As the original journal for the Sonneck Society, American Music helped solidify that organization's presence and shape its scholarly profile: on a more personal scale, it also launched a professional career when it published my first article in fall 1996. In “A Sense of Place: Charles Ives and ‘Putnam's Camp, Redding, Connecticut,’” I proposed that place provided one perspective from which to understand music, music culture, and personal and national history and identity, and this was especially so in the case of Ives.1 Although place was recognized by numerous disciplines as an essential locus of knowledge and traditional ways of knowing, it was not widely employed as a starting point for “high-art” musicological scholarship. This was made clear when Wiley Hitchcock, who chaired the panel at a Sonneck Conference where I was presenting a paper, introduced me as “the place musicologist”: it seemed my focus on place deserved a...

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