William E. HettrickProfessor of MusicHofstra University

Education and DegreesPh.D. in Musicology, University of Michigan, December, 1968. Dissertation: "The

Thorough-Bass in the Works of Gregor Aichinger (1564–1628)"Study at the Ludwig-Maximilians-Universität, Munich, Germany, 1966–67M.A. in Musicology, University of Michigan, June, 1964. Thesis: "Thomas Simpson’s

Opusculum neuwer Pavanen, Galliarden, Couranten, unnd Volten (1610)” B.Mus. in Music Education (with high distinction), University of Michigan, June, 1962

Honors and Awards (A Selection)Curt Sachs Award of the American Musical Instrument Society, presented at annual

meeting in Colonial Williamsburg, VA, June 2013National Endowment for the Humanities Travel to Collections Award, 1986–87National Endowment for the Humanities Summer Institute, University of Maryland, June,

1985Dean’s Award for Excellence, Hofstra College of Liberal Arts and Sciences, Hofstra University,

1979National Endowment for the Humanities Summer Stipend, 1971Fulbright Grant and Graduate Fellowship, Munich, Germany, 1966–67Stanley Medal of the School of Music, University of Michigan, 1962Phi Beta Kappa, 1961Pi Kappa Lambda, 1960

Publications: Books (Including Large Critical Editions)• Johann Herbeck, Mass in E Minor (Middleton, WI: A-R Editions), under contract, in preparation. • Johann Herbeck, Pueri concinite: A Christmas Song, A-R Special Publications (Middleton, WI, A-R Editions), under contract, in press.• Johann Herbeck, Settings of Three Poems by Walther von der Vogelweide for Unaccompanied Men’s Chorus, in preparation.• Johann Herbeck, Selected German Works, Part 3: For Unaccompanied Mixed Chorus, Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, 64 (Middleton, WI: A-R Editions, 2014). • Johann Herbeck, Five German Works for Unaccompanied Men’s Chorus, A-R Special Publications, 38 (Middleton, WI: A-R Editions, 2014).• Johann Herbeck, Selected German Works, Part 2: For Men’s Chorus and Mixed Chorus with Accompanying Instruments, Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, 58 (Middleton, WI: A-R Editions, 2012).

• Johann Herbeck, Selected German Works for Unaccompanied Men’s Chorus, Recent Researches in the Music of the Nineteenth and Early Twentieth Centuries, 48 (Middleton, WI: A-R Editions, 2008).• The “Musica instrumentalis deudsch” of Martin Agricola: A Treatise on Musical Instruments, 1529 and 1545, Cambridge Musical Texts and Monographs (Cambridge: Cambridge University Press, 1994).• Gregor Aichinger, The Vocal Concertos, Recent Researches in the Music of the Baroque Era, 54–55 (Madison, WI: A-R Editions, Inc., 1986).• Bernhard Klingenstein, Rosetum Marianum (1604), Recent Researches in the Music of the Renaissance, 24–25 (Madison, WI: A-R Editions, Inc., 1977).• Gregor Aichinger, Cantiones ecclesiasticae (1607), Recent Researches in the Music of the Baroque Era, 13 (Madison, WI: A-R Editions, Inc., 1972).

Publications: Articles in Journals and Encyclopedias (A Selection)• “The American Piano-Supply Industry in the Nineteenth Century, with Particular Attention to the Manufacturing Methods of Joseph P. Hale,” in preparation.• “Martin Agricola,” The Grove Dictionary of Musical Instruments, 2nd ed. (2014) (coauthorship). • “Dolceola” and “Joseph P. Hale,” The Grove Dictionary of American Music, 2nd ed. (2013)• “Alfred Dolge” and “John Christian Freund,” The Grove Dictionary of American Music, 2nd ed. (2013) (coauthorship).• “The Bonfire Still Smolders,” Journal of the American Musical Instrument Society 36 (2010): 183–84. • “Familiar Words about a Piano Manufacturer,” Newsletter of the American Musical Instrument Society 37, no. 2 (summer 2008): 9–10.• “Selected German Works for Unaccompanied Men’s Chorus by Johann Herbeck of Vienna,” Embellishments: A Newsletter about Recent Researches 34 (spring 2008): 1–2.• “Martin Agricola,” “The Fugger Family,” “Othmar Luscinius,” and “Sebastian Virdung,”The Harpsichord and Clavichord: An Encyclopedia (New York, London: Routledge, 2007). • "Harry Edward Freund's Great Square-Piano Bonfire: A Tale Told in the Press," Journal of the American Musical Instrument Society 30 (2004): 57–97.• "The Dolceola: A Story of Musical Enterprise in Toledo, Ohio," Journal of the American Musical Instrument Society 26 (2000): 141–186.• “Identifying and Defining the Ruszpfeif : Some Observations and Etymological Theories,” Journal of the American Musical Instrument Society 17 (1991): 53–68.• “The Autobiography of Adalbert Gyrowetz (1763–1850),” Studien zur Musikwissenschaft 40 (1991): 41–74. This article was originally written in German, but during production of the volume the editor asked me to prepare an English version.• “Martin Agricola’s Poetic Discussion of the Recorder and Other Woodwind Instruments (Part II: 1545),” The American Recorder 23, no. 4 (1982): 139–46; 24, no. 2 (1983): 51–60. Reprint in The Recorder and Music Magazine (London: Schott & Co., Ltd.) 8, no. 6 (1985): 171–79; no. 7 (1985): 202–212.

• “Martin Agricola’s Poetic Discussion of the Recorder and Other Woodwind Instruments: A Translation with Commentary (Part I: 1529),” The American Recorder 21, no. 2 (1980): 103–13. Reprint in The Recorder and Music Magazine (London: Schott & Co., Ltd.) 8, no. 4 (1984): 127–29; no. 5 (1985): 139–48.• “Gregor Aichinger,” “Christian Erbach,” “Fugger,” “Adam Gumpelzhaimer,” and “Bernhard Klingenstein,” The New Grove Dictionary of Music and Musicians (London: Macmillan, 1980; revised in 2nd ed., 2001).• “Sebastian Virdung’s Method for Recorders of 1511: A Translation with Commentary,” The American Recorder 2 no. 3 (1979): 99–105.• “Back to Basics: Twelve Modal Pieces by Adam Gumpelzhaimer in Facsimile,” The American Recorder 19, no. 1 (1978): 3–14.• “What to Look for in Editions of Early Music,” The American Recorder 18, no. 4 (1978): 98–100. Reprint (Levittown, N.Y.: Sweet Pipes Inc., 1989).• “The Opusculum of Thomas Simpson,” The American Recorder 8, no. 2 (1967): 43–46.

Publications: Small Critical Editions • Johann Strauss, Sr., “Six Galops” (arranged for csakan by Ernest Krähmer), transcribed and edited for alto recorder/flute (Hannacroix, N.Y.: Loux Music Publishing Company, 1999).• Philipp Fahrbach, “‘Arm in Arm mit dir’ Waltzes, op. 30,” edited for alto recorder (or flute) and piano (Hannacroix, N.Y.: Loux Music Publishing Company, 1988).• Ernest Krähmer, “Eighteen Studies from the Neuste theoretisch practische Csakan-Schule, op. 1,” edited for alto recorder (or flute) (Hannacroix, N.Y.: Loux Music Publishing Company, 1988).• Hans Ulrich Staeps, “Minstrels” for solo voice, recorder quartet, piano (optional string quartet), and percussion; edited from the composer’s autographs, with a translation of his preface (Levittown, N.Y.: Sweet Pipes Inc., 1986).• Gregor Aichinger, “Hodie Christus natus est” (Athens, Ohio: The Motet Press, 1986).• Gregor Aichinger, “Three Ricercars from the Liber secundus sacrarum cantionum, 1595,” Italian Renaissance Consort Series, 11 (Ottawa: Dove House Editions, 1983).• Jacob van Eyck, “Five Duets from His Fluyten lust-hof (Book 1), 1649,” Musica selecta, 9 (Levittown, N.Y.: Sweet Pipes Inc., 1985). • Ernest Krähmer, “Twelve Divertimenti for Solo Czakan (op. 4),” transcribed and edited for alto recorder (Levittown, N.Y.: Sweet Pipes Inc., 1985).• Thomas Mancinus, “Eight Bicinia from the Duum vocum cantiuncularum . . . liber, 1597,” Italian Renaissance Consort Series, 12 (Ottawa: Dove House Editions, 1984).• Pierre de La Rue, Paul Hofhaimer, Heinrich Isaac, and Anonymous, “Four Carmina (a4) from a Manuscript in the Universitätsbibliothek, Munich,” Musica selecta, 8 (Levittown, N.Y.: Sweet Pipes Inc., 1984).• “Six Canons for the Easter Season by Martin Agricola,” The American Recorder 24, no. 1 (1983): 7–13.• Varerio Buona, “Four Trios from His Secondo libro della canzonette, 1592,” Musica selecta, 7 (Levittown, N.Y.: Sweet Pipes, 1983)• Thomas Mancinus, “Four Duets from His Duum vocum cantiuncularum . . . liber, 1597,” Musica selecta, 6 (Levittown, N.Y.: Sweet Pipes Inc., 1983).

• Thomas Simpson, “More Dances from the Opusculum,” American Recorder Society Editions, 89 (New York: Galaxy Music Corporation, 1981).• John Dowland, John Farmer, and Thomas Simpson, “Four Pavan-Galliard Sets from the Opusculum, 1610,” Viola da gamba Series, 33 (Ottawa: Dove House Editions, 1981).• Gregor Aichinger, “Cantabant sancti,” German/Slav Church Music, 10 (London: Mapa Mundi, 1980).• Gregor Aichinger, “Noe, noe, noe,” German/Slav Church Music, 6 (London: Mapa Mundi, 1980).• Gregor Aichinger, “Ave Maria,” German/Slav Church Music, 5 (London: Mapa Mundi, 1980).• Heinrich Isaac, “Two Carmina (a3) from a Manuscript in the Universitätsbibliothek, Munich, Germany,” Musica selecta, 4 (Levittown, N.Y.: Sweet Pipes Inc., 1980). Facsimile edition with edited score. • Paolo Fonghetti, “Four Duets from His Capricii, et madrigali . . . a due voci, 1598,” Musica selecta, 3 (Levittown, N.Y.: Sweet Pipes Inc, 1980). Facsimile edition with edited score.• Adrian Willaert, “Four Trios from Antonio Gardane’s Motetta trium vocum, 1551,” Musica selecta, 2 (Levittown, N.Y.: Sweet Pipes Inc., 1979).• Giovanni Giacomo Gastoldi, “Six Duets from the Primo libro della musica a due voci, 1598,” Musica selecta, 1 (Levittown, N.Y.: Sweet Pipes Inc., 1979).• Hans Leo Hassler, “Eleven German Chorales” (Sharon, Conn.: Consort Music Inc., 1976).• John Dowland and Thomas Simpson, “Pavan (a5) and Galliard (a5) from the Opusculum (1610),” The Renaissance Recorder, 7 (Sharon, Conn.: Consort Music Inc., 1975).• Gregor Aichinger, “Three Ricercars,” American Recorder Society Editions, 84 (New York: Galaxy Music Corporation, 1975).• “Three Thirteenth-Century Dances,” co-editorship with Peter Hedrick (Sharon, Conn.: Consort Music Inc., 1975).• Gregor Aichinger, “Three Marian Motets (a3) from the Tricinia Mariana (1598),” The Renaissance Recorder, 6 (Sharon, Conn.: Consort Music Inc., 1975).• Thomas Tomkins and Thomas Simpson, “Pavan (a5) and Galliard (a5) from the Opusculum (1610),” The Renaissance Recorder, 5 (Sharon, Conn.: Consort Music Inc., 1975).• Gregor Aichinger, “Five Sacred Canzonettas from the Divinarum laudum . . . pars II (1608),” The Renaissance Recorder, 4 (Sharon, Conn.: Consort Music Inc., 1975).• Thomas Simpson, “Dances for Recorder Quintet,” American Recorder Society Editions, 77 (New York: Galaxy Music Corporation, 1971).• Thomas Simpson, “Two Dance Pairs,” New York Pro Musica Instrumental Series, 6 (New York: Associated Music Publishers, Inc., 1970).

Publications: Reviews and Reports (A Selection)• “Poetic Piano Advertising in 1892,” American Musical Instrument Society Newsletter, accepted for publication.• “Milestones,” comments on vol. 40 of JAMIS, writing as former editor, Journal of the American Musical Instrument Society 40 (2014): 6.• David Lasocki, The Recorder and Other Members of the Flute Family in Writings from 1100 to 1500 (E-book published by Instant Harmony, 2012), reviewed in Journal of the American Musical Instrument Society 39 (2013): 220–23.

• “William E. Hettrick’s Sachs Award Acceptance Speech,” American Musical Instrument Society Newsletter 42, no. 2 (fall 2013): 7–8.• Peter H. Adams, An Annotated Index to Selected Articles from The Musical Courier, 1880–1940 (Lanham, Md.: The Scarecrow Press, Inc., 2009), reviewed in Journal of the American Musical Instrument Society 36 (2010): 179–82.• Bettina Wackernagel, Musikinstrumentenverzeichnis der Bayerischen Hofkapelle von 1655: Faksimile, Transcription und Kommentar. Veröffentlichungen der Gesellschaft für Bayerische Musikgeschichte (Tutzing: Hans Schneider, 2003), reviewed in Journal of the American Musical Instrument Society 32 (2006): 179–82.• Syntagma Musicum III: Michael Praetorius. Ed. & trans. by Jeffery Kite-Powell. Oxford Early Music Series (New York & Oxford: Oxford University Press, 2004), reviewed in Music & Letters 87, no. 1 (January 2006): 98–101.• Frederick K. Gable, ed., Dedication Service for St. Gertrude's Chapel, Hamburg, 1607, Recent Researches in the Music of the Baroque Era, 91 (Madison: A-R Editions, Inc., 1998), reviewed in Notes (September 2001): 180–183.• Frank P. Bär, ed., Musica instrumentalis: Zeitschrift für Organologie (Nuremberg: Germanisches Nationalmuseum), Ausgabe 1 (1998), Band 2 (1999), reviewed in Journal of the American Musical Instrument Society 27 (2001): 212–15.• Eva Badura-Skoda, The History of the Pianoforte: A Documentary in Sound (Bloomington and Indianapolis: Indiana University Press, 1999), 90-minute video, reviewed in American Musical Instrument Society Newsletter 30, no. 2 (summer, 2001): 4–7.• Bettina Wackernagel, Musikinstrumente des 16. bis 18. Jahrhunderts im Bayerischen National-museum (Munich: Bayerisches Nationalmuseum, n.d.), reviewed in American Musical Instrument Society Newsletter 29, no. 1 (winter, 2000): 14–16.• A Reminiscence of Gerald Burakoff, The American Recorder (1998).• Music in the German Renaissance: Sources, Styles, and Contexts, ed. John Kmetz (Cambridge: Cambridge University Press, 1994), reviewed in The Sixteenth Century Journal 27 (1996):180–82. • Richard Griscom and David Lasocki, The Recorder: A Guide to Writings about the Instrument for Players and Researchers (New York: Garland Publishing, 1994), reviewed in Notes 52, no. 3 (March 1996): 796–97.• Musica getutscht: A Treatise on Musical Instruments (1511) by Sebastian Virdung, trans. and ed. Beth Bullard (Cambridge: Cambridge University Press, 1993), reviewed in The Sixteenth Century Journal 26 (1995): 165–66; corrected version 766–67.• Marianne Betz, Der Csakan und seine Musik: Wiener Musikleben im frühen 19. Jahrhundert, dargestellt am Beispiel einer Spazierstockblockflöte (Tutzing: Hans Schneider, 1992), reviewed in the Journal of the American Musical Instrument Society 21 (1995): 101–4.• Elizabeth V. Phillips and John-Paul Christopher Jackson, Performing Medieval and Renaissance Music: An Introductory Guide (New York: Schirmer Books, 1986), reviewed in The American Recorder 29, no. 1 (1988): 23–24.• Communication to the editor on the subject of methods of pitch designation, Journal of the American Musical Instrument Society 13 (1987): 131–32.

• Early Music History: Studies in Medieval and Early Modern Music, ed. Iain Fenlon (Cambridge: Cambridge University Press), vols. 1 (1981) and 2 (1982) reviewed in The American Recorder 25, no. 2 (1984): 64–66.• Helmut Ottner, Der Wiener Instrumentenbau 1815–1833, Wiener Veröffentlichungen zur Musikwissenschaft, 9 (Tutzing: Hans Schneider, 1977); Konrad Ruhland, Alte Musikinstrumente aus niederbayerischen Werkstätten, Bavaria antiqua: Verborgene Kostbarkeiten der bayerischen Kulturgeschichte (Munich: Bayerische Vereinsbank, 1978), reviewed in the Journal of the American Musical Instrument Society 8 (1982): 111–16.• Music in Medieval and Early Modern Europe: Patronage, Sources and Texts, ed. Iain Fenlon (Cambridge: Cambridge University Press, 1981), reviewed in The American Recorder 23, no.1 (1982): 28.• The Clausholm Music Fragments, ed. Henrik Glahn and Søren Sørensen, reviewed in Journal of the American Musicological Society 29, no. 1 (1976): 145–48.• Georg Philipp Telemann, Musikalische Werke, vol. 22, “Die Donnerode”; “Das befreite Israel,” ed. Wolf Hobohm, reviewed in Notes 29, no. 4 (1973): 792–93

Publications: Method Books and Arrangements• "Thirteen Great Hymns of the Eighteenth Century," arranged for recorder quartet (Fort Worth, Texas: Sweet Pipes Inc., 2003). • "Airs of the Emerald Isle: Traditional Tunes of Ireland," arranged for recorder quartet (Fort Worth, Texas: Sweet Pipes Inc., 2001).• "The Isle of Gentle Airs: Traditional Tunes of Scotland, England, and Wales," arranged for recorder quartet (Fort Worth, Texas: Sweet Pipes Inc., 2000).• “Senior Prom: Songs We Once Danced To,” arranged for recorder quartet (Fort Worth, Texas: Sweet Pipes Inc., 1999).• The Sweet Pipes Recorder Book, Book 2 (separate editions for soprano and alto recorders) (Fort Worth, Texas: Sweet Pipes Inc., 1998). (Co-authorship with Gerald Burakoff and Paul Clark, and general editorship after the death of the former.)• “Sweet Land of Liberty: Eleven Patriotic American Songs,” arranged for recorder quartet (Levittown, N.Y.: Sweet Pipes Inc., 1996).• “Joyful Tidings: Seventeen Beloved Christmas Carols,” arranged for recorder quartet (Levittown, N.Y.: Sweet Pipes Inc., 1992).• “Seventeen Old Favorite Hymns Selected from British and American Hymnody of the Victorian Period,” arranged for recorder quartet (Levittown, N.Y.: Sweet Pipes Inc., 1989).• The Sweet Pipes Recorder Book, Book 1 (separate editions for soprano and alto recorders) (Levittown, N.Y.: Sweet Pipes Inc., 1980, 1982). Co-authorship with Gerald Burakoff. Papers and Presentations (A Selection)• “’Eine schöne art von dreierley geigen’: Streichinstrumente in Martin Agricolas Musica instrumentalis deudsch (1529 und 1545).” Handout supplied. Groß Geigen, Vyolen, Rybeben: Grossformatige Streichinstrumente in nordalpininen Quellen um 1500. Eine Studientagung der Schola Cantorum Basiliensis–Hochschule für Alte Musik in Zusammenarbeit mit dem Museum für Musik. Basel, Switzerland, June 5–6, 2015. Presented by invitation.

• “The Paradoxical Mr. Swick: A Colorful Episode in the History of American Piano Manufacturing and Trade Journalism.” Handout with quotations of 75 historical documents supplied. Annual Meeting of the American Musical Instrument Society, Huron, OH, May, 2014..• “’Movin’ on Up’: The Great Migration of Piano Manufacturers and Dealers to Harlem and the Bronx, New York, in the Period 1880–1930.” Handout and Check-list supplied and photos of surviving buildings projected. Annual Meeting of the American Musical Instrument Society, Colonial Williamsburg, VA, May–June, 2013. Presented also at the winter meeting of the AMS-GNY, New York, January, 2014.• Walking Tour of the “Piano District” through the Streets of Historical Mott Haven (Bronx), Handout supplied. Annual Meeting of the American Musical Instrument Society, New York, May, 2012.• “An Ample Supply: American Piano-Parts Manufacturers and Dealers Up to 1900.” Handout check-list supplied. Annual Meeting of the American Musical Instrument Society, Phoenix, AZ, May, 2011.• “Joseph P. Hale (1819–1883), Piano Manufacturer of New York: His Work, Reputation, and Legacy.” Handout supplied. Spring Meeting of the AMS-GNY, New York, May, 2010. • “Johann Herbeck (1831–77) and the Singverein of the Gesellschaft der Musikfreunde in Vienna: His Legacy as Conductor and Composer.” Fifteenth Biennial Conference on Nineteenth-Century Music, University College, Dublin, Ireland, June, 2008.• “A Visit to the Piano Factory of Joseph P. Hale: The Great Industrialist at Work.” American Musical Instrument Society Study Session, American Musicological Society, Annual Meeting, Quebec City, Canada, November, 2007.• “’Provided with all the modern improvements’: American Piano Factories over a Half Century.” Handout supplied, Annual Meeting of the American Musical Instrument Society, Yale University, New Haven, CT, July, 2007.• "Johann Herbeck's Association with the Wiener Männergesang-Verein and His Music for Men's Chorus." Fourteenth Biennial Conference on Nineteenth-Century Music, University of Manchester, UK, July, 2006.• "Joseph P. Hale, Manufacturer of Pianos: Fraud or Eminent Benefactor?" Annual Meeting of the American Musical Instrument Society, University of Nevada, Las Vegas, May, 2005.• "Harry Edward Freund and His Great Square-Piano Bonfire." joint meeting of the American Musical Instrument Society, the Galpin Society, and CIMCIM in Oxford, London, and Edinburgh, UK, August, 2003.• "The Editions of Franz Schubert's Choral Music by Johann Herbeck." Handout supplied. 17th Congress of the International Musicological Society, Leuven, Belgium, August, 2002.• “Perfect Practice in Golden Silence: The Remarkable Keyboards of Mr. and Mrs. Virgil.” Annual Meeting of the American Musical Instrument Society, Salt Lake City, UT, May, 1995.• “The Dolceola: An American Story of Family and Friends.” Annual Meeting of the American Musical Instrument Society, San Antonio, TX, May, 1992.• “In Search of the Ruszpfeif : A Journey through the Labyrinth of Etymology and Iconography.” Handout supplied. Annual Meeting of the American Musical Instrument Society, Claremont, CA, March, 1988.• “Ludwig August Frankl and the Autobiography of Adalbert Gyrowetz: New Documentary Evidence.” Meeting of the Mid-Atlantic Chapter of the American Musicological Society,

Swarthmore, PA, October, 1984. Presented also at the University of Virginia, Charlottesville, VA, February, 1990.• “The Czakan, from Hungarian Hermitage to Viennese Drawing Room.” Annual Meeting of the American Musical Instrument Society (joint session with the Pacific Northwest Chapter of the American Musicological Society), Vancouver, B.C., April, 1981.• “The Fugger Family and Music in Renaissance Augsburg.” Handout, “Printed Collections of Music Dedicated to the Fuggers, 1546–1624, and Genealogical Tree of the Fuggers ofAugsburg.” Annual Meeting of the American Musicological Society, Minneapolis, MN, October, 1978.• “The Cantiones ecclesiasticae (1607) of Gregor Aichinger: A German Counterpart to Viadana’s Cento concerti ecclesiastici.” Annual Meeting of the American Musicological Society, Chapel Hill, NC, November, 1971.• “The Opusculum: Thomas Simpson’s First Collection of Dances.” Meeting of the Midwest Chapter of the American Musicological Society, Chicago, IL, 1964.

Service to the American Musical Instrument Society Member of Bessaraboff Award Committee, 2014–17Chairman of Ad Hoc Journal Editorial Search Committee, 2011Member of Densmore Award Committee, 2010–13; chairman 2012–13Member of Curt Sachs Award Committee, 2003–06; chairman 2005–06Member of Nominating Committee, 2001–02; chairman 2002–03Editor of Newsletter, 1997, 1999–2003Chairman of Program Committee for AMIS sessions in "Toronto 2000: Intersections," 1997–

2000President, 1995–99Chairman of Program Committee, 1995Ex-officio member of the Committee to Reorganize the Administration of the Society, 1994Member of Nominating Committee, 1991–93; chairman 1993–94Prepared new bylaws to allow for election of officers by mail ballot (special request of the

President of the Society), 1992Member of Board of Governors, 1988–94Chairman of Committee on the Directory of Musical Instrument Collections in the United

States and Canada, 1988–93Member of Publications Prizes Committee, 1988–90; chairman 1990–91Chairman of Program Committee, 1987; co-chairman 1988–89Member of Scholarship and Grant Subcommittee, 1988–89Member of Journal Editorial Board, 1986–95, 1999–Member of Nominating Committee, 1986–87Editor of Journal, 1979–85, 1992

Service to the American Musicological Society (A Selection)Treasurer, Greater New York Chapter, 2011–

Chairman, Ad Hoc Sub-Committee of the national Council to form a statement recommending qualifications for faculty teaching courses in music history in American colleges, conservatories, and universities, 2010–13 (Approved by the Council, November 2013; approved by the national Board, November 2014)

Representative of the Greater New York Chapter to the national Council, 2008–11

Service to Hofstra University (A Selection)Founder and Director of the Hofstra Recorder Ensemble, 2011–Chairman of Ad Hoc Promotion Committee for Howard Cinnamon, 2010–11Chairman of Departmental Ad Hoc Tenure Committee for David R. Ramael, 2009–10Associate Chairman of the Department of Music, 2006–08Chairman of Departmental Ad Hoc Tenure Committee for David Fryling. 2006–07Chairman of HCLAS Executive Committee, 2004–05Chairman of Departmental Ad Hoc Tenure Committee for Mark Anson-Cartwright, 2002–03Chairman of Ad Hoc Promotion Committee for Peter Loel Boonshaft, 1999Chairman, Department of Music, 1994–95Chairman of Departmental Ad Hoc Tenure Committee for Peter Loel Boonshaft, 1992–93Chairman of Departmental Ad Hoc Tenure Committee for Howard Cinnamon, 1990–91Chairman of Departmental Ad Hoc Tenure Committee for Edgar Dittemore, 1982–83 Founder and Director of the B.S. in Music (Music History and Literature)Teaching Dean, HCLAS, 1975–79Founder and Director of the Hofstra Collegium Musicum, 1969–2013, performing major

concerts every semester (including the concerts—for most seasons called the Festival Musicale—in Hofstra’s annual Shakespeare Festival since 1971)