Theodor W. Adorno's intensive engagement with certain intellectual traditions--German Idealism, Marxism, Freudian psychoanalysis, aesthetic modernism--is the result not only of his personal proclivities, but also of his membership in particular communities, especially those associated with the Institute of Social Research. In its inquiry into the relation between art and society, this panel necessarily spends time with Adorno--one of the most insightful analysts of this relation--but also considers relevant thought by other figures associated with the Frankfurt School, including Walter Benjamin and Herbert Marcuse.The first paper, "Finding a way back to its folk: Adorno, rationalization and musical 'blind spots,'" makes a case for Black music to occupy a site of resistance to the rationalizing tendencies of an administered society. The second, "Listening (again) to Dissonance, between Realism and Utopia," asks how musicology today might benefit from attending to the debate in 1969 between Adorno and Marcuse over the role of critical theory in a world rife with political conflict and social injustice. The panel closes with "Art, Craft, Commodity: Music in Light of Benjamin's _Arcades Project_." It draws on Benjamin's major study of capitalism to construct an interpretive framework for western art music at the end of the long nineteenth century.  

Musicologists have long debunked the stories that composers construct for themselves. But what happens when those composers are still alive, and part of the research process itself? Scholarship on living composers blurs boundaries between archival research, oral history, and participant observation. It can also complicate traditional approaches: living composers may maintain extensive personal archives to which they grant only limited access, and they may seek an editorial role, supervising what can and cannot be said about them. What happens when research complicates or repudiates the stories that these composers have long told about themselves? How can musicologists maintain a commitment to ethical ethnography––taking the concerns of interlocutors seriously––while also avoiding duplicating their self-mythologization?In this panel, each participant will present a brief case study in their research on living composers, followed by discussion. Will Robin will address his scholarship on the Bang on a Can festival, including how he incorporated feedback from its founding composers into his manuscript about them, and attempted to maintain critical distance from an organization that remains active today. Based on his experience writing about Tania León's compositional voice, Alejandro L. Madrid will discuss strategies to approach music analysis as a counterpoint that incorporates the composer's own take on her music as well as listening regimes that may depart from that interpretation. Female scholars are often accused of becoming too close to their subjects. Addressing her research trajectory on Mario Lavista, Ana Alonso-Minutti challenges academia's heteropatriarchal expectation of objectivity by elaborating on her experience of writing as an affective practice. Alice Miller Cotter, who has worked extensively with John Adams's archival materials, will examine the unavoidable technical and human problems of how to attain an ethical balance between respecting the privacy of the individual subject and adhering to the integrity of the findings. Cecilia Livingston will reflect on the peculiar critical and ethical balance of writing about living composers (e.g. Benjamin, Adams, Cerrone, Norman) as a "living composer" herself, and examine how her professional experience of opera creation (e.g. at Glyndebourne) gives her scholarly work on opera an unusual vantage point.

Neoliberal theorists argue that human well-being is best served when markets operate freely. In Latin America, along with the eased flow of capital and resources among nations, this sparked a new discourse about globalization and an ever-smaller world. National governments aimed to bolster their economies and mitigate debt through the implementation of neoliberal policies, often dictated by international lenders and advisers. Corporations strove to take maximum advantage of this new phase of deregulation. Meanwhile, citizens reacted to the emerging politics of scarcity by organizing through local and global grassroots networks. Popular musicians played a multifaceted role in this process. As governments sought to activate non-traditional exports, local cultural resources came to the fore and smaller nations in particular turned increasingly to tourism as a means of generating income; musicians were key actors in both of these arenas. The music they produced articulated local communities' experiences of precarity and self-branding while catering to an international public increasingly curious about global connections. In turn, they interfaced directly with companies seeking to invest in and extract from those resources. This panel brings together three distinct perspectives on this cultural moment, representing Mexico, Central America, and the Caribbean, rock, world music, and popular dance music. The first paper examines how rock musicians used Mexican folk elements and Afro-Caribbean rhythms like clave to articulate the many ethnic, social, and cultural ambiguities of modern Mexican identity, crafting a hybrid, self-exoticized idiom in order to become more marketable in an international, cosmopolitan music scene. The second paper considers the intersection of neo-traditionalism in Central American Garifuna popular music with neoliberal marketing strategies within the 2000s world music industry. The third paper investigates the work of Cuban artists as they lead the revolution's tentative reinsertion into capitalist markets, balancing the distinct but overlapping demands of domestic and foreign markets with their own drive for virtuosic self-expression. Together, these papers elaborate the complex interactions of structural constraints and individual agency that characterize the global neoliberal arena and its manifestations in Latin America, as evidenced in the work of these musicians. 

Attending the AMS Annual Meeting for the first time? Meet new colleagues and be welcomed by members of the AMS Council and Board of Directors at the First-Time Attendee Reception! The First-Time Attendee Reception is a great opportunity to make new friends and get your bearings at your first AMS Annual Meeting.

Reba Wissner (Columbus State University), "Transmedia Perry Mason: The Case of the Radio to Television Adaptation"James McGlynn (University College Cork), "'The Proliferation of "Musical Remakes" in Film and Television scores"Katherine Reed (California State University, Fullerton), "Lazarus, David Bowie, and Afterlife through Adaptation"Kate Galloway (Rensselaer Polytechnic Institute), "Remediating the Wildlife Preserve: Transmedia Adaptation and Critical Birding in Wingspan"Paula Harper (University of Nebraska), "Viral Musicking and TikTok Adaptations"

Within the historiography of nineteenth-century Parisian theater, issues of genre are inseparable from the policies that shaped political and social institutions in the city. But focusing these issues around the Opéra inadvertently reinforces nineteenth-century hierarchies that privileged centered, state-funded theaters over the cultural politics of independent institutions. Such a narrative is particularly limiting within the context of urban change in Paris. Urbanization-that is, the "creative destruction" of infrastructures, communities, and sensory experiences-generated new opportunities and challenges for Paris's sprawling theater industry, which in turn inspires questions about sociability, genre, and aesthetics in the city.This roundtable explores the connections between genre and geography in Paris through an examination of what we call non-canonic or "decentered" theatrical spaces: hippodromes, salons, cafés, and commercial theaters. Musical events within these spaces reveal unexplored connections between Parisian theater deregulation and urban planning. Threading the needle between theatrical and urban policy, the panel explores how Parisian spectacle mediated aspects of public urban life. While imperial French politics revolved around ideologies of centralization-from networked boulevards to the Opéra to colonization abroad-a series of civic deregulation policies eventually defined theatrical genres in tandem with their design-intensive performance spaces. We ultimately ask how generic and geographic borders shaped how the city was perceived and policed.The roundtable features four ten-minute case studies, followed by four five-minute responses and thirty minutes of open discussion. Annelies Andries examines Paris's first hippodrome as a site where commercial ingenuity, military spectacle, and location fed a mass aesthetic of Bonapartist nostalgia. Jacek Blaszkiewicz revisits the café-concert, a popular if misunderstood institution that fused the cultures of spectacle, sociability, and drink. Mark Everist brings questions of genre, power, and space into alignment in a study of the emergence of _opéra de salon_ during the Second Empire. Tommaso Sabbatini outlines the evolution of _féerie_ with original vocal music over the last third of the century, from Hervé and Offenbach to Gaston Serpette. 

This presentation guides participants through the basics of Scrivener, the app tailor-made for the creation of complex texts such as research papers. If you've ever been frustrated while trying to write and edit using a traditional word processor such as MS Word, this presentation is for you. Scrivener expert Oliver Evensen will demonstrate how Scrivener can help streamline your writing process by bringing all your notes, PDFs, audio files and so forth into a single virtual binder, allowing you to refer to your research as you write - no more searching around your hard drive for misplaced materials. There will also be a tour of Scrivener's integrated outlining, writing and editing system, with a guide to some helpful tools. The event will end with a Q&A session - queries from those new to Scrivener and existing Scrivener users are welcome. Attendees can obtain a 20% discount on Scrivener for macOS or Windows using the code MUSICOLOGICAL until December 20th.

For more than a decade, the AMS has expressed concern about the state of post-PhD job opportunities, and through discussions and activism, strong voices and leadership have emerged among part-time faculty. The AMS has made it a priority to provide resources and dedicate sessions to the issues facing the contingent labor force, and in turn, AMS has profited immeasurably from these different perspectives on teaching, scholarship, and life in the academy. More recently, conversations have turned to the impact of musicologists who have made their mark as scholars, researchers, teachers, and/or writers in the public sector. This panel brings together musicologists who have built careers in the creative industries. A workshop will allow participants to consider ways in which PhD and MA programs can better prepare students for a range of pursuits and social justice issues.This session's topic has a particularly feminist epistemology, given that seeking a career in the creative industries is, in itself, a dismantling of the academy's linear, patriarchal construction. In addition, many of the individuals who will present their narratives in this session contend that working outside of the academy allowed them more freedom and creativity than staying inside its disciplinary walls.

Many music researchers are working hard to diversify and decolonize their curricula and research outputs, and to encourage broader representation in our field. This panel argues that this work alone, while important, will not make musicology an equitable and ethical practice. At a time when humanity faces many challenges, we ask when and how it is appropriate for musicologists to become activists, putting our skills to work in collaboration with students and research partners to create equitable and liberatory communities.These ethical questions inevitably present a threat to the longstanding ideal of objectivity in scholarship in the West. Yet in recent decades, scholars from many disciplines have demonstrated the socially constructed and controlled nature of academic knowledge. They have shown how the myth of objectivity serves to dismiss and harm people who belong to different epistemological communities. In theorizing why oppressed communities might want to refuse participation in academic research, Tuck/Yang (2014) wrote that, in academia, "The Subaltern can speak, but is only invited to speak her/our pain." This pain provides data for academic research, but there is little space in academic knowledge for solutions that are based on community knowledge. Similarly, Brown/Strega (2005) wrote, "Notions of anti-oppression become distorted and relegated to discussions of ethical treatment but otherwise kept separate from research 'realities.'"The five panelists come from different music studies subdisciplines, and have experiences taking activist approaches to music's engagements with race, trauma, sexual assault, and forced migration. The roundtable will begin with brief personal statements, describing the ways we have attempted to advocate for and directly benefit members of the oppressed communities with which we research and/or teach. We will then move into a discussion with those in attendance on such questions as:How can scholars help to bring about social change in a responsible way?What lessons can musicologists learn from action-based research used by ethnomusicologists, social scientists and public historians?How can we form equitable partnerships with community organizations and pursue activism without colonialism?What should the goals of an activist, equitable and accessible music curriculum be?How should we disseminate information and awareness about trauma-informed curricula and pedagogy?

As protests for racial justice swept the nation in the summer of 2020, calls to reform music curricula have grown louder than ever. Such calls are fueled by recent work of Phillip Ewell ("Music Theory's White Racial Frame") and Loren Kajikawa ("Confronting Legacies of White Supremacy in U.S. Schools and Departments of Music"). Over the months of the pandemic, virtual AMS conferences, vigorous Zoom colloquia, and conversations on the AMS Pedagogy Study Group and Decolonizing Ethnomusicology Facebook pages have asked how our teaching may better reflect antiracist values. This roundtable proposes to continue these conversations in real life.The panelists, hailing from a wide variety of institutions, will explore the promise and difficulties in the urgent work of overturning vestiges of white supremacy in our programs. Goddard College, a small progressive school without classes or grades, integrates all aspects of music study into a multi-epistemic antiracist pedagogy, treating music as a socially engaged practice that surfaces issues of legibility, extraction and impact. Nebraska Wesleyan University redesigned the music history survey according to the model of the Equal Justice Initiative's reparative work of truth-telling, creating public presentations about legacies of racial difference and violence in Nebraska. Faculty at Purdue University, the only school in the Big Ten+ without a music major, are struggling to create one; principles of decolonization and antiracism have moved to the center of that process. At Indiana University, home of one of the largest schools of music in the world, a collaborative research-based laboratory is developing tools instructors can use at all stages of course design to address racial imbalances encoded in canonic repertory, pedagogy, and historiography, through workshops, scholarly publications and methodological trainings to be disseminated at IU and beyond.Unsurprisingly, these projects have faced challenges, both from those who expect academic music study to continue to fulfill its time-honored Eurocentric role and from those who believe change cannot happen fast enough. This roundtable aims to engage honestly with our experiences with the practical issues of recasting the work music history can and must do on our campuses and in our communities.

Study of medieval musical dramatic compositions – whether they be embedded within ritual or stand as more independent plays – has been set out in narratives from the tenth-century _Quem queritis_ tropes to various late medieval compositions, some simple, some elaborate, some partly in the vernacular. That dramatic expression was a technique already much indulged in by those who shaped Western Roman rite has never been ignored: studies of the mass itself, and of specific rituals such as the special ceremonies of Holy Week, have been the focus of much study (Young, 1933; Hardison, 1965; Kobialka, 1999; Peterson, 2004). Yet music and musical composition as primary vehicles of dramatic expression have remained too often absent from these broad approaches, often ignored because too little was known of the music and its dramatic power. The centrality of dramatic expression in music preserved in sources of the eleventh to thirteenth centuries provides focus for the papers in this session. It was in the divine office, unencumbered by the celebration of the eucharist and its special restrictions, that liturgical composers found significant space for new composition – as exemplified in the creation of new saint's offices (_historiae_). Above all, the long night office of matins generated an intensity in the experience of liturgy which could be brought to bear on understanding of the Christian world, its beliefs, behaviours and moralities. The first paper in this session uses miracle stories as markers of the exploitation of dramatic possibilities in office responsories and melismatic _neumae_, events which drew worshippers into liminal, revelatory encounters. A second paper considers the different potentials of office and play, demonstrating how new dramatic composition could offer space for the voicing of sentiments sidelined in the office – in this case grief expressed in lament. With Mary Magdalene as its main thread, a third paper considers interactions between offices and plays, one context more fixed, the other more pliable. All three presentations re-imagine the inherently dramatic nature of the divine office, now enhanced by new musical creativity, and providing an essential background for those phenomena commonly known as "plays".

Securing Your Legacy: Planned Giving and the AMSThis informal session will provide an introduction to the benefits of planned giving both for a non-profit organization like the AMS and for individuals. There will be ample time for questions. Session will be held in a Zoom meeting room.J. Peter Burkholder, AMS Development Committee ChairWelcome and IntroductionJessie Ann Owens, University of California at DavisLegacy Gifts and Their Significance to the AMSPamela Starr, University of NebraskaDoes This Sound Familiar?: Solving Problems with Estate PlanningSiovahn Walker, Robert F. Judd Executive Director of the AMSThe Nuts and Bolts of Estate PlanningQuestions and conversation

Speed networking sessions are scheduled for 11 November (3:00-3:50PM Central Time) and 20 November (1:00-1:50PM Central Time) during the 2021 AMS Annual Meeting. Registration for the 2021 AMS Annual Meeting is required to participate. Sessions will last for approximately 50 minutes, allowing for three discussions each lasting 15 minutes. Participants will be randomly placed into small groups and shuffled into new discussions.Deadline to sign-up: 21 October 2021Click Here to Sign up for Speed Networking!

Stop by RILM's "Bibliography Now!" social to discuss your research. Compiling that essential bibliography for your next paper or project? Chat with staff members how our resources can get you started. Looking to gain worldwide visibility on your published work? We are happy to add your publication to our flagship database RILM Abstracts of Music Literature on the spot, and show you how you can do it yourself. We'll help you stay current on scholarship. Find out what we've recently added to our virtual shelves. Learn more about the RILM Office Hour, where we provide live instruction sessions for individuals via Facebook; or book a bibliography session for your classroom, taught by one of our staff members via Zoom.Whether you're a student, teacher, independent scholar, or music aficionado, and whatever your research interests or field, RILM has you coveredWe look forward to meeting you and learning how we can help with all of your research needs.See you soon!

Indigeneity is imagined to be legible through the performance of a prescribed set of unchanging cultural signs. How can Indigeneity be recognized when these signs are not performed? This paper discusses the challenges of identifying and writing about diasporic Hawaiian performances in the archive when signs of indigeneity are absent. I examine the performances of Mary Kaʻaihue of the "Mary Kaye Trio" a Las Vegas lounge act from the 1950s-60s. Mary Kaye was allegedly descended from Hawaiian royalty and called "the First Lady of rock and roll" in her time, but she remains unknown within Hawaiian music history. I contemplate the significance of reading her through the lens of Hawaiian feminist and queer performance, to open space within Hawaiian futures that includes marginalized performances especially those that were generated outside of the Pacific away from ancestral homelands. I analyze how she confounded expectations of indigeneity, sexuality and Hawaiian diaspora.

The film is available for attendees to watch in advance. The live session will include excerpts, discussion, and Q&A. Using the Oxus river as a topos, this film explores themes of love and loss through the lives and musical poetry of the two most prominent and innovative Wakhi musicians in Central and South Asia: Qurbonsho in Tajikistan and Daulatsho in Afghanistan. These two poet-singers share a common language, faith, and family network and yet remain separated by vicissitudes of the 19th c. Great Game in Central Asia. In this struggle for strategic control, the Wakhan homeland of the Wakhi people became a buffer zone between Czarist Russia and the British Empire, and the river Oxus, which became the border, ran right through the center of Wakhan. After the modern nation states of the USSR and Afghanistan shored up their boundaries circa 1930, the communities living along one side of the river were severed from their counterparts on the other side. The specific condition of being separated by a river in the region has been the basis for poetry about the feeling of separation (firāq) in Persian and Wakhi poetry more generally and thereby grounds the poets' discussions of love and loss in their own lives as well as in their musical arts. The ethnomusicologist-filmmaker shot and produced the film over 2.5 years (2012-2020) with the editorial collaboration of both Qurbonsho and Daulatsho, who narrate the film in Wakhi, Tajik and Dari. It experiments with visual editing techniques to suggest possible relations of identity between persons and other persons or animals, and between emotions and landscapes. It also employs translucent overlays of photographs and moving images to evoke multiplicity and ambiguity, inspired by montage and collage in 20th and 21st century film and art (in particular the films of Sergei Eisenstein and the visual art of the filmmaker's own mother). Run-time 2 hours, in Wakhi, Tajik, Dari and Farsi, with English subtitles. Will show 2 excerpts adding up to 1 hour, speak for 30 minutes and leave 30 minutes for discussion.

The Music of Ignatius Sancho:The Arts as Black Resistance in Eighteenth-Century LondonA lecture-recital bySonya Headlam, sopranoRebecca Cypess, historical keyboardistIn 1766, the Black writer and musician Ignatius Sancho (1729–1780) penned a letter to the white British author Laurence Sterne, whose Sermons of Mr. Yorick had decried the slave trade as a "poison." Sancho, born into slavery himself, was so moved by this passage from Sterne's sermons that he implored its author to "give half an hour's attention to slavery" in the next installment of his novel Tristram Shandy. In doing so, Sancho argued, Sterne would perhaps "ease the yoke" of his "miserable black brethren" by touching and amending the hearts of Sterne's readers. The need could not have been more urgent: by the 1760s, after all, Britain was one of the most successful slave-trading nations in Europe. British traders violently captured and enslaved an average of 42,000 African people annually, yielding profits for large swaths of the British population. Sancho's letter to Sterne, a resolute protest of slavery, asserted that the arts could awaken the empathy of white Britons for Black Africans and for the causes of abolition and emancipation.Sancho's extensive correspondence, published and widely emulated for its "conversable" literary style, and his original musical compositions-four volumes of short instrumental pieces and one modest book of songs printed in the 1760s and 1770s-further attest to his determination that the arts could serve to disrupt slavery. Sancho's compositional style is characteristic of eighteenth-century London. Yet this style takes on added significance in light of Sancho's race: by participating in the arts of music and literature, we argue, Sancho defied white Britons' inferiorization of Blacks, which was used as justification to treat human beings like property. Sancho had a personal history with the savageness of slavery. The biographical sketch that introduces his published correspondence reports that he was born on a ship crossing the Middle Passage in 1729, and that he was orphaned when his mother died and his father committed suicide to escape slavery. Sancho was taken to England, where he was first kept in slavery. He later escaped to a life of employment in the service of the Montagu family, educated himself, married and raised a family, opened a shop near Parliament, and became active in London's cultural scene. Despite being openly derided by some-including Thomas Jefferson, who read Sancho's posthumously published correspondence-Sancho became widely known as a "man of letters," and his published writings helped to ignite the British abolitionist movement.In this lecture-recital we present songs and instrumental pieces by Sancho as well as two composers in his circle-Thomas Arne and Charles Dibdin-to illuminate the significance of Sancho's music. We argue that Sancho drew on a particular vocabulary of cultural symbols not only to assert his presence as a Black composer in London's musical landscape, but also to challenge slavery and the myth of white superiority. Two examples will illustrate this point. First, it is significant that Sancho's New Collection of Songs draws on the figure of Shakespeare by featuring one text from Measure for Measure and two others from David Garrick's Ode, written for the Shakespeare Jubilee in 1769. Sancho himself had once played the role of Othello-he was perhaps the first Black actor to do so-and, in his letters, he traced his own literary lineage to the fictional Othello. As Shakespeare came, increasingly, to be seen as a figure who could unite the British Empire around love of the "national poet," Sancho's New Collection of Songs rendered Shakespeare in Sancho's own voice, thus asserting that Shakespeare's legacy must encompass a truer universalism. A second example of Sancho's use of widely understood cultural symbols in his music is his instrumental piece "Mungo's Delight." This title refers to a character from Charles Dibdin's The Padlock, mounted at Garrick's theater at Drury Lane, in which Dibdin himself-in blackface- played a caricature of a Black servant named Mungo. Mungo was the first fully developed blackface comic figure on the London stage and one of the earliest to speak in a caricature of Black dialect. Indeed, as historian Tony Frazier has shown, The Padlock presented an utterly demeaning portrait of blackness, and Mungo's role featured egregious stereotypes. Sancho's instrumental piece "Mungo's Delight" adopted similar musical gestures to those in Dibdin's composition. Yet Sancho's reappropriation of Mungo's music-and indeed, his compositions as a whole-may be understood as pushing back against the dehumanization of blackness, as well as a protest of slavery. This lecture-recital advances the project of reanimating Sancho's musical ideals and his presence. Listening to Sancho's music and understanding his aesthetic goals will elucidate his vision of music and the arts as vehicles for Black resistance.

Techno Pop MixThe term techno pop was coined in Japan in 1978 and migrated West with the Japanese group Yellow Magic Orchestra. Techno pop was post-industrial music, synthetic by inclination, expressing the bizarreness and alienation and excitement of late Twentieth Century urban life. Later, shorn of the 'pop' part, techno found a home in Detroit, from there spreading around the world again by African American musicians. This mix begins with techno pop's 1970s awakening, spiralling afterwards through voices and genres; the second half is a techno mix, and we conclude somewhere warmer.TracklistingNeu!, IsiKlaus Nomi, Nomi SongJ. S. Bach (arr. Wendy Carlos), Two-Part Invention No. 14 in B major, BWV 785Claude Debussy (arr. Tomita), Arabesque No. 1Yellow Magic Orchestra, Absolute Ego DanceQT, Hey QTCoil, Dark RiverLyra Pramuk (feat. Eris Drew), Everything is Beautiful & AliveOneohtrix Point Never, Sticky DramaSOPHIE, Is It Cold In The Water?Jlin, EmbryoArca, MequetrefeDJ Skrew/Da Lench Mob, Chocolate CityShabazz Palaces, Dawn in LuxorMoor Mother, KBGKOrnette Coleman, City Living (Live)Don Cherry, Brown RiceRobert Hood, Spectral NomadNisennenmondai, GlitterballK-Hand, Ready for the DarknessAutechre, TM1 openThe Martian, StardancerBarker, UtilityYaz, Situation (François K dub mix)Gherkin Jerks, ParametersLotus Eater, Eat Eat EatOcto Octa, Fever DreamActress, Blue WindowPlanetary Assault Systems, Message From The Drone SectorMike Parker, Lustration Six (Megalith)Annette Peacock, Survival

The newly-formed Study Group in Skills and Resources for Early Musics proposes a roundtable discussion centered on the following questions: What are the skills and resources needed to study early musics in the twenty-first century? What currently exists and what is missing? The discussion will feature five brief co-presentations by faculty and students addressing the following issues: how the Inclusive Early Music database might be decentered to teach and think "early music" in ways that are truly inclusive; methods through which early music scholars approach the interpretive gaps and problems of decipherment in the study of polyglot documents and multicultural sites of production; tools and tactics to make notation pedagogy more accessible; methods and resources for practicing and teaching solmization and historical improvisation; and a hands-on approach to the history and technology of instrument making, linking material science, construction, the science of acoustics and the physics of sound to evidentiary materials gathered from historical and iconographical sources. By balancing faculty and student perspectives, we aim to stimulate an inclusive dialogue about a wide range of skills and resources as well as future initiatives for the Study Group.Organizers: Luisa Nardini (Associate Professor, The University of Texas, Austin) and Catherine Saucier (Associate Professor, Arizona State University)Presenters and Topics:Erika Honisch (Associate Professor, Stony Brook University), Giovanni Zanovello (Associate Professor, Indiana University), and Deanna Pellerano (MA student, Indiana University)-"Mapping Inclusive Early Music / Mapping Inclusive Early Music"Kate van Orden (Professor, Harvard University) and Felipe Ledesma-Nuñez (PhD student, Harvard University)- "Working with Polyglot Sources"Áine Palmer (PhD student, Yale University) and Andrea Klassen (PhD student, UT Austin)- "Notation and Summer Boot Campus"Julie E. Cumming (Professor, McGill University), and Linda Pearse (PhD student, McGill; Associate Professor, Mt. Allison University)- "Historical Pedagogy and Improvisation in the Renaissance"Susan Forscher Weiss (Professor, Peabody Conservatory/Johns Hopkins University), Steph Zimmerman (DMA student, Peabody Conservatory), and Nonoka Mizukami (DMA student, Peabody Conservatory)- "Inspiring A New Generation of Luthiers: A New Organology within the Curriculum of an American Conservatory"

"Jill Johnston's Closet Criticism"Kerry O'Brien (Cornish College of the Arts)"This is your local reporter always 'looking elsewhere'-for the nonthing of the thing-for whatever isn't settled, labeled, canned, caulked, cherished, claimed, and consumed," wrote Village Voice critic Jill Johnston in 1967. Known for her idiosyncratic writing style––infused with run-on streams of consciousness, non-sequiturs, and confessional passages––Johnston wrote less about concerts and more about her everyday life. As a critic, she rejected the notion that criticism was a secondary art form, subservient to an artist or an artwork. Instead, she aimed to write "closet criticism," a type of writing that centered her own subject position and drew attention to the quotidian or closeted parts of experience, typically off limits in journalism. Johnston herself was not closeted. By the early 1970s, she was best known as a lesbian separatist and author of Lesbian Nation (1973). For Johnston, the personal was not just political. Personal experience had aesthetic significance that she deemed newsworthy. This paper examines Johnston's arts criticism and focuses on two main events: first, her reporting on composer Pauline Oliveros's lesbian wedding, notable as a political event and as a daylong intermedia event; second, Johnston's appearance on a women's liberation panel, where she read from her weekly column. In both instances, Johnston posited lesbian feminism as a kind of radical commitment to the self, a stance that informed both her style of arts criticism and the history of intermedia that she chronicled. 

Calling all crocheters, knitters, felters, and yarn artists! The AMS Yarn Circle is your scene. Come and work on your current yarn project in the company of colleagues who share your passion for music and craft. It is a creative and collaborative way to wind down your conference day while connecting with old friends and new colleagues.

In 2021 the work of diversifying personnel and curricula seems more urgent than ever, but for many music departments progress is impeded by shrinking institutional resources, faculty burnout, and conflicting priorities. At many institutions of higher education the upper administration may seem to be sending the message that arts and humanities departments must diversify, while also withholding new faculty positions. Calls to decolonize the ivory tower or to dismantle the hierarchical structures of academia sometimes clash with more moderate bids to work within and improve existing structures. This panel tackles these issues by focusing on the question of how departments can make better decisions by fostering a more inclusive culture, in which participants of varying identities and many positions within the institutional hierarchy and beyond it feel empowered to speak and feel heard. The range of forms and resources that exist to support this work is both encouraging and overwhelming, from online guides on developing community standards and informal discussion groups to campus-based training in implicit bias and anti-racist training offered by outside groups. Questions we will address include: What does equity look like and how do we close equity gaps within specific institutional contexts? What kinds of anti-racism training or professional facilitation are most helpful for the complex organisms that are music departments? What strategies work to dislodge communication scripts that have become habitual, both in meetings and in written communication? How can white, cisgender, able-bodied, and/or otherwise relatively privileged members of a community become effective allies for those whose positions are more precarious? Each speaker will give a short presentation highlighting a single area of emphasis or a strategy that has worked to improve communication, strengthen community, and facilitate change within their own working environments. Panelists Tekla Babyak, Kristen Haag, Heather Hadlock, Tiffany Kuo, and Ryan Lambe will present a range of perspectives on inclusion and empathic communication, including strategies for integrating independent scholars into departments, for creating less hierarchical relationships among various constituents of an academic community, and using tools from participatory pedagogy and compassionate critique to foster better communication and stronger communities.

Musicologists have historically included archival research and ethnographic fieldwork as central research methods of the field (Adams 2013; Cook and Everest 1999; Rice 2014:88; Nettl 2015:250). Although these methods often point to broader questions that could be addressed with complementary quantitative and qualitative methodologies, only a handful of musicological studies (e.g. Becker 2004; 2009; Borgo 2005; Freedman 2014) adopt integrative approaches. In this roundtable, we explore how perspectives and tools from data science and the digital humanities can be used to develop analytical approaches and methodologies that complement fieldwork and archival research and increase their comparative, spatial, and analytical scope. We ultimately hope to open a conversation about how our own projects have benefited from these complementary methodologies, and in so doing, offer a potential way forward for future integrative approaches. What new directions might this suggest for our field? Our panel will consist of six case study focused presentations, each of which integrates traditional archival or ethnographic methodologies with approaches from data science and the digital humanities, including social network analysis, GIS, crowdsourcing, community music mapping, web scraping, and digital updates of classic (and controversial) standardized cross-cultural databases of music (Cantometrics/Global Jukebox). Panelists examine historical and contemporary musical case studies from Egypt, Peru, Brazil, and the U.S., as well as global comparative perspectives. Their work ranges from individual research projects to public collaborative endeavors with state cultural institutions and local musicians. They also engage with ethical questions raised by these ventures, including questions of privacy, inclusivity, cross-cultural comparison, legal and moral issues involving copyright and public data sharing of cultural heritage, and differential power dynamics. Following the presentations, the roundtable will feature an extended open discussion section in which both panelists and audience members will be invited to participate. 

Since the term Great American Songbook (GAS) first appeared in print, its usage has expanded, its connotations have broadened, and its prestige has grown. In recognition of the term's emergent ubiquity, and building on a foundation of scholarship hitherto focused chiefly on individual composers, performers, or songs, this workshop probes the varied connotations and social constructs of the label, and the research opportunities that arise from them. Seven scholars present short position papers treating methodological challenges and offering case studies that resonate with themes of racial, ethnic, sexual, national, and musical identity; and a distinguished practitioner reflects on his experience. Jeffrey Magee examines the protean formation of the GAS, and its exclusionary implications, especially since the 1970s, as a repertoire, a concept, and more recently a brand. Judith Tick considers how the success of Ella Fitzgerald's first songbook album, devoted to Cole Porter (1956), obscured the challenges she faced because of the perceived incompatibility of the "white" world of Broadway tunes and the "black" world of vocal jazz. Lisa Barg discusses the legacy of Billy Strayhorn, who as a Black, gay composer, lyricist, and arranger, was denied the visibility and prestige available to his white counterparts. Elizabeth T. Craft traces common tropes of GAS reception to the career of George M. Cohan, who negotiated Irish Americanness while fashioning an enduring patriotic identity for himself and Broadway. Nate Sloan investigates why rockers like Bob Dylan, Rod Stewart, and James Taylor turned to the GAS for their most recent releases, and how their song choices and interpretations shape ideas of canonicity in this corpus. Daniel Goldmark explores the inconsistent preservation and availability of archival materials and suggests how private and public institutions might pool their efforts to benefit performers, researchers, and collectors. Walter Frisch revisits the early 1960s, which marked an inflection point in the canonization of the GAS, with Variety's retrospective list of "Golden 100" songs and television variety and sing-along shows that promoted the repertory. Pianist and singer Eric Comstock shares his perspective and deep experience as a purveyor of the GAS in concert halls, nightclubs, and recordings.

For all of the recent advances in our knowledge about Josquin des Prez, questions of biography and attribution continue to loom large. Especially puzzling is a gap spanning ca. 1495–1503, between the composer's service in the papal chapel and at the Ferrarese court. During this pivotal period Ottaviano Petrucci began publishing polyphonic music prints that would come to establish Josquin's international fame. And yet even if we can be all but certain that Josquin underwent considerable development as a composer around the turn of the sixteenth century, little documentary evidence survives to guide us through these "lost years."This session brings renewed methodological and conceptual focus to the problem of the canon while refining our picture of Josquin's employment in France and his role in the development of the French-court motet. Leaving aside an unproductive tendency toward hero-worship in the discourse on this composer and building on recent work by David Fallows and Joshua Rifkin, we offer a clear-eyed approach to the canon while presenting new analyses of the music, the sources, and the networks of musicians who can be associated with the French royal court. Taken together our findings make possible a more convincing narrative for this consequential middle period in Josquin's career, while radiating outward to shed light on aspects of court poetry, compositional design, and reception history.

American musical institutions have historically been sites for the practice and enforcement of racial segregation and white supremacy. For several decades, scholars have highlighted these exclusionary practices in jazz and popular music contexts, and recent efforts to diversify music curricula have sought to undo the legacies of these racist acts. However, our proximity to the legislated Jim Crow era has meant that many histories of racial segregation in American musical culture have yet to be reckoned with, often because the perpetrators have purposefully buried their damning stories.This session explores lesser-known case studies of the insidious ways that musical institutions excluded Black Americans in the twentieth century, and how Black musicians and their allies organized responses to racist practices. United through their emphasis on archival research, the three papers draw upon underutilized primary sources to nuance existing narratives of anti-Blackness during the Jim Crow era. Each paper focuses on a different type of musical institution: the first paper uncovers the history of racial exclusion in the Barbershop Harmony Society, an all-white fraternal organization. The second paper probes the white supremacist infrastructure behind the management of major concert halls in Washington, D.C. The third paper examines segregationist policies in professional organizations, which motivated the founding of The National Association of Negro Musicians. The session also highlights the self-determinist practices of Black musicians. In particular, the second and third papers use the lives of Marian Anderson and Florence Price, respectively, as lenses to showcase the uncompromising will of Black musicians to determine their own futures. Lastly, the papers demonstrate the continued relevance of these overlooked histories, whether it be to advocate for a historical reckoning in our communities, or to assert the enduring importance of organized responses to structural racism.The anti-Black racism of the Jim Crow era lingers in contemporary culture, from the AMS demographics to police brutality. As we strive to move toward antiracist practices following a summer of uprisings provoked by George Floyd's murder, this session offers a critical and necessary look at the past that will help the field acknowledge and address these oppressive legacies.

The AMS Business Meeting will provide important updates for AMS members on the business of the Society. NOTE: Unlike in the past, this year's Business Meeting will not include an announcement of the winners of AMS awards. Instead, awardees will be honored in the Awards Gallery, a featured space designed to spotlight awardees and their work.

The physical aspects of music and sound, or "vibrational practice," in Nina Sun Eidsheim's terms (2015), rely on a contextualized experience that elicits an affective response. By revisiting definitions of sonic "power" (Walser 1993), in which power comes from feelings of controlling sound, this panel suggests how shared physical experience may be differently felt and contextualized through affect and embodiment. Connecting to discussions in affect theory (Ngai 2005, Hofman 2015, Berlant 2019) and sound studies (Cusick 2006, Daughtry 2015, Tausig 2019), we emphasize the transformational affective potential of sonic embodiment (Eidsheim 2015, Cox 2016, Hofman 2020) that allows individuals to be "…in on the event together, but […] in it together differently" (Massumi 2016, 114). Across these papers, we link cultural responses to the "affective regimes," defined broadly as the often overlapping and sometimes contradictory logics of capital, technological development, urban space, and governance that inform the sounded dimensions of contemporary social life (Mankekar and Gupta 2016; Navaro 2019). Considering affective regimes as a means of analysis enables us to foreground "the corporeal body whose bodily processes are being reshaped by the logics of capital and technology, in short, not just the laboring body but the feeling body" (Mankekar and Gupta 2016, 38), and to suggest that embodied emotion constitutes a type of power within encounter. The various case studies presented on this panel--extremist politics in Metal music; affective curation in professional experimental choral performance; and the use of found acoustics in chant-driven protest--show how sound can overwhelm, subvert, and channel power through controlling emotional guidelines and embodied experience. These papers suggest an expanded definition of power that affords new ways to theorize physical experience as connected to political kineticism via physicality and affective drive. Moreover, this scholarship explores the tenuous distinctions between _being_ powerful and _feeling_ powerful in sonic practices produced and experienced by participants in shared acoustic space.

The figure of Papageno in Mozart's _Die Zauberflöte_ is conventionally understood to represent 'natural man'-a figure untroubled by internal conflict or self-consciousness; musically and emotionally simple and cyclic; inhabiting the realm of the eternal (nature) rather than that of the temporal (culture). Yet some scholars cast him as a far more problematic character. Two influential readings are illustrative: first, Rose Rosengard Subotnik's view that Papageno's naturalness was a coded reference to how the Viennese social order positioned the lower classes; and second, Carolyn Abbate's view that the compulsive repetition in Papageno's song and his inability to see beyond his instinctual desires presented a vision of human mechanisation, with Papageno appearing as an unthinking, machine-like figure dutifully performing his work, without reflection or purpose. In both revisions, Papageno's relationship to performing objects-the pipes and the bells-becomes significant. While as a natural man Papageno does not experience a separation between himself as subject and the objects around him, the objects themselves function in a way that objectifies Papageno, highlighting his artificiality. For Subotnik, the very presence of the pipes on stage calls attention to the distance between the singers and the orchestral pit, revealing the mediated nature of the performance and the illusion of Papageno's appearance of naturalness. Likewise, in Abbate's reading Papageno is bound up in the logic of mechanisation by the fact that his voice is silenced by the 'mechanical laughter' of his own bells. In both readings, performing objects disrupt the immediacy of Papageno's naturalness, showing how his natural state denies him self-determination or agency, rendering him unable to participate actively in the drama.Papageno's status as both a product of nature and an automaton-living yet artificial; both subject and object-allegorizes the historical ambivalence toward the question of whether animacy is itself a sufficient basis for autonomy. This session will explore this ambivalence with respect to forms of characterization, instrumentalization, and objectification in late 18th-century opera, as well as its modernist remediations. The session will pose questions about the function of staged artificiality as a vehicle for exhibiting the variousness of personhood and its agential affordances.

We are looking for a new tenure-track musicologist to join the Department of Music at the University of Alberta (click here for the job description, deadline 22 November, 2021). It is a fairly open position but ideally candidates' research interests and portfolios will diversify ideas and methodologies within musicology and/or highlight perspectives, identities, geographies, or cultures that are often marginalized in accounts of Western Art Music. We invite prospective candidates and people interested in applying to this position to attend this networking event. We will begin with a brief information session about the Department of Music, including Faculty research projects and funding opportunities in Canada and this will be followed by a Q&A session as well as possible breakout-room conversations with Faculty members, depending on the number of attendees.

The late 1960s and 1970s marked a period in which the lines of inquiry regarding African American history and culture expanded. This activity was spurred by three major phenomena: the rise of the black consciousness movement, racial uprisings, and the expansion of federal funding that supported the creation of materials and programming that propelled greater understanding of the black experience. Black historians were not the only intellectual community engaged in this work. Within the context of music studies, a black music intelligentsia developed out of the engagement and work of a collective of historians, performers, composers, and librarians. Their organizing led to the establishment of what could be identified as a black music infrastructure that precipitated the expansion of black music's historiography throughout the latter part of the 20th century.This lecture explores the emergence of the black music intelligentsia and the development of this infrastructure by focusing on the period of 1968-1985. This infrastructure was expansive in scope and included symposia, recording projects, journals, and other forms of scholarship that still frame much of the material culture surrounding black music. However, for this presentation, special emphasis will be given to the development of Black Music Centers, which appeared on historically black and predominantly white college campuses in the years following the assassination of Dr. Martin Luther King, Jr. This work seeks to illuminate how these centers and the larger black music infrastructure reflected the influence of the black nationalistic ideology of "institution-building" and advanced the integration of black music studies into the American colleges and universities.

"This isn't anything new": Julius Eastman's Piano 2 (1986)-Inspirations, Influences, and InterpretationsThe late Julius Eastman (1940-1990) grew up in Ithaca where he began his music studies as a singer and pianist. He graduated from the Curtis Institute with a composition degree, studied and worked as a Creative Associate fellow at the SUNY-Buffalo CCPA as a pianist-composer-singer virtuoso, and later had a wide-ranging career based in New York City, moving between the worlds of academic (Uptown) modernism and the eclectic Downtown experimental scene, including minimalism, disco, and free jazz. His last known piano solo composition Piano 2 (1986) was composed during his near-decade of living homeless, and it is an unusual addition to his sporadic compositional oeuvre. A virtuosic modernist "sonata" in three movements, the idiosyncratic manuscript score leaves the performer with more questions than answers as to its realization, other than the through-composed pitches and rhythms. Building upon the ever-growing body of Eastman scholarship, I am interested in thinking through, hearing, and understanding Piano 2 alongside the music of other notable American modernist pianist-composers with whom Eastman either worked closely or whose music he prominently performed, often both. By discussing and performing this music, especially the specific pieces Eastman is known to have performed publicly, I hope to illuminate another facet of the erstwhile developing "Eastmanian performance practice," adding a broader understanding of his work as Modernist to the common associations of his work with Minimalism, just two of many categorical labels that could be applied to the diverse, fecund landscape of his multivalent creative activities and performative registers.PROGRAMRobert Palmer: First Epigram (1957)Ann Silsbee: Bagatelle (1963)Morton Feldman: Vertical Thoughts 4 (1963)Frederic Rzewski: Dreadful Memories (1978)Henry Cowell: Fabric (1920)Béla Bartók: Chromatic Invention (1926-39)Julius Eastman: Piano 2 (1986)as well as brief example excerpts from:Federico Mompou | Variations on a Theme of Chopin (1938-57)Lukas Foss | Solo (1981)

Join the Boston University Musicology & Ethnomusicology Department for a virtual reception to meet faculty and students, find out about our MA and PhD programs, chat, and celebrate the successes of the last year with us.

Beat Propaganda: A Deep House Set by NeonGrayDeep house music is an electronic music genre derived from House music pioneered by the likes of Frankie Knuckles and Larry Levan out of Chicago and New York. Deep house tracks combine the pulsing four-on-the-floor signature beat of traditional house music with harmonies and basslines inspired by jazz and funk. Compared to standard house music, deep house is also more likely to feature vocals and the Roland TR-909. Deep House is most commonly played a little shower than house music and it is more bass-oriented. Larry Heard's track "Mystery of Love" (1984) is credited as the first Deep House track. 

The AMS Ludomusicology Study Group will host a panel of brief "lightning" talks at AMS Chicago 2021. All AMS members, regardless of familiarity with (or previous research of) video games, are welcome to attend. This year, we have an intentional focus around music promoting diversity within community, especially with regard to issues of race. Papers address games scored by racially diverse composers and/or examine musical representations of race in video games.

This year's Lightning Lounge is themed around musical activity involving migration, exile, or diaspora from and to the Iberian Peninsula, Latin America, and the Caribbean. We asked for proposals about composers, performers, and music scholars who either chose or had to relocate because of their political affiliations, sexual orientation, or lack of economic opportunities. The papers in this panel reflect on the construction of historical narratives inclusive or exclusive of migration musics, as well as on individual and collective stories of displacement. The Lightning Lounge of the Ibero-American Music Study Group includes six short presentations of seven minutes each followed by a response from Dr. Walter Clark and a 60-minute session of Q&A. Paper 1 - Stephen Meyer. Le rendez-vous du tout Paris: Tangomania in Paris (1911-1914) and the consolidation of tango as a national symbol of Argentina.Paper 2 - Eduardo Sato. Modernist Musical Displacements: Heitor Villa-Lobos and Vera Janacopulos in Paris, 1924.Paper 3 - Iván César Morales Flores. Diáspora e identidad. Prácticas de alteridad y (dis)continuidad en la música académica cubana de finales del siglo XX y principios del XXI.Paper 4 - Marcelo Hazan. Selling Brazil in Vienna: Manuel de Oliveira Lima's (1867-1928) "La musique au Brésil. Au point de vue historique."Paper 5 - Pedro López de la Osa. Internal Exiles during Franco's Dictatorship (1939-75): Who, Why, and How?Paper 6 - Alyssa Cottle. The Lost Generation: Chile's Exiled Avant-Garde, 1973-1990.

This is the first business meeting for the newly formed and approved Jazz and Improvisation Study Group. As we welcome interested AMS members, we seek to establish a tone and environment that is both collaborative and inclusive, while also discussing the goals and intentions of this group. In order to build a sustainable model for this group's future longevity, we plan to discuss best practices for creating a more welcoming space for jazz studies that privileges the voices and perspectives of Black scholars, scholars of color, Indigenous scholars, LGBTQ+ scholars, women scholars, graduate students, early career professionals, contingent laborers, and practitioners. We hope that by doing so, we will set our study group on a trajectory which challenges the hegemony of white cisfemale and cismale scholarship in jazz studies. In practical terms, at this meeting we also plan to: elect a leadership team; determine programming for the 2022 Annual AMS Meeting; discuss potential collaboration with other study groups in AMS, SMT, and SEM; and explore the possibility of establishing a mentoring network to support graduate students and early-career scholars.

Please note: this is a closed session for mentors and mentees from the 2020-21 and 2021-22 Sustainable Mentorship Program.Mentorship is a hallmark of musicological life at every career stage. From graduate students who pursue advanced training under senior mentors in the field to experienced scholars who draw upon the wisdom of peer mentors, high-quality and diverse perspectives from mentors contribute to musicological learning, success, and flourishing. Yet mentoring is highly individualized and can exist within frameworks that range from the formal and highly structured to informal and ad hoc. In this facilitated conversation, mentors and mentees from the AMS Sustainable Mentorship Program will discuss different approaches to mentorship. The goal of this discussion is to provide a space for thinking intentionally through the process of identifying and working with diverse mentors and mentees who align with your own values, style, and goals. Although the conversation will be shaped by the perspectives of those in attendance, participants are encouraged to think through considerations such as cultural differences between mentors and mentees, ways of establishing formal and informal mentoring relationships, managing expectations between mentors and mentees, and ending mentoring relationships in a productive way.

This lecture will be available at this link beginning at 9:00am CT / 10:00am ET on 17 November, 2021.In September 1940, a bitter conflict between American radio networks and songwriters was well underway. Previously, the 25 year-old American Society of Composers, Authors and Publishers (ASCAP) had contracted with major broadcast networks but now the society wanted to renegotiate in order to license their members' music with individual stations. After a meeting in San Francisco, the National Association of Broadcasters (NAB) decided to boycott ASCAP members' music and created a rival organization, BMI. In retaliation for the boycott, ASCAP chose to assemble its most illustrious members and present a concert series in the final weeks of the two bi-coastal 1940 world fairs in New York and San Francisco. Barred from the radio, ASCAP presented a highly publicized musical protest in the form of a two-part concert series at the Golden Gate International Exposition (GGIE) in San Francisco. Drawing on recordings, reviews, photographs, and sheet music held in the Library of Congress and the ASCAP Foundation Collection, this lecture argues that the 1940 ASCAP concert sheds new light on the issues of mass culture and radio, protest, race and gender and the reaffirmation of the American popular music canon in the final years before involvement in WWII.

Livestream link: https://www.youtube.com/watch?v=GXimimLa9cU Ten years ago, the American Musicological Society and the Rock and Roll Hall of Fame began a lecture series based on the idea of bringing the best in popular music scholarship to a wider audience, and at the same time connecting scholars to the unique collections at the Rock Hall's Library and Archive. This roundtable conversation gathers past and future presenters from the series to discuss the state of popular music studies -- where it's been, and where it's headed. The panelist reflect on their presentations, their current research, and the music they love (we might even ask them who they want to see Inducted into the Rock Hall).Panelists include Steve Baur (Dalhousie University), David Brackett (McGill University), Theo Cateforis (Syracuse University), Loren Kajikawa (George Washington University), and Stephanie Vander Wel (University at Buffalo). Jason Hanley and Mandy Smith of the Rock & Roll Hall of Fame moderate the conversation.

Join the watch party of What's Up, Doc?. This 1972 comedy stars Barbra Streisand and Ryan O'Neal, who meet at a musicologist's convention and become involved in a zany chase. Limited to U.S. residents with Amazon.com accounts. Rental cost $1.99.

In an episode of the TV sitcom "The Big Bang Theory," Amy (Mayim Bialik) asks Jim (Sheldon Cooper) if she can play the harp for him. Jim responds, "No. I dislike the sound of the harp. Its overuse in classic television sitcoms always make me think I'm going to experience an episode from my past." Though this stock gesture's signifiers are legible in a variety of musical and non-musical contexts, the history of its semantic meaning is virtually unknown. This session explores the taxonomic challenges of this and other musical topics through three neglected histories: the transformative harp glissando, the soundscape, and "hotness" in post-millennial pop. Danuta Mirka has proposed, in her edited volume on topic theory (2014), that topics are "musical styles and genres taken out of their proper context and used in another one." Our papers challenge this definition by demonstrating how musical icons might acquire indexicality over time without necessarily displaying the marked, fish-out-of-water qualities Mirka has described. All three papers argue for the contingency of topics and the significance of historical developments in defining their connotative meanings.The first paper considers how the harp glissando--an iconic gesture in Russian music by the 1880s--became a topical emblem of transformative states over the ensuing decades, functioning in wide-ranging contexts by the mid-twentieth century. The second paper takes the impressionistic soundscape as a case study, examining the process by which musical pictorialism can acquire topical status. Its related analysis of the machine topic shows not only how fluid signifiers function within and across topics, but also how such designations might reveal hidden affinities between apparently oppositional topics. The third paper traces the origins of the flat-2 "hotness" topic, first heard with orientalist overtones in post-millennial pop music, to its earlier transgressive manifestations in film and underground musical genres of the late 1990s. By examining the flat-2's gradual movement from heterodox aesthetics to mainstream commercial pop, this paper highlights the importance of historical study in defining musical topics, whose contested meanings inevitably change over time. 

Speed mentoring sessions are scheduled for 20 November (10:00-10:50AM Central Time) and 21 November (11:00-11:50AM Central Time) during the 2021 AMS Annual Meeting. Registration for the 2021 AMS Annual Meeting is required to participate. Sessions will last for approximately 50 minutes, allowing for four mentor-mentee discussions each lasting 10 minutes. Mentors and mentees will be matched on interest areas submitted in the speed mentoring sign-up form. Participants will receive a schedule of their planned meetings shortly before the event. Due to the curated nature of this event, the AMS office asks that only those who intend to participate reserve a seat. (NOTE: Students may not volunteer to serve as mentors. Mentee seats are contingent on the number of volunteer mentors, so space is limited.)Deadline to sign-up: 21 October 2021

The AMS Board has proposed amendments to the AMS By-Laws. The proposed changes both update the By-Laws to align with current practices and describe changes that the Board believes will improve its responsiveness to its constituents. This session will be used to outline and explain the updates on the ballot.

East and Southeast Asia were key sites of the global Cold War. Although the area tended to elude conventional mapping of Eastern and Western blocs, Cold War tensions shaped the geopolitics of the post-1945 world, not least through the two 'hot' wars – Korean (1950-3) and Vietnam (1955-75). These conflicts also forged epistemic structures, which mediated constructions of freedom and authoritarianism, global and local.The Global East Asian Music Research and Cold War and Music study groups convened a joint panel that represents new research on the Cold War and music in East Asia. The papers examine musical circulations and competitions that were constituted within the dynamics of the global Cold War in East Asia. They not only expand our understanding of Cold War music history but also challenge a historiography of isolation that was itself an internal part of Cold War narratives. This panel takes Cold War East Asia as a vantage point from which to rethink post-1945 era music histories. The first presenter explores the transnational exchanges that shaped one of China's classic revolutionary ballets, _The White-Haired Girl_ (Bai mao nü 白毛女). By delving into its transnational entanglements, the author shows how post-War East Asia was imbricated in the global Cold War, while simultaneously destabilizing the ideological blocs produced by the Cold War Three-World model. Our second presenter explores the competition between two Koreas over national authority and ideological superiority while focusing on how international stages of traditional performing arts of both Koreas became vehicles for cultural propaganda. They reveal how internal politics intertwined with global Cold War politics and defined the direction of traditional performing arts of the Korean peninsula, in opposite ways. The third presenter reconsiders the utility of the work-concept for North Korean revolutionary opera in light of the genre's relationship with the 'immortal classics,' a canon of stories officially credited to Kim Il Sung. They instead consider the 'immortal classics' a broad, intertextual, cross-media assemblage within which revolutionary operas consolidate musical signifiers, and they suggest that this consolidating function undermines the works' status as standalone compositions.

The Ecocriticism Study Group (ESG) of the American Musicological Society (AMS) is a forum for exploring ecomusicology, the study of music/sound, culture/society, and nature/environment. Join us for a book discussion and our annual business meeting. Time will be allocated for new and old members to meet as well as vote on procedures/agenda items.

Come hang out with us for an hour during the AMS Annual Meeting! This is an informal, friendly meetup for music library workers, students of all majors, anyone supportive of music libraries and collections, and anyone interested in the publications and activities of the Music Library Association.The Music Library Association is the professional association for music libraries and librarianship in the United States. Founded in 1931, it has an international membership of librarians, musicians, scholars, educators, and members of the book and music trades. Complementing the Association's national and international activities are ten regional chapters.

Program Co-Chairs: Kimberly Francis, Rob PearsonMentors for the 2020-2021 cycle: Emily Wilbourne and Rob PearsonMentees: Alecia Barbour, Angela Brunson, Daniel Castro Pantoja, Samantha Ege, Jeremy Frusco, Anne Levitsky, Laura Pita, Diana WuThis panel will feature presentations from all members of the pilot offering of the American Musicological Society's Sustainable Mentorship program, including the program co-chairs, mentors, and mentees. Topics discussed will include the planning and execution process for the program's inaugural run in 2020-2021, the overall goals of the SMP, and the two mentoring streams' structures , activities, successes, and unexpected outcomes. The SMP co-chairs will also facilitate a conversation in breakout rooms about future plans and goals for the Sustainable Mentorship Program. The discussions of these smaller groups will allow the membership at large to provide feedback and input regarding ways that future iterations of the program can meet the evolving needs of the AMS.

Comprised of 116 colleges, the California Community College [CCC] education system serves a student base that is orders of magnitude larger than any single university system, and dramatically more diverse. CCC Management Information Systems Data Mart reported more than two million students enrolled in academic year 2019-2020. Data collected also revealed a diverse student population of first-generation college students, formerly incarcerated people, currently homeless people, foster youth, and veterans, with an ethnic distribution of 44.5% LatinX, 15% Asian, Filipino, or Pacific Islander background, 5.9% African-American, and 3.8% multiethnicity. In essence, the community college student body and the problems they encounter reflect our society more closely than that of the university student pool. As such, the job descriptions of community college educators often extend beyond simply teaching. Social activism is inherent in community college work, as faculty actively engage with members of underserved communities, addressing equity gaps both within and outside of the classroom.  The panel features five community college professors from campuses throughout California. Drawing upon our experiences, we will discuss student-centric, community-responsive approaches to building sustainable and equitable classrooms and administrative structures. Panelists will speak on organizational and course-building strategies for maximizing diversity and equity; the applicability of community colleges' emergent "higher education commons" model to postsecondary education at large; closing equity gaps based on data-focused research; the significance of school governance in hiring and tenure processes; and the integration of outcomes and assessments for inclusive pedagogy. Last, we will discuss how the pedagogical, social, and philosophical dimensions of community college teaching provide a model for sustainable, equitable musicological community engagement across AMS's membership. 

Event DescriptionThe Prospective Graduate Student Reception (hosted by the AMS Graduate Education Committee) is a virtual online Meet-and-Greet. The event is an opportunity for Prospective Graduate Students to meet with representatives of multiple departments of music to share information about their graduate programs, resources, and the opportunities on offer.What will you need to do? The virtual space allows for individual schools to occupy virtual online tables, which will be identified by institution name. Once they have accessed the space, prospective graduate students will have the opportunity to circulate between the programs they are interested in, seating themselves at named tables, and meeting individually with school representatives. 

This panel explores the uneasy relationship between discourses of music, sound, and race as they circulated in late nineteenth-century scientific and cultural milieux. Over and against simplistic separations between scientific discourse and musical or vocal culture, the papers in this panel show how the two were at all points mutually influential, especially when it came to the elaboration of racial knowledge. The first paper addresses the role of musical ability as an inheritable trait in the development of Francis Galton's eugenic thought in the late nineteenth century. By deploying both the romantic rhetoric of music genius and the nascent discourse of empirical psychology, Galton constructed musicianship as a reliable racial index in ways that current music scholarship has yet to fully unpack. Our second paper considers the anonymous Brazilian song "Mulata do caroço no pescoço" ("Mulata with the pit on her neck") that encodes the tension between fascination and disgust with the Afro-Brazilian female body in captivity. The paper shows that the widely disseminated song also made use of the discourses of biological racial science prevalent at the time, shedding stark new light on the Western trope of the "musical contagion." Shifting the historical context back to the Anglo-American sphere, our third paper examines the racial logic informing the work of William Dwight Whitney, a major figure in the history of linguistics who has been all but ignored in music and sound studies. The structuring role of racial science in Whitney's linguistics, it argues, will shed new light on the racial biopolitics of speech and voice in American cultural and legal discourse then and now.Through a range of archival sources and methodologies, the papers in this panel all emphasize the importance of a historical epistemology of race and science for the historical understanding of musical cultures of the past. At the same time, however, these papers point towards the unacknowledged persistence of racialized tropes––ability, contagion, accent––that animate much music and sound scholarship today. In this way, the papers in this panel uncover forgotten themes in the historical record towards an ongoing critique of the present.

The undergraduate liberal arts degree in music (typically known as the B.A.) entails particular challenges at schools of music that tend to center professional degrees such as performance and music education. In these contexts, the B.A. is sometimes viewed as a less rigorous degree (a "B.M. lite"), and as peripheral to the school's larger mission to produce professional music practitioners. At the same time, the flexibility in liberal arts degrees suggests the potential for the B.A. to both complement a school's professional offerings and to stand on its own as an attractive and valuable degree for 21st-century global citizens. But many B.A degrees are outdated or fail to serve current student populations. Reshaping such programs can help them meet their potential, and given the broad purview of musicological perspectives, musicologists have a special role to play in B.A. curriculum reform. In this roundtable discussion, a panel of musicologists from various institutions will offer short papers detailing recent, potential, and upcoming changes to their B.A. in Music degrees, with an emphasis on both the processes and products of curricular reform. Panelists will discuss collaborating with colleagues to redefine degree requirements; working within structures that center preparation for professional musical pursuits; adopting inclusive pedagogical practices and incorporating them into curricula; negotiating University-wide policies for general education and individual degree expectations; and adhering to the objectives established by accreditation agencies such as the National Association of Schools of Music (NASM). Ranging from practical strategies to philosophical considerations, this roundtable offers insights into the intersections between curriculum reform and equity, institutional politics, shifts in our discipline, and classroom pedagogy.Following an approximately thirty-minute roundtable discussion, attendees will be encouraged to discuss challenges and opportunities to share issues of curricular reform at their own institutions, with presenters offering advice based on their own experiences.

Are we done with musical genres? A recent New Yorker article by Amanda Petrusich provides intriguing glimpses into the ways today's artists and music-industry personnel talk about genre. But it arrives at a familiar bottom line: genre is "increasingly irrelevant," "inherently backward-looking," and irredeemably "reductive." Stopping short of these conclusions we might ask the broader questions they gesture toward: how, where, and for whom are genres still relevant? How do genres look back on the past, color the present, and seek to shape possible futures? And how do genres both expand and reduce our sense of what there is and what might be--how, that is, do genres mediate our experience of works, cultural practices, social formations, and one another? Petrusich underscores a key point about the connections between genre-consciousness and anti-Blackness, however, noting that the cruellest kind of reduction genres underwrite is the idea that a particular genre maps onto a particular demographic. This panel convenes seven scholars who have considered how genres have been intertwined with race, racism, Blackness, and "Black music." Papers engage a range of musics--country, digital popular musics in Kenya, jazz and "creative music," late-modern Western art music, opera, pop, soul--to treat genres as unstable constellations of works, people, practices, institutions, technologies, money, conventions, images, spaces, ideas, affects, facial expressions, and much else. Genres here reflect the ways they're blurred, stretched, pushed, trespassed on, and performed "eccentrically" (Royster).By focusing on how musical genres work in a putatively "post-genre" moment, this discussion aims to bring out the ethical, ontological, and epistemological questions genres pose: who's doing this for whom, and who's left out, when the very "genre of the human" (to use Sylvia Wynter's formulation) is foreclosed to many people who should be an artistic genre's stakeholders? If as Katherine McKittrick says, quoting Wynter, musical practices rely on "collaborative possibilities wherein 'one must participate in knowing,'" how do genres enable and constrain that participation? One thing genres keep doing, we'll see, is to help us ask what and whom we care about, and how we care.

The Contrapuntal Lives of Chicago's Race WomenRace women-that is, Black women intellectuals and creatives committed to the entwined tasks of racial uplift and gendered progress-transformed interwar Chicago's civic and social spheres. The South Side was a locus of activity; therein, Race women's labor unfolded across an array of public and private settings, from dining rooms to church halls, from school auditoriums to the Wabash Avenue YMCA. They pursued their work with simultaneous independence and interconnectedness, rendering women's leadership inseparable from community building. Music filled these spaces, acting as a binding agent in the formation of the South Side's associational and institutional structures. Through my scholarship and the pieces I have selected to perform, I bring into focus three multifaceted practitioners: Nora Douglas Holt (ca. 1885–1974), Florence B. Price (1887–1953), and Betty Jackson King (1928–1994). Holt arrived in Chicago from her native Kansas in the first decade of the twentieth century. She belonged to the foundational generation of early twentieth-century Chicago's Black classical community. Price, while of Holt's generation, arrived in Chicago two decades later during the Great Migration. King, of the next generation, was born in Chicago and, to her advantage, born into an existing infrastructure that supported Black concert life and communal music-making. I map the Chicago scenes and sites of their interactions and demonstrate how their individual aspirations as civic-minded, socially aware classical practitioners sounded in tandem with the multigenerational chorus of Race women's collective concerns and ambitions. My recital program spotlights three works that are explicitly linked to Chicago: Holt's _Negro Dance_ (1921), Price's _Fantasie Nègre_ No. 4 in B Minor (1932), and King's _Four Seasonal Sketches_ (1955). Themes of independence, interconnectedness, and exchange surface in my discussion of the purposes for which these pieces were written, the idioms that distinguished their authorship, and the technical training that grounded their language. In addition to the centrality of Chicago's public and private domains, I assert that compositions are also key scenes and sites wherein we may look and listen for how Chicago's Race women articulated the world around them, the world within them, and the forces that brought them into orbit with one another.ProgramNegro Dance by Nora Douglas Holt (2 minutes)Fantasie Nègre No. 4 in B Minor by Florence B. Price (10 minutes)Four Seasonal Sketches by Betty Jackson King (8 minutes)

Virtual party for Eastman School of Music students, faculty, and alumni.

Put your game face on and join in Game Night at the 2021 AMS Annual Meeting! Sign-up groups of 4-6 participants for an escape room activity (limited availability), or join in ongoing games of Code Names, Wise and Otherwise, and more.

The film is available for attendees to watch in advance. The live session will include excerpts, discussion, and Q&A.In October 1803, a new piano came into Beethoven's life: an Erard Frères piano en forme de clavecin or "harpsichord-shaped piano." The composer was "so enchanted with it," one visitor reported, "that he regards all the pianos made [in Vienna] as rubbish by comparison." But while the sound of the French piano may have been superb, its touch was significantly heavier than any Viennese piano Beethoven knew. So he put his trust in the skills of a local piano technician, who made a series of technical adjustments. In the process, however, the unique properties of the instrument were severely compromised, and after six years of ownership Beethoven had no choice but to declare his French piano "utterly useless."The film follows a team of craftsmen and researchers as they build a replica of Beethoven's Erard-restored in its original state. Their collaborative project seeks to understand the instrument's affordances and entanglements as a foreign piece of technology (Hodder 2012). Like Beethoven, a pianist-researcher approaches the instrument from their embodied knowledge of Viennese pianism and technology. Above all, this involves mastering the French technique of son continu and exploring the sonic effects of the instrument's four pedals. Providing the parameters for these experiments are Beethoven's Piano Sonatas Op. 53 ("Waldstein") and Op. 57 ("Appassionata"). While the former represents novelty and ambition, the latter's protracted genesis (it took Beethoven three years to finish the sonata) is linked with the piano's changing identity as a de-scribed (Akrich 1997) and "viennicized" object. Meanwhile, musical scores by Beethoven's erstwhile rival Daniel Steibelt and Paris Conservatoire professor Louis Adam (to whom Beethoven was indebted "because of the Paris piano") represent examples of French techno-pianistic fluency.This documentary (2020) features a piano maker, an organologist, a musicologist, a historian, a restorer-curator, and a pianist-researcher. Highlights include a "meeting" of the finished replica with the original piano, filmed in Linz, Austria. In English, Dutch, French, and German, with English subtitles. 

Calling all crocheters, knitters, felters, and yarn artists! The AMS Yarn Circle is your scene. Come and work on your current yarn project in the company of colleagues who share your passion for music and craft. It is a creative and collaborative way to wind down your conference day while connecting with old friends and new colleagues.

You are warmly invited to the annual reception of theSociety for Christian Scholarship in MusicWe are looking forward to seeing old and new friend at this year's virtual event!Please visit our website or follow us on Facebook:https://www.scsmusic.org/https://www.facebook.com/scsmusic.org

Rather than a chronological survey of European classical music, today, universities, faculties, and individual teachers approach their undergraduate music classes in different formats, systems, and chronologies, covering myriad musics of the world. Many instructors in applied and academic roles are increasingly asked to teach well beyond their principal expertise. The result has been that music faculty are not only expected to teach a wide variety of genres and musical traditions, but new methodological approaches and the need for more inclusive and diverse curricula have required them to reimagine existing traditional survey courses and create entirely new classes. While these demands can stimulate exciting innovations, they can also present challenges for teachers in gathering resources and investing time in redesigning everything from the musicological component of degree programs to preparing daily class lessons. Responding to current vigorous dialogues in the field of music history pedagogy, the new _Modern Musicology in the College Classroom_ series of books and collected editions published by Routledge Press and edited by Jim Davis will provide instructors with practical resources to help them incorporate new materials, methods, and topics into their undergraduate course offerings. This ninety-minute panel brings together authors of three guides in the series to demonstrate the practical applications of the information and methodological approaches envisioned in their forthcoming books: Jacqueline Warwick (_A Teacher's Guide to Music, Gender, and Sexualities_), Kristy Swift (_A Teacher's Guide to Music History Materials_), and Horace Maxile and Kristen M. Turner (_A Teacher's Guide on Race and Gender in the Music History Survey_). Davis will introduce the rationale for the series and each panelist will outline their goals, explain their approach, and offer a short lesson on Florence Price. Using Price as a case study, these lessons will demonstrate the practical applications of the methodological lens each book supports and show how a multiplicity of approaches can provide students with a holistic, or 360-degree, understanding of a topic. The session will end with time devoted to questions and conversations about 360 degree undergraduate music history pedagogy.

We invite all students, alums, faculty, and friends of UT Austin to join us at the virtual reception!

The Pedagogy Study Group evening session features presentations on three distinct topics. The session schedule is as follows:First Hour:"Artistic Research as Pedagogy in the Music Conservatory Classroom: Reconnecting Performers to the Outside World"David Kjar, Roosevelt UniversitySean Hussey, Roosevelt UniversityArtistic research is a proven tool for established artists and academics, especially in Europe, who employ auto-ethnographic methods and communicate facets of their artistic processes. However, the field of artistic research has rarely been employed in music conservatory curricula, even though students are hungry to make new connections with their art, their professional education, and the society in which they live. Drawing on examples of student work in a graduate seminar titled "On Performance," this presentation reveals how artistic research methodologies and perspectives employed in the classroom can empower conservatory performers to reconnect their art to the world around them."Gamifying Music History Teaching"Nicholas Johnson, Butler UniversityGamification, the integration of board or video game elements into other activities, has been proven to have a dramatic impact on learning outcomes and student development, as shown by Kevin Bell, Karl Kapp, and Patrick Felicia. I contend in this presentation that incorporating tabletop gaming in music history teaching increases retention, student engagement, and cultural consciousness. In this presentation I explore three types of gamified teaching methods that integrate party games, live action role-playing, and tabletop card games, leading to improvements in student test scores, writing quality, depth of discussions, problem solving, and creativity.Second Hour:"Promoting Equity through Care Pedagogy: The TA Perspective"Elizabeth Massey, University of MarylandJames Ace, UCLALacie Eades, University of Missouri, Kansas CityHyeonjin Park, UCLAThis roundtable provides a forum for current and recent musicology teaching assistants to (1) examine the restricted, but important, role occupied by teaching assistants as it relates to care pedagogy and decolonization, (2) share best teaching assistant practices about these issues, and (3) provide insight for instructors of record on how to effectively employ and assist teaching assistants in achieving these inclusive goals of music history pedagogy within their individual classrooms and the overall course.

While the metropolis may not be the birthplace of the blues, Chicago plays an important role in the urbanization and electrification of the genre. From the blues standard "Sweet Home Chicago" to The Blues Brothers, the city and the music are also inextricably linked in the popular imagination. What are the stories that we tell about the genre and its offshoots, and where and/or how do we separate fact from fiction in popular music? This panel focuses on the narratives of popular music, whether fictitious, historiographical, or somewhere in between.

Spanning centuries-old histories in Western and non-Western traditions alike, mode continues to be an important locus for the interrogation of musical thought. This special session contributes to the ongoing conversation on the conceptual and epistemological frameworks of mode in music theory by placing it in a broader historical context and by approaching it from a global perspective.

Although the fields of ethnomusicology, literature, and law robustly address the implications of music as a kind of property, they tend to emphasize two types: intellectual and patrimonial. Historical musicologists have similarly focused somewhat narrowly on issues of authorship in the early modern era (most recently Rose, 2019) or copyright in the age of mechanical reproduction (beginning especially with Frith & Marshall, 2004). This roundtable reflects forward to the possibilities for property as a wider heuristic through which to study music in modernity. At stake is nothing less than a deeply historicized perspective on music's entwinement with colonialism and racism. Our short position papers examine differing conceptions of music as property across eras, nations, and cultures. The 1789 French Revolution set in place a modern property regime, which not only prioritized composers and musical scores but also institutionalized an exclusionary model for professional musical production that eventually colonized much of the globe (Geoffroy-Schwinden). Since the early modern era, indigenous and Black communities have been systematically dispossessed of their music as a result of Western laws codified around cultural production. Broader logics of imperialism and colonization naturalized the extraction and assimilation of West Central African "musical vitality" for the purposes of regenerating a supposedly dying European modernity (Davies). Dispossessed populations, never unaware of these conditions, discovered profound musical exploits in the legal, social, and cultural structures of jazz (Doktor and Mueller). This legacy persists as a structural bedrock in twenty-first-century music programs (Kajikawa). Because governmental infrastructures seek to control the material experience of space, property continues to shape when and how we hear sounds (Rustin).By considering the varied "possessive investments" in music codified into contemporary institutions like the university, the music industry, the law, the government, and even "nature," this panel will open a conversation about the potentialities of historicizing music and property in modernity. We seek to tangibly connect "possessive investments" to property proper and to challenge the conception of property as a "natural" right. We must ask: to what nature and to whose rights does this music belong? 

This panel brings together Jewish Music scholars, broadly defined, to discuss how they have forged career paths outside of the traditional tenure track system of academia and ways in which Jewish Music scholars can expand their professional development opportunities working in the field. The session will include remarks from our panelists and then an open discussion on such topics as networking, advising students on multiple career paths, creating and taking advantage of opportunities within the field of Jewish Music Studies, and how our study group can provide resources and support for scholars in a variety of Jewish Music Studies career positions.

In recent years, musicology has turned to materialities as part of a broader attempt at renegotiating musical agency among people and things, building on paths laid by New Musicology to consider social and cultural practices beyond notationally reified musical works. Yet, by inquiring into the "things" involved in musicking, scholars have begun to confront notation once again from historical (van Orden 2015), cultural (Payne & Schuiling 2017, Schuiling 2019), and media-theoretical perspectives (Rehding et Al. 2017, Magnusson 2019). This panel builds on these recent trends by reconsidering the agency of musical notation in the history and historiography of music. Our papers unmask how historiographical ideologies have instrumentalized notation to forge boundaries of canonicity, race, and musical genre. In so doing, we begin to recover notational practices obscured by historiographical processes. Because notation has played a pivotal role in disciplining the boundaries between music history, theory and ethnomusicology, we present papers from each of these fields. The first paper examines the quest for origins of mensural notation in Arabic sources during the Congress of Arab Music (Cairo, 1932), and argues that notation contributed to the development of a racial framework on which a pan-Arab identity could be distinguished from the rest of the African continent, thus triangulating seemingly opposing historical, evolutionary and governmental interests. The second paper traces Irish dance notation within a lineage of oral transmission, contending that it was used as a tool for managing choreo-musical memory by examining contemporary markings made by living interlocutors and notebooks of past dancers whose notations survive through family archival practices. The third paper considers musical notations in the unexpected site of 17th-century manuscript food and medicinal recipe books, arguing that the personalized, domestic usage of these inscriptions has relegated them to memorial archives where they have remained hidden from discussions of musicking in this period.While the first paper shows how notation was entangled in colonial dynamics, the second and third papers focus on hyper-local notational practice. Throughout the panel, notation also emerges as a crucial technology in determining the ordering of bodies, be it through colonial psychiatry, movement practices, and household health management.

Speed mentoring sessions are scheduled for 20 November (10:00-10:50AM Central Time) and 21 November (11:00-11:50AM Central Time) during the 2021 AMS Annual Meeting. Registration for the 2021 AMS Annual Meeting is required to participate. Sessions will last for approximately 50 minutes, allowing for four mentor-mentee discussions each lasting 10 minutes. Mentors and mentees will be matched on interest areas submitted in the speed mentoring sign-up form. Participants will receive a schedule of their planned meetings shortly before the event. Due to the curated nature of this event, the AMS office asks that only those who intend to participate reserve a seat. (NOTE: Students may not volunteer to serve as mentors. Mentee seats are contingent on the number of volunteer mentors, so space is limited.)Deadline to sign-up: 21 October 2021

Within the musicological community there is increasing acknowledgment that a lack of equity is a hindrance that cannot be overcome merely by good intentions. Current AMS president Steve Swayne writes in his first presidential letter to the AMS that "our own times are not free from prejudices and blind spots that may keep us from utilizing all the ideas available to us that can make our work more robust than it already is." What part do the editors and publishers of critical editions play in reinforcing these blind spots, and what can we do to rectify them? In 2001 Guthrie P. Ramsay described a "deafening silence" on the lack of Black scholars in the growing field of Black vernacular music studies. Nineteen years later, in a special issue of the Journal of the American Musicological Society, Naomi André and Denise Von Glahn write that "In our most widely adopted history textbooks, contributions of African Americans and women are treated as add-ons and asides, if they are present at all." Certainly critical editions, as scholarly objects that physically merge the work of the musicologist with musical notation, must be sites that display existing biases; but for the same reason, critical editions also have the potential to be sites where new historiographic practices might be embraced. This roundtable will bring together scholars, editors, and publishers of critical editions to discuss the following questions: (1) Why are works by BIPOC composers underrepresented in critical editions? (2) Why are BIPOC scholars underrepresented among editors of critical editions? (3) What can we do to combat racist systems in the making of critical editions? And, finally, (4) What can scholars do to create and advocate for critical editions that resist racist historiographical norms?  

As global music history continues to gain currency worldwide, conference panels and publications are increasingly articulating field-defining questions, beyond the work of contributing relevant case studies. An aspiration to democratize professional music history arguably lies at the heart of these efforts, against the concentration of resources and authority in the hands of those working in wealthy institutions, in imperial (or formerly imperial) nations, and in dominant "universal" languages such as English. Yet, if there is an emerging consensus on the importance of decentering knowledge production internationally, there is less cohesion on how to resist pressure exerted by hegemonic pasts, narratives, and social groups closer to home, wherever "home" might be.Call this a grounded global music history that proceeds from local discomfort and is most at home with contextually uprooted pasts. Such music histories may center the memories of Indigenous, dispossessed, and racially or religiously oppressed peoples; those of the poor or the untouchable; or those whose lands have been polluted or rendered uninhabitable by climate change, and so forth. Indeed, as global approaches gain traction in musicology, how might we not just include, but recenter discomforting pasts within the "home" practices of global musicology; and how might we critically intervene in the likelihood that uneven power and hegemonic narratives will tend to predominate? Our study group session features speakers whose research and public-facing work give them valuable fresh perspectives on these pressing scholarly questions.Speakers and topicsAlexandria Carrico, "Listening to Understand: Unsettling Hierarchies of Musical Excellence through Disability Studies"Daniel Castro Pantoja, "Modernity as Coloniality, Arche-Politics, and Other Decolonial Intimacies: Transmodern Thoughts on Centering Discomfort in Global Music History Studies"Hedy Law "Just Sound Right: Cantonese Music in the Age of Global Music History"Pablo Palomino, "Music, Global Frameworks, and Cultural History: Discomforts of a Latin Americanist"Jessica Bissett Perea, "Toward a More Native Music Studies and a More Musical Native Studies: Indigelogical and Eurological Perspectives on American Music Histories since 1970"Maria Ryan, "White Adjacency and Settler Moves to Innocence"Parkorn Wangpaiboonkit, "On Offering Oneself to Music History: Positionalities and Perspectives from Colonial Siam"

This panel stems from the forthcoming collection Music and Cybernetics in Historical Perspective edited by Eric Drott and Christopher Haworth. Cybernetics has exerted significant influence on music, especially during its heyday during the 1940s, 50s and 60s. Ideas about music ethnography, theory, pedagogy, and psychology have all been routed through the 'cybernetic matrix' (LaFontaine 2007), which is not to mention the indirect impacts of cybernetic theory through (for instance) DeleuzoGuattarian music studies, actor-network theory, or German media theory. Yet music-historical accounts that have considered how cybernetic concepts like feedback controls and autopoietic systems found their way into musical practice have tended to train their attention on a fairly narrow slice of history (the decades after World War II), a fairly narrow selection of musicians and repertoires (mainly composers working within the experimental tradition), and a fairly narrow set of pieces that wear the cybernetic influence on their sleeve (e.g., the biofeedback works of Alvin Lucier and David Rosenboom). Overlooked as a result are more mundane ways that cybernetic thought has informed various practices of musicking, or the degree to which it filtered into discourse about music, or the frequency with which the spectre of cybernetics re-emerges across recent music history, from its inception up to and including the present day.Each of the authors will give a 10-minute presentation on their contribution to this collection, and George Lewis will give a summary response. Taken as a whole, these contributions consider the recursive and nonlinear impacts of cybernetics and information theory as they infiltrate musical composition (Loughridge and Barrett), music theory (Miller, Bell, and Haworth), instrument design (Latham), and voice engineering (Mendez). Issues of representation are to the fore in the contributions, with three of the articles considering cybernetics's role in constructions of gender (Loughridge, Barrett, Latham), and one (Mendez) exploring the relation of information naturalisation and universalism to whiteness. Through these new contributions, the panel seeks to expand the framework inside which cybernetics and information theory have typically been considered in music studies, as well as sketching possible ways music studies might inform future histories of cybernetics.

In the introduction to the 1944 _Treasury of American Folklore_, the volume's editor Benjamin Botkin muses, "if folklore is old wine in new bottles, it is also new wine in old bottles," highlighting the temporal, cultural, and aesthetic instability of defining "folklore" and "the folk." This sentiment resonates strongly in post-World War II America, where "Jewish folk music" was a complicated-yet widely used-label, carrying competing, and at times contradicting significations. This music emerged from a variety of aesthetic, political, geographic, and historical contexts, echoing broader considerations about the meaning of "the folk," and particularly "the Jewish folk." Various actors prioritized different expressions of Jewish folk music, with influences that span Eastern European traditions, the sensibilities of the American folk revival, and the aesthetics of Israeli music.In this panel, we explore multiple meanings of "Jewish folk music" in America during the early postwar period, examining a diversity of musical spheres, including Yiddish song, Hasidic music, and the American folk recording industry. Using musicological, historical, literary, and ethnographic methodologies, our papers interrogate the production, transmission, and reception of the musics that were-or could have been-nested under this label. We engage these musics in provocative tension, posing several interrelated questions: How were competing notions of Jewish folk music shaped by the historical circumstances of the Holocaust, the statehood of Israel, and the cultural assimilation of American Jews? How did pre- and post-war conceptions of the "folk" influence approaches to Jewish folk music? Who were the arbiters of "authentic Jewish music," and how did their choices vary between Orthodox Jews, secular Jews, and non-Jewish Americans? Through this multifaceted perspective, we shed light and advance the conversation on this momentous, yet largely understudied period in the history of American Jewish music.

This Zoom webinar celebrates the fiftieth anniversary of the publication of Eileen Southern's landmark book, The Music of Black Americans. It will be a conversational panel contemplating various aspects of Southern's scholarly and creative endeavors. These include her scholarship on African American music, European music, and music theater; her interest in visual studies; and her roles as performer and institution builder.Each speaker will read a letter they've written to Eileen Southern; the letters will be followed by a group discussion. The session will also feature a short film and brief recorded performances.

The Music and Disability Study Group and Project Spectrum present a roundtable that applies Principles of Disability Justice to musicological pedagogy, scholarship, and professional development.Higher education as a whole-and musicology in particular- systematically excludes voices of those whose bodyminds do not adhere to ideals established by those with power and privilege. Jay Dolmage writes, "Ableism is not a series of bad or sad anomalies, a series of discrete actions. It is a rhetoric in the fullest sense of the word: gestural, social, architectural, duplicitous and plain, malleable, and immovable. It requires agents. It requires actions and intentional inaction" (Academic Ableism, 46). Ableism is not unavoidable in academia; it is chosen. North American higher education is intertwined with eugenics, gatekeeping, and exclusion. Non-disabled supervisors and administrators often determine what accommodations are "reasonable" and limit access to the few disabled students, faculty, and staff who are deemed "deserving" (41–65). The Disability Rights Movement secured a legal basis for disability inclusion in schools and workplaces (ex: the Americans with Disabilities Act), but these gains only serve a portion of the disability community; disabled people of color, members of the LGBTQ+ community, and those with socially stigmatized disabilities are often left behind, deemed less worthy of inclusion. In the early 21st century, queer BIPOC disabled activists in the Bay Area codified Disability Justice, a framework which recognizes ableism as one of many interlocking, interdependent systems of oppression-all must be dismantled together:A disability justice framework understands that:· All bodies are unique and essential.· All bodies have strengths and needs that must be met.· We are powerful, not despite the complexities of our bodies, but because of them.· All bodies are confined by ability, race, gender, sexuality, class, nation state, religion, and more, and we cannot separate them.(Sins Invalid, Skin, Tooth, and Bone, 2nd ed., 19)With this roundtable, we discuss and acknowledge the systematic exclusion of disabled, LGBTQ+, BIPOC, and other scholars. Ignoring these perspectives corrodes our discipline, but supporting and amplifying them transforms us. We gather to forge a more radically inclusive profession. Please join us.

Although operatic performance represents one form of colonial expansion, the genre is increasingly also used as the means by which audiences are asked to confront the historical trauma inflicted by colonialism and western hegemony more broadly. In the twenty-first century, opera creators are unsettling the medium's affirmative relationship to the imperial nation and its territories in important ways. This panel investigates contemporary opera's attempts to come to terms with colonial trauma and exposes the uneasy balance between re-inscription and confrontation enacted by experimental and decolonial approaches to the form.Taking as case studies experimental works from North America and Southern Africa, the three papers interrogate the ways in which contemporary opera makes space for traditional modes of expression, historicizing, and story-telling. In dialogue with critical frames drawn from recent work on Indigenous sonicity (Robinson 2020), anti- and decolonial theory (Mignolo 2011; Rifkin 2017), and opera and race (André 2018; Roos 2018), the panelists ask: how might we understand operatic performance informed by anti-colonial strategies, without dismissing the colonial legacy of the form? Can--and should--opera claim for itself the palliative work of naming, recognizing, and mourning the violence of empire? More specifically, what is the critical and/or affective work performed by the operatic form in representations of colonial trauma? What types of sounds, narrative devices, and spectatorial modes of presentation allow for this kind of exploration?Part of this work involves questioning who these operas are for, and to what end. As multifarious voices and temporalities collide, the shadow of colonial violence haunts these creations and their recipients in divergent ways. We reflect on how opera's infrastructures of circulation and patronage undermine (or, conversely, support) the political and affective potential of these works, and question how opera's multiple and often conflicting generic affordances might signal differently to various settler, arrivant, and Indigenous audiences. Together, the panelists examine the uneasy relationship between contemporary experiments and operatic convention, and explore the various transformations, destabilizations, and dismantlings to which the form is subjected in a quest for ethical engagement with colonial trauma.

Virtual meet and greet with faculty, students, and alumni from CWRU. Prospective students and other guests welcome.

Love and Loyalty: Musical Confessions of Albrecht Mendelssohn Bartholdy (1874-1936)Albrecht Mendelssohn Bartholdy was a grandson of Felix and a prestigious jurist who served as one of Germany's observers to the Treaty of Versaille negotiations. He was also a poet, a pianist, a composer, a librettist, and a music historian. After his father Karl suffered a debilitating mental breakdown, Adolph Wach, a jurist married to Felix' daughter Lili, became Albrecht's substitute father and professional mentor. The Wachs introduced Albrecht to the leading musicians of their time, including Reger, Herzogenberg, Smyth, and Brahms. Though Albrecht was very close to Adolph's musical daughter Marie, he married Marie's sister Dora, a socially awkward woman with a passion for goat farming and a dislike for the arts. Marie's Music Album in the Mendelssohn-Archive Berlin contains love songs by Albrecht, dedicated to Marie two months after his marriage to Dora. Two years later, Albrecht self-published yet another love song collection for Marie. Only in the following year did he finally publish a collection of songs dedicated to Dora. Albrecht's open musical confessions of love for Marie, rather than for his wife, point to a familial agreement to an "arranged marriage" to Dora. Thus, Albrecht could show his gratefulness to his substitute father Adolph while ensuring that the family's heritage and inheritance remained in control of close family relations. The peak of Albrecht's law career was also marked by his close relationship with Magdalene Schoch, a talented student who soon became an indispensable colleague. During these years Albrecht once again produced a prodigious number of love songs, this time for Magdalena. Albrecht's work schedules meticulously list every professional work engagement and deadline. They also mention his song compositions, but none of his other artistic projects, thus putting his songs and his legal projects on the same plane. Professionally ambitious, and acutely aware of his responsibility as an heir to the Mendelssohn family legacy, he chose to comply with familial and societal expectations rather than pursue his own love interests. By publishing and gifting love song collections to his objects of desire, he ensured that his true confessions of love would outlive imperfect social arrangements he deemed necessary during his lifetime. ProgramRyan de Ryke, baritoneEva Mengelkoch, piano and lectureI. The Wach-Mendelssohn Music Salon in Leipzig 1'50 Vom Berge (Joseph von Eichendorff) Ethel Smyth (1858-1944)2'30 Abends (Theodor Storm), Opus 48 Nr. 6 Heinrich von Herzogenberg (1843-1900) 1'40 Wenn ich mir in stiller Seele (J.W. von Goethe) Fanny Hensel (1805-1847)  II. Cousins and Butterflies – Albrecht's Songs for Marie and DoraFrom Vier Gedichte (1907), dedicated to Marie Wach Albrecht Mendelssohn Bartholdy'50 Rosenwolke 1'00 Sag' mir From Sieben Lieder (1908), dedicated to Dora Mendelssohn (nee Wach)3'10 Der Sänger (Roberty Piloty) III. "Ferne und Nähe" (Close-by and Far-Away) - Albrecht's Songs for Lena1'45 Song from The Arabian Nights Albrecht Mendelssohn Bartholdy2'15 Love's a Flower (John Galsworthy)3'00 Ferne und Nähe (Anonymous) 2'55 In der Nacht (Bruno Frank) 1'30 Wenn ich mir Lieder singe (J.W. von Goethe) 2'10 Ich hört ein Fräulein klagen (Des Knaben Wunderhorn)3'46 Sonett (Anonymous)1'30 Zum 18. Juni 1934 (Victor Hugo)2'05 Gasel (Gottfried Keller) 1'55 Wenn zwei sich lieben im Herzensgrund (Albrecht Mendelssohn Bartholdy) 

Contemporary Classical Mix, TracklistingJames Tenney, Harmonium #1 (1976). Performed by Trio Scordatura (New World Records).Cassandra Miller, Duet for Cello and Orchestra (2015). Performed by Charles Curtus and the BBC Scottish Symphony Orchestra/Ilan Volkov (another timbre).Evan Johnson, émoi (2010). Performed by Richard Craig (Métier).Liza Lim, From Extinction Events and Dawn Chorus (5. 'Dawn Chorus') (2018). Performed by Sophie Schafleitner and Klangforum Wien/Peter Rundel (Kairos).George Lewis, Emergent (2014). Performed by Claire Chase, with electronics by Levi Lorenzo (New Focus Recordings).Wenchen Qin, Echoes from the Other Shore (2015). Performed by Wei Ji and the ORF Vienna Radio Symphony Orchestra/Gottfried Rabl (Kairos).Chaya Czernowin, The Quiet (2010). Performed by the Bavarian Radio Symphony Orchestra/Brad Lubman (Wergo).Andrew Hamilton, product #1 (2009). Performed by Andrew Hamilton (Ergodos).

In this session, members of the Study Group on Childhood and Youth will examine how normative (adult) power structures, priorities, and fears have shaped, limited, devalued, or appropriated children. Music has been used to encourage the "authentic" voice of the child – the "infant" (Lat. "voiceless one") – and it has also been used to silence it. Through our research we have the opportunity to speak up for young people and enable them to speak for themselves, arguing for equity in music scholarship and society, in history and in the present. Presentations will be seven minutes long, followed by seven-minute responses. Presentations will be pre-circulated to registered attendees. Session Chairs: Matthew Roy, Westmont College1. Benjamin Liberatore, Columbia University: Nothing Is Snipped Out': Cathedral Choristers' Reflections on Choral Worship in Pandemic TimesRespondent: Susan Boynton, Columbia University2. Matthew Roy, Westmont College: The Socializing Mirror: Performing Nineteenth-Century Girlhood and BoyhoodRespondent: Roe-Min Kok, McGill University3. Alexandra Krawetz, Yale University: "Charming Simple Songs of Children": Negotiating Child Agency, Authority, and Authorial Voice in the Interwar ArchivesRespondent: Anicia Timberlake, Peabody Institute4. Demetrius Shahmehri, Columbia University: "Won't you play along?" Music, Memory, and the Voice of the Child in Undertale" Respondent: Tyler Bickford, University of Pittsburgh 5. Lindsay Wright, University of Chicago: Race to the Beginning: Musical Prodigies and the Racialization of Early Musical Achievement Respondent: Matthew Roy, Westmont College 6. Cristina Santos, Chad Komocki, Lilith Manes, and Marcelo Rocha, University of Texas at Austin: Reflective Rhythms: Exploring How the Intersection of the Digital Humanities and Creative Learning Can Promote Equitable Scholastic Collaborations with Youth