Sonneck Society for American Music
Bulletin, Volume XXIII, no. 2 (Summer 1997)
Report from the Conference
Margery Morgan Lowens Receives Distinguished Service Award
In awarding Dr. Margery Morgan Lowens its citation for Distinguished Service,
the Sonneck Society truly honors one of its founders. It was she who personally
addressed and sent 161 letters to people she believed interested in American
Music, inviting them to meet at the Iron Gate Restaurant in Washington in 1974.
More than 100 expressed interest, and 75 came. Irving Lowens, her husband, was
elected chair pro tem, and the Society was born. Irving was elected president
at the first membership meeting of the new Society in 1975, and served until 1981.
During all those years, the First Lady was not only a constant supporter,
but amanuensis, gofer, publicist, exhorter, organizer, and companion.
Margery was busily involved in hosting the Society's 1980 meeting in Baltimore, and
handled in her own inimitable way most of the problems that arose. She was
host to board meetings and informal gatherings, and active members knew they
were always welcome at her house on North Charles Street in Baltimore. Following
Irving's untimely death in 1983, she founded the Lowens Award to recognize
annually "the author of a significant book, edition, article, recording, or
other piece of scholarship devoted to "American music or music in America."
These were not just words; her major monetary contributions have resulted in an
award that has become prestigious in the whole field of American studies and
music.
But her involvement in the business of the Society did not end with
her husband's term of office or passing. She served two terms as the first vice
president from 1983-1987, was book review editor in 1985, and archivist of the
Society from 1987 to 1993. In short, her efforts have been ongoing and unending,
and altogether impressive.
Nothing, nothing gives me greater joy than to present this award to one of
my favorite people, Margery Morgan Lowens.
--Dale Cockrell
Gerard Schwarz Inducted as Honorary Member
The broad scope of Gerard Scharz's contributions to American music as a performer, educator, and
conductor evokes the legacy of others who have championed the rich variety of music in this
country, particularly that of Leonard Bernstein. Maestro Schwarz's conducting career has consistently
demonstrated a commitment to the programming and performance of old and new works by American
composers. He was recently honored by the American Society of Composers, Authors, and
Publishers who bestowed on him their 1996 ASCAP award for programming of contemporary music.
Maestro Schwarz began his career in 1966 after graduating from the Julliard School. He served as
music director of the New York Chamber Symphony for twenty years, the Seattle Symphony for
fourteen years, and New York's Mostly Mozart Festival since 1982. He's been responsible for
expanding the New York Chamber Symphony's programming from a few concerts annually to a full
schedule of New York performances plus tours and recordings. His public outreach programs, such
as the Musically Speaking series recently released on compact disk, affirm his dedication to
building new audiences through music education. Maestro Schwarz's recorded catalogue of
American music is extensive, and it includes works by virtually every principal composer of
the twentieth century from Victor Herbert to Steven Alpert. He participated as a band leader
and a performer in the Recorded Anthology of American Music Bicentennial Project on the New World
Record label, and under his direction the Seattle Symphony's recordings of music by American
symphonists have brought this orchestra some of its greatest acclaim. His first recording of music
by Howard Hanson remained on the Billboard Classical Music best-selling list for forty-one weeks,
earned three Grammy award nominations including best classical album of 1989, and received Stereo
Review's 1989 award for record of the year. The Seattle Symphony's recordings of the Mount St. Helens
Symphony by Alan Hovhaness has also been a best seller. In 1981, Maestro Schwarz established the
Music Today Series in New York to encourage the performance of new American music. He served as its
music director through 1989, and currently under his administration the Seattle Symphony's
Composer-in-Residence program regularly commissions new works by living composers, most of whom
are Americans. This provides a venue for the performance of new works, exposes the public to the
richness of our own music, and ensures a future for the future of art music in America. In
recognition of his extraordinary commitment to American music, the Sonneck Society for American
Music awards honorary membership to Gerard Schwarz, conductor, performer, and educator.
Excerpts from Gerard Schwarz's Remarks
I'm very grateful to accept this honorary membership. I don't think I've ever been in a room before
where I've spoken to everyone who cares about my passion, which of course is American music, as
much as all of you do. It has been my passion since I was a little child, and it's also now the
passion of all of my children. When my daughter was four years old, a critic for the Seattle Times
asked her who her favorite composers were ans she said, "Beethoven and David Diamond." It wasn't
until she was older that she realized that Beethoven was long dead and David Diamond was her
closest non-relative friend.
The same thing happened in my life. I began as a trumpet player and a pianist. I had a wonderful
piano teacher and one of the first pieces I remember loving and playing was Paul Creston's
Languid Dance. I played this music because my teacher cared about American
music, but I didn't know it was American, rather than German or Italian. It was just wonderful
music that I loved.
I was lucky enough as a kid to get to study with Creston for a number of years while I was in
high school. My father is a doctor and very involved with caring about music. When it became
clear that I was going to become a musician, my father decided that I had to get a good education.
He met Paul Creston at a dinner party. My father said "I'd like to have my son study with you."
And Paul Creston said, "Well, it's possible but do you know my music?" and he said no. "Well I'll
you an acetate of my symphony that just premiered by the National Symphony." He was astounded at
how much money he had to pay for it ($25 because it was a special pressing) and claimed to not
understand the work at all, but allowed me to study with Creston.
When I was eleven yars old, I was in the orchestra at Interlochen. I was given the opportunity to
conduct the Interlochen theme, which is the theme of the slow movement of the Hanson Second
Symphony. That experience, my first public conducting experience, turned out to be the seeds for
our American Music Series here in Seattle.
A a trumpet player, I looked around for solo pieces for the trumpet. I came up with Copland's
Quiet City, which was on a series of recordings of American String music and included
the Rounds of David Diamond, the Serenade of Samuel Barber, two dances of Creston's, and others.
So I became a great lover of American music. It was just music that was beautiful and wonderful.
It's a background that I am happy to say that most kids, at least in our community, are getting.
When I go to the piano recitals of my son, many of the kids are playing American music.
So as I grew up, I began conducting, commissioning, and premiering a lot of American music, every
style conceivable including the more severe styles of the sixties. What I cared about was not only
the present but the future, the young composers. As I got older, I realized that the tremendous
historical works of American music were being ignored. I had always wanted to perform the Hanson
Second Symphony, and I had programmed it with the orchestra. I went to Amelia Haygood (sic) from Delios
Records and asked about recording it with the First Symphony. Now when we performed the piece, the
reviews weren't good, but Amelia had heard one of these performances and stood up for the project.
Low and behold, the reviews of the recording were good. It got a Grammy nomination and was on the
Billboard charts. And so our series of recordings of Hanson's works began. It is wonderful that here
in the nineties, the Seattle Symphony can have an impact on the repertoire of the more established orchestras
such as the New York Philharmonic, which is now doing a series of the American symphonists of
the past. I believe that people like Leonard Slatkin and I have been the leaders in the rebirth
of this repertoire, not because we recorded it, it wond the awards and was on the Billboard
charts, and that made people take notice. As a result, the music starts being played all over
the country.
The orchestra that had done the most historically for American music in terms of recordings was of
course Louisville. There were not as successful as we were, I believe, because of the way they
did it which was not as focused. What we did here was to focus, first on Hanson and we recorded
all the symphonies. Then we focused on Diamond, and then Piston. Then we did a little bit of
Creston, then Schuman and Morton Gould. Now we've just done a new record of Peter Mennin's works:
Moby Dick, the Third and Seventh Symphonies.
...
Being a conductor of an American orchestra means more than performing American music. It means being
an integral part of the community, living there, having a life in that community.
...
I could go on talking about American music forever because, as you know, it's my passion, but I
just want to thank the Society once more for this honor.
Sonneck Society Awards
Irving Lowens Book Award
1997 Irving Lowens Award for Distinguished Scholarship in American Music was presented to S.
Frederick Starr, the author of Bamboula! The Life and Times of Louis Moreau Gottschalk
(New York: Oxford University Press, 1995). It is a large and comprehensive work, bringing
together for the first time scattered source materials from three continents, in several languages,
to create the definitive biography of a major American musician. Moreover, it is a cultural
history of broad relevance. It deepens our understanding of mid-nineteenth-century America,
illuminating the international context within which musics circulated and cultural identities were forged.
It compells greater attention to one of the most remarkable and influential musicians of that moment.
At the same time, it engages with contemporary discussions of historiography and cultural hierarchy.
Exhaustively researched, it is also vividly written.
--Robert Walser (Chair), Michael Broyles, and Susan Key
Response from S. Frederick Starr
What astonishing riches exist in American music and what a joy it is to have found the opportunity
to explore them through this biography of Louis Moreau Gottschalk! Yet even now, six hundred pages
later, the remarkable cultural artistic achievements and the no less amazing life adventures of this
great nineteenth-century American remain on the periphery of American's image of itself. Had
Gottschalk been a writer (he actually was a fine one) or even a painter (one can own paintings, after
all) or an architect, his name would be in every history of our national life and culture. But, with
few exceptions, music--the noblest, most abstract, and purest art--still stands on the sidelines of our
cultural conciousness. I am greatly honored to have been able to work, however, modestly, to change
this situation, and, though an untrained outsider, to be received by members of the Sonneck Society,
from whom I have learned so much, as a colleague in their heroic endeavor in behalf of music. I thank
you warmly.
Irving Lowens Article Award
In "Kurt Weill, Modernism, and Popular Culture: Offentlichkeit als Stil" (Modernism/Modernity,
volume 2/1, 1995), Kim Kowalke examines what he calls "the central question in Weill scholarship
today[:] . . . whether or not in all principles -- of composition, of direction, of character -- everything Weill
wrote in America is fundamentally different from the way that was Weill's in Europe." Kowalke's
answer, based on a life's work of scholarship on the German-American composer, is a resounding
"no." Kowalke makes his argument by first succinctly summarizing the historical origins of the "two Weill"
debate -- in the writings of Theodor Adorno and others. He then persuasively demonstrates that as a dramatic
composer -- a musical chameleon, to a certain extent -- Weill always altered his musical style
to suit his audience -- whether in Berlin, Paris, London, or New York. Then, to demonstrate his assertion that
Weill's American compositional style did not differ in quality from his European style, Kowalke examines in
detail the composer's Street Scene of 1947 -- a Broadway opera that was "written
about America, intended for Americans, and idiomatically of America." After leading the reader
through a thorough -- and admirably readable -- examination of the opera, Kowalke persuasively asserts that
there is no score of Weill's more tightly interwoven musically and theatrically than Street Scene."
In his final section, Kowalke situates the "two Weill" debate into the context of questions
crucial to late twentieth-century scholarship: modernism vs. post-modernism; elitism vs.
popularity, autonomy vs. accessibility, originality vs. comprehensibility, and atonality vs.
tonality. The two-Weill debate, he concludes, cannot "be disguised as cultural or geograpical --
European or American -- in nature or origin. Rather, Kurt Weill personifies the issues that are
central to the modernist period concerning the nature, meaning, and purpose of art in general and
of musical expression in particular." This article, as a reassessment of the work of a twentieth-century
German-American composer writing music in America for Americans, and as an evolution of that composer's
work in the context of some basic questions facing musical scholarship today, is a major
contribution indeed. Kim Kowalke is to be commended.
--Katherine K. Preston (chair), Judy Lochhead, Frederick Crane, Wiley Housewright.
Response from Kim Kowalke
I am deeply honored to accept this award, doubly so because so much distinguished work is being
done in the field of American music. I regret not being able to be with you in Seattle, but I am
in Dessau today reading a paper on Sondheim and the concept of the musical, before going to a concert
of Gershwin, Bernstein and Weill in Bittersfeld, and then on to London to see the premiere of
Lady in the Dark at the National Theater -- the first major revival of the work. I give you my
travel itinerary only to demonstrate on a personal level the global impact work in the field of
American music now commands. Again, many thanks to the members of the Society for this recognition.
Dissertation Award
"Appraising the Catchwords, c. 1942-1959: John Cage's Asian-derived Rhetoric and the Historical Reference
of Black Mountain College" by David Patterson (Columbia University, 1996) involves brilliant
discussion about three aspects of Cage's aessthetic development between 1938 and 1952 as reflected
in his prose writings: the influence of South Asian philosophy, the influence of East Asian philosophy, and
Cage's Black Mountain College Experiences. The author discusses the philosophies/experiences themselves
and clarifies numerous discrepances between Cage's accounts of these influences and his actual exposure to them.
Perhaps the most important dontribution is a detailed chronology of performances and events in Cage's life
during the period in question. This chronology should straighten out many misunderstandings about
these details.
Dr. Patterson's work impressed the committee in terms of its breadth and scope, including a staggering
command of various disciplines, the consistently high quality of writing, and the rigorous research which
leads to new and original conclusions. The Society grants its first Dissertation Prize with confidence
that a high standard of excellence in the study of American Music has been recognized.
--David Hildebrand (chair), Geoffrey Block, and Catherine Smith.
Response from David Patterson
Thank you. I am of course very honored and want to thank the Sonneck Society and particularly those
who actually spent the time reading all of the submissions for this award. I'd like to accept it not
only for myself but for two of my peer groups.
First, for the community of Cage scholars that has just blossomed over the last decade. For the
first time, professional historians are confronting the mythic monolith of John Cage, and surely you've
already read some of their work -- research by Michael Hicks, Laura Kuhn, Christopher Shultis, Susan
Key, David Bernstein, Deborah Campana, Paul van Emmerik ... This is a genuinely exciting time for Cage
scholarship, and I'm delighted that my research might call attention to the work of this community at large.
Second, I'd like to accept this for the doctoral class of 1996. This competition this year was open to those who completed
their dissertations in the 1995-96 academic year. This is the very same year in which the AMS Committee on
Career-Related Issues announced that the unemployment rate for recent Ph.Ds now stands at 97-98%;
that is to say, there are enough Ph.Ds on the market right now to fill every position that comes along for the next
quarter-century. As the AMS report forsees, the future only looks bleaker, as universities continue
to pour more and more Ph.Ds onto the market each year, solely for the sake of self-preservation.
As they say, denial is the first stage. But it's a cold fact that most if not all of us who competed for
this award will be forced out of the field in the very near future, purely for lack of opportunity.
But for now -- for the class of '96 -- we've met the challenge of the dissertation, and unless you've lived
through a war, it's probably your greatest personal achievement to date. I therefore accept this for all
those in the class of '96, because we all of us deserve it. Out of respect for ourselves and for our work,
let us be persistent in reminging the academic community that beyond this award, we also deserve a
great deal more, and we hope to achieve it. Again, I'm tremendously honored. Thank you.
Non-Print Publications Subvention
The second annual Non-Print Publications subvention award was presented to Adrienne Fried Block for
her work on a Newport Classics recording of music by William Mayer and Amy Beach. The recording
will feature the Gregg Smith Singers, and soloists Christine Brewer and Roberto Guarino. The Society's
first award was presented to Benjamin Sears and Bradford Conner for their recording of Irving
Berlin Songs.
--Wayne Schneider
Publications Subvention Awards
The Board of Trustees of the Soneck Society approved grants to assist the following projects: the
University of Illinois Press for William J. Mahar's Behind the Burnt-Cork Mask: Early Blackface
Minstrelsy and the Formation of Antebellum American Popular Culture; the University of
California Press for Scott DeVeaux's The Birth of Bebop: A Social and Musical History;
and the American Composers Forum for Philip Blackburn's Enclosure Three: Harry Partch.
--John Beckwith
Reviews of Conference Performances
Mike Seeger in Concert
Surrounded by instruments -- banjo, gourd banjo, guitar, autoharp, mouth harp, quills (panpipes), and
fiddle, Mike Seeger offered an impressive program of songs and instrumental styles from the rural
South, both black and white, of a bygone age. Mike learned his repertory from many sources -- first hand
from old-time country musicians, from commercial recordings, or the archives of folk music at the
Library of Congress. Among his models were such luminaries as the Carter Family, especially Mabel (sic),
Eck Robertson, and Charlie Poole. The well-known "Freight Train," however, was closest to home;
he learned it from the Seeger family housekeeper, the gifted Elizabeth Cotton.
Though he has sung and resung these wonderful songs for years, Seeger's performance for the Sonneck
Society was fresh and vibrant as if savored for the first time. Unforgettable was his song from East
Kentucky, a powerfull indictment of slavery. I especially loved "The Wind and the Rain," a stunning
version of the grisly murder ballad 'The Twa Sisters" in whicht he victim's bones, fashioned into a
musical instrument, reveal the murderer.
A wonderful concert in which the distance between the performer and audience disappeared; we sang verses
here and there, and were grateful to Seeger for recalling a precious part of our American heritage.
--Henrietta Yurchenco
Swan Family Dancers
A rare treat of the Seattle conference was a performance by the Swan Family Dancers of the Makah Nation from Neah Bay,
Olympic Peninsula. According to their leader, this kind of presentation was designed as family
entertainment, particularly to instruct the young in ancient tribal traditions. Using Ingenious
theatrical devises -- music, dance, costumes, and masks -- they brought to life a concept of the world
where nature, animals, and humans constantly interact. Masks of bear, the double-headed raven, and the wolf (who,
they say, takes unruly children away and returns them civilized) were dramatically conceived.
Dance steps close to the earth, the one-pulse drumming, and the chant built on thirds beart witness to
a few pre-European performance practices still characteristic not only of Northwest Coast tribes
but Indian America of both continents as well. Perhaps future events of this nature at Sonneck
conferences will have the opportunity to observe groups such as the Swan Family, their arts, and their way
of life in its own physical surroundings and cultural context.
--Henrietta Yurchenco
Newby and CROSS "Share the News"
Stephen Michael Newby and the group CROSS, one of Seattle's most sophisticated new gospel ensembles,
gave an exhilarating concert to the crowd at the Gospel/Church Music Interest Group session. CROSS's
sound is as multicultural as their African-American, Asian-American, Caucasian, and Hispanic makeup
suggests. Seated at his vintage Fender Rhodes keyboard ("this thing is 'the bomb'"), Newby was surrounded by
five vemale vocalists (including his wife Stephanie), a kitchen-full of world-beat percussion, two
guitarists, another keyboardist, and bass player.
CROSS (whose name is an acronym for "Christians Reaching Out Seeking Souls") was assembled by Newby two
years ago from the congregation of Antioch Bible Church, where he serves as Pastor of Music and Worship.
The Church's motto sums up the group's demography as well as its sound: "Black and white in a gray
world" (a tongue-in-cheek reference to Seattle weather). Most of the group's material is composed by Newby,
who has studied with William Albright, William Bolcom, and Horace Boyer, and holds a doctorate in
composition from the University of Michigan.
Newby's sound fuses the soul and rhythms of his native Detroit gospel music with the harmonic language
of an experienced jazz person and discipline of a trained art music composer. His setting of Psalm 48
if the happiest I've heard in while and shows the influence of Al Jareau (who says scat singing can't
praise the Lord?). "I Shall Delight (to do God's Will)," featuring Caribbean percussion, had the
audience on its feet clapping and singing four separate cross-rhythmic texts. Harmonies in "I Shall
Delight" are quintessential Newby; lush chord changes accompany the sectional breaks, e.g., from
chorus to verse. Although the ensemble is large, its sound is often quite transparent, showing off
timbres, vocal harmonies, and text, and, despite the wide dynamic range, words can almost always be
clearly heard.
Newby's lyrics consist of scripture paraphrases, down-the line- encouragement ("So you say you can't see tomorrow ...
Trust in the Lord"), and challenges ("Heed the call, share the news"). The introspection and quiet mood of "What
Must I Do" ("Yet when I sin, I ask myself deep within, What must I do?") provided a welcome space
for reflection probably too rare in any gospel tradition. "Yielded," composed by guitarist/producer
Scott Burnett, expressed an intimate spirituality and featured Sonya Kaye's phenominal, almost
baritone range. "We're in the Jungle," with its African introcution, is gospel for a postmodern world:
"We're in the jungle and we're gonna survive ... with the help of the Lord."
Just as engaging as Newby's music is his urbane but direct commentary on his music. Concerning the 5/4 meter
of the title song from his new CD, "Share the News," he says he has been asked, "Can you really get your
groove in five in the church?" Newby described the rhythmic complexity of "Great is the Lord" as a
"psychosamba" nightmare for hte bass section. On the topic of introducing experimental elements
into the church, Newby raises the question, "Why is all the good music in the university?" His own
response is to expand his congregation musically as well as spiritually (His church choir recently
presented Elija). In fact, much of Newby's music bridges two worlds; his Gospel Quintet for string
quartet and barione was premiered this spring at Indiana University. Stephen Newby and CROSS,
we look forward to what you'll do next!
--Esther Rothenbusch
SIG Homepage Template
Interes Groups wishing to develop a home page may use the template developed by Larry
Worster as a model for suggestions. A copy of the template may be ordered from Larry
Worster at worsterl@mscd.edu. It may be viewed
at http://clem.mscd.edu/~worsterl/SIG.htm.
Students at the Conference
With the help of a grant from the Student Conference Travel Fund, I attended a Sonneck Society
Conference for the first time and presented by paper, "Heavy Shtetl or Jewzak: Constructing Ethnic
Identity and Asserting Authenticity in Klezmer Music." I left Seattle sharing the job of student
representative with Shannon Green, certain that I have begun a yearly tradition of attendance. As a masters
student at the University of Wisconsin-Madison, the breadth and quality of the papers I attended--not to
speak of the friendly and welcoming individuals I met--has led me seriously to consider an American topic
for my dissertation.
One of the great benefits for students attending Sonneck conferences is the chance to meet American scholars
from across the country. I attended the graduate student breakfast expecting to shake hands with a few
faculty and then cluster in a corner with other students. Instead, I found myself moving from one non-student
member to another, meeting scholars whose writings I have admired for yeaers and people who offered
suggestions on my topic. As I looked around the room, I noticed that other students were similarly engaged.
It is reassuring to know that members of the Society share a personal commitment to students. Additionally, many
of the papers read by students would not have been presented at Sonneck without the help of the Student
Conference Travel Fund made possible through the generous financial help from Society members. In these
days of budget cuts, few university departments can provide extensive funding for student travel and
conference attendance, and I joint the rest of the recipients of student grants in thanking the Society
for its financial support.
In Seattle, other students and I enjoyed the opportunity to present papers at a major conference. The comments
i received after my presentation were insightful and encouraging. The other student papers I heard were strong, and the
repsonses to them were helpful without being patronizing. As student representatives, Shannon Green and
I intend to work with the board to increase and diversify the student presence at society meetings (see the report of the
Student Committee).
I cannot end without saying how pleased I was to observe that Sonneck members enjoyed performing,
listening, and dancing to music as much as they enjoyed talking about it. I was struck by the rapt (and
participatory) attention of the audiences at the Mike Seeger concert and other performances, the large Sonneck
brass band, the ad hoc ensembles that formed on Saturday night, and the determined crowd of country line dance
students. I am glad to be a part of a music society that keeps music in the foreground, and I look forward to
attending future conferences.
--Christina Baade
Report from the Student Committee
At the Seattle meeting of the Society we were appointed Co-chairs of the Student Committee. During the meeting, we met with members of the
Society, gathering ideas about how we can best represent student members. We present our Mission Statement to state our
goals as student representatives and to solicit suggestions which will help us in realizing them.
Mission Statement
The Student Committee of the Sonneck Society will:
*be an accessible and visible student presence in Sonneck
*bring student issues to the Board
*act as liaisons between student and non-student members
*work to increase the student prsence in Sonneck and at its annual meetings
*raise student awareness of and member donations to the Student Confernece Travel Fund
Our first stps in accomplishing these goals will be to develop a list of mentors willing to advise students on American
musicological topics, survey student members and student conference attendees regarding their experieinces and expectations
of Sonneck and Sonneck Conference meetings, and create and maintain a Student Resources Section on the
Sonneck Web Page.
Please feel free to communicate any thoughts or suggestions to Shannon Green, 57 Bradford La., Madison, WI
53714 (greensl@juno.com) or Christina Baade, 140 W. Gorham #403, Madison,
WIS 53703 (clbaade@students.wisc.edu).
Report from the ACLS
The 1997 meting of the American Council of Learned Societes, 2-3 May, addressed the perils and opportunities of the "Transformation
of Humanistic Studies int he University of the 21st Century." Many delegates bemoaned a lack of respect and financing for the
humanities in higher education. Continuing concerns were listed as follows: universalism, multiculturalism, and
cosmopolitanism; interdisciplinarity, with practical applications of the humanities to the professions of law, medicine, and the
sciences; increased organizational change in the universties, most notably the spread of the "virtual university";
a greater need to communicate humanistic concerns widely to the general public and administrators;
growing technological applications to teaching; a growing social disparity lessening access of disadvantaged
groups to education; a greater emphasis on entertainment over learning; and less contact with original
source materials for students.
The latest pamphlet from the ACLS is now available. Occasional Paper No. 35 (ISSN 1041-536X).
Written by Douglas C. Bennett, the vice president of ACLS, it is titled "New Connections for Scholars:
The Changing Missions of a Learned Society in an Era of Digital Networks." You can borrow a copy from me or
order one from ACLS (228 East 45th Street, New York, NY 10017-3398).
--Deane L. Root, ACLS delegate
Updated 9/22/97