IMS Newsletter 03 2016 - International Musicological Society IMS

Transcription

International Musicological Society
Internationale Gesellschaft für Musikwissenschaft
Sociedad Internacional de Musicología
Società Internazionale di Musicologia
Société Internationale de Musicologie
IMS Communiqué / Newsletter
______________________________
New Series, volume 3, no. 1 (2016)
published by the
IMS Newsletter, n.s., 3, no. 1 (2016)
Table of Contents
Message from the President ......................................................................... 4
Intercongressional Symposium, International Musicological Society—New York,
21–26 June 2015, The Juilliard School........................................................... 9
IMS Regional Associations ...........................................................................13
Regional Association for East Asia ................................................................14
Regional Association for Latin America and the Caribbean (ARLAC/IMS) .........16
Regional Association for the Study of Music of the Balkans ............................18
Regional Association for Eastern Slavic Countries ..........................................19
IMS Study Groups .......................................................................................20
Study Group on Cantus Planus.....................................................................20
Study Group on Cavalli and Seventeenth-Century Venetian Opera .................22
Study Group on Digital Musicology ...............................................................22
Study Group on Early Music and the New World/Música Antigua y Nuevo Mundo
.................................................................................................................24
Study Group on Italo-Ibero-American Relations ............................................25
Study Group on Music and Cultural Studies ..................................................27
Study Group on Music and Media .................................................................29
Study Group on Music, Memory, and Migration in the Post-Holocaust Jewish
Experience .................................................................................................30
Study Group on Music and Musical Instruments ............................................31
Study Group on Musical Iconography ...........................................................31
Study Group on Shostakovich and His Epoch: Contemporaries, Culture, and the
State ..........................................................................................................33
Study Group on Stravinsky: Between East and West .....................................33
Study Group on Tablature in Western Music .................................................34
Study Group on Transmission of Knowledge as a Primary Aim in Music Education
.................................................................................................................36
Secretary General’s Report ..........................................................................38
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Honorary Memberships ...............................................................................40
Forthcoming IMS Conferences .....................................................................43
News from the International Repertories ......................................................44
RIdIM—Association Répertoire International d'Iconographie Musicale ............44
RILM—Répertoire International de Littérature Musicale .................................47
RIPM—Répertoire International de la Presse Musicale ...................................48
RISM—Répertoire International des Sources Musicales ..................................49
Application for Membership to IMS...............................................................52
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Message from the President
Dear Members of the International
Musicological Society,
interesting to assess the impact of the
Venezuelan project El Sistema on patterns
of music education in Europe, the event in
London demonstrated how the development of “creative artistic research” has
stimulated new possibilities at many European conservatoires. In both cases, there is
a significant role for musicologists to play
and this is good news at a difficult time for
the profession.
The calendar of conferences and initiatives
involving IMS in 2015 was filled with successful events and intense experiences. It
sent us to a different part of the globe every
month.
January 2015 (19–21) started with a conference on Music Iconography and Music
History in Europe and Latin America:
Sources and Issues, organized in Cartagena
Beirut was the destination in March. Thanks
to the Italian Foreign Affairs Minister, I had
initiated contacts with the director of the
local state conservatoire and with rectors
and staff of the three most important universities in Lebanon that included musicology programs: the American University of
Beirut, Notre Dame, and Université SaintEsprit de Kaslik (USEK). The latter, situated
about 15 kilometers from Beirut on the sea,
launched the program Let’s Go Green for a
de Indias (Colombia) by Egberto Bermúdez.
Under the auspices of the IMS Study Group
on Early Music and the New World (chaired
by Bermúdez) and the Research Center for
Music Iconography of The Graduate Center
of The City University of New York
(RCMI/CUNY, directed by Zdravko Blazekovic), the conference involved students
from the master’s program in musicology of
the Universidad Nacional de Colombia in
Bogotá and also young scholars from the
Caribbean.
Sustainable Future! Towards a Carbon Neutral University five years ago and singled
out USEK as the first totally green university
on the Mediterranean Sea. This is even
more remarkable if we consider the geopolitical situation around Beirut, whose borders with war areas in Syria, Iran, Turkey,
and Israel are only a few kilometers away.
Amidst such an incredible contradiction, I
found a department of music of good level,
including doctoral students in musicology,
to whom I presented the activities of IMS
and invited those young colleagues to
collaborate.
In February I was invited to represent the
IMS at two different events: a symposium
at the Universität Mozarteum Salzburg (26–
27) on Sistema-Inspired Music Education
in Europe and Beyond: Enabling Social
Change through Collective Music-Making,
and a conference held at the Guildhall
School of Music & Drama in London (27
February–1 March) on Reflective Conservatoire: Creativity and Changing Cultures.
If the conference in Salzburg proved very
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In April our IMS Study Group on Tablature
in Western Music, chaired by John Griffiths
with Tim Crawford and Franco Pavan, organized a successful meeting at the Schola
Cantorum Basiliensis, in collaboration with
the University of Basel and in conjunction
with a conference held at the same institution on the baroque harp in Rome (see the
report in The Lutezine, no. 114 [2015], by
kind permission of The Lute Society available on the website of IMS at: http://imsinternational.ch/content/index.php/studygroups/tablature-in-western-music).
digital music research, but also evoked and
confirmed a long tradition of cooperation
between the IMS and IAML. The conference
included a celebration of RILM’s 50th anniversary, founded by Barry S. Brook in 1965.
Barbara Dobbs Mackenzie, RILM’s editor-inchief and director of the Barry S. Brook Center for Music Research and Documentation
at The Graduate Center, CUNY, is also President of IAML until July 2016. Furthermore,
the event celebrated the longstanding and
productive collaboration between our society and the four Rs (RISM, RILM, RIPM, and
RIdIM).
This meeting, which involved around 50
participants, demonstrated the advantages
of having the research office of the IMS, our
public site, at the Schola Cantorum since
2013, thanks to its former director Pedro
Memelsdorff and the new director Thomas
Drescher. I take this opportunity to warmly
thank our secretary general Dorothea
Baumann, who is organizing our library and
archive in this location, in order to be
accessible to IMS members upon request.
Also during the New York congress, at a
private meeting with Salwa El-Shawan Castelo Branco, President of the International
Council for Traditional Music (ICTM), and in
communication with Svanibor Pettan, secretary general of the ICTM, a decision was
made to hold a triple joint conference of
IMS/IAML/ICTM in Abu Dhabi in February
2017. This, within a view toward establishing fruitful patterns of collaboration among
our societies and as another example of the
crucial role of musicology in difficult areas
of the planet. Past Presidents and the
current President (Ellen T. Harris) of the
American Musicological Society accepted
our invitation to hold an AMS-sponsored
session in New York and we have explored
ways in which AMS can reciprocate with
similar types of collaboration, starting with
the next AMS annual meeting in Vancouver
in 2016.
The apparent lack of activity in May was
balanced by the preparation of a very important event in June, namely the joint
congress of IMS with IAML (International
Association of Musical Libraries) on Music
Research in the Digital Age, held at The
Juilliard School at Lincoln Center in New
York during the entire last week of the
month. The Chair of the IMS program committee was our Vice President Malena Kuss,
who accomplished an extraordinary task
which has produced a memorable scientific
result. The theme of the congress not only
focused on the past, present, and future of
At the end of August, Svetlana Kujumdzhieva (Bulgarian Academy of Sciences and
Arts) organized a meeting of the Regional
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Association for the Study of Music of the
Balkans in Sofia, one of the oldest such
research branches of IMS, as part of the
larger Eleventh Congress of South-East European Studies (31 August–4 September),
hosted by the Bulgarian Academy of Sciences and the Union of Bulgarian Composers under the patronage of UNESCO. Our
Last President, Tilman Seebass, co-organizer of the meeting, represented IMS and reported on the success of the event, with 29
participants from different countries of the
area and elsewhere. During the meeting,
and in order to promote musicological research on the Balkans at an academic level,
the participants proposed the editorial project to be called “Series Musicologica Balcanica” under the patronage of IMS.
versary of Pyotr Tchaikovsky (chaired by
Polina Weidman) and a number of free papers by specialists in different areas of research were presented. The event reached
international frenzy with the news presented by Braginskaya, that the presumed
lost manuscript score of Stravinsky’s Pogrebal’naya Pesnya (Funeral Song), written in
memory of his teacher, Nikolai RimskyKorsakov, shortly after Rimsky’s death in
June 1908, had been found in the St.
Petersburg Conservatoire Library. Braginskaya has just published her paper on this
rediscovery in the last issue of our journal,
Acta Musicologica (Braginskaya, “New Light
on the Fate of Some Early Works of Stravinsky: The Funeral Song Rediscovery,” Acta
Musicologica 86, no. 2 (2015), pp. 133–52).
The news spread in real time from the conference through an article published by
Stephen Walsh in The Guardian and was
subsequently picked up by the international
media. This is a good example of the ways
in which musicology can become more popular and attractive to a general audience, as
Philippe Vendrix passionately noted during
the joint IMS/IAML conference in New York.
The first week of September (2–6) was
marked by a memorable conference of the
IMS Regional Association for Eastern Slavic Countries, founded and chaired by Liudmila Kovnatskaya, who organized its sixth
meeting under the auspices of the Russian
Institute of Art History: the St. Petersburg
State Museum of Theatre and Music; the St.
Petersburg State Conservatory “N. A. Rimsky-Korsakov”; and the Center for New
Technology in the Arts “Art-parkING.” The
conference, on Working on Composers’
Collected Works, which attracted some 50
researchers from 13 countries, involved
members of the Regional Association and
included research sessions of the following
IMS Study Groups: Shostakovich and His
Epoch (chaired by Olga Digonskaya)
and Stravinsky between East and West
(chaired by Natalia Braginskaya). One of
the days was dedicated to the 175th anni-
Shortly thereafter, toward the end of September, I was representing IMS in Spain
and delivering the inaugural lecture at the
ICREA International Workshop on Hearing
the City: Musical Experience as Portal to
Urban Soundscapes (Institut d’Estudis Cat-
alans, Barcelona, 24–26 September). Organized by Tess Knighton, this was a good
opportunity for young scholars participating
in the event to feel the importance of being
part of a community which included such
eminent musicologists as Reinhard Strohm,
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Tim Carter, Juan José Carreras, and several
others.
the First International Symposium of University Choirs and Orchestras held at the
Free University of Bolzano. My motto, as
reiterated above: it is crucial to keep reflection (musicology) and musical practice
(performance) connected at the academic
level.
September ended with my participation in
the annual meeting of the IMS Study Group
on Music Iconography, which took place on
the 28th and 29th in southern Italy, at the
University of Salento in Lecce. The Study
Group—founded by Tilman Seebass and
currently chaired by Nicoletta Guidobaldi,
with Björn Tammen and Alexandra
Voutyra—organized this annual meeting on
the topic Travelers to Faraway Countries
Last but definitely not least was the final
event of the year, the Third Biennial Conference of the IMS Regional Association for
East Asia (IMSEA), held at the University of
Hong Kong (4–6 December). The conference gathered the participation of about
100 scholars from Japan, Taiwan, Korea,
Hong Kong, Malaysia, and other countries,
including for the first time a representative
from mainland China. The perfect organization of the event, chaired by Giorgio
Biancorosso, represented an ideal stepping
point for the forthcoming 20th Congress of
the IMS, to be held in Tokyo in March of
2017.
and the Musical Imagination on the Move
(1500–1900). In fact, several events in
2015 stimulated significant reflection on the
field of music iconography. At the joint
IAML/IMS congress in New York, I chaired
a very interesting panel on the subject,
which included speakers representing all
the institutions active in this field around
the world. (The panel was conceived as an
homage to Barry S. Brook, a pioneer of music iconography who was a co-founder of
RIdIM in 1971 and, in 1972, established the
Research Center for Music Iconography at
CUNY’s Graduate Center, directed by Zdravko Blazekovic.) Another event which associated IMS to music iconography were
the Jornadas Internationales devoted to “10
Years of Music Iconography at the UCM,
Spain,” organized at the Universidad Complutense de Madrid on 25–27 November by
Cristina Bordas, also a member of the IMS
Study Group on Music and Musical Instruments.
It is time now to acknowledge the extraordinary work done by members of the
Bureau and Directorium. The actions of the
two Vice Presidents, Malena Kuss and
Ryuichi Higuchi, have been so helpful as to
qualify for co-presidencies. Not less valuable was the work done by our secretary
general Dorothea Baumann, who singlehandedly manages the organization of the
society. A word of thanks also goes to our
irreplaceable treasurer, Madeleine Regli,
who ensures the economic stability of IMS,
and to the tireless work of the editors of
our journal Acta Musicologica, Federico
Celestini and Philip Bohlman, who deliver
punctuality, variety, and high level of con-
Only a few days after Madrid I was invited
to illustrate the activities of IMS and the role
of musicology in the university system at
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tents. I would like to acknowledge the invaluable input of our Directorium, which
met in New York on 21 June and continues
to steer the society with imagination and
wisdom. We are indebted to Per Dahl for
the organization of our next symposium in
Stavanger, at which the next IMS President
will be elected; and I would like to express my gratitude for the many initiatives
proposed by members of the Directorium,
among which the mentorship program, as
designed by Jane M. Hardie to help scholars
at the start of their careers by implementing
a career path, promises to link young scholars with more established specialists in their
field. Scholars willing to act as mentors are
asked to contact Jane Hardie by e-mail:
jane.hardie@sydney.edu.au.
I wish all the Members of IMS, its Study
Groups and Regional Associations, a marvelous 2016 full of exciting experiences,
meetings, and all the activities connected to
our discipline.
Dinko Fabris, IMS President (2012–17)
Rome-Naples, Italy
Conference of the IMS Regional
Association for East Asia
(IMSEA), held at the University of
Hong Kong (4–6 December).
From left to right: Ryuichi
Higuchi, IMS Vice President;
Giorgio Biancorosso Chair,
Organizing Committee; Timothy
Taylor (UCLA, USA); Liu Yen-ling
(Suzhou University, China), and
Dinko Fabris, IMS President.
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Intercongressional Symposium, International Musicological
Society—New York, 21–26 June 2015, The Juilliard School
Music Research in the Digital Age, the
the meta-discourse generated by this connectivity and the diversity of conceptual
frameworks that inform the practice of musicology in the intercultural age. Barbara
Dobbs Mackenzie; Jane Gottlieb, Vice President for Library and Information Resources,
Graduate Studies, The Juilliard School; and
Jim Cassaro, head of the Music Library, University of Pittsburgh, were Co-Chairs of the
organizing committee that oversaw the institutional infrastructure. We are also indebted to Lincoln Center for the Performing
Arts, and, in particular, to The Juilliard
School and The New York Public Library for
the Performing Arts and its music division
chief, George Boziwick, for their hospitality.
theme of the IMS joint conference with
IAML, not only focused attention on the
past, present, and future of digital musicology, but also evoked a long tradition of
cooperation between the International Musicological Society and the International
Association of Music Libraries, Archives, and
Documentation Centres. The conference included a celebration of RILM’s 50th anniversary hosted by IAML President and RILM’s
Editor-in-Chief Barbara Dobbs Mackenzie,
who also heads the Barry S. Brook Center
for Music Research and Documentation at
The Graduate Center, CUNY. The vast legacy of Barry S. Brook—founder of RILM
(1965) and co-founder of RIdIM (1971),
IAML President (1977–80), founder of the
Research Center for Music Iconography
(1972) presently directed by Zdravko Blazekovic, and a pioneer in computer applications to musicology in the 1960s (see Musicology and the Computer, ed. Barry S.
Brook [New York: American Musicological
Society, Greater New York Chapter, 1965–
66, CUNY Press, 1970])—will always stand
as a symbol of the symbiotic relationship
between musicology and music librarianship that has driven the work of many
scholars before and since his time.
The chairs of the IMS and IAML program
committees worked closely to combine proposals into joint sessions. Stanislaw Hrabia,
Music Librarian in the Department of Music
at the Jagiellonian University in Kraków,
was chair of the IAML program committee;
Malena Kuss, IMS Vice President (2009–17)
and Professor Emeritus of Musicology at the
University of North Texas, Denton, headed
the IMS Program Committee, whose members played a crucial role in shaping a challenging conference. We are deeply grateful
to Allan W. Atlas, Distinguished Emeritus
Professor of Music, The Graduate Center,
The City University of New York; Antonio
Baldassarre, Director of the Music Department, Lucerne University of Applied Sciences and Arts; Tim Crawford, Principal Investigator, Transforming Musicology, Com-
Broadly defined and moving beyond the impact of technology on musical culture and
musicological research, the conference’s
theme invited reflections on how connectivity can remap scholarly disciplines, probing
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puting Department, Goldsmiths College,
University of London; Per Dahl, Professor of
Music History and Analysis, Department of
Music and Dance, University of Stavanger,
Norway; Philip Gossett, Robert W. Reneker
Distinguished Service Emeritus Professor of
Music, Department of Music, University of
Chicago, Past President, American Musicological Society; Ellen T. Harris, President,
American Musicological Society, Class of
1949 Professor Emeritus, Music and
Theater Arts, MIT; and Frans Wiering, Associate professor, Department of Information
and Computing Sciences, Universiteit Utrecht, The Netherlands, and chair, IMS
Study Group on Digital Musicology.
In addition to a dazzling display of digital
resources and encoding projects that attracted pioneers and prominent proponents
of digital musicology (for a final version of
the program with abstracts, please visit
http://iaml.info/congresses/2015-iamlimsnew-york), the IMS program featured five
special sessions aimed at commemoration
and reflection.
Given that 38 years had passed since IMS
held a congress in U.S. soil (Berkeley 1977),
the prominence of the American Musicological Society in promoting groundbreaking
research had to take center stage at this
conference. On Monday, June 22, AMS responded to our invitation with a session on
“Collections, Collaborations, and Communities,” which, conceived by Renaissance
scholar Richard Freedman and chaired by
AMS President Ellen T. Harris, featured papers by three AMS past presidents—Anne
Walters Robertson, Elaine Sisman, and
Chris Reynolds—and three prestigious
respondents—Richard Freedman, Philippe
Vendrix, and Michael Colby.
In the words of Frans Wiering, who opened
the event on 21 June with a session of his
IMS Study Group,
“The theme of the 2015 IAML/IMS conference, ‘Music Research in the Digital Age,’
yielded an amazing response from the
scholarly community . . . . The result was an
amazingly rich and diverse program; seldom (if ever) before has such a large selection of ‘digital musicology’ papers been
presented at a single scholarly event. No
longer is the application of technology to
music research a marginal activity of computer geeks: it has become a part of mainstream musicology and other branches of
music research. This conference presents
also a unique opportunity to study digital
musicology ‘in the wild.’ Has it become what
its advocates imagined it to be, or has it
developed into something entirely different?”
As printed reference works are increasingly
being digitized, and coinciding with a recent
RILM initiative that offers 41 encyclopedias
on line through EBSCO while also preparing
the availability of MGG Online, I invited Tina
Frühauf (RILM and Columbia University) to
chair a session on “Referencing Music in the
Twenty-First Century: Encyclopedias of the
Past, Present, and Future,” which took
place on 23 June. The session gathered an
unprecedented group of editors that included Hanns-Werner Heister (Editor, Komponisten der Gegenwart, available through
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http://nachschlage.net); Laurenz Lütteken
(Editor-in-Chief, MGG Online); Markus Bandur (Managing Editor, H.-H. Eggebrecht’s
composer since its publication in 1983,
spoke about “The Rite of Spring Briefly
Revisited: Thoughts on Stravinsky’s Stratifications, the Psychology of Meter, and
African Polyrhythm”; and Robert Hatten,
like his colleagues in the panel a trailblazer
in twentieth-century music analysis, illuminated the field of analytically grounded
interpretations with an essay on “Reconceiving Analysis.”
Handwörterbuch der musikalischen Terminologie); Álvaro Torrente (Director, Instituto Complutense de Ciencias Musicales,
Diccionario de la música española e hispanoamericana); Don M. Randel (Editor, Harvard Dictionary of Music, 3rd and 4th editions); Harry White (Co-General Editor, The
Encyclopedia of Music in Ireland); and
Anna-Lise Santella (Senior Editor for Music
Reference, Oxford University Press, Grove
Music Online). Oxford University Press videotaped the session, available on YouTube
by topic and full panel.
Thursday, 25 June, marked one of the high
points of the conference with a moving
tribute to Barry S. Brook (1918–1997), who,
after founding RILM in 1965, established in
1967 the Graduate Program in Music at The
Graduate Center, CUNY, serving as its Executive Officer until his retirement in 1989.
The program was inaugurated with a series
of lectures by stellar musicologists Barry
gathered for the occasion, namely Gustave
Reese, Friedrich Blume, Vincent Duckles,
François Lesure, Emanuel Winternitz, Edward E. Lowinsky, H. C. Robbins Landon,
Milton Babbitt, Paul Henry Lang, Gilbert
Chase, Georg Knepler, Luiz Heitor Corrêa de
Azevedo, J. H. Kwabena Nketia, Mantle
Hood, and Frank Ll. Harrison (see Perspectives in Musicology, ed. Barry S. Brook,
Edward O. D. Downes, and Sherman Van
Solkema [New York: Norton, 1972]). The
2015 tribute, chaired by Allan W. Atlas, who
succeeded Barry as Executive Officer of the
Graduate Program in Music and edited the
Festschrift in his honor (see Music in the
By topic:
https://youtu.be/pm27F-q7I1Q
https://youtu.be/974di_NjzHk
https://youtu.be/c_Eo4MaOIGo
https://youtu.be/pSEjto9SQqw
https://youtu.be/7geY84iEV4I
Full panel in 2 parts:
https://youtu.be/5npG8McA-B8
https://youtu.be/2Bzdl8Cq03I
A star-studded invited session on “How Did
We Get out of Analysis and How Do We Get
Back (d’après Kerman): Issues in 20thCentury Music Research” was organized
and chaired by Juilliard and CUNY graduate
Elliott Antokoletz, a renowned Bartók scholar who paid homage to George Perle (his
teacher) with a brilliant paper on “Evolution
of the Interval Cycles in 20th-Century
Music: From Berg and Bartók to Perle.”
Pieter C. van den Toorn, whose Music of
Igor Stravinsky shaped research on the
Classic Period: Essays in Honor of Barry S.
Brook [New York: Pendragon Press, 1985]),
included recollections by RILM’s Editor-inChief Barbara Dobbs Mackenzie (“RILM and
the Brook Center: Barry Brook’s Sense of
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Scale”); H. Robert Cohen, Founder and Director of RIPM (“‘Get Aboard the A Train’:
Remembering Professor Brook”); Catherine
Massip, former Director of the Département
de la Musique, Bibliothèque Nationale,
France, (“Barry Brook et la France, une affinité élective”); and Allan W. Atlas, who
reminisced about their weekly buffet et badinage in “This, That, and Gulden’s (pas
Dijon) Mustard.”
Geneviève Thibault de Chambure, Albert
Pomme de Mirimonde, François Lesure”;
Nicoletta Guidobaldi (Chair, IMS Study
Group on Music Iconography), who talked
about “Mapping Images of Music for Context and Meaning: From ‘Prospects of a
Medievalist’ (1981) to a Present-Day Digital
Archive of Musical Iconography”; Björn R.
Tammen (Co-Editor, Imago Musicae: In-
Dinko Fabris, IMS President, organized a
broad-ranging session on music iconography sponsored by IMS and RIdIM which
explored the contributions of pioneers and
addressed the many changes introduced by
digital resources that make it possible to
reflect upon new perspectives for the
future. The session, “‘Was lehren uns die
Bildwerke?’ Music Iconography from the
Pioneers to the Present,” brought together
leaders of international projects who represent the main institutions spearheading
research in music iconography and related
subjects, while also highlighting the contribution of Barry S. Brook, one of the founders of the discipline. Panelists included
Zdravko Blazekovic (Director, Research
Center for Music Iconography, founded in
1972 by Barry S. Brook, and Editor of Music
in Art), who addressed “The Early Years of
Research on Music Iconography in the
United States: Barry S. Brook and the
Research Center for Music Iconography at
The Graduate Center, CUNY”; Florence
Gétreau (former President, Société française de musicologie, Editor of Musique—
Image—Instruments, and member of the
IMS Directorium), who spoke about “Three
Founders of Music Iconography in France:
Group on Musical Iconography), whose
lecture dealt with “The ‘Innsbruck Archive’
and the ‘Trecento Corpus’ Reconsidered:
On the Prospects of Research Data Mapping
in Musical Iconography”; Cristina Bordas
Ibáñez (Director, Grupo de Investigación en
Iconografía Musical, Universidad Complutense de Madrid), whose paper traced “De
los códices medievales al arte contemporáneo: El sugestivo itinerario de la iconografía musical en España”; and Antonio
Baldassarre (President, Association RIdIM,
and member of the IMS Directorium), who
cast a controversial vote with “A Discipline
without a Compass? Observations on the
Current Situation of Music Iconography
Research.”
ternational Yearbook of Musical Iconography, and Associate Chair, IMS Study
As many papers celebrated musical traditions in magnetic Gotham, evenings were
spent cruising around Manhattan to celebrate RILM’s 50th birthday on a circle line
boat everybody raved about, listening to
music from the special collections of The
Juilliard School, and/or treasures from the
Rodgers and Hammerstein Archives of Recorded Sound hosted at the Bruno Walter
Auditorium by John Francis and Seth Win-
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ner, savoring a Met performance of Pagliacci on a high-definition screen, attending a
reception hosted by Columbia University Libraries and renowned Head Librarian Elizabeth Davis, or feasting by the Hudson at
IAML’s traditional farewell dinner to the
music of a fabulous big band.
ifornia at Berkeley. (See Honorary Memberships in this Newsletter for texts of the
citations.) Catherine Massip also received
an Honorary Membership from IAML, a
society she served as President.
As my IMS Vice Presidency comes to an end
in 2017, the experience of having headed
the IMS program committee for the New
York conference stands, together with the
foundation of the IMS Regional Association
for Latin America and the Caribbean and
the organization of its two conferences in
Havana and Santiago de Chile, among the
most rewarding endeavors of my term of
office. It was a pleasure to work with Stanislaw Hrabia in perfect harmony.
IMS also takes special pride and pleasure in
announcing that, at the IAML/IMS congress
in New York, the society presented honorary memberships to David Fallows, IMS
president from 2002 to 2007, and Catherine
Massip, IMS Vice President from 2007 to
2012. The laudations were delivered by
Anne Walters Robertson, President of AMS
(2011–12) and Claire Dux Swift Distinguished Service Professor of Music, University of Chicago; and John H. Roberts, former IAML President (2001–4), and Emeritus
Head of the Music Library, University of Cal-
Cold Spring, New York, 6 January 2016
Malena Kuss, Chair, IMS program
committee
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IMS Regional Associations
Regional Association for East Asia
In 4–6 December 2015, the city of Hong
Kong played host to the Third Biennial
Conference of the IMS Regional Association
for East Asia (IMSEA 2015), entitled for the
occasion The Enterprise of Musicology
(http://imsea2015.org).
committee also included scholars from The
Chinese University of Hong Kong, Hong
Kong Baptist University, and the Hong Kong
Academy of Performing Arts. Most important, the intensely urban environment of
Hong Kong, enriched by its scenic harbor on
the one hand and its efficient public transport system on the other, created a stimulating background against which to weigh
the urgency and impact of our work.
The conference got off to a good start with
speeches by IMS President Dinko Fabris and
Timothy O’Leary, professor of philosophy
and head of the School of Humanities at the
University of Hong Kong (HKU). The inaugural speeches were followed by an electrifying performance at the percussion and
guzheng by Paradox Duo. A busy schedule
of paper presentations followed suit immediately thereafter, blending the best among
the emerging young scholars working in
East Asia and senior scholars from Asia,
Europe, and North America. The program
committee consisted of colleagues from
Hong Kong, Singapore, South Korea, Taiwan and Japan. Of the eighty-five submissions that underwent a blind review process
the committee selected fifty-two papers to
showcase the ethos of IMS. With participants from the Asia-Pacific region, Europe,
and the United States, the conference was
indeed international in every sense of the
word, and at the same time, uniquely regional and local in its concepts and operations. While The University of Hong Kong
provided the conference venues and some
of the key staff members, the organizing
Playing on the multiple meanings of the
term “enterprise,” the speakers stressed
the nature of music scholarship as both a
career and a deeply personal pursuit. What
emerged is a strong sense of musicology
being a “work in progress.” This was especially apparent in the avowedly selfreflexive panel “Music Scholarship,” featuring a much-awaited talk by Nicholas
Cook (Cambridge), the panels dealing with
heretofore unexamined repertories (“Hong
Kong Musical Cultures,” “Musics of Modern
China”), and the several sessions devoted
to new kinds of data—whether material
artifacts, analog recordings, or digital files.
“Musicology in China: Challenges and Opportunities” allowed two senior members of
leading centers of higher education to
discuss changes in curricula and student
population, and the opportunities afforded
by the expansion of music programs across
China. A student-led round table, finally,
provided the ideal venue to table a frank
14
discussion about the role of postgraduate
work in the economy of the discipline.
subjects discussed by a large group of musicologists but also because it paves the
way for what is arguably the most important event in the recent history of our society: the quinquennial conference to take
place in Tokyo in March 2017 with the general topic Musicology: Theory and Practice,
East and West.
Much of the work presented at IMSEA 2015
cut across traditional disciplinary lines. In
“Music and Force,” chaired by Daniel Chua
(HKU), theorists and historical musicologists made a persuasive case for “force” as
a central analytical and interpretive category. “Music and Ideologies” pit musicologists “against” ethnomusicologists in the
effort of redefining the role of ideology
across the classical/folk, high/low divide.
Timothy Taylor (UCLA) presented the 2015
MB Lee Lecture, “Valuing Music,” scheduled
to coincide with the conference. In the
course of the lecture he revisited many of
the themes running through the conference
from a historical perspective, ending with a
captivating picture of musical value in the
digital age.
Giorgio Biancorosso, Chair Organizing
Committee
The first meeting of the Association was
held in Seoul 2011 with the support of former President Tilman Seebass while the
second took place in Taipei in 2013, hosted
by the Graduate Institute of Musicology
(GIM) at National Taiwan University. Both
conferences were extremely successful in
drawing attention to the then newly born
association, creating new synergies, and
breaking new ground in many fields of
scholarship. IMSEA 2015 has been crucial
not only for the intrinsic significance of the
From left to right: Daniel Chua, HKU; Jen-Yen
Chen, Taiwan; Ryuichi Higuchi, IMS Vice
Vresident; Giorgio Biancorosso, HKU.
15
Regional Association for Latin America and the Caribbean
(ARLAC/IMS)
(BR), Víctor Rondón (CL), and Juan Francisco Sans (VE). González chaired the organizing committee.
120 scholars from 13 countries (Argentina,
Australia, Bolivia, Brazil, Chile, Colombia,
Ecuador, Italy, Mexico, Portugal, Spain, the
United States of America, and Uruguay)
participated in 15 sessions, 11 thematic
round tables, and six special sessions.
Dinko Fabris, President of IMS, delivered
the keynote address (“Music and Urban Culture: Travelers’ Visions from the Past and
the Present”). Visit http://2congreso.arlacims.com for a version of the program with
abstracts and biographies of participants.
Entre el 12 y el 16 de enero de 2016 se desarrolló en la Universidad Alberto Hurtado
de Santiago de Chile, el II Congreso de la
Asociación Regional para América Latina y
el Caribe de la Sociedad Internacional de
Musicología (ARLAC/IMS). En este congreso
participaron 120 investigadores de Argentina, Bolivia, Brasil, Chile, Colombia, Ecuador,
México y Uruguay, y también de Australia,
Estados Unidos, España, Portugal e Italia.
Estoy listo! Juan Pablo González, new coordi-
nator of ARLAC/IMS, at the recent conference
of ARLAC/IMS hosted by the Universidad Alberto Hurtado in Santiago de Chile.
El congreso estuvo organizado en torno a
quince sesiones de ponencias, once mesas
temáticas y seis sesiones especiales. La
conferencia inaugural estuvo a cargo del
musicólogo italiano Dinko Fabris, Presidente de IMS.
The second conference of ARLAC/IMS took
place between 12–16 January 2016, at the
Universidad Alberto Hurtado in Santiago de
Chile. The program committee, chaired by
Melanie Plesch (AR/AUS) was integrated by
Omar Corrado (AR), Juan Pablo González
(CL), Malena Kuss (AR/USA), Ilza Nogueira
16
bricaciones sonoras y musicales de lo imaginario; Configurações e reconfigurações
em cenários musicais brasileiros; Música,
género y sexualidad; A presença de tópicas
europeias na música no Brasil colonial;
Etnografías contemporáneas de ritual y música en Chile; Trashumancia posmoderna
de lo musical: fiestas del norte y centro de
Chile; La musicología en Colombia en el
siglo XXI: perspectivas y tendencias; Música
y poesía: horizontes de discusión; y Sudamerican Rockers en los ’80: sonoridades,
espacios e impacto en Chile. Las sesiones
especiales estuvieron dedicadas a los proyectos internacionales de control bibliográfico (RILM, RIPM, y RISM); la transferencia del Diccionario de la Música Española
e Hispanoamericana a la arena digital; y la
Farewell Santiago de Chile
Las sesiones de ponencias se organizaron
en torno a los siguientes temas y problemas
de investigación: Patrimonio y archivo;
Música cortesana y secular; Fin de siècle;
Música y Nación; Vanguardias y modernidad; Música y compromiso; Historiografía e
instituciones; Historiografía y medios; Narrativas e identidades; Reterritorialización;
Géneros y performatividad; Categorías críticas; y Músicas juveniles.
Las mesas temáticas incluyeron Construcción de identidad(es) a través de prácticas
musicales en el siglo XIX; Encuentros tópicos y retóricas de identidad en la música
latinoamericana; Música y narratividad; Im-
17
presentación del ultimo número de la Revista Musical Chilena en su septuagésimo
aniversario.
tes e información útil sobre estadía en Santiago: http://2congreso.arlac-ims.com.
Coordinator: Malena Kuss (Professor of
Musicology Emeritus, University of North
Texas, Denton; IMS Vice President),
malena.kuss@gmail.com
En el sitio del Congreso también se puede
consultar y descargar el programa adjunto,
los resúmenes de las ponencias y mesas
temáticas, las biografías de los participan-
Regional Association for the Study of Music of the Balkans
Activities in 2015
In 2015, the activity of the Regional Association for the Study of Music in the Balkans
primarily focused on the organization of the
association’s sixth international conference
held at the Bulgarian Academy of Sciences,
National Academy of Music, Sofia, on 31
August–4 September 2015, in the context
of the eleventh international congress of
South-East European Studies, co-chaired by
Tilman Seebass, IMS Last President, and by
Svetlana Kujumdzieva. The topic of the conference was Greater Europe and the Activity
‘Study of Music in the Balkans’ was scheduled for 2017 in Cyprus. The following topic
for the conference was proposed: Modus,
Modi, Modality.
3. In order to promote musicology in the
Balkans at an academic level, an editorial
project was proposed under the patronage
of the IMS entitled Series Musicologica Balcanica. The new publication is expected to
reflect the scientific activities of the IMS
Regional Association for the Study of Music
in the Balkans, such as conference proceedings, articles and monographs on music in the Balkans, reviews, reports on joint
musicological research projects in the countries of Southeastern Europe, etc. Languages for the publications in the Series
Musicologica Balcanica will be English, German, French, Italian, and Spanish, which
are the official languages of the International Musicological Society.”
of the IMS Regional Association for the
Study of Music in the Balkans.
Within the conference a meeting of the
senior members involved in its organization
was held, and a number of important decisions were made, as recorded in the minutes taken by Stefan Harkov as follows:
“1. Concerning the name of the Regional
Association a decision was made to keep
the term Balkans for now.
2. The next Seventh International Conference of the IMS Regional Association for the
Mirjana Veselinovic Hofman
mvesel@eunet.rs
18
Participants of the sixth international conference held at the Bulgarian Academy of Sciences,
National Academy of Music, Sofia, on 31 August–4 September 2015.
Regional Association for Eastern Slavic Countries
The IMS Regional Association for Eastern
Slavic Countries has organized an international symposium entitled Working on Composers’ Collected Works, which took place
at the Russian Institute of Fine Arts in St.
Petersburg, from 2 to 6 September 2015
and was organized by Liudmila Kovnatskaya
(Chair), professor of the St. Petersburg
State Conservatory, leading researcher of
the State Institute of Fine Arts (St. Petersburg); Elena Tretiakova, deputy rector of
St. Petersburg State Academy of Theatre,
director of the Russian Institute of Art History St. Petersburg; Lidia Ader, senior researcher of the Rimsky-Korsakov Memorial
Museum-Apartment; Tamara Skvirskaya,
head of Manuscript Department of the Academic Library in St. Petersburg State Conservatory; Natalia Braginskaya, assistant
professor, head of the History of Western
Music Department, dean of the Music De-
partment of St. Petersburg State Conservatory; Olga Digonskaya, senior researcher of
the Glinka National Museum Consortium of
Musical Culture and the Archive of Dmitry
Shostakovich in Moscow; Galina Petrova,
academic secretary of the Russian Institute
of Art History (St. Petersburg); Anna Porfirieva, head of the Music Department of the
Russian Institute of Art History (St. Petersburg); Dmitry Schumilin, deputy director of
the Russian Institute of Art History (St.
Petersburg).
During the symposium, two IMS Study
Groups (Shostakovich and His Epoch,
chaired by Olga Digonskaya; and Stravinsky
between East and West, chaired by Natalia
Braginskaya) conducted their research
sessions. The last day at the St. Petersburg
State Museum of Theatre and Music was
dedicated to the 175th anniversary of Pyotr
19
Tchaikovsky (chaired by Polina Waidman).
Free papers by specialists in different areas
of research were presented, including
panels on Giuseppe Verdi (chair Helen M.
Greenwald, New England Conservatory of
Music in Boston, USA) and on Alexander
Borodin (chair Arkadiy Klimovitsky und
Nikita Sorokin, Russian Institute of Art
History).
Liudmila Kovnatskaya, Chair
IMS President Dinko Fabris and Lidia Ader
opening the conference; Liudmila Kovnatskaya
first in the front row.
IMS Study Groups
Study Group on Cantus Planus
Meetings in 2015
The Study Group did not meet during the
2015 calendar year. (The previous meeting
was held from 28 July through 1 August
2014 on the Venetian island of San Servolo.
It was co-sponsored by the Fondazione Ugo
e Olga Levi and the Department for Historical, Artistic, Musical, and Demo-Anthropologic Heritage of the University of Padua.)
Our next meeting, co-sponsored by the University College Dublin and the University of
Notre Dame’s Keough Naughton Center,
will be held in Dublin, Ireland, from 2 to 6
August 2016. Additionally, on Sunday, 7 August, Study Group members will tour the
Old Library at Trinity College, the holdings
of which include the Book of Kells, and the
Chester Beatty Library. The call for papers
for the Dublin meeting has been issued, and
members who made proposals for sessions,
panel discussions, and free papers will be
notified of their participation before the end
of December 2015. Study Group members
Frank Lawrence and Margot Fassler have
worked tirelessly on financial as well as local
arrangements and we wish to express our
sincere thanks to them.
Publications
We are pleased to report that the 2014
Venice proceedings are currently being
edited and should be published in 2016 (in
20
print and online). The Levi Foundation will
sponsor the publication.
Chair), Christian Troelsgaard, and Anna
Vildera.
James Borders, Chair, The University of
Website: Robert Klugseder
http://cantusplanus.org
Michigan, School of Music, Ann Arbor,
Michigan, 48109-2085, USA,
jborders@umich.edu
The website provides links to the projects,
publications, and websites of Study Group
members. The Study Group’s email list contains 354 individual addresses.
Advisory Board: Christelle Cazaux-Kowalski,
Zsuzsa Czagány, Lori Kruckenberg, Frank
Lawrence, Jeremy Llewellyn (Associate
21
Study Group on Cavalli and Seventeenth-Century Venetian
Opera
Activities in 2015
During the 2015 year there were two different occasions for meetings of the Study
Group. Barbara Nestola organized a workshop at the Centre de Musique Baroque de
Versailles in preparation of the performances of Cavalli and Lully's Xerse (Opéra
de Lille and Lyons, 2–10 October 2015) with
Mauro Calcagno and Guillaume Bernardi. A
video of the workshop is available at:
https://youtu. be/nbMTNi0qgrM.
On the other side of the ocean, during the
annual meeting of the American Musicological Society in Louisville (12–15 November),
Ellen Rosand, Chair of the Study Group,
convened ten members to discuss the present state of Cavalli Opere, the critical edition in progress at Bärenreiter (https://
baerenreiter.com/en/program/completeeditions/francesco-cavalli-opere).
The most recent published volume, in 2015,
is no. 3, Orione (1653), ed. Davide Daolmi
and Nicola Usula. Soon to follow will be
L'Erismena (Glixon and Glixon), the Italian
Xerse (Schulze and Stangalino), L'Eliogabalo (Calcagno and Stangalino), Scipione
affricano (Williams-Brown and Stangalino),
and L'Ipermestra (Jeanneret and Usula).
The next meeting of the Study Group and
of the editorial board of Cavalli Opere will
take place in Marseille, France (11–12
March 2016) around the performance of
Cavalli's Oristeo performed by Concerto
Soave, conducted by Jean-Marc Aymes.
Ellen Rosand, Chair,
ellen.rosand@yale.edu; Directors: Dinko
Fabris (dinkofabris@gmail.com) and Álvaro
Torrente (atorrent@ghis.ucm.es)
Study Group on Digital Musicology
Meetings in 2015
This year’s IAML/IMS congress, Music Research in the Digital Age (New York, 21–26
June 2015), featured an unprecedented
amount of digital musicology research (program at http://iaml.info/sites/default/files/
pdf/2015-06-22_iaml_ims_new-york_pro
gramme_with_abstracts.pdf). Many Study
Group members presented their work at
this conference, and several were involved
in organizational activities. Specifically, the
Study Group organized the well-attended
session “Digital Musicology: Mission Accomplished?” with presentations by Tim Crawford, Julie Cumming, Charles Inskip and
Audrey Laplante. Amongst the many issues
discussed by the speakers, a few stood out:
the relative scarcity of good musical data,
issues in multidisciplinary collaboration, the
level of digital literacy of music scholars,
and the need for usable software that can
perform high-level search and analysis
tasks. There was a lively discussion with the
audience about these matters.
22
Day, which was widely distributed through
The International Society for Music Information Retrieval Conference in Malaga,
Spain on 26–30 October 2015, included
several digital musicology-related activities
on its program (http://ismir2015.ismir.net).
The Transforming Musicology project team,
led by Tim Crawford, presented a 3 1/2hour tutorial on “Addressing the Music Information Needs of Musicologists.” For the
slides, see http://transforming-musicology.
org/events/ismir2015-tutorial. In the now
traditional unconference session on the last
day of ISMIR conference, two relevant sessions took place. The first was “Musicology
with Big Data,” moderated by Tillman Weyde, Emmanouil Benetos, and Daniel Wolff.
The second, organized by the Study Group
on Digital Musicology and entitled “Transforming Musicology: The Afterparty,” reviewed work presented at this conference
in the light of the issues raised in the Transforming Musicology tutorial. Tim Crawford
and Kevin Page briefly reported on what
they considered the musicological highlights of this ISMIR conference. This was
followed by a plenary discussion about the
music information needs of researchers,
new musicologically motivated research
questions suitable for MIR, and multidisciplinary collaboration. There is no formal
report of these two sessions but collective
session notes are available on Google Drive
(http://bit.ly/1PrUXBw).
the IMS and other channels. More than 600
researchers replied and provided, besides
some demographic data, stories about their
experiences with computers, software, internet resources and mobile devices. This
unprecedented wealth of data is still being
analyzed. Initial analyses were presented at
various venues, including the IAML/IMS
congress (slides available at http://staff.
science.uu.nl/~wieri103/presentations/WD
MDAD-IAML-IMS.pdf) A first paper about
the survey has been published in the ISMIR
2015 proceedings and is online at http://
ismir2015.uma.es/articles/171_Paper.pdf.
Other Interesting Matters
This is a very selective overview of some
events, projects and resources that are not
Study Group activities but may be relevant
to anyone interested in digital musicology.
- A workshop entitled Music Similarity:
Concepts, Cognition, and Computation was
held in January at the Lorentz Center in
Leiden, Netherlands (https://lorentzcenter.
nl/lc/web/2015/669/info.php3?wsid=669).
Selected papers from this workshop are
forthcoming in a special issue of Journal of
New Music Research.
- The Digital Musicology Lab, an AHRC-funded project to develop research methods
and software infrastructure for exploring
and analyzing large-scale music collections,
held its final workshop on Analyzing Big
Music Data on 13 March 2015. The Program
and slides are available from http://dml.
city.ac.uk/final-workshop.
What Do Musicologists Do All Day
In order to investigate the use of technology in the daily work of musicologists,
Charles Inskip and Frans Wiering created a
survey called What Do Musicologists Do All
23
- The Music Encoding Initiative (http://
music-encoding.org) organizes the yearly
Music Encoding Conference. The 2015
event took place in Florence, Italy, 18–21
May (for the program see http://musicencoding.org/wp-content/uploads/2015/06
/MEC2015_program.pdf). The next conference will be held in Montréal, Canada, 17–
20 May 2016; see: http://music-encoding.
org/community/conference.
- The Center for Computer Assisted Research in the Humanities (Stanford University) has launched a website called Digital
Resources for Musicology (see http://drm.
ccarh.rg), listing over 200 substantial openaccess resources for musicians and musicologists.
- The Fifth Biennial International Confer-
Forthcoming Meetings
One meeting is scheduled for 2016, during
ISMIR 2016 in New York, USA, 7–11 August
2016. See also the conference website,
http://ismir2016.ismir.net.
University of London in the UK. The proceedings have been published by Springer,
Lecture Notes in Computing Science, vol.
9110.
Johanna Devaney, devaney.12@osu.edu
Frans Wiering, f.wiering@uu.nl
ence on Mathematics and Computation in
Music was held in June 2015 at Queen Mary
Co-Chairs
Study Group on Early Music and the New World/Música
Antigua y Nuevo Mundo
The IMS Study Group on Early Music and
the New World was created in La Habana—
following a motion of Dinko Fabris—during
the first conference of the IMS Regional Association for Latin America and the Caribbean hosted by Casa de las Américas on 21
March 2014.
At the invitation of Malena Kuss, Chair of
the IMS Program Committee, the Study
Group held an open session at the
IAML/IMS conference in New York on Music
Research in the Digital Age, held at the
Juilliard School at Lincoln Center in New
York on 21–26 June 2015. The session on
“Patrimonial Rights: Private and Public
Music Archives” addressed the issues of
accessibility and patrimonial rights of
holdings in private and public music
archives in Spain and Latin America, as well
as challenges in the rapidly changing digital
age. Álvaro Torrente (professor of music
history,
Department
of
Musicology,
Universidad Complutense de Madrid;
director, Instituto Complutense de Ciencias
Meetings in 2015 and 2016
It met for the second time in Cartagena, Colombia, on 19–21 January 2015, during the
symposium on Music Iconography and Mu-
sic History in Europe and Latin America:
Sources and Issues, organized by the mas-
ter of musicology program of the Universidad Nacional de Colombia in Bogotá.
24
Musicales, Madrid, Spain), Yael Bitrán
Goren (director, Centro Nacional de
Investigación, Documentación e Información Musical/CENIDIM, Mexico City), and
Egberto Bermúdez (professor of music, Instituto de Investigaciones Estéticas, Facultad de Artes, Universidad Nacional de
Colombia, Bogotá, Chair) investigated the
situation in Spain, Mexico, and Colombia.
Commentaries and questions allowed expanding the issues presented by the papers
with by members of the audience from Portugal, Argentina, Uruguay, and Brazil.
Dinko Fabris (IMS President), Egberto Bermúdez, and Diósnio Machado-Neto (Brazil),
the meeting was attended by scholars and
graduate students from Argentina, Australia, Brazil, Colombia, Chile, Italy, Mexico,
and Spain. There was general agreement
on the need to coordinate the different
trends and lines of research represented at
the meeting. At the suggestion of the chair,
members expressed their interest in being
represented at the IMS congress in Tokyo
2017. A proposal for an open meeting of the
IMS Study Group has been approved and its
thematic guidelines and contents are currently being developed.
The fourth (closed) meeting of the Study
Group took place during the second conference of ARLAC/IMS between 12 and 16
January 2016 at the Instituto de Música of
the Universidad “Alberto Hurtado” in Santiago, Chile. Besides the founding members
Egberto Bermúdez, Chair,
professor titular of Musicology,
Universidad Nacional de Colombia, Bogotá
ebermudezc@unal.edu.co
Study Group on Italo-Ibero-American Relations
Recent and Ongoing Activities
In 2015, the Study Group met at three important academic events: in New York, at
the joint conference of IAML/IMS on Music
Research in the Digital Age, 21–26 June; in
Bologna, at the First Transnational Opera
Studies Conference (tosc@bologna.2015),
30 June–2 July, and in Salto, Uruguay, at
the Meeting of Experts on Theatrical Heritage, 4–5 September. During all three occasions on line meetings were organized with
members who were not able to participate
in the event.
At the New York congress a whole session
was dedicated to “Spreading Musical Magazines and the Italian Migration, South
American Routes, Digital Information, and
Dissemination Strategies.” The following
papers were presented by members of
RIIA: “The Italian Opera in the Late Dwarf
Press, the Nineteenth Century, and the
Musical Gazette of Rio de Janeiro” by D.
Machado Netto, and “The Music Press of
Montevideo in the Late Nineteenth Century”
by M. Fornaro.
The Bologna congress dealt with topics very
relevant to our group. This major meeting
25
was attended by the most important figures
of the musicological and sociological communities related to opera. The congress
received 211 proposals from 27 countries of
which two were selected by members of
RIIA: “Between Two Right Wings: The Arrival of Verismo in Buenos Aires,” presented
by A. E. Cetrangolo, and “Between Production and Consumption: The Opera Genre in
Uruguay,” presented by M. Fornaro’s research. M. Mescalchin also joined the congress. Opera was considered as a subject of
a transnational investigation belonging to a
history that transcends from the local level
to address the flow of human groups, companies, artists, and that deals with gender
relations and various art forms, including
those produced with advanced technologies. The meeting was made possible by
the collaboration of several scholars present
at Bologna, and allowed to discuss future
RIIA research on the migration of artists
(including those who deal with fine-arts)
linked with opera.
joined by members of Tarea (National University of San Martin), a team of experts dedicated to restore of works of art: J. Fothy,
D. Saulino, and M. A. Silvetti. The meeting
also included visits to Larrañaga Theatre
and to the Archive of CIAMEN.
Further Activities
RIIA IMLA has signed a convention with the
Department of Language Studies and Comparative Cultural Studies of the Ca’ Foscari
University, Venice. The location of the activities is Ca’ Bernardo on the Venetian Great
Canal. This agreement makes possible the
organization of activities of common interest, such as seminaries, congresses and research. As result of this agreement, RIIA
and Ca’ Foscari Department are organizing
The meeting in Salto was organized by the
Center for Research in Music and Performing Arts of the University of the Republic of
Uruguay (CIAMEN), whose members belong to RIIA. The aim of the congress was
to develop a regional project between researchers from Argentina and Uruguay with
the participation of European experts. The
goal is to catalogue, restore, and study scenic materials of opera houses built on the
basin of the Uruguay and Parana rivers. At
the meeting the following members of RIIA
were present; A. Bernasconi, M. Fornaro, A.
E. Cetrangolo, Y. Diaz, M. Mescalchin, E.
Abrines and M. de los Santos. They were
26
a Venetian Congress on Migration and
Latin-Americans Culture in December 2016.
- A “junior” group, dedicated to RIAA, was
formed by the collaboration of students
from the A. Steffani Conservatory of Castelfranco Veneto, and the Universities of
Padua and Venice (Ca’ Foscari).
Research and Formation
RIIA has devoted significant efforts to the
dissemination of our goals among young
students since these kind of research is not
yet common in traditional academic courses. In connection with this strategy, they
developed the following projects in 2015:
- Universidad Nacional de San Martin has
launched the first subject that deals with
lyric migrations in Argentina. Lessons will
begin in March 2016. This academic activity
is entrusted to A. E. Cetrangolo.
Aníbal Cetrangolo, Chair,
Via Fuà 5, 35133 Padova, Italy
acetrangolo@alice.it
Website: http://imla.it (Stefano Gavagnin)
Study Group on Music and Cultural Studies
Report 2015
The IMS Study Group on Music and Cultural
Studies held sessions at international
conferences in Nicosia and Belgrade, and
members of the group attended a conference in Vienna as individual participants.
Cyprus; Georgia Petroudi, European University Cyprus; John Mole, independent researcher; Avra Pieridou Skoutella, Cyprus
Centre for Research and Study of Music.
The conference program is available at:
http://euc.ac.cy/images/media/assetfile/Li
nes%20Between%20Conference%20Sche
dule.pdf.
The international conference Lines Be-
tween: Culture and Empire in the Eastern
Mediterranean, Nicosia, 3–6 June 2015,
In the framework of the international conference Musical Legacies of State Socialism:
was co-organized by the European University Cyprus, Nicosia, and the Stockton University, New Jersey. The Study Group together with the group for Cultural Studies
and Contemporary Arts Lab (EUC) held two
sessions on “Lands and Landmarks” with
papers by Alexandros Charkiolakis, Istanbul
Technical University; Tatjana Markovic,
University of Music and Performing Arts
Vienna; Sofia Kontossi, Leonidas Zoras Archive; Katy Romanou, European University
Revisiting Narratives about Post-World War
II Europe organized by the Musicological
Institute, Serbian Academy of Sciences and
Arts in Belgrade, 24–26 September 2015,
the Study Group on Music and Cultural
Studies held a session on “Socialist State
Politics—Music Performance Policies” with
four papers providing different perspectives
of the state policies (USSR, Yugoslavia/Slovenia, Austria, Greece) and its impact on
27
music production and performance policy.
Investigations addressed the positions of
individual republics inside the multinational
communist/socialist states (Slovenia–SFRY,
Lithuania–USSR), and political changes inside a country (Austria, Greece following
World War II), or prior to the foundation of
independent states in the 1990s (Lithuania), or during such a process (Slovenia).
Another topic was the impact of state politics on cultural policies and on the construction of self-representation through music
production and/or musical life in accordance to given political climate(s). The session included papers by Rūta Stanevičiūtė
(Lithuanian Academy of Music and Theatre), Leon Stefanija (University of Ljubljana), Tatjana Marković (University of Music
and Performing Arts Vienna), and Alexandros Charkiolakis (MIAM, Istanbul Technical
University). The conference program is
available at: http://www.music.sanu.ac.rs/
English/ConfProgramme2015.htm.
Arts, Vienna (“‘Rise like a Phoenix.’ Johann
Strauss as a Symbol for Austria during the
‘Occupation’ after the Second World War”).
The session on “Music of Yugoslav Breakup:
Politics of Media in the 1990s” included
papers by Tatjana Marković, University of
Music and Performing Arts, Vienna (“Cultural Policy and Musical Life in Serbia in the
Year of Culture [1995]”), by Srdjan Atanasovski, Serbian Academy of Sciences and
Arts (“Sonic Terror and Governing the War:
Soundscape of Belgrade during the NATO
Bombing”), and by Ana Petrov, University
Singidunum, Belgrade (“‘Was Everything
Just a Sham?’ Crossing (Musical) Borders
during and after Yugoslav Wars”).
The session on “Musics of Yugoslav Breakup: Politics of Media in the 1990s” included
papers on cultural policy, media reception
and musical life during the disintegration of
Yugoslavia. Music production became part
of the “media war,” providing means of
political propaganda and exhibiting the radical shifts in the cultural value systems. The
papers treated specific case studies on the
social situation in the country during the
process of disintegration and how it affected politics of media: The campaign of the
Ministry of Culture of Serbia in 1995, the
concerts during the NATO bombing of
Yugoslavia in 1999, and the popular music
touring during and after Yugoslav Wars.
Members of the Study Group also attended
the international conference War of Media
—Media of War. The Importance of Music
and Media for Propaganda in Times of
Changes, co-organized by the Institute for
Analysis, Theory, and History of Music, University of Music and Performing Arts in
Vienna and the IMS Study Group on Music
and Media in Vienna, 25–28 November
2015. The session on “Art Music and Cultural Propaganda” included papers by Cornelia Szabó-Knotik, University of Music and
Performing Arts, Vienna (“Entertaining Patriotic Feelings—Carl Michael Ziehrer's
‘Moving Images’”) and Anita Mayer-Hirzberger, University of Music and Performing
Information on future meetings
The next conference of the Study Group
Music and Cultural Studies on Exile and
Emigration in Music Culture will be held at
28
the Music Festival in Lucerne, 26–27 January 2016. It is organized by Antonio Baldassarre, Lucerne University of Applied Sciences and Arts, School of Music.
The first issue to be published in 2016 is
edited by Leon Stefanija.
Tatjana Marković, Chair,
markovic@mdw.ac.at,
Penzinger Strasse 25/12
A-1140 Vienna
Austria
The Study Group plans to establish its own
online journal Music and Culture, in order to
publish conference papers given by members and invited papers on specific topics.
Study Group on Music and Media
After previous annual conferences in Amsterdam, Berlin, Lisbon, Turin, Ottawa and
Dijon, the IMS Study Group on Music and
Media organized a four-day conference in
Vienna, Austria, in collaboration with the
University of Music and Performing Arts
Vienna. The meeting took place from 25 to
28 November 2015.
The program committee (consisting of Cornelia Szabó-Knotik, Christian Glanz, Michael
Saffle and Emile Wennekes) selected 24
participants from eight European countries,
North America, and China.
The papers presented covered various historical periods and nations; priority was
given to the effects of modern, music related mass media on issues of war and propaganda. Participants reflected upon war in
terms of different media formats, wareuphoria and pacifism relating to conceptions of artistic production, as well as images and social positions of arts and media
dealing with war issues or the relation
between ideologies of progress and/or innovation in the context of socio-political
systems. The themes of the session illustrate the scope of the 2015 MaM gathering:
Art Music and Cultural Propaganda; Music,
War, and Popular Culture; Music of the
Yugoslav Breakup: Politics of Media in the
1990’s; Mass Media and War; Newsreel;
and Film.
Via an open call, academics, practitioners,
and postgraduate students were invited to
submit papers and/or panel proposals on
the overall topic of War of Media—Media of
War. The theme was chosen inspired by,
among other events, the “outbreak” of
World War I exhibitions in the wake of commemorative activities, as well as to related
research projects. The aim was to study the
diverse roles and functions of music and
media within the contexts of propaganda,
both in affirmative and critical sense. Following these approaches, the conference
encouraged a general discussion of the
manifold correlations and interdependencies between media and music in times of
war and revolution.
29
Émile Wennekes, Chair,
The next two meetings of the Study Group
MaM will take place during the IMS conferences in Stavanger, Norway (2016) and in
Tokyo (2017).
Utrecht University, Muntstraat 2A, NL 3512
EV Utrecht, The Netherlands
e.wennekes@uu.nl
http://studygroupmam.com
Study Group on Music, Memory, and Migration in the PostHolocaust Jewish Experience
The Study Group on Music, Memory and
Migration in the Post-Holocaust Jewish Experience has had a very active and successful year. Most significantly, members of
the Study Group were successful in securing one of the largest ever grants awarded
in the UK for an arts-based research project. This was the project Performing the
Jewish Archive, which was awarded £1.5
million by the Arts and Humanities Research
Council. Our association with the IMS was
crucial to securing that funding.
Other events organized, or participated in,
by members of the Study Group have included Exile Estates, Archives, and Music
Restitution (Royal College of Music, 31 May
2015), Performing the Archive Conference
(Galway, 22–24 June 2015), lectures on
Jewish music and migration at the Universities of Leeds, York, and Durham, and
music/theater workshops with school children, in association with the Anne Frank
Trust and the Holocaust Survivors Friendship Association.
Now just over a year into that project, the
Study Group and its members have hosted
and participated in a number of significant
activities and events, including a day-long
symposium Archives into the Future at the
British Library, and the first conference in
the UK on the music of Jewish prayer—
Publications have included Performing Cap-
tivity, Performing Escape: Theatre in the
Theresienstadt Ghetto: Newly Discovered
Works by group member Lisa Peschel (University of York), which features a number
of music manuscripts and works featuring
musical interludes and songs. Some of
these were performed at London’s Bloomsbury Theatre in February 2015, and studies
of the musical heritage of the Helsinki Jewish Community by Simo Muir (in press).
Magnified and Sanctified: The Music of Jewish Prayer, University of Leeds, 16–19 June
2016. The annual meeting of the Study
Group took place during this conference,
which was attended by delegates from all
over the world. Proceedings from this conference are in the process of being sorted
for publication.
The coming year will see an exciting array
of scholarly events and public performances, all grouped around the music and
30
theater festival Out of the Shadows: Rediscovering Jewish Music and Theatre in
Madison, Wisconsin (May 2016), Leeds and
York, UK (April and June 2016), and Prague, Plzeñ and Terezín, Czech Republic
(September 2016). The Study Group is
grateful for the ongoing support of IMS
members, and hopes to see them again at
our exciting forthcoming events!
Stephen Muir, Chair, Senior Lecturer in
Music, University of Leeds
http://www.leeds.ac.uk/music/staff/sm
Study Group on Music and Musical Instruments
Gabriele Rossi Rognoni, Chair,
The IMS Study Group on “Music and Musical Instruments” has not met since 2013.
Forthcoming activities of that group will be
announced shortly.
Royal College of Music, Prince Consort
Road, London SW7 2BS
United Kingdom
g.rossirognoni@rcm.ac.uk
Study Group on Musical Iconography
XIXth Century, hosted by Università del
Mission Statement
The main goal of the Study Group is to promote scholarly exchange on any aspect of
musical iconography within musicological,
art historical, historical, cultural and anthropological studies, among others. The Study
Group regularly organizes international conferences and doctoral seminars on varying
topics, ranging from antiquity to the 21st
century. Furthermore it maintains a specialized bibliography on its website, http://
patrimonioculturale.unibo.it/ims (to be relaunched in 2016).
Salento (Lecce, Italy, 28–29 September
2015. The local organizers were Daniela
Castaldo and Francesca Canella (see https:
//ims-international.ch/content/images/pdf
/Lecce_Programme.pdf). Approximately 30
participants from Austria, France, Germany,
Italy, Spain, and the United States experienced two days of intense scholarly exchange within the inspiring context of the
Unesco World Heritage “Barocco Leccese.”
Thanks to the support of the Dipartimento
di Beni Culturali, the proceedings of the
Lecce conference will be published in 2016
within the journal L’Idomeneo of Salento
University Press (both print and online version, ed. Daniela Castaldo). As in previous
years, during the general assembly of Study
Activities in 2015
Our main activity was the international conference Travelers to Faraway Countries and
the Musical Imagination on the Move, XVI–
31
lehren uns die Bildwerke?’: Music Iconography from the Pioneers to the Present,”
chaired by IMS President Dinko Fabris (see
http://iaml.info/sites/default/files/pdf/2015
-06-20_iaml_ims_new-york_programme.
pdf).
The Study Group’s next international conference will take place in Madrid (Spain) in
fall 2016, coinciding with the decennial of
its foundation (local organizer: Cristina Bordas, Universidad Complutense de Madrid;
call for papers to be announced in due
time). The Study Group will also be present
at the 20th Quinquennial IMS congress
Musicology: Theory and Practice, East and
West (Tokyo, 19–23 March 2017), with an
open session devoted to “Music Iconography at the Crossroads of ‘East’ and ‘West’:
Current Themes, Goals and Methodologies.”
Group members a rich panoply of future
projects and activities (also within the
European research framework of Horizon
2020) could be explored.
As regards to these and other future activities the Study Group will work in close cooperation with both the Association Répertoire International d’Iconographie Musicale
(RIdIM) and the ICTM Study Group on Iconography of the Performing Arts, as part of
a wider-ranging and diverse scholarly network on musical iconography.
Besides Lecce, in 2015 Study Group members substantially contributed to the international conference Les figurations visuel-
les de la parole, du son musical et du bruit,
de l’Antiquité à la Renaissance, organized
by the ANR research project Musiconis in
Nicoletta Guidobaldi, Chair,
Alma Mater Studiorum-Università di
Bologna, Dipartimento di Beni Culturali
1, via degli Ariani
48121 Ravenna, Italy
nicoletta.guidobaldi@unibo.it
Chartres (11–13 June 2015), furthermore
to a half-day session devoted to methodological issues within the IMS/IAML joint
congress Music Research in the Digital Age
held in New York, 21–26 June 2015: “‘Was
32
Study Group on Shostakovich and His Epoch:
Contemporaries, Culture, and the State
Annual Report 2015
The Study Group had the opportunity to
meet in St. Petersburg on 4 September
during the International Symposium of the
IMS Regional Association for Eastern European Countries (the report of the Regional
Association gives the full list of organizers).
Archive), Larissa Chirkova (Archives of Rostropovich and Vishnevskaya), Elena Petrushanskaya (Moscow, State Institute of Arts
History), Svetlana Podrezova (St. Petersburg Conservatoire), Andrey Denisov (St.
Petersburg Conservatoire), Dmitry Braginsky (St. Petersburg Conservatoire Music
School), and Michelle Assay/David Fanning
(Universities of Sheffield and Manchester).
From 2–6 September, the Study Group held
an all-day session at the International Symposium Eastern European Countries, held at
the Institute for the History of the Arts, St.
Petersburg (the report of the Regional Association gives the full list of organizers).
The Study Group will hold a panel at the
IMS symposium in Stavanger, July 2016, on
the theme of “Public and Private Lives:
Memory, Friendship, and the State,” with
the following speakers: Olga Digonskaya,
Pauline Fairclough, Marina Frolova-Walker,
Olga Pantaleeva, Stefan Weiss, and Olena
Zinkevich.
Olga Digonskaya chaired a full day of papers from the following scholars: Larissa
Gerver (Russian Academy of Music), Levon
Hakobian (Moscow, State Institute for History of the Arts), Galina Kopytova (St. Petersburg, Institute for the History of the
Arts), Maria Karachevskaya (Moscow State
Conservatoire), Anna Sonderega (Petrozavodsk Conservatoire), Larissa Miller (St. Pe-
Pauline Fairclough, Chair,
Department of Music, University of Bristol,
Victoria Rooms, Clifton, Bristol BS8 1SA,
UK
Pauline.Fairclough@bristol.ac.uk,
tersburg Conservatoire), Svetlana Savenko
(Moscow State Conservatoire), Olga Digonskaya (Glinka Museum, Shostakovich
Olga Digonskaya, Moscow,
digonolga@gmail.com.
Study Group on Stravinsky: Between East and West
Annual Report 2015
After the first four sessions of the Study
Group on Stravinsky: Between East and
West (the first in Minsk, Belorussia [2009],
the second in Petrozavodsk, Russia [2011],
the third in Rome, Italy [2012], and the
fourth in Vilnius, Lithuania [2013]), the
Study Group had the opportunity to meet in
33
St. Petersburg on 4 September during the
international symposium of the IMS Regional Association of Eastern European Countries (the report of the Regional Association
gives the full list of organizers).
Study Group may already send an email to
the chairs (see addresses below).
Co-Chairs:
Natalia Braginskaya (St. Petersburg),
nb-sky@yandex.ru
In St. Petersburg, the Study Group had the
opportunity to invite nine scholars to deliver
new work in Stravinsky research especially
linked with the general theme of the symposium Working on Composers’ Collected
Works. Participants came from Russia
(Natalia Braginskaya, Svetlana Savenko,
Yaroslav Timofeev, Elena Falaleeva, and
Irina Grebneva), Switzerland (Tatiana Baranova), United Kingdom (Stephen Walsh),
Belgium (Valérie Dufour), and Italy (Massimiliano Locanto). The meeting has been a
special great moment since Natalia Braginskaya delivered a paper about the extraordinary discovery of the The Funeral Song,
which Stravinsky composed in 1908, one of
his best early works, and miraculously
found in the St. Petersburg State Conservatory library in 2015.
Valérie Dufour (Bruxelles),
vdufour@ulb.ac.be
Natalia Braginskaya and Irina Sidorenko,
librarian at the St. Petersburg State Conservatory, sharing cheers for their rediscovery of Stravinsky’s Funeral Song.
The next meeting of the Study Group has
not yet been planned, but any persons
interested in submitting a proposal to the
Study Group on Tablature in Western Music
Annual Report 2015
The Study Group on Tablature in Western
Music met twice during 2015. The first
meeting was held in Basel at the Musikwissenschaftliche Institut of the University of
Basel, in conjunction with the Schola Can-
torum Basiliensis on 23 April. Unlike previous meetings of the Study Group, this was
the first that was organized more in the
manner of a one-day symposium, and was
open to the public. It was a highly fulfilling
program that covered many dimensions of
34
the world of tablature, especially concerning the principal instruments with their repertory principally not in mensural notation.
The symposium brought together scholars
from Europe, Australia, the USA, and Latin
America.
our own boundaries, and the presence of
both Dinko Fabris and the leading lutenist
Hopkinson Smith added further interest and
delight.
The second meeting of the Study Group
took place at the joint IMS/IAML conference
in New York on 21 June 2015. In contrast
to the previous gathering, this meeting was
principally for members of the Study Group
to report on the April meeting and to plan
for 2016.
One of the highlights was the session devoted to the earliest surviving lute tablatures from the fifteenth century (Joachim
Lüdtke, Martin Kirnbauer, and Marc Lewon
on the recently discovered Wolfenbüttel
fragments) together with speculations
about the possibilities of lute tablatures as
early as the fourteenth century (Crawford
Young), and complemented by a discussion
of Faenza 117 (Pedro Memelsdorff). These
discussions fitted well with a demonstration
of lute improvisation (Bor Zuljan) based
around the Capitola lute book of the early
sixteenth century and the new project
aimed to increase the number of contemporary lutenists (Le luth doré, Miguel Yisrael). Another session raised issues concerning harp and keyboard tablatures
(Matteo Nanni, Egberto Bermúdez, John
Griffiths), while issues concerning tablatures for lute, theory, and guitar were also
canvassed (Tim Crawford, Andreas Schlegel) and some previously unknown Italian
sources were revealed (Franco Pavan).
Contributions from Christopher Goodwin
and Victor Coelho, concentrated on methodical issues and digital humanities innovations stretching across our entire area
of interest. The presence of a good number
of students, professional lutenists, harpists,
and keyboard players assured that ideas
from the group are having impact beyond
It was decided that the main meeting of the
Study Group will take place in Tours sometime in the second half of 2016 in conjunction with the CESR. Several other proposals were considered at the meeting
concerning the creation of some projects
that can involve the full membership of the
Study Group. These include websites and
digital humanities projects as well as
projects concerning notation and improvisation, as well as more conceptually based
projects aimed at fulfilling the central objective of the Study Group which is to increase the inclusion of tablature repertories
in broad considerations of music, society,
and human endeavor.
John Griffiths, Chair,
35 Elesbury Ave,
East Brunswick, Victoria 3057, Australia
jagrif@me.com
Tim Crawford, deputy Chair,
t.crawford@gold.ac.uk.
35
Study Group on Transmission of Knowledge as a Primary
Aim in Music Education
2015 Report
The second meeting of the Study Group on
Transmission of Knowledge as a Primary
Aim in Music Education took place at the
IAML/IMS joint conference on Music Research in the Digital Age, held in New York
at the Juilliard School, on 21 June 2015.
minutes) on a topic of their choice relating
to the matters of concern to the Study
Group.
As suggested by the chair, the discussion
concentrated on five main thematic areas:
(1) the political-cultural situation of musicology and music pedagogy, against the
background of the waning (and of a necessary reconstruction) of historical awareness; (2) the selection of subject-related
contents to be transmitted; (3) the didactics of Western music in geographical and
cultural border contexts, in post-colonial
contexts, and in the West but with nonWesterner students; (4) formal, nonformal, and informal educational settings;
(5) the most effective methods in the learning and teaching processes: lexicon, laboratory, and didactic strategies.
Participants were Giuseppina La Face (Bologna), Chair; Luca Aversano (Rome), Nicola
Badolato (Bologna), C. Matthew Balensuela
(Greencastle, IN), Lorenzo Bianconi (Bologna), James R. Briscoe (Indianapolis, IN),
Suzanne G. Cusick (New York), James A.
Davis (New York), Maria Rosa De Luca
(Catania), Maria Cristina Fava (Rochester,
NY), Carol A. Hess (Davis, CA), Stephen
Meyer (Syracuse, NY), Pier Paolo Polzonetti
(Notre Dame, IN), Colin Roust (Lawrence,
KS), Cesarino Ruini (Bologna), Paolo Somigli (Bolzano-Brixen), Anne Judith Stone
(New York), Philip Taylor (Chennai), Álvaro
Torrente (Madrid).
The first thematic area, in particular, was
the subject of the papers of, respectively,
James Davis (“Pedagogy on the Ground
Floor: Music History in the Public Schools”),
Matthew Balensuela (“New Paths for Music
History Pedagogy: Challenges for the Next
Decade”), Giuseppina La Face (“Italian Musicologists and the Challenge of Music
Pedagogy”), Álvaro Torrente (“The Marginalization of Music in Primary Education in
Spain”), Lorenzo Bianconi (“ISME and the
Twilight of History”) and Suzanne Cusick
(“Listening to the Dead”). After the introductory speech of the chairman addressing
After briefly illustrating the central topics in
the discussion of the Study Group, the
chairman brought into focus the goal of the
meeting, which is to create an opportunity
for exchanging views among European and
North American colleagues about didactic
approaches, methods and goals in the
teaching of music in schools and universities in Europe (namely Italy and Spain)
and North America. Each participant was
asked to deliver a short paper (about 10
36
issues in the transposition of musical contents, the papers of Davis, Cusick, and
Balensuela focused in particular on music
education issues in US primary and secondary public schools, and on the situation
of music history teaching and learning in US
universities, with special regard to the work
accomplished by the American Musicological Society (AMS) workgroup. Torrente concentrated on the narrow space granted to
music education in the curricula of Spanish
schools. In his speech, Bianconi stressed
the fact that between 1996 and 2006 the
notion of “history” had simply disappeared
from the official documents of the International Society for Music Education (ISME).
in the multilingual setting of Alto Adige, the
post-colonial, English-speaking context of
India, and the multi-cultural and multiethnic environment of several US universities.
The fourth topic was addressed by Pierpaolo Polzonetti (“Don Giovanni Goes to
Prison: Teaching Opera behind Bars”) and
by Colin Roust (“Toward a Skills-based
Curriculum: Recent Trends in Music History
Pedagogy”). The speakers described a selection of approaches for the learning and
teaching of music in formal, non-formal,
and informal educational settings.
Finally, the fifth thematic area was covered
by the contributions of Luca Aversano
(“Current Discourse on Music History in
Italian Higher Education”), Maria Rosa De
Luca (“Constructing Music History in the
Classroom”), Nicola Badolato (“‘Teaching
Applications’ in Two Italian Periodicals:
‘Musica Docta’ and ‘Nuova Secondaria’”),
and Anne Judith Stone (“Teaching Music
History with Your Mouth Shut”). The speakers examined issues relating to the teaching
of music history in Italian universities, as
well as to the structure and guidelines for
some of the musical didactic programs
published on the Italian journals Musica
Docta and Nuova Secondaria, the former
expressly addressed to music education
teachers, the latter directed at teachers of
various school disciplines, that are not
averse to connecting with the domain of
music.
The second thematic area was addressed
by James Briscoe (“Setting Places at the Table”), Stephen Meyer (“Leaving the Wolf’s
Glen: Measuring Decanonization in the Digital Age”), Cesarino Ruini (“Insegnare musica medievale oggi”), and by Carol Hess
(“Latin American Art Music in the Music
History Curriculum: Taking Stock”). These
speeches focused in particular on the need
for targeted study programs aiming at a
more in-depth study and transmission of art
music in schools, also relying on new technologies.
The third topic was discussed by Paolo
Somigli (“Music Didactics at the Free University of Bolzano-Bozen”), by Philip Taylor
(“Navigating the Global Turn in Western
Music History Pedagogy”), and by Maria
Cristina Fava (“Teaching a Growing ESL
Population in American Universities”). The
discussion analyzed three cases of music
teaching in different contexts, respectively
At the end of the discussion, the chairman
suggested to publish the papers delivered
37
at the meeting in issue VI (2016) of Musica
Docta (http://musicadocta.unibo.it), and
announced her intention to promote a
forthcoming meeting of the Study Group in
concurrence with the IMS conference in
Tokyo (March 2017), in collaboration with
Matthew Balensuela and Pierpaolo Polzonetti, centering in particular on the relationships between the teaching of music in
secondary schools and universities, in the
Western and Eastern world.
Giuseppina La Face, Chair,
Dipartimento delle Arti, formerly
Dipartimento di Musica e Spettacolo, via
Barberia 4, I-40123 Bologna (Italy)
giuseppina.laface@unibo.it
Secretary General’s Report
Publications of the Society in 2015
Meetings of the Bureau and
Directorium
The IMS Bureau met twice, on 25–26 April,
and on 31 October–1 November, in Basel at
the Schola Cantorum in the new research
office at Leonhardsgraben 52.
Acta Musicologica 87, nos. 1/2 (2015), ed.
Federico Celestini and Philip Bohlman;
IMS Newsletter, n.s., 2, no. 1 (2015),
mailed in January 2015.
The old series of printed Communiqués, as
well as the new series of the electronic
Newsletter, are published on the society’s
website, at http://www.ims-online.ch.
The IMS Directorium held its 2015 meeting
on 21 June at Juilliard School, West 65th
Street, 60 Lincoln Center Plaza, New York
on the first day of the joint IAML/IMS
conference.
The next Directorium meeting will be held
at the beginning of the IMS conference in
Stavanger, Norway, on 1 July 2016.
Memberships
On 31 December 2015, IMS counted 936
members from 60 countries. In 2015 the
society gained 92 new members; 22 members left the society; 2 members died.
A full list of members is available on the IMS
website via [Member login] (access available to members in good standing).
The IMS Directorium during its 2015 meeting
on 21 June at Juilliard School, New York.
38
Appeal for Donations to the Outreach
Fund
In order to support members whose papers
have been accepted at IMS-sponsored conferences and reside in countries with soft
currencies, IMS renews its appeal for donations. Contributions must be marked “IMS
Outreach Fund” and can be sent together
with payment of your membership fee, or
separately to any of the IMS accounts.
P.O. Box 1561, CH-4001 Basel
Switzerland
Membership Fees
Membership fees are as follows: regular
/individual members, CHF 80.00; student
members, CHF 40.00; emeritus members,
CHF 60.00; institutions, CHF 120.00; lifetime memberships, CHF 1500.00.
Call for Exchange of Journals
We also invite other societies, whether international, national, or topical, to exchange their journals with IMS.
Call for Information about Links for
the IMS Website
Please inform the secretary general of links
to national and subject-centered societies,
sites with announcements, congress reports, and other types of online resources.
New Website Function
Members may use “Renew Membership”
without login and, after login, “Change of
Address” (in both cases with secure transmission of data to the treasurer). In addition to the full address and e-mail a
member’s entry can have a pdf-attachment
with professional information (cv, research
fields, publications). Please send your PDF
to the secretary general for upload.
New membership categories: group memberships, the fees are CHF 125.00 for a
minimum of 3 and a maximum of 5 members (please send an application with list of
group members to the secretary general,
indicating the name of the person designated to receive Acta Musicologica; this
“head” of the group also can be an institution; partners’ membership, CHF 120.00.
Dorothea Baumann, secretary general
Archive of the IMS at the Schola
Cantorum in Basel, Switzerland
We are reiterating our call for donations of
IMS-related documents for the IMS Archive
at the Schola Cantorum in Basel. These can
include congress reports, program books,
other publications, documents and correspondence, photos, flyers, posters, videos,
or films. Please send the originals or copies
as well as scans by e-mail or by regular mail
to the society’s postal address:
dorothea.baumann@ims-online.ch
Fax: +41-44-923 10 27
Mail address:
Dorothea Baumann, IMS secretary general
Nadelstrasse 60, CH-8706 Feldmeilen
Switzerland
39
Honorary Memberships
At the IAML/IMS congress in New York, IMS
presented honorary memberships to David
Fallows, IMS President from 2002 to 2007,
and Catherine Massip, IMS Vice President
from 2007 to 2012. The laudations were
delivered by Anne Walters Robertson, President of AMS from 2011 to 2012, and Claire
Dux Swift Distinguished Service Professor of
music, University of Chicago; and John H.
Roberts, former IAML President, 2001 to
2004, and Emeritus Head of the Music Library, University of California at Berkeley.
performance practice of the songs of the
late Middle Ages, including those of Robert
Morton, Guillaume Dufay, Josquin des Prez,
and many others.
Your passion for that “music that went most
directly into [your] soul” has provided us
with the seminal study of Dufay’s life and
works, published in 1982, which began with
your article “Dufay and Nouvion-le-Vineux”
that appeared in the flagship publication of
the IMS, Acta Musicologica, in 1976. Your
instinct for the compositional métier of the
late Middle Ages also led you to new insights into the career and music of Josquin,
culminating in your 2009 book and an edition of his four-voice secular music for the
New Josquin Edition (2005). Your most recent book, Secular Polyphony, 1380–1480
for Musica Britannica (2014), has brought
your career full-circle, back to its itinerant
beginnings, for this, your magnum opus on
English secular music in the 15th century
began with your work in Munich, continued
in California, and finished in Switzerland.
Laudatio for David Fallows
David Fallows: Like the great composers of
the late Middle Ages whose lives and works
you have illuminated, you have led the kind
of peripatetic and eclectic scholarly life that
has made you one of the most erudite and
remarkable musicologists of the past half
century.
Your education took you from Jesus College, Cambridge (BA 1967), to King’s College London (MMus 1968), to early music
studies in Munich, to the University of California at Berkeley (PhD 1978). So, too, your
teaching led you from the Midwest of the
United States (Madison), to the University
of Manchester, back to the East Coast of the
U.S. (Chapel Hill), and back to England.
Your service to the profession is international and far reaching. You founded and
contributed volumes to the Royal Musical
Association Monographs (1982); you served
on the editorial board of Musica Britannica
(1985), of the Basler Jahrbuch (1988), of
Early Music History (1991), of Muziek en
wetenschap (1992), of the Tours project
Ricercar (1992), of Early English Church
Music (1994); and you have shared your
You began your research career in early
music by losing track of time while reading
microfilms of fifteenth-century songs. You
would go on to turn this fascination into
fundamental studies of the repertory and
40
vast learning in the form of articles and reviews with Early Music, The Musical Times,
ident, and Past President, the International
Musicological Society is delighted to confer
on you its award of Honorary Membership.
Congratulations!
For the excellence and importance of your
scholarly work, you have been awarded the
Dent Medal of the Royal Musical Society for
your book on Dufay, and the Vincent Duckles Prize of the Music Library Association
and the C. B. Oldman Award of the International Association of Music Libraries for your
magisterial Catalogue of Polyphonic Songs
from 1999. You have been elected to the
British Academy (1996), comme Chevalier
de l’Ordre des Arts et des Lettres de la
République Française (1994), and as a corresponding member of the American Musicological Society (1999).
Anne Walters Robertson
The Guardian, The Times, The Gramophone, and The New Grove Dictionary.
New York, 22 June 2015
Laudatio for Catherine Massip
IAML and IMS have a long history of cooperation and collaboration. They have shared
leaders, co-sponsored major projects, most
notably the four great Répertoires, and in
recent years held joint conferences, such as
the vital and informative gathering this
week in New York. Now for the first time
our two organizations, each from its own
perspective, have elected the same person
as their latest honorary member. It should
come as no surprise to anyone that this is
Catherine Massip, who has long exemplified
the ideals cherished by both IAML and IMS.
After distinguishing herself as a student at
the Paris Conservatoire, she took a degree
in paleography at the École des chartes in
1973. That year she began her professional
career as a curator in the Department of
Manuscripts of the Bibliothèque nationale,
transferring in 1976 to the Music Department. From 1988 until her retirement in
2012 she was director of that department.
During her long and illustrious tenure, she
enriched the library’s already prodigious
holdings with many important acquisitions,
including the extraordinary Berlioz collection amassed by Richard Macnutt, and did
much to make the music collections of the
Bibliothèque nationale de France better
known to scholars and performers through
For all of these achievements, as well as for
your outstanding service for more than a
quarter century as a member of the Directorium of the IMS, as Chair of the 1997
Congress in London, as Vice President, Pres
Anne Walters Robertson delivering the presentation of an IMS Honorary Membership to
David Fallows.
41
the publication of library catalogues, exhibit
catalogues, and specialized studies. While
remaining a strong believer in the traditional disciplines of source study, she welcomed the new technology and helped
promote improved access through online
catalogues and digitization.
invaluable assistance to countless scholars
using the collections of the BnF (myself
among them).
Catherine Massip has been a leader in our
two associations and in the world of music
at large. She was President of IAML (1989–
92) and Vice President of the IMS (2007–
12), President of the Commission Mixte of
RILM (1998–2004) and Vice President of
RISM (1995–2013). From 2006 to 2009 she
served as President of the Société française
de musicologie. Her faith in the primacy of
music in our endeavors was amply reflected
in her role as a guiding spirit of Les Arts
Florissants from its inception till the present
day. Most recently she was instrumental in
organizing a series of three conferences at
Royaumont, dealing with the phenomenon
of collecting music, the proceedings of
which has been lavishly published by Brepols. To all these activities Catherine has
brought extraordinary energy and imagination, always full of fresh ideas, always
ready to put them into action.
Catherine Massip, IAML General Assembly II,
26 June 2015, accepting honorary
memberships from IMS and IAML.
As a scholar, Catherine Massip has been no
less accomplished and influential. Her primary area of research was already defined
by her thesis at the École des chartes, later
published as La Vie des musiciens de Paris
au temps de Mazarin (1976). She brilliantly
pursued her work in this field in her doctoral
thesis for the Sorbonne on Michel Lambert
(1985), her book on Lambert (1999) and
another book on Michel-Richard Delalande
(2005). But her scholarly interests have
ranged widely over the history of French
music, extending to Berlioz, Jolivet, Messiaen, and many others. As director of studies in musicology at the École pratique des
hautes études she has also been a mentor
to younger scholars, and she has rendered
In 2008 Catherine Massip was named a
Corresponding Member of the American
Musicological Society. It has taken IAML
and IMS a little time to catch up, but fittingly they have finally done so with unprecedented unanimity, emphasizing the
breadth of her many contributions to music
as she continues to inspire us all with her
dedication, wisdom, and vision.
John H. Roberts
New York, 26 June 2015
42
Forthcoming IMS Conferences
Marseille, France 2016, 11–12 March,
Study Group on Cavalli and Seventeenth
Century Venetian Opera and of the Editorial
Board of Cavalli Opere around the performance of Cavalli's Oristeo performed by
Concerto Soave, conducted by Jean-Marc
Aymes.
St. Petersburg, Russia 2016, 7–9 September, The Musical Salon in Visual Culture,
16th conference of the Association RIdIM in
collaboration with the IMS Study Group on
Musical Iconography, Rimsky-Korsakov
Museum-Apartment, sponsored by the St.
Petersburg State Museum of Theatre and
Music, and the Center for New Technology
in the Arts “Art-parkING.” Call for papers:
https://www.ridim.org/association-ridimconference-2015/. Chair: Lidia Ader.
Naples, Italy 2016, 21–26 June, Musi-
cians in the Mediterranean: Narratives of
Movement, first joint symposium of the
ICTM Study Group on Mediterranean Music
Studies and IMS. Host institutions: Università degli studi di Napoli “L'Orientale” and
Conservatorio di Musica San Pietro a Majella, Naples, Italy. Co-chairs of the program
committee: Ruth Davis (ICTM/MMS) and
Dinko Fabris (IMS); Alessandra Ciucci and
Salvatore Morra (ICTM), Philip Bohlman
(IMS).
Tokyo, Japan 2017, 19–23 March, Musi-
cology: Theory and Practice, East and West.
20th quinquennial IMS Congress at Tokyo
University of the Arts, Taito-ward; co-sponsored by the Tokyo University of the Arts
and the Musicological Society of Japan. CoChairs of the Program Committee: Daniel
Chua, head of the School of Humanities and
Professor of Music, the University of Hong
Kong, and Ryuichi Higuchi, Vice President,
IMS.
Stavanger, Norway 2016, 1–6 July, Mu-
sic as Art, Artefact and Fact. Music Research
in the 21st Century, intercongressional
symposium of IMS. Meetings of several
Study Groups and Regional Associations.
Chair: Per Dahl, University of Stavanger,
per.dahl@uis.no.
Meetings of the Regional Association for
East Asia as well as other Regional Associations and Study Groups.
Congress website:
http://ims2017-tokyo. org
New York, USA 2016, 7–11 August,
Study Group on Digital Musicology, during
ISMIR, see http://ismir2016.ismir.net.
43
News from the International Repertories
RIdIM—Association Répertoire International
d'Iconographie Musicale
edge of Music, Dance and Dramatic Arts in
Visual Culture).
Annual Report 2015
The period from 1 January to 31 December
2015 has seen a number of initiatives by
Association RIdIM, both practical and strategic. The general assembly and council of
Association RIdIM held its annual meeting
on 9 November 2015 in Columbus, Ohio,
with a broad range of topics. In the meeting
of the general assembly, two new council
members were appointed: Alan Green
(Ohio State University, Columbus) and José
Antonio Robles Cahero (Centro Nacional de
Investigación, Documentación e Información Musical “Carlos Cháves,” Mexico-City).
A major objective that Association RIdIM will
meet in the upcoming year is the development of a new and state-of-the-art search
interface. To support new cataloguers, and
to refresh information to experienced cataloguers as enhancements are made to the
database, series of training videos will be
coming on-stream.
New Website
January 2015 saw Association RIdIM overhaul its Website accessible at http://www.
ridim.org. It now offers multi-fold information and services such as direct access to all
existing national RIdIM centers and working
Groups, as well as useful information for
those interested in setting up such a venture. In addition, direct and free access to
the database of Association RIdIM can be
gained via the website in an easy to navigate manner. The new website is definitely
worth a visit. From March 2016 we will also
have the exciting new service “Video of the
Month,” dealing with a topic relevant for
the research and documentation of music,
dance, and the dramatic arts in visual culture.
The executive board and the various working groups liaised several times during
2015, in person and via electronic communication.
Database of Association RIdIM
Continuing on from the last reported improvements of the database of Association
RIdIM––that included image upload––the
latest features embrace: help buttons in the
cataloguing form; the implementation of the
ICONCLASS system; the development of the
“provider field” that allows the visibility of
partner projects (in this respect see below
regarding Association RIdIM’s open access
initiative entitled Linking and Uniting Knowl-
44
Solution B. This solution covers all partners
Association RIdIM’s Open Access
Initiative
In 2015, Association RIdIM launched the
open access initiative Linking and Uniting
that have already developed their own database but decide to migrate their data
source material to the RIdIM database, or
partners that wish to export data periodically to the RIdIM database. In these
cases, special migration software needs to
be written for each partner project in order
to export data to the RIdIM database.
Solution C. This solution applies to all project partners that have already developed
their own database that allows the development of an interface solution i.e. the development of a portal that brings information together from different sources in a
uniform way and provides access to the
data sets of the partner project.
Knowledge of Music, Dance and the Dramatic Arts in Visual Culture (see http://
ridim.org/cooperation-projects). This initiative provides the framework for the establishment of the first and unique network
and platform for open data exchange and
knowledge sharing with other organizations
and institutions, under the leadership of
Association RIdIM, and with the RIdIM database as both a vital tool within the set of
resources available, as well as being the
central hub.
The initiative emanated from the many
inquiries Association RIdIM received from
other organizations and institutions after
the successful launch of the new database
of Association RIdIM, added to the rekindled interest from dormant projects and
groups. This initiative is fully in line with the
principles of the Berlin Declaration on Open
Access to Knowledge in the Sciences and
Humanities.
It is an essential aspect of these collaborative initiatives that the relationship thus
fostered be mutually beneficial. In all cases
the data remains the possession of the partner and all partners work with Association
RIdIM respecting the Association’s commitment to provision of the data free of charge.
Moreover, the individual solutions can, of
course, be adopted to the specific needs
and requirements of the individual partners.
In 2015 Association RIdIM has accomplished an agreement with the Performing
Arts Index of the Metropolitan Museum of
Art, New York, and entered negotiations
with major partners, including RIdIM Germany and the Institut de recherche en
Musicologie (IReMus).
Dependent upon the current state of metadata and images of the partner organization, the exchange of knowledge and data
with the database of Association RIdIM operates one of three solutions benefitting
collaborative partnership:
Solution A. This program applies to all partners that have not yet developed a database solution and whose data are stored
either in paper copy or not recorded at all.
Thus solution A requires the inputting of the
raw data material to the RIdIM database.
In general, the accomplishment of Association RIdIM’s open access initiative will
result in a substantial increase of metadata
and pictures accessible via the database of
45
Association RIdIM free of charge. To enquire about, or to join the project please
visit the website of Association RIdIM and
contact Association RIdIM at
association@ridim.org.
world and from a diverse range of academic
background and fields and provided a platform not only for an inspiring exchange, but
also for enriching the understanding and
knowledge about crucial topics, which will
continue to be important due to the driving
force of the visual in our culture. The proceedings of the conference will be published
this year.
National RIdIM Centres and Working
Groups: A New Member
In 2015 the family of national RIdIM centers
and working groups has been extended.
Approval was given by the council of Association RIdIM on 9 November 2015 to
welcome the Mexican RIdIM working group.
With this extension, Association RIdIM has
a second official presence in the Latin American World after the establishment of the
national RIdIM center in Brazil in 2008. Association RIdIM warmly welcomes the new
member and looks forward to an intense
and exciting collaboration. According to initial information from the Mexican group, the
vast source material and heritage of visual
representations as associated with the culture of guitar music will be one of the first
priorities for the group.
Association RIdIM is very grateful to Ohio
State University, the School of Music, the
Music/Dance Library, The Wexner Center
for the Arts, and the Billy Ireland Cartoon
Museum and Library for the superb and
generous hosting of the Conference, highlighting the special relationship between Association RIdIM and Ohio State University,
as expressed in the fact that the editorial
center of the Association RIdIM’s database
has had its home at the Ohio State University Music/Dance Library since 2005. This
gratitude is extended to the local organizational committee (chaired by Alan Green)
and the program committee (chaired by
Beatriz Magalhães Castro).
Scholarly Meetings
Visual Manifestations of Power and Repression in Music, Dance, and Dramatic Arts—
15th International Conference of Association RIdIM (Ohio State University, 8–10
November 2015)
The Musical Salon in Visual Culture—16th
International Conference of Association
RIdIM (St. Petersburg, 7–9 September
2016)
The upcoming conference of Association
RIdIM will take place in St. Petersburg from
7 to 9 September 2016 and will address topics related to The Musical Salon in Visual
Culture. This conference will be organized in
collaboration with the Study Group on Musical Iconography of IMS and the RimskyKorsakov-Museum-Apartment. Further information, including the call for papers is
From 8 to 10 November 2015, Association
RIdIM held its 15th International conference at Ohio State University. It addressed
research related to manifestations of power
and repression reflected in the visual representation of music, dance and dramatic arts
of all periods, cultures and media. The conference attracted scholars from all over the
46
published at: https://ridim.org/associationridim-conference-2015. The deadline for
paper proposals is 1 April 2016.
Association RIdIM is currently in the process of redefining its publication and promotion strategy, which includes the Newsletter––whose old issues will be available
online in PDF format by mid 2016 via the
website of Association RIdIM––as well as
the blog and Facebook page.
Publications of Association RIdIM
As reported previously, the relationship between Association RIdIM and the editorial
board of Imago Musicae, has been reestablished, and Association RIdIM is very
much looking forward to the publication of
the next volume of Imago Musicae––the
annual yearbook of music iconography
sponsored by Association RIdIM.
Antonio Baldassarre, President
Association RIdIM
Badergasse 9, CH-8001 Zurich,
Switzerland
association@ridim.org, www.ridim.org
RILM—Répertoire International de Littérature Musicale
RILM Encyclopedia Collection
The RILM Encyclopedia Collection will
contain 41 seminal encyclopedias in full
text at launch. Most of the encyclopedias
are in English (25); the second strongest
language is German (eight), and the remaining encyclopedias are from France,
Italy, Greece, and The Netherlands. The
collection includes seven of the most important historical music encyclopedias in
English and major European languages,
including editions of Fétis, Gerber, Grove
(1879–89), and Riemann, and eight important general music encyclopedias in
English and major European languages.
The remaining encyclopedias have a national or subject-specific focus (more narrowly focused than the general music
encyclopedias). Additional titles will be
added to the collection each year.
MGG Online
Bärenreiter and J. B. Metzler, the publishers of Die Musik in Geschichte und Gegenwart (MGG) have entered into a long-term
partnership with RILM to produce MGG
Online, which will include the content of
the 1994–2008 print edition of MGG (the
2nd edition) as well as updates, revisions,
and additions. Regular updates will position MGG Online to be a foremost reference work for music. Bärenreiter and J. B.
Metzler will remain responsible for MGG's
content and will ensure that MGG Online
continues to offer up-to-date and authoritative articles. RILM will bring its expertise to bear on the design of the online
database and the creation of a userfriendly platform that will be fully equipped with the most advanced search and
browse capabilities. With its broad international experience, RILM will also be responsible for the worldwide marketing of
47
MGG Online. Work proceeds in data con-
Barbara Dobbs Mackenzie,
version, updating, revisions, and platform
building.
editor-in-chief
http://www.rilm.org
RIPM—Répertoire International de la Presse Musicale
News 2015
primary-source material. Abridged citations to RIPM will be available to all Wikipedia readers. Subscribers to RIPM will
have direct access from Wikipedia’s pages
to RIPM's annotated citations and full-text.
1. RIPM Jazz Periodicals
For reasons I outlined at the RIPM presentation-luncheon at the IAML/IMS meeting,
RIPM is in the process of creating a new
searchable full-text database of jazz periodicals. Initially, it will contain approximately
100 titles and will be available in late 2016
or early 2017. At the end of 2014, the directors of RIPM and the Institute of Jazz
Studies (US) of Rutgers University signed an
Agreement to collaborate on die creation of
RIPM JAZZ. The US holds “the most extensive collection of jazz periodicals anywhere,
including national libraries of the European
countries.” I want to thank Vincent Pelote,
director of operations of the US, and Janice
Pilch, copyright and licensing administrator
of the Rutgers University Libraries, for their
collaboration and efforts in this initiative as
well as the other RIPM partner and participating libraries who are also contributing to
the creation of this collection.
3. Improvement to the Interface
At this point both of the EBSCO host and
the RIPMPIus platforms, search results
from the Retrospective Index, and the
e-Library are displayed on independent
pages. Before the next IAML conference it
will be possible to display search results
from both databases in a single window.
In other words, we are adding crosssearch capability to all of RIPM electronic
publications.
4. RIPM and Twentieth-Century Music
Journals
While RIPM began by focusing on nineteenth-century music periodicals, today 46
percent of RIPM titles were published in or
during the 20th century. I think it is important to bring this to your attention as for
many, RIPM remains associated only with
the 19th century.
2. RIPM and Wikipedia
RIPM is partnering with Wikipedia to improve its music-based content and has
made twenty accounts available for experienced Wikipedia editors to access RIPM
publications. The aim here is to enhance
significantly Wikipedia content in numerous languages by citing RIPM's extensive
5. RIPM e-Library of Music Periodicals
This publication was launched in December
2013 with an initial installment of 25 full-text
journals. Ten titles were added in 2014–15.
An additional 65 music periodicals will be
48
added before the end of 2015, bringing the
total to 100, when in 2016, access to the eLibrary will require a subscription. Throughout 2014 and 2015, the e-Library has been
available free of charge to those institutions
subscribing to the RIPM Online Archive. The
e-Library will be available as a standalone
subscription, but RIPM Online Archive sub-
scribers will receive a very substantial discount. For the forthcoming 65 titles see
http://www.ripm.org.
H. Robert Cohen, founder and director
Benjamin Knysak, managing associate
director
RISM—Répertoire International des Sources Musicales
News on Series A/II
During the reporting period, the RISM manuscript database A/II, Music Manuscripts
after 1600, increased by 30,000 entries to a
total of ca. 890,000 records. The CD-ROM
of series A/II was discontinued with the
16th edition (the 14th CD-ROM) in 2008. It
comprised a total of 614,000 entries, including around 50,000 additional entries
from three separate files—composers
(31,000 entries), library sigla (6,870 entries), and index of the literature consulted
for describing sources (4,000 entries).
visited by about 6,500 people with over
27,000 visits per month (or 85,500 people
with 288,000 page views per year).
A new version of the online catalog was
released in April 2014. In addition to the
many advantages in searching and improvements to the presentation, there is a
filter to link the results to records with links
to digitized items, allowing users direct
access to images of the source. At present
the catalog contains about 12,000 links.
Since July 2013, the data in the online
catalog has been available as open data. It
was also made available as linked open data
with the new release of the catalog. This
service is directed at libraries that wish to
import their records into local catalogs, or
musicological projects that want to make a
catalog of sources that covers a specific
topic as a basis for research. The Zentralredaktion has developed tools to simplify
the data delivery process, including an SRU
interface. It is RISM's wish that users take
advantage of these services in order to
This is the material that is still currently
being offered as a subscription database by
EBSCO Publishing Inc. (successor to NISC).
Since July 2010, RISM has made its online
catalog freely available on the Internet. The
development of the software for searching
was made possible through collaboration
between RISM, the Bayerische Staatsbibliothek in Munich, and the Staatsbibliothek zu
Berlin, Preußischer Kulturbesitz. Around
180,000 records have been added to the
initial inventory of ca. 700,000 records to
make a grand total of around 880,000 records. On average, the online catalog was
49
share corrections or supplemental information with the Zentralredaktion. Additional tools will be developed for this purpose.
A RISM Facebook page appeals to another
international audience and has 1,065 fans.
RISM is also active on Twitter.
The online catalog, which is available on the
Internet free of charge at http://www.rism.
info, motivates more and more people and
institutions to contribute to the project. In
particular, there is growing interest among
individual institutions to see their holdings
indexed in the RISM online catalog.
On Wikipedia, short articles in Dutch, English, French, German, Italian, Russian,
Spanish, and Swedish are available.
The brochure RISM: An Overview may be
obtained from the Zentralredaktion. It is
available in an English–German version as
well as English–Russian.
The RISM website, developed with the cooperation of the Akademie der Wissenschaften
und Literatur (Digitale Akademie) in Mainz, is
regularly updated by the Zentralredaktion and
the working groups. It enjoys increasing popularity, having welcomed 40,627 visitors this
year, or about 3,385 visitors each month. In
total, 1,462 people have registered on the
website.
Klaus Keil
Zentralredaktion Frankfurt
klaus.keil@rism.info
50
Internationale Gesellschaft für Musikwissenschaft
Sociedad Internacional de Musicología
Società Internazionale di Musicologia
Société Internationale de Musicologie
http://www.ims-online.ch
Directorium (2012–2017)
President: Dinko Fabris (IT)
Vice Presidents: Ryuichi Higuchi (JP), Malena Kuss (US)
Secretary General: Dorothea Baumann (CH)
Treasurer: Madeleine Regli (CH)
Last President: Tilman Seebass (AT)
Past Presidents: David Fallows (GB), László Somfai (HU),
Ivan Supičić (HR), Ludwig Finscher (DE)
Directors-at-Large (2012–2017)
Antonio Baldassarre (CH), Daniel Chua (HK), Per Dahl (NO), Sergio Durante (IT),
Manuel Pedro Ferreira (PT), Florence Gétreau (FR), Philip Gossett (US),
Jane Morlet Hardie (AU), Ulrich Konrad (DE), Liudmila Kovnatskaya (RU),
Andrea Lindmayr-Brandl (AT), Klaus Pietschmann (DE), Julian Rushton (GB),
Elaine Sisman (US), Álvaro Torrente (ES), Suk Won Yi (KR)
Secretary General
Dorothea Baumann, Nadelstrasse 60, CH-8706 Feldmeilen, Switzerland,
dorothea.baumann@ims-online.ch, FAX +41-44-923 10 27
Treasurer
International Musicological Society, Madeleine Regli, POB 1561, CH-4001 Basel, Switzerland,
madeleine.regli@ims-online.ch, FAX +41-44-923 10 27
Editors of Acta Musicologica
Federico Celestini, Department of Music, University of Innsbruck, Karl-Schönherr-Straße 3,
A-6020 Innsbruck, Austria, acta.musicologica@ims-online.ch,
Philip V. Bohlman, Department of Music, University of Chicago, 1010 East 59th Street,
Chicago, IL 60637, USA, boh6@uchicago.edu
51
Application for Membership to IMS
The undersigned herewith applies for membership in the International Musicological Society.
Annual dues will be:
Type of Membership
Ordinary Membership CHF 80.00
Emeritus CHF 60.00
Student* CHF 40.00
Corporate CHF 120.00
Partner’s Membership** CHF 120.00
Group of 3–5*** CHF 125
Life Membership CHF 1’500.00
amount in CHF
Sponsored Membership****
Donation to Outreach Fund*****
Total
* Student membership is limited up to five years. Please send evidence of student status.
** Living at the same address. *** Enclose letter of application and give names of group members.
Conditions see IMS statutes. **** Give name and address of beneficiary and your name below.
***** In order to support members with accepted papers, from countries with soft currencies.
Pay your membership fee by credit card (VISA/MASTERCARD) or by bank transfer. You
may pay for 2 years. Bank checks are not accepted.
Credit Card: VISA 
MASTERCARD 
Number:
    Valid through:  / 
Security Code (last 3 digits on verso):

Amount:
………………
for the year(s): ……………….
Name/Date/Signature of Card Holder:
………………………………………………….
Bank Payments: bank zweiplus Ltd., CH-8048 Zurich (Switzerland)
SWIFT CODE: BZPLCHZZXXX; BLZ (clearing code): 8703
IBAN for CHF/USD: CH54 0870 3004 3415 3110 0
IBAN for EURO:
CH67 0870 3004 3415 3300 0
Post Finance: PC 40-9370-1, IMS, CH-4001 Basel / IBAN CH71 0900 0000 4000 9370 1
Name and address (as to be listed in the Membership Directory), use extra sheet for groups:
…………………………………………………………………………………………………………………………
Permission to publish e-mail address on the website: yes  no 
Send this application by mail to IMS, P.O. Box 1561, CH-4001 Basel or by fax to the
treasurer of IMS, Madeleine Regli (+41 61 601 75 73 or +41 44 923 10 27). Keep a copy
for yourself!
52

IMS Newsletter 03 2016 - International Musicological Society IMS

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