space in German MusicalLife of the Early Nineteenth Century”

David Gramit (University of Alberta), “Becoming Musical, Becom-ing a Person: Learning Music in Nineteenth-Century GermanAutobiographical Narratives”

Marian Wilson Kimber (University of Iowa), “Reading Shake-speare, Hearing Mendelssohn: Concert Readings of A Midsum-mer Night’s Dream in the Nineteenth Century”

Nature and Culture in France

Barbara Kelly (University of Keele), Chair

Katherine Bergeron (University of California, Berkeley), “‘Artificialby Nature’: Ravel’s Histoires naturelles and the Limits of Mélodie”

Nicholas Wille (Cornell University), “‘Artificial by Nature’: Ravel’sHistoires naturelles”

David Code (University of Glasgow), “Debussy’s String Quartet inthe Brussels Salon of La Libre Esthétique”

Robert Fallon (University of California, Berkeley), “The Record ofRealism in Messiaen’s Bird Style”

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FRIDAY AFTERNOON SESSIONS

2:00–5:00

Memory, Sentiment, Place

Annegret Fauser (University of North Carolina, Chapel Hill), Chair

Michael Christoforidis (University of Melbourne), “‘The Moor’s LastSigh’: Fin-de-siècle Paris, Symbolism, and the Alhambra”

Nalini Ghuman Gwynne (Mills College), “‘Pale Hands I Lovedbeside the Shalimar’: Memory, Myth, and Loss in the Anglo-Indian Imagination”

Bernardo Illari (University of North Texas), “The Buenos Aires ofMaría: Ritual, Reversal, Renewal”

Judith Lochhead (Stony Brook University), “Music as Place: AnneLeBaron’s ‘Southern Ephemera’”

Rhetoric and Allegory in the Baroque

Alexander Silbiger (Duke University), Chair

Janette Tilley (University of Toronto), “‘Zu andern soltu meditirn’:Musical Meditations in Seventeenth-Century Germany”

Andrew H. Weaver (Northwestern University), “Toward a Rhetori-cal Analysis of Large-Scale Structure in Seventeenth-CenturyMusic: A Case Study Using Works by Giovanni Felice Sances”

Deborah Kauffman (University of Northern Colorado), “Violons enbasse as Musical Allegory”

Minji Kim (Brandeis University), “Meaning and Effect of Stile Anticoin Handel’s Israel in Egypt”

Popular Music (AMS/SMT Joint Session)

Robert Walser (University of California, Los Angeles), Chair

John Covach (University of North Carolina, Chapel Hill): “JimiHendrix and the Pentatonic Experience”

Joti Rockwell (University of Chicago): “Barline Breakdown: Blue-grass Rhythm and Banjo Transformations”

Jairo Moreno (New York University), “Crossing Under and Beyondwith Rubén Blades: Latin American Music and the ‘Third Space’”

Daniel Sonenberg (Brooklyn College, City University of New York),“‘Spreading Her Gorgeous Wings’: Joni Mitchell’s Adoption ofJazz in ‘The Last Time I Saw Richard’”

FRIDAY AFTERNOON SHORT SESSIONS

2:00–3:30

Importing and Exporting Opera

Katherine Preston (College of William and Mary), Chair

Larry Hamberlin (Brandeis University), “‘Play That Old Salomy Mel-ody’: The American Response to Strauss’s Salome”

Gwynne Kuhner Brown (Puyallup, Wash.), “A Dubious Triumph:Porgy and Bess as Propaganda, 1952–1956”

Early Medieval Theory

Dolores Pesce (Washington University in St. Louis), Chair Blair Sullivan (University of California, Los Angeles), “A Sociolingu-

istic Context for the Production of Ninth-Century CarolingianTreatises on Music”

Charles Atkinson (Ohio State University), “Alia via in Aliam musicam”

Twentieth-Century Russian Music

Marina Frolova-Walker (Clare College, Cambridge University), Chair

Deborah Wilson (Ohio State University), “‘Never Was a Tale ofGreater Woe’: The Unknown History of Prokofiev’s Romeo andJuliet”

Maria Cizmic (University of California, Los Angeles), “HammeringHands: Galina Ustvolskaya’s Piano Sonatas and a Hermeneuticof Pain”

FRIDAY MORNING SHORT SESSIONS

9:00–10:30

Medieval Compositional Methods

Sarah Fuller (Stony Brook University), Chair Jennifer Roth-Burnette (New York University), “Plainchant Models

in the Oral Composition of Organum Duplum” Yolanda Plumley (University College, Cork), “The Collective Mem-

ory: Citation and Compositional Process in Machaut”

10:30–12:00

Sacred Spectacle in Medieval Tuscany

Frank D’Accone (University of California, Los Angeles), Chair Marica Tacconi (Pennsylvania State University), “Sacred Ritual as

an Instrument of Civic Unity: The Processions of MedievalFlorence”

Benjamin Brand (Yale University), “Episcopal Prestige, Civic Devo-tion, and the Vesperes maiores of Medieval Lucca”

12:00–1:00 Center for the History of Music Theory andLiterature, Board Meeting

12:00–1:00 AMS Committee on Career-Related Issues,Session: “Getting and Spending: Applying forGrants & Fellowships,” Kathryn Lowerre (Michi-gan State University), Chair

12:00–1:15 Society for Seventeenth-Century Music, Busi-ness Meeting

12:00–1:30 AMS Committee on Cultural Diversity: Recep-tion for Visiting Students

12:00–2:00 Mozart Society of America Meeting12:00–2:00 Performance: “Swingshift: The AMS 2004

Swing Band,” Frank Tirro (Yale University),director; Howard Smither (University of NorthCarolina), Robert Walser (University of California,Los Angeles), David Borgo (University of Califor-nia, San Diego), and Frank Tirro, trumpets; RayAnderson (State University of New York, Stony-brook), trombone; Scott DeVeaux (University ofVirginia), piano; David Chevan (Southern Connec-ticut State University), bass; Andy Berish (Univer-sity of California, Los Angeles), drums.

12:15–1:15 Yamaha Workshop12:15–1:45 AMS Gay & Lesbian Study Group, Program

and Business Meeting2:00–3:00 Concert: “Profound and Devotional Music

from the Renaissance Manuscript ‘Panciatichi27’ of Biblioteca Nazionale Centrale diFirenze,” Ensemble Ciaramella: Adam Gilbert(Stanford University), Rotem Gilbert (Case WesternReserve University), Doug Milliken (YoungstownState University), Debra Nagy (Case WesternReserve University), recorders, shawms, bagpipes;Anna Levenstein (Case Western Reserve Univer-sity), soprano; Julie Andrijeski (Case Western Re-serve University), vielle. Plymouth Church, 6thAvenue and Seneca St. (two blocks from the hotel)

3:30–4:45 Lecture-Recital: “Performance Practice ofBalto-Finnic Traditional Songs Transformedin the Choral Music of Veljo Tormis,” The Uni-versity of Washington Chamber Singers, GeoffreyPaul Boers, director; Mimi S. Daitz (City Universityof New York), lecturer. Plymouth Church, 6thAvenue and Seneca St. (two blocks from the hotel)

3:30–5:00 AMS/MLA Joint RISM Committee Meeting4:00–5:00 AMS Performance Committee Meeting

—14—

3:30–5:00

Music and Confessional Politics in the Holy Roman Empire

Alexander Fisher (University of British Columbia), Chair

Rebecca Wagner Oettinger (Madison, Wisc.), “Public Relations inthe Sixteenth Century: The Case of Martin Luther and the Dietof Worms”

Allen Scott (Oklahoma State University), “A Meeting of Peace andPiety: Music for a Royal Visitation”

Noise and Notation in Trouvère Music

Judith Peraino (Cornell University), Chair Emma Dillon (University of Pennsylvania), “Sounding Dissent:

Representations of Sonic Outrage in the Poetry and Motets ofAdam de la Halle”

Elizabeth Aubrey (University of Iowa), “Trouvères, Scribes, and theDevelopment of Figurae simplices”

Regicide and Music

Emanuele Senici (St. Hugh’s College, Oxford University), Chair

Claudia Jensen (University of Washington), “The True False Dmitriiand the Death of Music in Muscovy”

Anna McCready (Royal Holloway, University of London), “Auber’sGustave III: Regicidal Opera and the Demise of the Ancien Régime”

5:00–7:00 Rice University Alumni Reception

5:15–6:15 AMS Committee on Career-Related Issues,Session: “Stet! Career Choices in Editing for Musi-cologists,” James L. Zychowicz (A-R Editions), Chair

5:15–6:30 JAMS Editorial Board Meeting

5:15–6:30 AMS Presidential Forum: “The AMS at YourService,” J. Peter Burkholder (Indiana University),President; Jessie Ann Owens (Brandeis University),Chair of the Development Committee; Judy Tsou(University of Washington), Chair of the Commit-tee on Membership and Professional Development

5:30–6:30 “Singing from Renaissance Notation,” hostedby Early Music America

6:00–7:00 American Bach Society Editorial Board Meeting

6:30–8:00 Oxford University Press Reception

7:00–9:00 Society for Eighteenth-Century Music Busi-ness Meeting

7:00 AMS Campaign Kickoff Banquet

8:00 Andrew Manze and the English Concert, Prog-rammatic Concertos by Vivaldi, Schmelzer,Biber, and Locatelli. Town Hall, 8th Avenue andSeneca (four blocks from the hotel)

8:00–9:30 AMS and SMT Cultural Diversity Committees,“Cultural Diversity Imperatives and Music Scholar-ship”

8:00–10:00 Musical Literacy and History of PedagogyConsortium

8:00–11:00 Jam Session

9:00–10:30 Music Library Association Notes Authors’ andReviewers’ Reception (by invitation)

9:00–12:00 University of Pittsburgh Alumni and FriendsReception

9:00–12:00 University of Chicago Alumni Reception

10:00–12:00 Reception, Forum on Music and ChristianScholarship

10:00–1:00 AMS Gay & Lesbian Study Group Party

FRIDAY EVENING SESSION

8:00–11:00—AMS Panel

“Disability Studies in Music,” Joseph Straus (City University ofNew York, Graduate Center), Chair; click here for full list of participants.

SATURDAY 13 November7:00–8:45 AMS Committee on Cultural Diversity Meeting

7:00–8:45 AMS Committee on the Status of WomenMeeting

7:30–9:00 A-R Recent Researches Series Editors’ Break-fast

7:30–8:45 AMS-L Committee Meeting

7:30–8:45 AMS Publications Committee Meeting

7:30–9:30 Journal of Musicological Research EditorialBoard Meeting

8:00–9:00 Beethoven Forum Editorial Board BreakfastMeeting

8:00–5:00 Job Interviews

8:30–5:00 Registration

8:30–6:00 Exhibits

SATURDAY MORNING SESSIONS

9:00–12:00

Schoenberg

Robert Morgan (Yale University), Chair

Klára Móricz (Amherst College), “Anxiety, Abstraction, and Schoen-berg’s Gestures of Fear”

Holly Watkins (Eastman School of Music), “Schoenberg’s InteriorDesigns”

Jennifer Shaw (University of Sydney), “Politics, the Arts, and Ideasin Schoenberg’s Post-War Projects”

Amy Wlodarski (Orono, Maine), “‘An Idea Can Never Perish’:Memory as Compositional Method in Arnold Schoenberg’sHolocaust Cantata A Survivor from Warsaw, Op. 46”

Race in and as Performance

Georgiary McElveen (Brandeis University), Chair

Todd Decker (University of Michigan, Ann Arbor), “The NAACP‘Follies’ of 1929: A Forgotten Interracial Benefit on Broadway”

Richard Mook (University of Pennsylvania), “Beyond the BurntCork Mask: Racializing Barbershop, 1930–1970”

Derek B. Scott (University of Salford), “The Reception of Black andBlackface Minstrelsy in Nineteenth-Century Britain”

John Harris-Behling (University of Michigan), “‘I Gotta Be Me’:Performing Sammy Davis, Jr.”

Franco-Russian Tonalities

Mark DeVoto (Tufts University), Chair

Jean Littlejohn (Northwestern University), “F.-J. Fétis and theDevelopment of Plainchant Theory in Nineteenth-CenturyFrance and Belgium”

Paul Bertagnolli (University of Houston), “Halévy’s Quarter Tones”Carlo Caballero (University of Colorado), “Multimodality in Fauré”John Schuster-Craig (Grand Valley State University), “‘A Few

Flimsy Enharmonic Devices,’ or What Stravinsky Learnedfrom Rimsky”

—15—

Problems in Baroque Opera

Margaret Murata (University of California, Irvine), Chair Ellen Rosand (Yale University), “Francesco Cavalli’s L’Incoronazione

di Poppea” Maria Purciello (Princeton University), “Merchants, Mountebanks,

and the Commedia dell’arte: ‘L’insegnamento con il diletto’ in Chisoffre speri”

Mary Macklem (University of Central Florida), “A Tragedy at theOpera: Eighteenth-Century Theatrical Style and AlessandroScarlatti’s Mitridate Eupatore (1707)”

Suzanne Aspden (Southampton University), “‘Let Discord Reign’?Managing ‘Faustina vs. Cuzzoni’”

Music, Illness, Medicine

Elizabeth Hudson (University of Virginia), Chair Richard Freedman (Haverford College), “Listening to Melancholy:

Orlando di Lasso’s ‘Un triste coeur’ and the French MedicalTradition”

Gregory Bloch (University of California, Berkeley), “PathologicalSinging in 1840”

Francesca Brittan (Cornell University), “Berlioz and the Pathologi-cal Fantastic: Melancholy, Monomania, and Romantic Autobi-ography”

Laurie Stras (University of Southampton), “Sing a Song of Differ-ence: Connie Boswell and a Musical Discourse of Disability”

Rituals, Books, and Performers in Renaissance Cathedrals

Bonnie Blackburn (Wolfson College, Oxford University), Chair Timothy Dickey (University of Iowa), “A Specific Liturgical Func-

tion for Marian Motets: The Evidence of the ‘Siena Choir-book’”

Paul Merkley (University of Ottawa), “The Desprez(s), theAlmoner, and the Cathedral of Aix”

Michael Noone (Cornell University), “Alonso Gascon, ToledoCathedral’s Codex 8, and a Rediscovered Manuscript Poly-phonic Choirbook (ToleBC 35)”

Mitchell Brauner (University of Wisconsin, Milwaukee), “On theCusp of the Print and Manuscript Cultures: The Liber Quinde-cim Missarum of 1516”

SATURDAY MORNING SHORT SESSION

9:00–10:30

Haydn (AMS/SMT Joint Session)

Caryl Clark (University of Toronto), Chair

Nicole Biamonte (Skidmore College): “Haydn’s and Beethoven’sDuplicate Folksong Settings”

Marshall Brown (University of Washington), “The Whimsy ofHaydn’s Songs: Poetry, Sexuality, Repetition”

12:00–12:45 North American British Music Studies Associ-ation Meeting

12:00–1:00 AMS Committee on Career-Related Issues,Session: “From Program Annotations to Week-end Critic and Beyond: Writing about Music forGeneral Audiences,” Scott Warfield (University ofCentral Florida), Chair

12:00–2:00 American Bach Society Advisory Board,Luncheon Meeting

12:00–2:00 Seven Springs Consortium

12:00–2:00 American Handel Society, Board Meeting

12:00–4:00 AMS Committee on the Publication of Ameri-can Music, Luncheon Meeting

12:15–1:45 AMS Council Meeting

12:30–1:30 Lecture-Recital (sponsored by the AMS Perfor-mance Committee): “A Historical DocumentRediscovered: Johanna Kinkel’s Lecture onFelix Mendelssohn,” Kenneth Hamilton (Univer-sity of Birmingham, U.K.), piano; Monika Henne-mann, lecturer

12:30–1:30 Early Music America Open Session for EarlyMusic Directors

1:00 Visqueen. Experience Music Project, 325 5th Ave.N., Seattle

SATURDAY AFTERNOON SESSIONS

2:00–5:00

Alterity in Late Romantic Opera

Heather Hadlock (Stanford University), Chair

Ralph Locke (Eastman School of Music), “Spanish Local Color inBizet and Verdi: Unrecognized Borrowings and Transforma-tions”

Elizabeth Kertesz (University of Melbourne), “Exotic Parody orHispanic Masterpiece? National Identity and the Reception ofBizet’s Carmen in Paris and Madrid”

Sherry Lee (University of British Columbia), “A Florentine Triangle:Wildean Opera and Male Homosocial Desire”

Anne Seshadri (University of California, San Diego), “SignifyingRace in Strauss’s Salome”

Recording Music

Richard Leppert (University of Minnesota), Chair

Mark Katz (Peabody Conservatory of Music), “The Invisibility ofMusic in the Age of Recording”

Alexander Rehding (Harvard University), “On the Record: AngelicWriting, the Gramophone, and the Opernkrise in Weimar Ger-many”

Louis Niebur (University of California, Los Angeles), “Orpheus,Orphée, Orfeo ed Euridice: The BBC Radiophonic Workshop andthe Electronic Recycling of the Musical Past”

Felicia Miyakawa (Middle Tennessee State University), “Turntabla-ture: Notating a ‘New Classical Era’”

Late Medieval Issues

Karl Kuegle (University of Utrecht), Chair Margaret Bent (All Souls College, Oxford University), “What is Iso-

rhythm?” Elizabeth Upton (University of California, Los Angeles), “The Myth

of the Late Fourteenth-Century Avant-Garde” Catherine Saucier (University of Chicago), “Music Patronage in

Liège and Johannes Brassart’s Career (c. 1400–1455)” Murray Steib (Ball State University), “In the Workshop of a Late

Medieval Editor: Johannes Martini’s Modernization of Music inthe Modena Mass Choirbook”

Viewing Music over Time

Robert R. Holzer (Yale University), Chair

Andrew Dell’Antonio (University of Texas, Austin), “Lelio Guidic-cioni’s Essay on Music: A New Perspective on Barberini Rome”

Pamela Starr (University of Nebraska), “‘That Is the Reason the SkyItself Sings’: Revising the View of Music in Early Modern Eng-lish Society”

Christopher Wiley (Royal Holloway, University of London), “Biog-raphy, Historiography, and the Beethoven/Schubert Mythol-ogy”

Kevin Karnes (Emory University), “‘You Should Begin Now to Ini-tiate Your People into the Soviet System’: Soviet Musicologyand the Writing of Baltic History, 1940–88”

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SATURDAY AFTERNOON SHORT SESSIONS

2:00–3:30

Dance

Marian Smith (Carleton College), Chair

John McGinness (State University of New York, Potsdam), “Vas-lav Nijinsky’s Notes for Jeux ”

Beth Levy (University of California, Davis), “Dancing ManifestDestiny: Aaron Copland’s Cowboy Ballets”

Rhythm across Continents

Virginia Danielson (Harvard University), Chair

Stephen Blum (City University of New York, Graduate Center),“Rhythmic-Harmonic Cycles in Musical Idioms of the BlackAtlantic”

Harold Powers (Princeton University), “Logogenic Rhythm Revis-ited”

3:30–5:00

Jazz

S. Lawrence Starr (University of Washington), Chair

Dale Chapman (Mount Allison University), “Twilight at Birdland:Tin Pan Alley as Cultural Politics in John Coltrane’s ‘I Wantto Talk about You’”

Elaine Hayes (University of Pennsylvania), “‘This Girl Isn’t Just aSinger, She’s a Musician’: Sarah Vaughan, Instrumental Sing-ing, and Mannerisms in Jazz”

The Cultural Politics of Twentieth-Century French Music

Steven Huebner (McGill University), Chair

Paul-André Bempéchat (Harvard University), “How RussianNationalism Influenced The Breton Eight: Paul Ladmirault’sArtistic Manifest of 1928”

Jane Fulcher (Indiana University and Institute for AdvancedStudy), “French Identity in Flux: Vichy’s Political Collabora-tion, Incoherence, and Antigone’s Triumph”

5:30–7:00 AMS Business Meeting and Awards Presenta-tion

7:15 Bus departs for concert: The Tudor Choir andCapella Romana, “Everlasting Light,” Byzan-tine chant, English polyphony, and a major newwork by Greek-Canadian composer Christos Hat-zis. St. Mark’s Cathedral, 1245 Tenth AvenueEast, Seattle

8:00–1:30 University of California, Los Angeles AlumniReception

9:00–12:00 Princeton University Department of MusicReception

10:00–1:00 AMS Dessert Reception

SATURDAY EVENING SESSIONS

8:00–11:00—AMS Panels

Imperialism and Western Music c. 1750–1950: Directions forFuture Research, Alain Frogley (University of Connecticut),Chair; click here for full list of participants.

AMS Hispanic Study Group, “Issues of Music and Identity inSpain, Mexico, and Brazil,” Walter Clark (University of California,Riverside), Chair; Carol Hess (Bowling Green State University),Leonora Saavedra (University of California, Riverside), and CristinaMagaldi (Towson University)

SUNDAY 14 November7:00–8:45 AMS Board of Directors Meeting

7:00–8:45 AMS Directors of Graduate Studies Meeting

7:00–8:45 AMS Joint Meeting of the 2004 and 2005 LocalArrangements Committees

8:00–9:00 Verdi Forum Editorial Board Meeting

8:00–12:00 Job Interviews

8:30–12:00 Registration

8:30–12:00 Exhibits

SUNDAY MORNING SESSIONS

9:00–12:00

Nineteenth-Century German Topics

David Brodbeck (University of Pittsburgh), Chair Benjamin Steege (Harvard University), “Material Ears: Pathologies

of Modern Attention in Helmholtz’s Physiological Aurality” Mark Burford (Columbia University), “Eduard Hanslick, Idealism,

and the ‘Celebrities and Knights of Matter’” George-Julius Papadopoulos (University of Washington), “Brahms’s

Academic Festival Overture as a Lecture on the Comic in Music” Francesca Draughon (Stanford University), “The Landscape of a

Wayfaring Soul: Constructions of the Modern Subject in Mah-ler’s Lieder eines fahrenden Gesellen”

North American Voices

Mitchell Morris (University of California, Los Angeles), Chair Leta Miller (University of California, Santa Cruz), “Influence and

Originality: Henry Cowell as Progenitor of Cagean Thought” Judith Tick (Northeastern University), “American Pragmatism and

Its Relevance to Twentieth-Century American Music Scholar-ship: John Dewey as a Case Study”

David Bernstein (Mills College), “The San Francisco Tape MusicCenter: 1960s Counterculture Meets the Avant-Garde”

Charles Kronengold (Wayne State University), “Composers’ Inten-tions and the Problem of Others in Late Modernity”

Performance and Reception, 1700–1900

Michelle Fillion (University of Victoria), Chair Emily Dolan (Cornell University), “The Orchestra Machine, Tim-

bre, and the New Listener in the Eighteenth Century” Guido Olivieri (University of California, Santa Barbara), “Taste in

Context(s): Italian Instrumental Music and the Aesthetic Debatesin Eighteenth-Century France”

Mary Hunter (Bowdoin College), “Performance and Aesthetics,1790–1840”

Augustus Arnone (Cornell University), “The Aesthetics of TexturalAmbiguity: Brahms and the Changing Piano”

Ritual, Time, and the Foreign in Twentieth-Century Music

Michael Tenzer (University of British Columbia), Chair

Luciano Chessa (University of California, Davis), “A Futurist Look-ing Back: The Influence of the Occult Tradition on Russolo’sFuturist Phase”

Heather Wiebe (University of California, Berkeley), “Rituals of Re-newal: Britten’s Ceremony of Carols and the Medieval Carol Revi-val”

Phil Ford (Stanford University), “‘We Are Primitives of anUnknown Culture’: The Persistence of Exotica in the 1960s”

Brett Boutwell (University of Illinois, Urbana-Champaign), “Mor-ton Feldman and the Metaphysics of Musical Time, 1957–1969”

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Kurt von Fischer (1913–2003)On 27 November 2003, Swiss musicologistKurt von Fischer died in his native city ofBerne at the age of 90. After studies inpiano with Franz Josef Hirt at the Conser-vatory of Berne (1932–1935) and musicol-ogy with Ernst Kurth at the University ofBerne (1932–1938), he completed his disser-tation on the harmonic language of EdvardGrieg and subsequently taught piano andmusical style at the Conservatory of Berne(1939–1959). In spite of teaching a largenumber of piano students and serving in themilitary for many months during WorldWar II, he continued his own piano studieswith Czeslaw Marek. He later explained thatthanks to Marek’s method, based on theanalysis of physical motions, he and hiswife, the pianist Esther von Fischer-Aerni,were able to perform as a piano duo untilthe last year of his life.

In 1948 Kurt von Fischer completed hisHabilitation, a study of form and motif inBeethoven’s instrumental works. After sev-eral months of research in foreign libraries,mainly in Italy, he began teaching at theUniversity of Berne, specializing on themusic of the Italian Trecento. This work ledto the publication of a catalogue of Tre-cento music (1956) and later the RISM vol-umes on the sources of polyphonic music ofthe fourteenth century (1972; with MaxLütolf). He also was the general editor ofthe series Polyphonic Music of the Four-teenth Century (1976–1987). The year 1954brought the first signs of a new researchinterest, the settings of the Passion, whichculminated in Die Passion: Musik zwischenKunst und Kirche (1997).

In 1957 Kurt von Fischer was appointedOrdinarius and chair of musicology at theUniversity of Zurich, where he taught untilhis retirement in 1979. During his tenure, hetraveled extensively to do research and torespond to calls for lectures and visiting lec-tureships (University of Illinois, 1967 and1970; City University of New York, 1987).He helped establish the famous summercourses on Trecento music in the Italian cityof Certaldo and was an active member ofnumerous associations, including the IMS(president, 1967–1972, later honorary mem-ber), the British Academy (correspondingand honorary member), the AMS (corre-sponding member), and the commission mixteof RISM (president, 1979–1989, then hono-rary president). His teaching at the Univer-sity of Zurich covered the whole range ofWestern music, often taking the form ofopen-minded discussions and inevitablyinspiring his research. His lectures were full,

and many of his former students continuedto attend them. Discussion ensued when-ever he met interested listeners. Those whohad the chance to listen and learn will misshim.

—Dorothea Baumann

Janet Levy (1938–2004)Janet M. Levy, a musicologist whoseresearch interests covered the theory andanalysis, criticism, and aesthetics of musicof the eighteenth and nineteenth centuries,died on 16 March following a seven-yearbattle with cancer. Educated at Vassar Col-lege (B.A., 1960) and Stanford University(Ph.D., 1971), she was the recipient of fel-lowships from the Woodrow Wilson Foun-dation, the Fulbright Commission, and theNational Endowment for the Humanities.She taught briefly at Cornell University(1965–66) and the University of Virginia(1966–67), and for eleven years at the CityCollege of the City University of New York(1967–78). Stints followed at the NewSchool for Social Research (1982–83), theEastman School of Music (1990), and Rut-gers University (1991), but she spent thelast decade of her life as an independentscholar.

Trained as a violinist, Levy was particu-larly interested in the string quartet, aninterest first explored in her dissertation onthe Quatuor concertant in Paris and subse-quently in her monograph Beethoven’s Com-positional Choices (1982). Her penetratingintelligence, sharpened by her study of phi-losophy at Vassar, marked all of her variedand original publications. In addition to hermonograph, these include several beauti-fully crafted, oft-cited articles: “Texture as a

SUNDAY MORNING SHORT SESSIONS

9:00–10:30

Vocal Music at the Piano

Jeffrey Kallberg (University of Pennsylvania), Chair

Jonathan Kregor (Harvard University), “On the Limits of Tran-scriptions: Franz Liszt’s Winterreise”

David Kasunic (Princeton University), “Playing Opera at the Piano:Chopin and the Piano-Vocal Score”

Performers and Audiences in Renaissance Florence

John Walter Hill (University of Illinois, Urbana-Champaign), Chair

William Prizer (University of California, Santa Barbara), “Behindthe Mask: Patrons and Performers of Florentine Carnival andthe Carnival Song”

Nina Treadwell (University of California, Los Angeles), “On Seeingand Hearing Music: Medicean Theater and the ‘Mystery of State’”

Shostakovich (AMS/SMT Joint Session)

Patrick McCreless (Yale University), Chair

Stephen C. Brown (Oberlin Conservatory): “Tracing the Origins ofShostakovich’s Musical Motto”

Terry Klefstad (Southwestern University): “The Mass Appeal ofShostakovich’s Seventh Symphony”

10:30–12:00

Rousseau

Thomas Christensen (University of Chicago), Chair

Charles Dill (University of Wisconsin-Madison), “The Language ofOpera Criticism in Rousseau’s France”

Tille Boon Cuillé (University of Iowa), “Putting French Music to theTest: Rousseau’s Scientific Method”

A Usable Past for Seicento Opera

Louise Stein (University of Michigan), Chair

Virginia Christy Lamothe (University of North Carolina, ChapelHill), “Faith and Service to the Respublica Christiana as seen inStefano Landi’s Il Sant’Alessio”

Wendy Heller (Princeton University), “The Breath of Pan andApollo’s Bow: Recuperating Antiquity in Seicento Venice”

History of Theory (AMS/SMT Joint Session)

Jessie Ann Owens (Brandeis University), Chair

Timothy R. McKinney (Baylor University): “Music Theory andRhetoric in Vicentino’s Solo e pensoso”

Peter Schubert (McGill University): “Cerone’s Commonplaces: ALook inside Points of Imitation”

Obituaries

The Society regrets to inform its mem-bers of the deaths of the following mem-bers:

J. Bunker Clark26 December 2003

Edward R. Reilly28 February 2004

Janet Levy15 March 2004

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Policy on Obituaries

The following policy on discursive obit-uaries in the Newsletter was approved bythe Board of Directors in 1998.

1. The Society wishes to recognize theaccomplishments of members whohave died by printing obituaries in theNewsletter.

2. Obituaries will normally not exceed400 words and will focus on music-related activities such as teaching,research, publications, grants, and ser-vice to the Society.

3. The Society requests that colleagues,friends, or family of a deceased memberwho wish to see him or her recognizedby an obituary communicate that desireto the Editor of the Newsletter. The Edi-tor, in consultation with the AdvisoryCommittee named below, will select theauthor of the obituary and edit the textfor publication.

4. A committee has been appointed tooversee and evaluate this policy, tocommission or write additional obituar-ies as necessary, and to report to theBoard of Directors. The Committeecomprises the Executive Director(Chair), the Secretary of the Council,and one other member.

Sign” (1982), a pioneering study in musicalsemiotics; “Covert and Casual Values” (1987),in which she challenged the establishmentby questioning the unexamined assumptionsof critical language about music; “SomethingMechanical Encrusted on the Living: ASource of Musical Wit and Humor” (1992);as well as her elegant biographical sketch ofher husband, Leonard B. Meyer, for hisFestschrift, Explorations in Music (1988).

Levy was a famously tough respondentto the work of other scholars. One of herformal responses at a conference ended upbeing published with the papers because itcaused several of the contributors to modifytheir original arguments. She also servedwith distinction on a variety of editorialboards as well as on several AMS commit-tees, including the Committee on Honoraryand Corresponding Members and, mostrecently, the Publications Committee.

At the time of her death, she was atwork on two major projects: an essay on thenature of musical irony in opera and,expanding on issues adumbrated in her finalarticle, “The Power of the Performer”(2001), a book on the relationship betweeninterpretation and performance. Levy’s workwas not trendy; it eschewed jargon; it dealtwith fundamental musical problems in adirect and articulate way. It will last.

—Ellen Rosand

Edward R. Reilly (1929–2004)Edward R. Reilly died in Poughkeepsie, NewYork, on 28 February of heart disease. Bornin Newport News, Virginia, he spent his for-mative years in San Francisco, where hegraduated from Lowell High School. Hethen attended the University of Michigan,where he received the B.M. (1949), the M.M.(1952), and the Ph.D. in historical musicol-ogy (1958). After teaching appointments atConverse College (1957–62) and the Univer-sity of Georgia (1962–69), he went to VassarCollege, where he taught as a full professoruntil his retirement in 1996. Besides hismembership in the AMS, he was also amember of the Music Library Associationand the International Gustav Mahler Soci-ety.

Ted’s earliest publications grew out ofhis doctoral dissertation and include his ele-gant translation of J. J. Quantz’s Versuch (OnPlaying the Flute [1966; second edition 1985])and a kind of companion volume, Quantzand His Versuch: Three Studies, published bythis society in 1971. A number of relatedarticles pursue various issues in eighteenth-century performance practice.

While at the University of Georgia, Tedprepared a catalogue of its library’s substan-tial collection of the papers of Guido Adler.This work brought him back to GustavMahler, whose music had fascinated himsince his early days in San Francisco. An arti-cle (“Mahler and Guido Adler” [The MusicalQuarterly, 1972]), and a monograph, GustavMahler and Guido Adler: Records of a Friendship(1982), came out of this research. From this

AMS Washington, D.C.—2005Call for PapersDeadline: 17 January 2005

The 2005 annual meeting of the AmericanMusicological Society will be held in Wash-ington, D.C., from Thursday 27 October toSunday 30 October. The Program Commit-tee welcomes proposals for individual papers,formal sessions, and evening panel discus-sions in all areas of musicology. In responseto recommendations recently approved bythe Board of Directors, guidelines for sub-mission and the Program Committee proce-dures have changed. Please read these guide-lines carefully, as proposals that do notconform to them will not be considered.

Proposals must be received by 8 a.m.,Eastern Standard Time, Monday 17 January2005. All persons submitting proposals areinvited to do so by mail, addressed to AMSWashington, D.C., Program Committee, attn:Robert Judd, American Musicological Soci-ety, 201 South 34th Street, Philadelphia, PA19104-6313, U.S.A., or on the Web at <www.ams-net.org>. Proposals must not exceed500 words, and, if mailed, must be printed in10- or 12-point single-spaced sans serif type-face on one 8.5 x 11-inch or A4 page. Pro-posals sent by regular mail must include (atthe bottom of the page): the author’s name,institutional affiliation or city of residence,and full return address, including e-mail

initial focus, Ted expanded his work onMahler in a number of directions: unpub-lished letters; Mahler’s reception in America;and, mostly importantly, manuscript studies.Among other things, see the beautiful fac-simile edition of the autograph of the Sec-ond Symphony (1986) with his illuminatingintroduction. He continued to be productivein his retirement and for many years washard at work on a comprehensive catalogueof Mahler’s musical manuscripts.

Ted was a man of enormous integrity aswell as a delightfully warm and supportivecolleague. The great range of his interestsand tastes is not only evident in his pub-lished works, but was manifested in histeaching career as well: while at Vassar, heregularly taught nearly every one of thedepartment’s period courses as well as acourse in world music—another interest oflong standing. He will be sorely missed byfriends near and far: a longer and touchinglyaffectionate obituary can be read in theNachrichten zur Mahler-Forschung (Spring 2004).

—Brian Mann

J. Bunker Clark (1931–2003)J. Bunker Clark, Professor Emeritus of Musi-cology at the University of Kansas, was bornon 19 October 1931 in Detroit and died on26 December 2003 at Presbyterian Manor inLawrence, Kansas. He attended Cass Tech-nical School in Detroit and Cranbrook Schoolin Bloomfield Hills, Michigan. After havingreceived his bachelor’s and master’s degreesin music from the University of Michigan, heserved in the U.S. Army Counter-IntelligenceCorps in Korea. He returned to the Univer-sity of Michigan to earn a doctorate in musi-cology and spent a year as a Fulbrightscholar at Cambridge University in England.

During his studies at the University ofMichigan, Clark was interim organist atChrist Church Cranbrook in Bloomfield Hill.In his first academic position, he taughtmusic history at Stephens College in Colum-bia, Missouri. After having completed thedoctorate, he joined the faculty of the Uni-versity of Kansas, where he taught a varietyof music history and musicology courses anddirected the Collegium Musicum for manyyears. In his research he specialized in musicof the English Renaissance and Baroque erasand in American church music. Among hismost important publications are his book TheDawning of American Keyboard Music (1988) andhis edition American Keyboard Music through1865 (1990). He was a very effective teacherwith a clever and engaging sense of humor.

Clark was a founding member of theSonneck Society for American Music andactive in the American Musicological Societyand the Music Library Association. He alsowas harpsichordist and a board member ofthe Lawrence Chamber Orchestra.

Survivors include his wife Marilyn and hisbrother Thomas D. Clark of Kerrville, Texas.Clark greatly enriched the lives of countlessstudents and colleagues for many years.

—Daniel T. Politoske

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proposal to be considered in the event thatthe complete Formal Session proposal is notaccepted should indicate as much at submis-sion (a check-off box for this is included inthe online form). Organizers who wish toinclude respondents must still observe the45-minute slots for paper presentation anddiscussion.Evening panel discussions: Evening paneldiscussions are intended to accommodateproposals that are amenable to an exchangeof ideas in a public forum. These may exam-ine a central body of scholarly work, amethodological theme, or research in pro-gress. Such panels should comprise partici-pants’ brief position statements, followed bygeneral discussion among panelists and audi-ence. Formal papers are not appropriate forthis structure, and the Program Committeewill read proposals carefully so as to ensurecompliance with these guidelines. Panel dis-cussions will be scheduled for the sameduration of time as full or half sessions ofpapers and will take place during the even-ings. Organizers of panel discussions shouldsubmit the names of all panelists in a propo-sal of no more than 500 words that outlinesthe issues, clarifies the rationale behind theproposal, describes the activities envisioned,and explains why each panelist has beenchosen. Such a proposal will not be vettedanonymously and will be considered only asa whole. Organizers of panel discussionsmay not also present a formal paper in thesame year or in the preceding one, but pan-elists may do so. Organized, on-going studygroups and affiliated societies should contactRobert Judd at the AMS office about sched-uling a room for their meetings rather thanapplying under this category.Program Committee procedures: The Pro-gram Committee will employ the followingprocedures: it will evaluate and discuss allthe proposals anonymously (i.e., with noknowledge of authorship) and initially chooseroughly 120 papers. The authors of all pro-posals will then be revealed, and approxi-mately twenty-four more papers will beselected from the remaining proposals, for atotal of 144. No paper accepted during thefirst round of discussion will be eliminatedin the second round. Session chairs will bediscussed by the whole committee, takinginto account nominations, including self-nominations, sent to the AMS office by 15March 2005.

—Anna Maria Busse Berger, AMSWashington, D.C., Program Committee Chair

Call for PerformancesDeadline: 15 January 2005The Performance Committee for the 2005annual meeting in Washington, D.C., invitesproposals for both lunch-time or eveningperformances, either as autonomous con-certs or as lecture-recitals. The Committeeencourages proposals that demonstrate theSociety’s diversity of interests, range ofapproaches, and geographic and chronologi-

cal breadth. We especially welcome perfor-mances that are inspired by or complementnew musicological finds, that develop a pointof view, or that offer a programmatic focus.Free-lance artists as well as performers andensembles affiliated with colleges, universi-ties, or conservatories are encouraged to sub-mit proposals, specifying concert or lecture-recital.

Applicants should send three copies ofthe materials listed below to: ProfessorJames McCalla, Department of Music, Bow-doin College, 9200 College Station, Bruns-wick, ME 04011-8492; <jmccalla@bowdoin.edu>. Required materials include: (1) a pro-posed program, listing repertory, performer(s),and the duration of each work; (2) a list ofaudio-visual needs; (3) the applicant’s e-mailaddress and a 100-word biography of eachperformer; (4) three copies of a CD, cassette,or video of no longer than twenty minutesthat is representative of the program andperformers; (5) for concerts, a one-pageexplanation of the significance of the pro-gram or manner of performance; and (6) forlecture-recitals, a maximum of two pagesexplaining the significance of the program ormanner of performance plus a summary ofthe lecture component, including informa-tion about the underlying research, its meth-odology, and conclusions. An individual maynot present both a paper and a performanceor lecture-recital at the meeting. If an indi-vidual submits proposals to both the Pro-gram and Performance Committees andboth are selected, she or he will be given anearly opportunity to decide which invitationto accept and which to decline.

The AMS can sometimes offer extremelymodest stipends to performers whose pro-posals are accepted for the purpose of reim-bursing extraordinary performance-relatedexpenses.

—James McCalla, AMS Washington, D.C.,Performance Committee Chair

address whenever possible. If submittingelectronically, the on-screen directions shouldbe followed carefully. Please note that pro-posals longer than 500 words will be auto-matically truncated. As in the past, only onesubmission per author will be considered.Authors who read papers at the 2004 annualmeeting may not submit proposals for the2005 meeting.

No one may appear on the Washington,D.C., program more than twice. An individ-ual may deliver a paper in a formal sessionand appear one other time on the program,whether participating in an evening paneldiscussion, functioning as a chair-organizerof a session, or serving as a respondent, butmay not deliver a lecture-recital or concert.Not counting as an appearance is participa-tion in extra-programmatic offerings suchas interest-group meetings or standing com-mittee presentations (e.g. the Committee onthe Status of Women).

Receipts will be sent to all who submitproposals. Those who submit proposals viamail should provide either an e-mail addressor self-addressed stamped postcard for thispurpose. Receipts will be sent by the begin-ning of February 2005.Length of presentations: The length ofpresentations submitted by individuals andthose proposed as part of formal sessionswill be limited to thirty minutes in order toallow ample time for discussion, except inthe case of a ninety-minute formal sessiondescribed below. Position papers deliveredas part of a panel discussion should be nomore than ten minutes long.Individual proposals: Proposals shouldrepresent the talk as fully as possible. A suc-cessful proposal typically articulates andsubstantiates major aspects of its argumentor research findings clearly, points out thenovelty (and continuity with earlier work) inthe proposal, and indicates its significancefor the scholarly community. Authors willbe asked to revise their proposals for thebooklet distributed at the meeting; the ver-sion read by the Program Committee canremain confidential. If a submission is notan individual proposal, it should be labeledas belonging to one of the following catego-ries.Formal sessions: An organizer represent-ing several individuals may propose a For-mal Session, which may take the form of (1)an entire session of four papers, (2) a halfsession with two papers, or (3) a 90-minutesession consisting of a 40-minute paper andtwo respondents. In a 500-word anonymousproposal, the organizer should set out therationale for the session, explaining theimportance of the topic and the proposedgrouping of papers or participants, togetherwith a suggested chairperson. The organizershould also include a proposal for eachpaper, which conforms to the guidelines forindividual proposals stated above. FormalSession proposals will normally be consid-ered as a unit, accepted or rejected as awhole. Applicants who would permit their

Seattle Art MuseumCourtesy of the Seattle Convention and Visitors Bureau

—20—

News Briefs

Early Keyboard Journal, a refereed publicationwith international circulation, welcomes arti-cle submissions on all aspects of keyboardinstruments to c. 1850, including repertories,performance practices, organology, tuningsand temperaments, and treatises. Additionalinformation about the Journal and submis-sion guidelines are available at <www.ekjournal.org>. Inquiries and submissionsshould be sent to Carol Henry Bates, Edi-tor, 108 Dale Valley Road, Columbia, SC29223-5134.

The Journal of Film Music invites papers for aspecial issue about the use of “classical”music in films. The editors are particularlyinterested in creative forms of adaptationthat challenge and change the way we listento (more or less) familiar music throughrecontextualization, editing, recomposing,arrangement, etc. Papers should be submit-ted by 1 September 2004. For more infor-mation: Tobias Plebuch, Department ofMusic, Stanford University, Stanford, CA94305; <plebuch@stanford.edu>; <www.stanford.edu/group/filmmusic/cfs.htm>.

Each year the Mannes Institute conductsadvanced participatory workshops for out-standing theorists and musicologists on adifferent topic led by distinguished facultymembers drawn from the scholarly commu-nity. The 2005 Institute will be on Rhythmand Temporality and the 2006 Institute onChromaticism. Information is periodicallyposted on the Institute’s Web site at<www.mannes.edu/mi> and the AMS-L.Inquiries may be directed to Wayne Alpern,Director, The Mannes Institute for Ad-vanced Studies in Music Theory; tel. 212/877-8350; <mannesinstitute@aol.com>.

Call for submissions, Imagining Terror Locally:Music in the Post-9/11 World. The monthsand years following 11 September 2001have witnessed a tremendous outpouring ofmusical activity in response to the violentevents of that day and their aftermath,including the ensuing “war on terror” andongoing conflicts in Afghanistan, Iraq, andelsewhere. Scattered reports of music-making from around the globe, invokingthese events in myriad ways, suggest theneed for both a broader comparative per-spective on music after 9/11 as well as adeeper analysis of what such music mighttell us about how a global phenomenonsuch as terrorism is continually being re-read and re-interpreted through the lens oflocal cultural practices. In light of theseissues, the editors seek contributions for anedited volume addressing music, terrorism,and social commentary in the post-9/11world. They are particularly interested insubmissions based on music originating out-side of the United States or in domestic sub-cultures that have thus far received little

attention, though studies of American popu-lar music that shed new analytic light on wellknown examples will also be considered.The editors envision this collection to havebroad interdisciplinary appeal and to provideinvigorating reading for those working inethnomusicology, musicology, cultural stud-ies, anthropology and beyond. Submissionswritten in reflexive or experimental styles areespecially welcome. Abstracts of 200–300words should be submitted to J. MartinDaughtry at <jmartindaughtry@yahoo.com>and Jonathan Ritter at <jlritter@arts.ucla.edu> by 15 September 2004.

Thomas Holme Hansen (University ofAarhus, Denmark) is preparing a publicationof Knud Jeppesen’s correspondence withGuido Adler and eventually a bio-bibliog-raphy of the Danish scholar. Since the1920s, Jeppesen was in contact with scholarsin the United States, and at least once (in1956), he gave a series of lectures at Ameri-can universities. It is thus likely that lettersand other pertinent documents exist in theUnited States, both in private and institu-tional collections. Anyone with informationrelevant to this project is encouraged to con-tact Thomas Holme Hansen, Department ofMusicology, University of Aarhus, Lange-landsgade 139, DK-8000 Aarhus C, Den-mark; tel. +45 89 42 51 54; fax +45 89 42 5164; <musthh@hum.au.dk>.

The Journal of Musicological Research invites thesubmission of original articles on all aspectsof the discipline of music: historical musicol-ogy, style and repertory studies, music the-ory, ethnomusicology, music education,organology, and interdisciplinary studies.Because contemporary music scholarshipaddresses critical and analytical issues from a

New JAMS Reviews Editor

The AMS is pleased to announce theappointment of Julie Cumming as ReviewsEditor of JAMS for a three-year termbeginning in 2005. Dr. Cumming receivedher B.A. from Barnard College, ColumbiaUniversity, and her M.A. and Ph.D. fromthe University of California, Berkeley inMusic and Medieval Studies. She is anassociate professor at McGill Universityand has served on the AMS Council, theCommittee on the Status of Women, andthe Performance Committee. Her primaryresearch area is the fifteenth-centurymotet; her first book, The Motet in the Ageof Du Fay, was published in 1999 by Cam-bridge University Press.

Books to be included in the Publica-tions Received List and to be consideredfor review in JAMS should be sentdirectly to: Dr. Julie E. Cumming, Facultyof Music, McGill University, 555 Sher-brooke St. W., Montreal, QC H4A 3L8,Canada.

New JAMS Assistant Editor

The AMS has recently appointed LouiseGoldberg Assistant Editor of JAMS. Dr.Goldberg comes to the AMS with awealth of experience, having served asHead of Rare Books and Special Collec-tions at the Sibley Music Library of theEastman School of Music, University ofRochester, and worked as Managing Edi-tor and Production Editor at the Univer-sity of Rochester Press. Most notewor-thy among her numerous publications isthe first English translation of PierreBaillot’s L’Art du violon (NorthwesternUniversity Press, 1991). For a period shewill work together with outgoing Assist-ant Editor Catherine Gjerdingen, takingup full editorial duties with JAMS 58(2005).

multiplicity of viewpoints, the Journal of Music-ological Research seeks to present studies fromall perspectives, using the full spectrum ofmethodologies. Manuscripts should be sub-mitted in duplicate hard copy and on a dis-kette to the Editor: Deborah Kauffman,University of Northern Colorado, School ofMusic, Greeley, CO 80639, U.S.A. Instruc-tions for authors can be found at <www.tandf.co.uk/journals/authors/gmurauth.asp>.Inquiries should be addressed to <jmr@arts.unco. edu>.

Two of Charles Avison’s workbooks (bothdating from the 1740s) have recently sur-faced after an absence of more than 250years. Each book contains about 300 pagesof music by Avison and other composers,including Francesco Geminiani, ArcangeloCorelli, Johann Adolf Hasse, and three Scar-lattis (Domenico, Francesco, and Stephani).These notebooks are a treasure-trove ofunknown material and will be edited forpublication by Mark Kroll (Boston Univer-sity) in ten to fourteen volumes. The workswill then also be performed and recorded.

In June 2004, Oxford University Pressagreed to offer AMS members a 30%discount on all their music titles. Thisoffer comes hand in hand with thePress’s service to the AMS of publishingits series AMS Studies. The AMS ismost grateful to OUP for their assis-tance in accomplishing our shared goals.See the AMS Web site for full details.

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