Annual Meeting Program Guide Virtual • 7-8 & 14-15 November 2020 1 The American Musicological Society & The Society for Music Theory

2020 Annual Meeting Program Guide

2 Table of Contents

Welcome from AMS 4 Welcome From SMT 6 Committees & Staff 7

Featured 9

AMS Schedule of Sessions & Events Saturday, 7 November 2020 52 Sunday, 8 November 2020 58 Saturday, 14 November 2020 65 Sunday, 15 November 2020 75

SMT Schedule Grid Saturday, 7 November 2020 83 Sunday, 8 November 2020 86 Saturday, 14 November 2020 91 Sunday, 15 November 2020 96

3 Welcome from AMS

Welcome to the 86th annual meeting of conference—in the form of university- the American Musicological Society—a and press-sponsored parties ('networking meeting which is also the 23rd meeting events'), coffee breaks, and DJ-curated we have held jointly with the Society for "Listen and Unwind" events. Feel free to Music Theory (SMT) and the first that either make yourself one of the music/ology- society has held virtually! I have written themed drinks at the end of the day and this message in Augusta, Maine, where I hang out with your friends and colleagues. reside on land that was the ancestral home of the Cushnoc clan of the Penoboscot And we are delighted to offer this Nation, an Algonquian-speaking people conference as the pilot project for future who were and are part of the Wabanaki virtual conferences that will enable Confederation. us to reduce dramatically the carbon footprint of North America’s largest We in the AMS are delighted to offer you an musicology community while increasing intellectually and musically rich program, its accessibility to a wider community the first to be chosen by an expanded crew of scholars of and thinkers about music of volunteer proposal readers drawn from and sound. We welcome your feedback, current and past members of the Council, which you can offer by stopping by one of and curated by a Program Committee the Board's scheduled "Meet and Greet" chaired with tireless imagination by Mark events, or by emailing the incoming chair Katz. Thanks to the wonders of technology, of the Committee on the Annual Meeting, almost all lectures, papers, panels, poster Danielle Fosler-Lussier. sessions, workshops, roundtables and performances can be accessed in advance, This conference would not have been enabling more focused discussion during possible without the hard work of many the live Q&A sessions scheduled on both volunteers. We wish especially to thank the weekends; and many, if not most, sessions indefatigable Judy Tsou, Vice-President (including Q&A) can be accessed on the and Chair of the Committee of the Annual conference platform until August 1, 2021. Meeting, Director-at-Large Charles Thus, for the first time the entire feast that Garrett, and the rest of that Committee; is an AMS program will be available, over the Performance Committee, chaired time, to all of us, along with the events that by David Schneider, Minneapolis Local we sponsor jointly with SMT. For a small Arrangements Chair Kelley Harness; Louis additional fee, the entire feast that is an Epstein and Daniel Groll for producing a SMT program will also be available. music video celebrating the musical virtues of Minneapolis, the city where we were True to our reputation as a society that to have been this year, and the Society has way too much fun at its conferences, for American Music for allowing them we are almost equally delighted to be to adapt their video for us. We received able to inject some fun into the virtual fundraising advice and practical help from

4 Welcome from AMS cont'd the Development Committee, chaired by We ask that you please refrain from screen Peter Burkholder, who 'lent' us committee grabs, videos, or photos of materials member Elizabeth Hudson. Most of all, we presented. Session chairs will inform you thank Executive Director Siovahn Walker what to do to pose questions for the Q&A. and the rest of the AMS' staff during this Please, too, abide by AMS’s Guidelines very challenging year—Christian Botta, for Ethical Conduct, which asks us to Samuel Chan, Alison McCarty and Katie show “respect for diverse points of view” VanDerMeer. and have “honesty and integrity” in our work, among other things. The complete Finally, we thank the Society for Music Guidelines are posted on the AMS website. Theory for an uncommonly collegial and creative collaboration over many Thank you, and enjoy the conference! months, especially President Patricia Hall, Program Chair Danny Jenkins, Networking Suzanne G. Cusick Committee Chair Brian Moseley, and President Executive Director Jennifer Diaz. American Musicological Society

5 Welcome from SMT

Welcome to the first joint virtual conference Of course, this splendid program wouldn’t for AMS and SMT! We pride ourselves in have been possible without the generous taking the challenges of the COVID era work of many volunteers and support and creating a virtual conference that from our donors. We especially thank the will exceed the traditional conference Program Committee, chaired by Danny experience while minimizing our carbon Jenkins; the Networking Committee, footprint. We offer the most diverse chaired by Brian Moseley; and our program of presentations for any SMT Executive Director, Jennifer Diaz for conference yet, with the opportunity to overseeing every detail of the conference view presentations in-depth before the and formulating such creative solutions. conference, and to interact in real-time with the authors during a session. Similarly, A special welcome to undergraduate we hope you will take advantage of the students. We hope you will find events that enlarged poster sessions – a highlight of stimulate your interest in music theory. We last year’s conference—in a format that also thank our AMS colleagues for their allows you view materials at your leisure openness and collegiality during the many before interacting with the presenter. months of planning for this conference.

One of the recurring themes in the design Patricia Hall of our program has been flexibility: to view President multiple sessions that would normally Society for Music Theory (SMT) have been scheduled simultaneously; to register for AMS sessions, SMT sessions, or both; to take part in asynchronous slack discussions after a session has ended.

6 AMS Committees & Staff SMT Committees & Staff

Program Committee (AMS) Program Committee (SMT) Mark Katz, Chair J. Daniel Jenkins, Chair University of North Carolina at Chapel University of South Carolina Hill Jenine Brown Mark Burford Peabody Conservatory of Reed College the Johns Hopkins University Allessandra Campana Marion A. Guck Tufts University University of Michigan Andrew Hicks Patricia Hall (ex officio) Cornell University University of Michigan Brian Kane Christoph Neidhöfer Yale University McGill University Elisabeth Le Guin Frank Samarotto UCLA Indiana University Bloomington Emily Wilbourne Janna Saslaw CUNY, Graduate Center Loyola University New Orleans Chris Stover Performance Committee (AMS) University of Oslo David Schneider, Chair Amherst College Networking Committee (SMT) Gwyneth Bravo Brian Moseley, Chair New York University University at Buffalo Ivan Raykoff Claire Arthur The New School Georgia Institute of Technology Kelley Harness Philip Baczewski University of Minnesota University of North Texas Jack Boss Local Arrangements (AMS) University of Oregon Philip Duker Kelley Harness, Chair University of Delaware University of Minnesota Andrew Gades The College of Idaho Committee on the Julian Hook Annual Meeting (AMS) Indiana University Bloomington Robert Kosovsky Judy S. Tsou, Chair New York Public Library University of Washington Megan Lavengood Tekla Babyak George Mason University Independent Scholar William Marvin Charles Garrett (ex officio) Eastman School of Music University of Michigan

7 Abigail L. Fine Networking Committee (SMT) cont'd University of Oregon Stephan Pennington Seth Monahan Tufts University Yale School of Music Siovahn W. Walker (ex officio) Tahirih Motazedian American Musicological Society Vassar College William O’Hara Gettysburg College Board of Directors (AMS) Sam Reenan Suzanne Cusick, President Eastman School of Music New York University René Rusch Steve Swayne, President Elect University of Michigan Dartmouth College Brent Yorgason Judy Tsou, Vice President Brigham Young University University of Washington Jeff Yunek James Ladewig, Treasurer Kennesaw State University University of Rhode Island Lydia Hamessley, Secretary Board of Directors (SMT) Hamilton College Patricia Hall, President Joy Calico University of Michigan Vanderbilt University Robert S. Hatten, Past President Julie E. Cumming The University of Texas at Austin McGill University Gretchen Horlacher, Vice President Charles Hiroshi Garrett Indiana University Bloomington University of Michigan Philip Stoecker, Secretary Bonnie S. Gordon Hofstra University University of Virginia Jocelyn R. Neal, Treasurer Alejandro L. Madrid University of North Carolina at Chapel Hill Cornell University Inessa Bazayev Douglas Shadle, Council Secretary Louisiana State University Vanderbilt University Anna Gawboy Leonora Saavedra Ohio State University University of California, Riverside Julian Hook Indiana University Bloomington Staff (AMS) Jennifer Iverson University of Chicago Siovahn A. Walker, Executive Director Nancy Yunhwa Rao Christian Botta Rutgers University Alison McCarty Leigh VanHandel Katie Van Der Meer University of British Columbia

Staff (SMT) Jennifer Diaz, Executive Director

8 Featured

All times are listed in Central Standard Time (CST).

Events and sessions open to SMT registrants.

9 AMS Platform Jazz, Gender and Society: A Discussion with Terri Lyne Carrington and Farah Jasmine Griffin

Sunday, 8 November 4:00PM - 5:30PM CST

Roles and Ethics in the Peer-Review Process Sponsored by the Professional Development Committee (SMT)

SMT Platform Nicole Biamonte, McGill University Chair and Moderator Jennifer Iverson, University of Chicago Christopher Segall, University of Cincinnati College-Conservatory of Music Joseph Straus, The Graduate Center, CUNY

Sunday, 15 November 1:00PM - 2:15PM CST

10 https://www.pikappalambda.org/new-chapters

11 Listen & Unwind 6:00PM-7:30PM CST Every Meeting Day

AMS Platform Open to SMT Registrants UNIVERSITY OF MICHIGAN PRESS

I USED TO LOVE TO DREAM RHYMES IN THE FLOW A.D. Carson How Rappers Flip the Beat Macklin Smith and Aurko Joshi EVERYBODY IN, NOBODY OUT Inspiring Community at Michigan’s University IN AND OUT OF PHASE Musical Society An Episodic History of Art and Music in the Ken Fischer with Robin Lea Pyle 1960s Michael Maizels MUSIC ON THE MOVE Danielle Fosler-Lussier NEW SERIES WHAT IS POST-PUNK? MUSIC & SOCIAL JUSTICE Genre and Identity in Avant-Garde Popular SOUNDING DISSENT Music, 1977-82 Rebel Songs, Resistance, and Irish Mimi Haddon Republicanism CHARLIE PARKER Stephen Millar His Music And Life (Revised Edition) PERFORMING Carl Woideck COMMEMORATION RECORD CULTURES Musical Reenactment and the The Transformation of the U.S. Politics of Trauma Recording Industry Annegret Fauser and Michael A. Kyle Barnett Figueroa, editors SOUND STREAMS SINGING OUT A Cultural History of Radio-Internet GALA Choruses and Social Change Convergence Andrew Bottomley Meet the authors! Saturday, November 14, noon Eastern Register for the ZOOM Book Party!

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The University of Chicago Press www.press.uchicago.edu 14 Fund your degree and gain valuable teaching experience as a tutor and teaching assistant. .

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AMS Platform AMS Business Meeting & Award Ceremony

This year's AMS Business Sunday, 8 November 2020 Meeting and Award Ceremony 1:00PM - 2:50PM CST will provide important updates for AMS members on the business of the Society and cast a spotlight on research, teaching and performance excellence.

Join us to discover who has won this year's Otto Kinkeldey Award and many others!

15

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The Committee on the Status of Women Laura Emmery, Co-moderator (CSW) in conjunction with the Queer Judith Lochhead, Co-moderator Resource Group (QRG) is sponsoring a Cora Palfy session entitled “Who is allowed to be Vivian Luong a genius?” Our goal in this session is to Taylor Myers focus attention on the ways that the Charity Lofthouse designation of “genius” is bestowed on Nikola Komatović some and denied to others and also on the Joseph Straus ways that the designation of “genius” has Jessica Shand permitted and even encouraged behaviors that are discriminatory and abusive. Saturday, 14 November 1:00-2:15PM CST

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@UIUCMusicology 19 v SMT Plenary Session Changing the Story: Embodiment as Musical Practices and Experiences

Marion A. Guck, Chair Mariusz Kozak Marianne Kielian-Gilbert Fred Everett Maus Daphne Leong

Saturday, 14 November 2020 2:30PM - 4:00PM CST SMT Platform

AMS Platform “A Woman Is A Sometime Thing”: Black Feminist Sound & Fury in the Porgy & Bess Archive Daphne Brooks, Yale University

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Cover image: Detail from set design by Max Brückner (1836-1919) EditedCover image: DLIby Collection, Mark Berry Battle of Vittoria, 1813. for Act III of by Richard Wagner (1813-1883), Twilight of the Gods Acc No: 2386. Reproduced by permission of the performed in Bayreuth in 1896. Bayreuth, Richard-Wagner-Museum M Trustees of the former DLI and the DLI Collection. (Photo by DeAgostini/Getty Images). and Nicholas Vazsonyi M

Cover image: Bonnie Sheckter Y K Cover design: Andrew Ward Cover design: Andrew Ward Cover design: Andrew Ward Y K Kristiansen and Jones and Kristiansen

Longbottom Cambridge Introductions to Music Cambridge Introductions to Music MORTEN KRISTIANSEN is AssociateFitch COMPOSERS IN CONTEXT

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Richard Strauss Renaissance Polyphony the music program at Xavier University in Richard Understanding and appreciation of musical M

C Cincinnati, Ohio. In addition to conference works is greatly enhanced by knowledge of the This engaging study introduces Renaissance IN CONTEXT Carmen Abroad Carmen papers and journal articles on Richard Strauss context within which their composers lived polyphony to a modern audience.and It helps fin-de-siècle read- German opera, he has authored and worked. Each of these volumes focusses ers of all ages and levels of experience make sense Polyphony Renaissance Richard Strauss in Context offers a distinctive approach to

JACKET program notes for the Salzburg Festival. on an individual composer, offering lively, of what they are hearing. How does Renaissance the study of a composer in that it places the emphasis on Richard Strauss Richard accessible, and concise essays by leadingInstrumental scholars Music music work? How is a piece typicalJOSEPH of its style E. JONES is Associate Professor contextualizing topics rather than on biography and artistic Strauss on the many contexts – professional, political, and type; or, if it is exceptional, what makes it so? of Music at Texas A&M University-Kingsville output. One might say that it inverts the relationship between intellectual, social and cultural – thatin have aan Age of Sociability The makers of polyphony were keenly aware of where he also serves as director of an annual composer and context. Rather than studies of Strauss’s librettists IN CONTEXT bearing on his or her work. Biographical and the specialized nature of their craft. How is this study abroad program in Vienna. His research that discuss the texts themselves and his musical settings, for musical influences, performance andHaydn, publishing Mozart and Friends reflected in the music they wrote, and how were they regarded by their patrons areas include German opera and the fin de siècle, history and the creative afterlife of each and audiences? Through a combination of detailed, nuanced appreciation of instance, this book offers essays on the writers themselves: their Edited by and he is a co-editor of Genetic Criticism and the composer’s work are also addressed, providing musical style and a lucid overview of current debates, this book offers a glimpse biographical circumstances, styles, landmark works, and broader W. Dean Sutcliffe Creative Process (2009). Morten Kristiansen readers with a multi-faceted view of how the of meanings behind and beyond the notes, be they playful or profound. It will positions in literary history. Likewise, Strauss’s contributions to composers’ output and careers were shaped by enhance the listening experience of students, performers and music lovers alike. the concert hall are positioned within the broader development Joseph E. Jones the world around them. of the orchestra and trends in programmatic music. In short,

readers will benefit from an elaboration of material that is either IN Cambridge Introductions to Music absent from or treated only briefly in existing publications. Recent titles in the series

CONTEXT ‘Cambridge University Press is to be congratulated for formulating the idea of an Through this supplemental and broader contextual approach, Brahms in Context “Introductions to Music” series.’ Nicholas Jones, The Musical Times this book serves as a valuable and unique resource for students, Edited by Natasha Loges and Katy Hamilton Each book in this series focuses on a topic fundamental to the study of music at scholars, and a general readership. The Beatles in Context

Fitch 9780521899338 PPC. C M undergraduate and graduate level. The introductions will also appeal to readers Edited by Kenneth Womack who want to broaden their understanding of the music they enjoy. Fabrice Fitch Carmen• Cont Abroadain textboxes which highlight and summarise key information Beethoven in Context Edited by Glenn Stanley and John D. Wilson • Provide helpful guidance on specialised musical terminologyKRISTIANSEN AND JONES – RICHARD STRAUSS IN CONTEXT

Bizet’s Opera• Thorough on guidesthe toGlobal further reading Stage assist the reader in investigating the Stravinsky in Context topic in more depth Jacket illustration: Munich. Karlsplatz view to the Edited by Graham Griffiths

) Procession on on Procession ) Bellini illustration: Gentile ( 1429–1507 Cover – 1496. Venice in San (Piazza Marco) Square Marks’s St. Watson Sue design: Series cover Renaissance Edited by Richard Langham Smith railway station. On the right the palace of justice, Fabrice Fitch is a composer and musicologist specializing in Renaissance which was built from 1891 to 1897 by Friedrich von polyphony and its performance. His monograph Johannes Ockeghem: Thiersch. Germany. Hand-colored lantern slide and Clair MassesRowden and Models remains the only full-length monograph in English on the composer, and he has published widely on Obrecht, Agricola, other9781108422000 around 1900. (Photo by Imagno/Getty Images)

Y K Polyphony composers of that generation, and the Eton Choirbook. His compositions have been performed by leading soloists and chamber ensembles and Jacket designed by Hart McLeod Ltd broadcast internationally. He has been a reviewer with Gramophone for over 25 years. PRINTED IN THE UNITED KINGDOM

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ISSN 1478-5722 Now publisher of the Yearbook for Traditional VOLUME 16 | NUMBER 2 | JUNE 2019 Music and the Royal Musical Association Journals Cambridge University Press is delighted that Quarterly from January 2020 the Journal of the Royal from Musical Association and the Royal Musical 2020 Association Research Chronicle have been published in partnership with the Press.

ISSN 1479-4098 Nineteenth-Century Music Volume 17 Issue 2 August 2020 The International Council for Traditional Nineteenth-Century MusicReview JOURNAL OF THE SOCIETY FOR 179 NOTES ON ARTICLE CONTRIBUTORS Music’s journal joined our world-leading list ARTICLES Review 181 Tracing Jewish Music beyond the Synagogue: Charles Garland Verrinder’s Hear my cry O God AMERICAN DANIELLE PADLEY 225 Reassessing Ferdinand Ries in Vienna: Ramifications for Beethoven Biography JOS VAN DER ZANDEN 245 ‘Habitually Embodied’ Memories: The Materiality and Physicality of Music in 2019. These three journals have joined in Hardy’s Poetry CATHERINE CHARLWOOD MUSIC VOLUME 14 • NUMBER 3 • AUGUST 2020 271 BOOK REVIEWS

293 CD REVIEWS Review 321 DVD REVIEW a distinguished list that already includes 325 SCORE REVIEW

329 REVIEW ESSAY

Volume twelve of the principal titles in music and 17 Issue 2

Cover image: C.G. Verrinder, Hear my cry O God. Anthem, composed for 21st June 1887. (London: Novello, Ewer & Co., 1887). © British Library Board (Music Collections F.231.c.(38.), 1–8). four in the performing arts. Cambridge

New to New to VOLUME 17 • NUMBER 2 • SEPTEMBER 2020 • ISSN 1478-5706 University Press is working together with all Volume 17 • Issue 2 • August 2020

® Cambridge Core MIX For further information about this journal Paper from Cambridge Cambridgeplease go to the journal web site at: responsible sources cambridge.org/ncm FSC® C007785 our titles to ensure the continued excellence in 2020 in14794098_17-2.indd 2020 Custom H 20-08-2020 14:15:48 of our field-leading music journals.

Follow Cambridge Music on Twitter! @CambUP_Music To find out more about Music from Cambridge, visit www.cambridge.org/music 22 AMS Platform Open to SMT Registrants

“Bach to Black”: A Recital of Suites by J.S. Bach, Samuel Coleridge-Taylor, and James Lee III Dr. Rochelle Sennet, piano

Saturday, 7 November 5:00PM - 5:50PM CST

Tenure Trekking: AMS Platform Exploring Diverse Tenure Processes

The session is aimed at those interested in applying for tenure-track jobs or in the midst of fulfilling requirements for tenure. Panelists will discuss different models for achieving tenure and the importance of keeping the idea of being "tenurable" in mind while applying and interviewing for jobs.

Participants: Stephen Crist, Denise Von Glahn, Jeremy Grimshaaw, Paul Schleuse, and Anita Hardeman

Saturday, 7 November 2020 3:00PM - 4:30PM CST AMS Platform J & J LUBRANO MUSIC ANTIQUARIANS Visit the AMS Posters established 1977 page to explore this year’s ❧ Musical Autographs & Manuscripts poster presentations. First & Early Editions of Printed Music Rare Books on Music & Dance “There's Something About Mary” Music- & Dance-Related Iconography Katharyn Benessa 15th - 21st Centuries “If I had my life to live over, I'd be a Botanist": John Cage's Santa Cruz Collection” Catalogues issued Joseph Finkel ❧ “Ensembles as Musical Communities in Greater Minnesota” Denise Odello Please visit our website: www.lubranomusic.com “In Search of the Lost Voice in Seventeenth- century Music - A Research Project” 6 Waterford Way, Syosset, NY 11791 USA Marina Toffetti and Gabriele Taschetti T 516-922-2192 [email protected]

Thunder Band

Thunderband is a Minneapolis-based band of Somali-American diaspora artists who play qaraami or "old style" music based on musical traditions learned in Somalia.

Abdisalam Salayman “Najax”, oud Anab Mohamed, vocals Abdirizak Kahiye “Harbi”, percussion/drummer Yousef Mohamed “Geedi”, vocals

Saturday, 14 November AMS Platform 5:00PM - 5:50PM CST Open to SMT Registrants 24 musicdancetheatre.asu.edu

Inspiring and empowering students to become creative leaders who transform society through music.

Arizona State University’s School of Music, Dance and Theatre in the Herberger Institute for Design and the Arts is a comprehensive music school offering undergraduate, masters and doctoral degrees and is ranked among the top schools in the nation by U.S. News & World Report. The Music Library holds one of the largest collections of print and electronic resources in the Southwest. Degrees include the BA in music and culture, MA in musicology or ethnomusicology and PhD in musicology. Musicology Musicology at ASU focuses on the study of music in historical contexts and on musical traditions as sociocultural artifact, behavior and performance. Highlights of the PhD include experiences in applied musicology, opportunities for interdisciplinary collaboration and teaching (in-person and online). Application deadline for all degrees is December 1. Faculty • Sabine Feisst: 20th and 21st-century music, experimental music, ecomusicology • Dave Fossum: musics of the Middle East and Central Asia, intellectual property law, cultural policy, religion, language • Kay Norton: music and wellbeing, American sacred music, the American South • Catherine Saucier: medieval and Renaissance sacred music, civic cultures of the Low Countries, hermeneutics, liturgical studies • Peter Schmelz: 20th and 21st-century music, Russian, Ukrainian and Soviet music, cold war studies, experimental music, jazz, improvisation • Ted Solís: pedagogies, improvisation, dance and music relationships, Hispanic Caribbean music, diasporic musics • Christi Jay Wells: jazz history, African American music, dance and embodiment, popular music

Learn more! musicdancetheatre.asu.edu/musicology

Copyright © Arizona Board of Regents. All rights reserved. 1020 25 Inspiring the extraordinary

Join us at Durham University, UK, an internationally renowned university

• Ranked No. 1 UK Music Department in The Complete University Guide (2018/2019), The Sunday Times University League Table (2017/2018/2019) and Guardian University League Table (2019); in the top three music departments in the Research Excellence Framework 2014; 27th in the Times Higher Education World University Rankings by Subject - Arts and Humanities (2020); 78th in the QS World University Rankings (2020). • Close-knit postgraduate community of 50 students • Taught and research postgraduate programmes, full time or part time • Beautiful world heritage site location and extensive facilities for postgraduate study in Music

• Taught MA (1FT/2PT) • MMus (2FT/4PT) • Research MA (1FT/2PT) • PhD (3FT/6PT) with internationally respected staff

Martin Clayton: Hindustani classical music; Laura Leante: Indian classical and folk musical entrainment and embodiment; music; performance analysis; music British-Asian music and globalisation; music semiotics Nick Collins: live computer music; musical Simon Mills: Korean shaman music; artificial intelligence; computational systems of musical representation; musicology performance theory; musical instruments Jeremy Dibble: nineteenth- and Richard Rijnvos: composition twentieth-century British and Irish Hector Sequera: renaissance performance music; church music; hymnology practice; print and manuscript cultures; Ian Dickson: composition; Italian modernism Elizabethan and Jacobean vocal music durham.ac.uk/music Tuomas Eerola: music cognition; musical John Snijders: nineteenth-century piano entrainment; music and emotion performance practice; the American music.pgadmissions@ avant-garde; music and visual art; sound art Eric Egan: composition durham.ac.uk Liila Taruffi: music psychology, music Katherine Hambridge: nineteenth-century and well-being, theoretical philosophy and French and German music theatre; music aesthetics @MusicDurhamUni and politics; musical modernity c. 1800 James Weeks: composition Julian Horton: theoretical and analytical MusicDurhamUni approaches to nineteenth-century Bennett Zon: music, religion and instrumental music; sonata forms; science in the long nineteenth-century theories of tonality Patrick Zuk: Russian and Soviet Kelly Jakubowski: music psychology; musical culture; music and trauma music and memory; absolute pitch

ALPH/09/19/1108 26 Rice University’s Shepherd School of Music offers the bachelor’s and master’s degree in musicology. Small by design, the graduate program fosters individualized study with leading faculty-scholars and prepares students for top doctoral programs in the field.

Dean of the Shepherd School of Music Robert Yekovich

Musicology Faculty and Research Areas

Gregory Barnett, chair—history of theory; 17th- and early 18th- century Italian instrumental music; historical performance practice

David Ferris—late 18th- and early 19th-century music; romanticism; biography

Alexandra Kieffer—Debussy and early 20th-century French intellectual culture

Peter Loewen—medieval Latin and vernacular song; religious drama; music in preaching and intellectual history

Danielle Ward-Griffin—Britten; opera on television; 20th-century British and American opera performance; opera and place

The Shepherd School of Music • Rice University, Houston, TX • music.rice.edu

27 NEW AND NOTABLE MUSIC BOOKS FOR 2020

NEW IN PAPERBACK

OPEN ACCESS SAVE 40% USING SOURCE CODE 20E6550 OR REQUEST AN EXAM COPY: www.ucpress.edu

28 MUSIC JOURNALS FROM UC PRESS University of California Press is proud to publish the Journal of the American Musicological Society the offi cial journal of the AMS

Editor-in-Chief: Kevin C. Karnes ISSN: 0003-0139 eISSN: 1547-3848 Frequency: Triannual

LIBRARIANS For information about subscriptions to the Music Subject Collection see: www.ucpress.edu/go/music

online.ucpress.edu/journals

29 Musicology Ph.D. Program at Princeton University

With a long tradition of excellence and FACULTY innovation, the musicology program at Wendy Heller Jamie Reuland Scheide Professor of Music History Assistant Professor of Music Princeton University encompasses historical, Chair, Department of Music Elias Boudinot Bicentennial Preceptor theoretical, cognitive and ethnographic Director, Program in Italian Studies Medieval song; music and culture in the approaches. Graduate students, who are Seventeenth and eighteenth century Middle Ages; chant studies music; history of opera; gender and fully funded for five years, become part of sexuality in early modern music; classical Gavin Steingo a vibrant scholarly and artistic community. reception in opera Associate Professor of Music Graduate students are encouraged to Sound studies; African music; music and Elizabeth Margulis philosophy; global popular music participate in the department’s rich Professor of Music Director of Graduate Studies (Musicology) performance life; studio instruction in voice Rob Wegman Director, Music Cognition Laboratory Associate Professor of Music and instruments is fully subsidized. Music cognition; music theory Musical aesthetics and sociology of late-Medieval and Renaissance music Simon Morrison APPLICATIONS DUE DECEMBER 31 Professor of Music and Slavic Languages and Literatures Director, Fund for Canadian Studies Ballet; Russian and Soviet music; musical modernism

music.princeton.edu 30 AMS Platform

Visit the AMS Tour of Minneapolis page to experience our virtual tour of a 30% discount on music studies books most musical city. from Clemson University Press.

For UK and ROW orders, use code AMS30 at liverpooluniversitypress.co.uk For US orders, use code ADISTA5 at global.oup.com/academic Available on the “Social” menu. For more information on our music studies books or to discuss any proposals please contact commissioning editor Alison Mero at [email protected].

Email us for a demo!

A New Way to Teach Music History and Theory! Comprehensive, state-of-the-art teaching tools that you can customize for your students.

Extensive Content. 600+ pieces for music history and theory courses, and more than 50 peer-reviewed articles.

Save Money! Only $60 per student with unlimited views and prints for 6 months. Free registration for instructors. Save even more with a site license! www.armusicanthology.com

Í A-R Editions 608.203.2580 (Anthology) • 608.836.9000 (Main) • [email protected]

31 AMS Platform Open to SMT Registrants

Virtual Exhibit Hall Connect with these exhibitors in the Virtual Exhibit Hall.

Boydell & Brewer / Project Muse University of Rochester Press The Scholar's Choice Case Western Reserve University University of California Berkeley Eighteenth-Century Societies University of Michigan Music Library Association University of Texas, Austin Oxford University Press Women's Philharmonic Advocacy

32 AMS Platform Open to SMT Registrants Sponsored

Exhibitor Showcases Learn about exciting new books and services with these exhibitors.

A Chat and Q&A with the Authors of The Musician’s Guide Saturday, 7 November, 4:00-4:30pm Sponsored by W. W. Norton & Company Join Jane Clendinning (Florida State University College of Music) and Betsy Marvin (Eastman School of Music) to chat about the new edition of their textbook The Musician's Guide to Theory and Analysis and about teaching music theory online and in this current environment. Jane and Betsy will take questions from attendees, so please join if you have any questions for the authors or about the textbook or if you'd simply like to learn more about their approach to pedagogy and authorship. We hope you to see you there!

Research Refresher with Project MUSE Sunday, 8 November, 12:00-12:30pm Sponsored by Project MUSE Visit us in the virtual exhibits to learn more about Musicological studies scholarship on MUSE, by using our digital resources in teaching and research, freely available open access materials, and our hosting services for not-for-profit publications. Whether it’s morning, noon, or night wherever you are logging in, take a break between conference sessions, grab a snack or drink, and settle in to learn about the resources available to you on the Project MUSE platform. Refresh your research with access to hundreds of journals and thousands of books in music theory, music history, and related subjects in the humanities and social sciences, all from distinguished university presses and scholarly societies. Titles available include Indiana Theory Review, Philosophy of Music Education Review, Acta Musicologica, and books from Indiana University Press, University of Illinois Press, Princeton University Press, and University of California Press, among many others. We’ll share tips for using MUSE in your classes, finding open access materials, and organizing your research with a free MyMUSE account.

33 Diversity in Ear Training & Theory with Auralia & Musition Sunday, 15 November, 11:00-11:30am Sponsored by Auralia & Musition Explore the new Theory & Aural I-III sequences in Auralia & Musition, with integrated diversity content and real audio recordings. Discover how educators customize the programs, deliver online assessments, save time, and improve student results. • 800+ questions based on works by women composers & composers of color • Theory & Aural I - III Sequences • Four-Part Writing Questions • Placement Exams • Fundamentals College Aural & Theory Sequences: New content that aligns with college fundamentals and Theory & Aural I - III sequences. This includes practice syllabi, and 100+ worksheets. Ready to go, or modify to suit your curriculum. Diversity & Inclusion Content: Auralia and Musition now include 800+ new questions based around works by women composers and composers of color. Including compositions by Louise Farrenc, Emilie Mayer, Louise Reichardt, Joseph Bologne, and Robert Dett amongst others. Harmony Writing: Lots of new automatically assessed four-part writing questions in Musition, dealing with identifying parallel and hidden 8ves/5ths, unequal 5ths, tendency tone resolution, spacing, range, voice crossing, voice overlap and much more. Fundamentals: A 15-week theory and aural unit including a practice syllabus, weekly worksheets, plus review assessments and a final exam. Placement Exams: Integrated placement exams

34 RILM RESOURCES RILM Abstracts with Full Text Complementing the flagship music bibliography RILM – with full-text coverage of 249 journals Think Full Text

RILM Music Encyclopedias MGG Online The go-to source for full-text The dynamic online edition music encyclopedias from of the comprehensive and around the world, with new authoritative encyclopedia titles added every year Die Musik in Geschichte und Gegenwart, with integrated Google Translate and ever- expanding content

RILM offers free webinars and online tutorials for all teachers focusing on music bibliography and online tools in their classroom.

Global resources The latest Free online Please visit with content technology and teaching tools “Resources for Learning” in many different best practices for music languages for research educators at rilm.org/learning/ and teaching and students and schedule your webinar anytime you like.

35 AMS Platform Open to SMT Registrants

Social & Networking Events Connect with new colleagues and old friends at these parties and receptions.

AMS Board Meet & Greet (1-4) Meet-and-Greet for Prospective Saturday, 7 November Students 1:00–1:50PM CST Sunday, 15 November Sunday, 8 November 2:00–3:30PM CST 10:00–10:50AM CST Saturday, 14 November 4:00–4:50PM CST SMT Graduate School Fair Sunday, 15 November Sunday, 8 November 4:00–4:50PM CST 3:30–5:30PM CST

Daily Coffee Break Student Reception Sunday, 8 November Saturday, 7 November 3:00–4:50PM CST 7:00–8:30PM CST Saturday, 14 November 3:00–4:50PM CST Welcome Reception / Coffee Break Sunday, 15 November Saturday, 7 November 3:00–4:50PM CST 2:30–4:00PM CST

First-Time Attendees Reception Saturday, 7 November 11:00–11:50AM CST

36 AMS Platform Open to SMT Registrants Sponsored

Sponsored Social Events Want more chances to party? Check out these sponsored social events.

University of North Carolina at Chapel Hill Party Saturday, 7 November, 5:00-7:00pm [Remo] The Music Department at the University of North Carolina at Chapel Hill would like to invite former and current affiliates (and any friends!) to connect. We'll be sharing departmental news and facilitating conversation. Prospective graduate students and interested passers-by are heartily invited to join in, too.

Yale Social Networking Event Saturday, 7 November, 5:00-7:00pm [Remo] Alumni of Yale’s music programs are invited to join current faculty and graduate students for an hour of socializing and networking hosted by our department chair, Ian Quinn, and Professor Gundula Kreuzer. Catch up with old friends, meet current Yalies, and learn more about our department’s recent initiatives: a new undergraduate curriculum, a joint Ph.D. program with African American Studies, the Black Sound and the Archive Working Group, Y | Opera | Studies Today, Medieval Song Lab, and so much more. Open to members of the extended Yale family.

Case Western Reserve University Reception Saturday, 7 November, 7:00-9:00pm [Remo] An opportunity for faculty, students, alumni, prospective students, and friends of the Case Western Reserve University musicology program to meet, catch up, and discuss the program.

University of California, Berkeley Reception Saturday, 7 November, 7:00-9:00pm CST [Remo] Berkeley alumni, friends, and prospective graduate students are warmly invited to join faculty and current graduate students to chat, learn more about our programs, and catch up on news. All are welcome.

37 Princeton University Reception Sunday, 8 November, 6:00-8:00pm CST [Remo] Princeton University alumni, students, faculty and friends are invited to join us for a virtual get together, hosted by Department Chair Wendy Heller and Lisa Margulis, Director of Graduate Studies. Meet up with old friends, find out about new initiatives in the Music Department, and get up to speed with everything happening in Tiger Town. We look forward to seeing you then!

Brandeis Reception Saturday, 14 November, 4:00-4:50pm [Zoom] The Brandeis Music Department welcomes you to a virtual party and networking event. Alumni and friends of the Department are invited to meet and catch up; prospective graduate students are welcome and encouraged to meet our faculty and students, and chat about our program.

Eastman School of Music Alumni Party Saturday, 14 November, 5:00-7:00pm [Remo] Eastman School of Music Alumni Party (Musicology and Music Theory)

The Fun Party: Games & Prizes with Auralia & Musition Saturday, 14 November, 5:00-5:50pm [Zoom] Hosted in the Auralia & Musition virtual bar, this event will be a great place to relax, network and learn a little bit about Auralia & Musition ear training and theory programs. There will be trivia, quizzes and prizes ☺ - Australian wine and some Sony headphones! 10 reasons to attend 1. Network 2. Prizes: Australian wine and some Sony headphones to be won! 3. Discuss diversity in the ear training and theory curriculum 4. Learn how Auralia & Musition can support your music courses with placement exams, fundamentals, Theory I-III sequences, four-part writing and much more 5. Trivia & quizzes 6. Have your say: Submit feature and content requests for Auralia & Musition 7 7. Relax 8. Auralia & Musition Power Users: Swap tips

38 9. Discuss ear training and theory education 10. Meet the Auralia & Musition team

UT Austin Welcoming Reception Saturday, 14 November, 5:00-7:00pm [Remo] Past, current, and prospective future members of the Butler School of Music / UT Austin learning community and their friends are enthusiastically invited to join in virtual celebration of our tight connections even in these complicated times. Stop by and hang out with us for a bit!

McGill University Reception Saturday, 14 November, 7:00-7:50pm CST [Zoom] Please join McGill faculty, graduate students, alumni and friends for our AMS Virtual Party. All are welcome!

University of Chicago Alumni Party Saturday, 14 November, 7:00-9:00pm CST [Remo] We cordially invite all alumni and friends to visit with current students and faculty.

Boston University Virtual Reception Sunday, 15 November, 7:00-7:50pm CST [Zoom] Please join Boston University's Musicology & Ethnomusicology Department to learn about our graduate programs, celebrate the accomplishments of our faculty and students over the year, and engage in some informal socializing. We look forward to welcoming you.

39 40 SMT Platform Stories from the Frontlines Sponsored by the Committee on Race and Ethnicity (SMT)

Stifling Sameness: Hardships of Immigration, Fighting for Class Equality Through the Power Parenthood, and Being Non-white Contingent of Collective Bargaining: Toward Livable Faculty Working Conditions for Graduate Students in Adem Merter Birson the Performing Arts Anna Nelson Assessing My Market Value: One Perspective on Contingent Labor in Music Theory Make Sure Your Own Mask is Secure before Catrina S. Kim Assisting Others: Contingent Faculty as Care Workers (Re)Visioning Race and Gender in Music Michael Berry Theory and Composition Paula Grissom Extreme Adjuncting: When Contingent Labor Becomes the Norm Negotiating and Nurturing Ethnicity, Social Reba Wissner Justice, Stress, and Trauma, pre- and post- COVID, in an Urban Commuter College Navigating Academia, Single-Parenthood, and Noé Dinnerstein First-Gen Experiences Patricia Hall A Perspective from the Academic Labor Movement 8 November 2020 Sumanth Gopinath 2:00-3:15PM CST

41 www.lup.be - [email protected]

MACHINIC ASSEMBLAGES OF DESIRE PERFORMANCE, SUBJECTIVITY, Deleuze and Artistic Research AND EXPERIMENTATION Paulo de Assis, Paolo Giudici (eds) Catherine Laws (ed.) Orpheus Institute Series Orpheus Institute Series paperback, ebook paperback, ebook

ABERRANT NUPTIAL Deleuze and Artistic Research LISTENING TO THE OTHER Paulo de Assis, Paolo Giudici (eds) Stefan Östersjö Orpheus Institute Series Orpheus Institute Series paperback, ebook paperback, ebook

VOICES, BODIES, PRACTICES Performing Musical Subjectivities Catherine Laws, William Brooks, SENSORIAL AESTHETICS IN David Gorton, Nguyễn Thanh Thủy, MUSIC PRACTICES Stefan Östersjö, Jeremy J. Wells Kathleen Coessens (ed.) Orpheus Institute Series Orpheus Institute Series paperback, ebook paperback, ebook

Music Theory and Analysis (MTA) International Journal of the Dutch-Flemish Society for Music Theory

Editors: Markus Neuwirth, Derek Remeš and Peter van Tour Music Theory and Analysis (MTA) is a peer-reviewed international journal focusing on recent developments in music theory and analysis. For more information, visit the website www.mtajournal.be

Online journal with a print edition Annual subscription fees Individual online only: € 55,00 Bi-annually in October Institutional online only: € 115,00 Individual online & print: € 70,00 Institutional online & print: € 140,00

HOW TO ORDER Sales representation and Order fulfilment UK and Europe: NBN International - www. nbninternational.com - [email protected] Sales representation USA: Cornell University Press - www.cornellpress.cornell.edu Order fulfilment USA: Longleaf Services Inc. - [email protected]

ORDER ONLINE AT WWW.LUP.BE

42 at the UNIVERSITY OF UTAH The MA in Musicology at the University of Utah offers rigorous preparation for doctoral programs through focused research seminars, close work with faculty advisors, and engagement with other graduate students within a comprehensive school of music and research university. Graduate programs are also offered in composition, conducting, jazz, instrumental and vocal performance, music education, and music theory. Teaching assistantships are available.

Graduate Program Faculty Advisors

JANE D. HATTER (AREA HEAD) ELIZABETH T. CRAFT early modern musical communities, music in the U.S., musical theater, music in visual art, women in music representations of race and ethnicity

BETTIE JO BASINGER CATHERINE MAYES 19th-century orchestral music, music of the late 18th and early 19th centuries, program music, Liszt exoticism and national styles, music as social practice and consumer product

music.utah.edu

43 CONNECT FOR EDUCATION With robust and engaging content and innovative features, our OnMusic titles are widely used for online, face-to-face and hybrid courses. Features & Benefits of OnMusic

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44 DEPARTMENT OF MUSIC

The Music Department at Brandeis University offers graduate studies leading to

MASTER’S DEGREES and PH.D. DEGREES in MUSICOLOGY COMPOSITION AND THEORY

FACULTY Karen Desmond, Chair Eric Chasalow Erin Gee Paula Musegades Mark Berger Robert Duff Joshua Gordon Bob Nieske Eric Chafe Judith Eissenberg Neal Hampton David Rakowski Yu-Hui Chang Emily Frey Sarah Mead Andrea Segar

The program in musicology offers an integrated approach to music history, history of theory, and music theory and analysis. The program in composition and theory offers composers the time and means to develop a secure command of the craft of composition and musical analysis.

CONTACT Director of Graduate Studies in Musicology, Emily Frey: [email protected] Director of Graduate Studies in Composition and Theory, Yu-Hui Chang: [email protected]

BRANDEIS.EDU/MUSIC

45 University of Massachusetts Amherst GRADUATE STUDY IN MUSIC HISTORY & MUSIC THEORY

Music History Faculty Erinn Knyt, Evan MacCarthy, Emiliano Ricciardi, Marianna Ritchey Music Theory Faculty Brent Auerbach, Jason Hooper, Gary S. Karpinski, Miriam Piilonen, Christopher White Degrees Master’s of Music in Music History, Music Theory, Composition, Jazz Composition/Arranging, Music Education, Conducting, Collaborative Piano, and Performance; PhD in Music Education Graduate Teaching Assistantships Available Generous stipend includes full tuition remission, health benefits, and waiver of most fees

Information: www.umass.edu/music Professor Erinn E. Knyt Graduate Program Director [email protected]

46

The Ph.D. in Music at Duke University

Musicology, Composition, Ethnomusicology

Faculty

Thomas Brothers jazz, African-American music, 14th-16th centuries, The Beatles

Roseen Giles early modern aesthetics, Monteverdi, 17th-century Italy, music & literature

Stephen Jaffe composition

Scott Lindroth composition, interactive computer music

Louise Meintjes ethnomusicology, southern Africa, music and politics

Robert Parkins organ, harpsichord, performance practice

Philip Rupprecht 20th-century British, modernism, theory and analysis, Britten

Nicholas Stoia theory and analysis, American vernacular music, European tonal music

John Supko composition, electronics, multimedia, conceptual art, early avant-garde, Satie

R. Larry Todd 19th-century music, Mendelssohn and Fanny Hensel, Beethoven, analysis

Jacqueline Waeber music, sound & the moving image; French musical aesthetics & culture 18th-21st century

Yun Emily Wang sound studies, East Asia, diaspora/transnational migration, gender & sexuality

Paul Berliner (Emeritus) ethnomusicology, jazz, mbira, Zimbabwe

Bryan Gilliam (Emeritus) Richard Strauss, 19th and 20th-century Germany, film music

Alexander Silbiger (Emeritus) early music, 17th-century keyboard music

Information: music.duke.edu/graduate Admissions & financial aid: gradschool.duke.edu/admissions

47 CARL PHILIPP EMANUEL BACH he omplete orks    SERIES I: KEYBOARD MUSIC

“Prussian” and “Württemberg” Sonatas Sonatas from Manuscript Sources III Edited by Hans-Günter Ottenberg Edited by Jonathan Kregor & Miklós Spányi 978-1-933280-77-6 (2015; xxvi, 125 pp.) $25 978-1-933280-52-3 (2019; xxviii, 132 pp.) $30 Sonatas with Varied Reprises Sonatas from Manuscript Sources IV Edited by Robert D. Levin Edited by Charles E. Brewer 978-1-938325-00-7 (2019; xxx, 225 pp.) $35 978-1-933280-53-0 (2016; xxviii, 108 pp.) $25 “Probestücke,” “Leichte” and “Damen” Sonatas from Manuscript Sources V Sonatas Edited by Darrell M. Berg & Pamela Fox Edited by David Schulenberg 978-1-933280-54-7 (2017; xxvi, 142 pp.) $25 978-1-933280-01-1 (2005; xxxiv, 190 pp.) $25 Variations “Kenner und Liebhaber” Collections I Edited by Ulrich Leisinger Edited by Christopher Hogwood 978-1-938325-01-4 (2014; xxxiv, 140 pp.) $25 978-1-933280-46-2 (2009; xxxii, 150 pp.) $25 Miscellaneous Keyboard Works I “Kenner und Liebhaber” Collections II Edited by Peter Wollny Edited by Christopher Hogwood 978-1-933280-03-5 (2006; xxvi, 150 pp.) $25 978-1-933280-47-9 (2009; xxxii, 126 pp.) $25 Miscellaneous Keyboard Works II Miscellaneous Sonatas from Prints I Edited by Peter Wollny Edited by Darrell M. Berg 978-1-933280-04-2 (2006; xxxvi, 216 pp.) $25 978-1-933280-15-8 (2007; xxiv, 133 pp.) $20 Organ Works Miscellaneous Sonatas from Prints II Edited by Annette Richards & David Yearsley Edited by Darrell M. Berg 978-1-933280-33-2 (2008; xvi, 123 pp.) $20 978-1-933280-16-5 (2007; xxiv, 126 pp.) $20 Arrangements of Orchestral Works I Sonatas from Manuscript Sources I Edited by Douglas Lee Edited by Wolfgang Horn 978-1-933280-27-1 (2007; xx, 136 pp.) $20 978-1-933280-50-9 (2019; xxxii, 123 pp.) $30 Arrangements of Orchestral Works II Sonatas from Manuscript Sources II Edited by Jonathan Kregor Edited by Mark W. Knoll 978-1-933280-39-4 (2008; xxiii, 94 pp.) $20 978-1-933280-51-6 (2020; xxvi, 134 pp.) $30

Published by The Packard Humanities Institute cpebach.org

48 Graduate Studies at Boston University

in Musicology andG Ethnomusicology

MA & PhD in Musicology, Ethnomusicology & Musicology/Ethnomusicology We are a prolific, supportive, and inclusive department, dedicated to the shared purpose of innovative, engaged, and rigorous scholarship. We are proud of our faculty’s ethnic, gender and research diversity. Our graduate program provides the disciplinary grounding, critical theoretical tools, methodological breadth and sense of engagement with the world needed to produce music scholars of the highest caliber. We offer up to 5 years of full funding for graduate students and a customizable curriculum, including a dual concentration in Musicology and Ethnomusicology. Full-time graduate faculty, 2020-21 MICHAEL BIRENBAUM QUINTERO(NYU), Chair. Latin America, African Diaspora, historical ethnomusicology MARIÉ ABE (Berkeley), Modern Japan, Ethiopia, sound studies, music and social justice. VICTOR COELHO (UCLA), early music, performance, popular music. Director, Center for Early Music Studies. BRITA HEIMARCK (Cornell), Bali, sacred music of India, music & politics, mysticism. MIKI KANEDA (Berkeley), Transcultural music, the avant garde, sound studies, race & gender. GREGORY MELCHOR-BARZ (Brown), Africa, gender and sexuality, music and medicine. Dir., BU School of Music. JOSHUA RIFKIN (Juilliard, Princeton), Josquin, Schutz,̈ Bach, Darmstadt, ragtime, performance. ANDREW SHENTON (Harvard), Pärt, Messiaen, 20th- and 21st-century musicology, performance, sacred music. RACHANA VAJJHALA (Berkeley), 19th– 20th-c. Paris, Modernism, ballet, virtuosity, gesture. JEREMY YUDKIN (Stanford), Beethoven, jazz, Middle Ages. Co-Dir. (w/Lewis Lockwood), Ctr. for Beethoven Research. Affiliated or undergraduate faculty: LOUIS CHUDE-SOKEI (UCLA), Black Studies, technology, minstrelsy. Dir. BU African American Studies LELAND CLARKE (BU), African American Gospel, Blacks in Boston, social justice, music therapy ERIC J. SCHMIDT (UCLA), Tuareg music, Niger, music economy. Asst. BU Director of African Studies

bu.edu/musicology For more information, or to arrange a visit, please contact Michael Birenbaum Quintero

49 NEW RELEASES

RECENT RESEARCHES IN THE RECENT RESEARCHES IN THE MUSIC OF THE RENAISSANCE MUSIC OF THE CLASSICAL ERA

Songs in Times of Plague Antonio Rosetti: Edited by Remi Chiu Der sterbende Jesus (1785) R172 (2020) Edited by Sterling E. Murray C114 (2019) Sebastián de Vivanco: Liber magnificarum (1607) Georg Anton Benda: Edited by Michael Noone Philon und Theone and Graeme Skinner Edited by Austin Glatthorn R173 (2020) C115 (2020)

RECENT RESEARCHES IN THE RECENT RESEARCHES IN THE MUSIC OF THE BAROQUE ERA MUSIC OF THE NINETEENTH AND EARLY TWENIETH CENTURIES Johann Sigismund Kusser: Serenatas for Dublin Alice Mary Smith: Edited by Samantha Owens Ode to the Passions & B210 (2020) Short Orchestral Works Edited by Ian Graham-Jones Gregor Aichinger: Lacrumae Divae N076 (2019), N078 (2020) Virginis et Joannis (1604) Edited by Alexander J. Fisher Chamber Arrangements of B211 (2020) Beethoven’s Symphonies, Parts 2 and 3 Antonio Bononcini: Edited by Nancy November Six Chamber Cantatas (1708) N077 (2019), N079 (2020) Edited by Lawrence Bennett B212 (2020) Songs and Arias Ornamented by Velluti Edited by Robert Crowe RECENT RESEARCHES IN THE N080 (2020) ORAL TRADITIONS OF MUSIC

Chanting the Medicine Buddha Sutra Edited by Reed Criddle OT013 (2020)

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50 AMS Schedule of Sessions & Events

All times are listed in Central Standard Time (CST).

Events and sessions open to SMT registrants.

51 Brazilian Racial Politics AMS - Saturday, 7 November 10:00AM – 10:50AM Chair(s): K.E. Goldschmitt, Wellesley College Morning Yoga Session The Construction of Bahia’s Hyperreal 09:00AM – 09:45AM Africanness: Religious Battles and Symphonic Speaker(s): Grooves. Juan Diego Diaz, University of Samantha Bassler, New York University California, Davis Samba is Black: (Un)Making Race in a “Raceless” Genre. Marcelo Boccato Kuyumjian, University Musical Contagions, Circulations, and Ecologies of Illinois At Urbana-Champaign of Listening to Social Media AMS - Saturday, 7 November “An Indian in Tuxedo?”: Villa-Lobos’s Imagined 10:00AM – 10:50AM Indigeneity. Silvio Dos Santos, University of Chair(s): Kate Galloway, Rensselaer Polytechnic Florida Institute

Sneaking Across the Digital Divide: Piracy and Music Encoding Pedagogy Workshop Music Making in Havana’s Bedroom Studios. Michael Levine, University of North Carolina - 10:00AM – 11:50AM Chapel Hill Speaker(s): Music as Sync and Hook in the TikTok Bedroom. Anna Kijas, Tufts University Paula Harper, Washington University in St. Raffaele Viglianti, Maryland Institute for Louis Technology in the Humanities Of Gimmickry and Man: The Lick’s Circulation through Virtual Jazz Communities. Hannah The Way and Musical Communities in North Judd, University of Chicago Minneapolis (Popular Music Study Group) 11:00AM – 11:50AM Excavating the Castrato: Toward New Chair(s): Andrew Flory, Carleton College Archaeologies Speaker(s): 10:00AM – 10:50AM Andrea Swennson Chair(s): Emily Wilbourne, CUNY Graduate Center The Verismo Trace and the Phantom Castrato. Musical Exchange during the Cold War Martha Feldman, University of Chicago 11:00AM – 11:50AM Exhuming the Materials of Cultural History. Chair(s): Anicia Timberlake, Johns Hopkins Jessica Peritz, Yale University University Vocal Migrations and the Castrato Fantasy. Sounds of the Cold War Acropolis: Halim El-Dabh Bonnie Gordon at the Columbia-Princeton Electronic Music Center. Brigid Cohen, New York University Trumpeting Wind Instruments Fujiwara Opera’s U.S. Tours in the 1950s. Kunio 10:00AM – 10:50AM Hara, University of South Carolina School of Music Chair(s): Kate Brucher, DePaul University School of Music The Fathers of The Viennese Waltz and the Mendelssohn, Schumann, and the Oratorio Keyed Trumpet (1826-1832). Robert Apple, 11:00AM – 11:50AM University of Memphis Chair(s): Jeffrey Sposato, University of Illinois at The Art of the Band Instrument Endorsement Urbana-Champaign Deal. Bryan Proksch St. Felix the “Philisterapostel”: Finding

52 Mendelssohn in the Revisions of Paulus the Afterlives of Slavery in Musical Thought. from Premiere to Print. Siegwart Reichwald, Maria Ryan, University of Pennsylvania Converse College Considering Mr. Baptiste: Black Composer of Enacting Elijah: Mendelssohn on the British Early Caribbean Music? Mary Caton Lingold, Stage. Monika Hennemann, Cardiff University Virginia Commonwealth University “Worthy of a Monument in Artistic History”: Religion and Nation in the Plans for Robert Contextualizing Experimentalism Schumann's Unrealized Martin Luther Oratorio. 01:00PM – 01:50PM Sonja Wermager, Columbia University Chair(s): Marysol Quevedo, University of Miami Meredith Monk and the Archaeological AMS - Saturday, 7 November Puppets and Symbolism Imagination. David Gutkin, Peabody Institute of 11:00AM – 11:50AM The Johns Hopkins University Chair(s): Jacek Blaszkiewicz, Wayne State Epistemic Sound in Experimental (Music) University Systems, 1968-1973. Drake Andersen, Vassar Polyphonic Puppets. Hayley Fenn, Harvard College University Cultivating Ecological Consciousness: Pauline Pious Puppets, Sacred Sounds, and the Limits Oliveros’ Deep Listening as Deep Ecology. of Symbolism. Jennifer Walker, West Virginia Taylor McClaskie University Britten and Vaughan Williams First-Time Attendees Reception 01:00PM – 01:50PM 11:00AM – 11:50AM Chair(s): Imani Mosley, University of Florida Host(s): Vaughan Williams’s Early Works: A Judy Tsou, University of Washington Historiographical Reconsideration. Eric Saylor, Drake University President’s Plenary Lecture | “A Woman Is A Britten’s Unnished Christmas Sequence and the Sometime Thing”: Black Feminist Sound & Fury in Modernist Uses of Congregational Song. Hilary the Porgy & Bess Archive Donaldson, University of Toronto 12:00 – 1:30PM “Doing His Bit:” Vaughan Williams’s Wartime Chair(s): Suzanne Cusick, New York University Nationalistic Film Music for Coastal Command. “A Woman Is A Sometime Thing”: Black Feminist Jaclyn Howerton Sound & Fury in the Porgy & Bess Archive. Daphne Brooks, Yale University Emotion and Meaning in Film Music 01:00PM – 01:50PM AMS Board Meet and Greet (1 of 4) Chair(s): Kate McQuiston, University of Hawai'i at 01:00PM – 01:50PM Manoa The Bittersweet Spot: Music, Melodrama, and Race, Music, and Slavery in the British Colonial Mixed Emotions. Berthold Hoeckner, University Caribbean: Research Beyond Recovery of Chicago 01:00PM – 01:50PM Headphones, Deafness, and the “Inner Soundtrack” of The King’s Speech. Stephen Rethinking Creole Musical Activity in the World of Rumph, University of Washington Samuel Felsted, c.1770-1800. Wayne Weaver, University of Cambridge Film Music in the Time of Terrorism. Dan Wang, University of Pittsburgh Enslaved Black Women’s Listening Practices and

53 Welcome Remarks and Welcome Reception / Conservatory of Music Coffee Break “Beyond High Noon (1952): Narration and 02:00PM – 04:00PM Gunslinging Women in the Western Theme Score.” Grace Edgar Women’s Musical Club Cultures 03:00PM – 03:50PM Tenure Trekking: Exploring Diverse Tenure Chair(s): Marian wilson-Kimber, University of Iowa Processes (CCRI) The Social and Professional Avenues of the 03:00PM – 04:30PM Musicians Club of Women. Emily C. Hoyler Chair(s): Virginia Lamothe, Belmont University

O’Hare, School of The Art Institute of Chicago AMS - Saturday, 7 November “Confessions of the Bobby-Sox Brigade”: Speaker(s): Teenage Girls as Cultural Producers in World Stephen Crist, Emory University War II-Era Frank Sinatra Fan Clubs. Katie Denise Von Glahn, Florida State University Hollenbach, University of Washington Jeremy Grimshaw, Brigham Young University The Ladies’ Musical Club of Seattle, Women’s Paul Schleuse, State University of New York at Surage, and the Working Women Debate in Binghamton Seattle, 1910 - 1920. Whitney Henderson Anita Hardeman, Western Illinois University Karen Cook, University of Hartford

Transmedial Politics of the Stage Virtual Exhibit Hall Open Hours 03:00PM – 03:50PM 03:00PM – 05:00PM Chair(s): Erin Brooks, SUNY Potsdam Une scène pour La Reine: Marie Antoinette and Grétry’s Émilie, ou la belle esclave. Basil Music and State Power Considine, Abilene Christian University 04:00PM – 04:50PM Those Who Cannot Publish, Compose. Musical Chair(s): Damien Mahiet, Brown University Theater as Social Critique in Enlightenment Opera Under Orbán: Staging the Political at Spain. Ana Sánchez-Rojo, Tulane University the Hungarian State Opera House. Zachary “The Habit Does Not Make the Monk”: Milliman Rethinking Anti-Clericalism in French Dropping Science: Friction and Collaboration in Revolutionary Opéras-Comiques. Callum U.S. Hip Hop Diplomacy. Erica Fedor, UNC – Blackmore, Columbia University Chapel Hill Communicating Commonwealth: Reframing Reading Film, Hearing Scores Imperial Identity through the BBC’s 03:00PM – 03:50PM Commonwealth of Song. Trevor R. Nelson, Eastman School of Music, University of Chair(s): Todd Decker, Washington University in St. Rochester Louis The Sweet Life, Song, and Sound: “Patricia in La dolce vita. Melissa Goldsmith At the Borders of Notation Fantastic Timbres and Where to Find Them. 04:00PM – 04:50PM Chelsea Oden, University of Oregon Chair(s): Amy Beal, University of California, Santa “I’d give my soul for continued youth...”: Frédéric Cruz Chopin, Moral Descent, and Thematic X-Marks: Indigenous Graphic Scores at the Transformation in Herbert Stothart’s Score Soundings Exhibition. Patrick Nickleson, for The Picture of Dorian Gray (1945). Caitlan Queen’s University Truelove, University of Cincinnati College- The Suchness of Sound: Lucia Dlugoszewski’s

54 MUSIC.WUSTL.EDU WUSTLMUSIC

Ph.D. Programs in Musicology and Theory

ETHNOMUSICOLOGY PATRICK BURKE: music of the United States, jazz, rock, race and ethnicity LAUREN ELDRIDGE STEWART: pedagogy, African diasporic music, the Caribbean, art economies ESTHER KURTZ: Afro-Brazilian music and dance, cultural politics, ethnographic ethics, decolonizing practices

MUSICOLOGY TODD DECKER: film music and musicals, the Broadway musical, popular music, digital humanities DOLORES PESCE: medieval motets, medieval and Renaissance music theory, Franz Liszt, Edward MacDowell ALEXANDER STEFANIAK: 19th-century music, virtuosity, Clara and Robert Schumann, piano culture, Romantic aesthetics

THEORY & COMPOSITION BEN DUANE: texture, form, music cognition, computational modeling, 18th & early 19th-century music ROBERT SNARRENBERG: Schenker, metaphor and music analysis, Brahms CHRISTOPHER STARK: composition, 20th-century theory and analysis, electronic music, postmodernism PAUL STEINBECK: improvisation, intermedia, the Association for the Advancement of Creative Musicians

55 Revolutions of Musical Form and ‘Du nouveau dans l’ancien’: ‘Neo-Palestrinian’ Instrumentation. Kate Doyle, Rutgers Polyphony and Ideas of Musical Progress University-Newark in France, c. 1900 – 1930. Tadhg Sauvey, The Interpretation of Unmeasured Preludes, University of Cambridge Reconsidered. Albert Bellefeuille, Rutgers University Musical Poetics From Gongchepu to Western Staff Notation 05:00PM – 05:50PM in Two Manuscripts of Joseph-Marie Amiot. Chair(s): James Parsons, Missouri State University Stewart Carter, Wake Forest University Celan’s Winterreise. Brent Wetters, Clark University/WPI AMS - Saturday, 7 November Digital Exhibit: A Hands-on Poster and Demo Anton Webern’s Creative Partnership with Session (AMS Committee on Technology) Hildegard Jone: Revising a Modernist 04:00PM – 04:50PM Narrative. Catherine Nolan, The University of Chair(s): Western Ontario Mollie Ables, Wabash College Anticlimactic: Challenging the Construction of Matthew Vest, University of California, Los Alma Mahler’s Lieder as Subversive. Rachel Angeles Scott, University of Memphis Speaker(s): Laura betet: mediating sound in settings of Anne MacNeil, The University of North Carolina, Matthisson’s “Die Betende”. Christopher Chapel Hill Parton, Princeton University Luisa Nardini, The University of Texas, Austin Joshua Neumann, University of Florida What Constitutes “Core” in the Conservatory Sarah Williams, University of South Carolina Curriculum? (Roundtable) Katherine Larson, University of Toronto 05:00PM – 06:30PM Scott Trudell, University of Maryland Raffaele Viglianti, Maryland Institute for Speaker(s): Technology in the Humanities Andrew Dell’Antonio, University of Texas, Austin Erica Scheinberg, Lawrence University Conservatory of Music “Bach to Black:” A Recital of Suites by J.S. Melanie Lowe, Vanderbilt University Bach, Samuel Coleridge-Taylor, and James Lee III Sara Haefeli, Ithaca College 05:00PM – 05:50PM Rochelle Sennet, University of Illinois at Urbana- Networking and Social Gathering (Music and Champaign Dance Study Group) 05:00PM – 06:30PM Ideology and Pragmatism in Early 20th-Century France University of North Carolina at Chapel Hill 05:00PM – 05:50PM Party Chair(s): Alexandra Kieffer, Rice University 05:00PM – 07:0n0PM Norbert Dufourcq, “French Classicism,” and the Host(s): Politics of Periodization. Alexis VanZalen, Andrea Bohlman, University of North Carolina at Eastman School of Music, University of Chapel Hill Rochester Jocelyn Neal, University of North Carolina at Exoticism as Musical Vernacular: Eugène Bozza’s Chapel Hill Woodwind Solos de Concours for the Paris Conservatoire. Lacey Golaszewski Yale Social Networking Event

56 05:00PM – 07:00PM Wenzhuo Zhang, SUNY Fredonia Host(s): Voice Beside Hell: Neoliberal Progress, Analog Gundula Kreuzer, Yale University Subversion, and the Vocal Unbecomings of Ian Quinn, Yale University Hell Joseon/South Korea. Cody Black, Duke University Listen and unwind Archiving Asian Popular Music in Global Media 06:00PM – 07:30PM Circulation. David Novak, UC Santa Barbara

AMS Ecocriticism SG | Business Meeting and Student Reception Panel Discussion 07:00PM – 08:30PM AMS - Saturday, 7 November 06:00PM – 07:30PM Chair(s): Case Western Reserve University Reception Aaron Allen, UNC-Greensboro 07:00PM – 09:00PM Jacob A. Cohen Host(s): Frencesca Brittan, Case Western Reserve Lightening Lounge: Current Topics in Ibero- University American Music Research (Ibero-American Music David Rothenberg, Case Western Reserve Study Group) University 06:00PM – 07:30PM Chair(s): Eduardo Herrera, Rutgers University University of California, Berkeley Reception Rethinking Musical Nationalism and 07:00PM – 09:00PM Cosmopolitanism in 1830s Spain. Christine Host(s): Wisch, Indiana University Mary Ann Smart, University of California, Parodies of Indigeneity and Other Phonographic Berkeley Caricatures in Early-Twentieth-Century Latin America. Sergio Ospina Romero, Universidad De Los Andes / Indiana University Constructing Operatic Roles in the Iberian Peninsula: Metastasian Opera Seria for Spain and Portugal. Ana Llorens, Instituto Complutense De Ciencias Musicales Gender Representation, Poetry, and Music: Mercedes Sosa’s 1969 Recording of “Alfonsina y el mar” as a Feminist Performance. Cintia Cristiá, Ryerson University In Search of a Decolonial Approach to Music of Trauma. Emily Abrams Ansari, Western University

Mapping Music and East Asia (Global East Asian Music Research Study Group) 07:00PM – 08:30PM Chair(s): Gavin Lee, Soochow University Seminar: Posthumanist Musicology and East Asia. Gavin Lee, Soochow University (China)

57 The Micro-Phonograph and the Female Voice. AMS - Sunday, 8 November Karen Henson, CUNY and IAS, Princeton University Morning Mindfulness Session 09:00AM – 09:45AM Musical Consumption in Mid-century America 10:00AM – 10:50AM AMS Board Meet and Greet (2 of 4) Chair(s): Charles Hiroshi Garrett, University of Michigan 10:00AM – 10:50AM Welcome to the Jungle: Post-War Exotica and Its Relations. Jennifer Messelink, Schulich School Soviet Transformations of Music, McGill University AMS - Sunday, 8 November 10:00AM – 10:50AM Technologies of Immediacy: Musical Form and Chair(s): Gabrielle Cornish, University of Miami Remediation in “The Liberace Show”. Edgardo Welcome to the War of Tomorrow: Soviet Salinas, The Juilliard School Musicians at the 1939 World’s Fair and the Modularity and Masculinity in High Fidelity Politics of Virtuosity. Matthew Honegger, Magazine. Kelli Smith-Biwer, University of Princeton University North Carolina - Chapel Hill From Film to FIFA: Transformations of a Prokofievan Theme Under Stalinism and Black Opera Putinism. Katya Ermolaeva 10:00AM – 11:30AM Crossing Impenetrable Borders: Leningrad’s Chair(s): Naomi Andre, University of Michigan Sonic Siege Diaries. Klara Moricz Whiteness Unmade: Abjection and the Return of the Black Real in Janelle Monaè’s Dirty Ballet in the Long 20th Century Computer. Sarah Hankins, UC San DIego 10:00AM – 10:50AM The Grand Operatic Imagination of Harry Chair(s): Marta Robertson, Gettysburg College Lawrence Freeman. Lucy Caplan, Harvard Stepanov’s Musical Anatomies. Sophie Benn University Soviet Sylphs or Socialist Reality? Shostakovich, Sissieretta Jones and Performing the Prima Lopukhov, and The Limpid Stream. Laura Donna. Elena Farel, Washington University In Kennedy, Furman University St. Louis Modernist Gluck: Greek Dance and French Incubation and Integration: The American Music Nationalism at the Opéra-Comique. Sarah Theater Festival and Anthony Davis’s X. Ryan Gutsche-Miller Ebright, Bowling Green State University Ballet Dancers on the Subway: Jerome Robbins’s “In Search of Something Racial”: The National Interpretation of Philip Glass. Anne Searcy Negro Opera Company. Elizabeth Campbell, UC Davis Women on Record Invited Guest: Anthony Davis, UC San Diego 10:00AM – 10:50AM Discussant(s): Brenda Mhlambi, University of Chair(s): Preston Leonard Witwatersrand and Kira Thurman, University of Michigan Singing Webern, sounding Webern: Bethany Beardslee, Grace-Lynne Martin, and Marni Nixon, 1950–1957. David Miller Musical Hagiographies Nevertheless, She Persisted: Mary Lou Williams 11:00AM – 11:50AM Takes on King Records and the Industry. Gayle Chair(s): Barbara Helen Haggh-Huglo Murchison, The College of William And Mary Punishment and Sadomasochism in a Medieval

58 Saint’s Office: Singing Saint Katherine in Lindsay Wright, The University of Chicago England. James Blasina, Swarthmore College Benjamin Steege, Columbia University An Advent Saint: Seasonal and Saintly Music Fanny Gribenski, Max Planck Institute for the and Liturgy in Thirteenth-Century Paris. Mary History of Science Caldwell, University of Pennsylvania Anicia Timberlake “John, Apostle of Asia, becomes a Prophet”: Michael Weinstein-Reiman Synthesizing Eastern and Western Narratives Joshua Navon, Columbia University in the Johannine Liturgy of ‘s-Hertogenbosch. Catherine Saucier, Arizona State University The Future of Jewish Music Studies (Jewish Studies and Music Study Group) 11:00AM – 12:50PM

(Un)gendering Musical Bodies AMS - Sunday, 8 November 11:00AM – 11:50AM Chair(s): Karen Uslin, Rowan University Chair(s): Amanda Sewell, Interlochen Public Radio Speaker(s): Priesthood of Art: On Gender and Art Religion. Tina Fruhauf Laurie McManus, Shenandoah Conservatory Assaf Shelleg, The Hebrew University of Jerusalem Beauty in the Beast: Humanity and Technology in Philip Bohlman, University of Chicago the Music of Wendy Carlos. Alan Elkins, Florida State University “Le peril rose:” Gendering the orchestral body Music and Class in London and Manchester in early twentieth-century Paris. Inge Van Rij, 12:00PM – 12:50PM Victoria University of Wellington Chair(s): Wiebke Thormählen, Royal College of Music Collaborative Processes Hearing Liminality in Streetwise Opera’s “The 11:00AM – 11:50AM Passion”. David Kjar, Chicago College of Performing Arts, Roosevelt University Chair(s): Will Robin, University of Maryland Aristocratic Pleasure for the “Middle Sort”: Franz Intermediary Between Two Worlds: The Joseph Haydn’s “Hunt” Symphony (Hob. Role of Eric Simon in Benny Goodman’s I:73) at London’s Vauxhall Gardens. Ashley Commissioning of Classical Music. Elisabeth Greathouse, College-Conservatory of Music, Reisinger, University of Vienna University of Cincinnati Composing Together: Collaboration and “Noise and Fury Signifying Nothing”: Music, Creativity in the New-Music Scene. Nathinee Noise, and the Landscape of Urban Poverty in Chucherdwatanasak, University of Michigan London, 1600-1850. Joe Nelson, University of A Sonorous Philosophy of Swahili Culture: Minnesota Musical Composition as Intellectual Practice on the Kenyan Coast. Andrew Eisenberg, NYU Abu Dhabi Opera beyond the Opera House “Give Me A Beat!”: Janet Jackson, Jimmy Jam, 12:00PM – 12:50PM and Terry Lewis take Control. Jason Hanley, Chair(s): Roberta Marvin, University of Rock and Roll Hall of Fame Massachusetts, Amherst Rethinking the Stage: Salon opéra in Paris (1850- Histories of Music Pedagogy: Techniques, 1870). Nicole Vilkner, Duquesne University Institutions, Epistemologies (Workshop) Funeral Entrainments: Errico Petrella’s Jone 11:00AM – 12:30PM (1858) and the Band. Francesca Vella, University of Cambridge Chair(s): Emily Dolan, Brown University Ecphractic Narration: the dueling authors of the Speaker(s):

59 New and recent from Norton Independent and Employee-Owned

The Musician’s Guide to Concise Introduction to Theory and Analysis, 4e Tonal Harmony, 2e Jane Piper Clendinning, Elizabeth West Marvin L. Poundie Burstein, Joseph N. Straus The most pedagogically sophisticated text on Concise Introduction to Tonal Harmony has the market, The Musician’s Guide is the most successfully introduced thousands of students to complete resource for the theory curriculum. music theory. With the Second Edition, Burstein Successful online Know It? Show It! pedagogy and Straus have made the text better than ever by NEW and a comprehensive workbook help students listening to professors and students and adding develop theory skills inside the classroom and new coverage of post-tonal theory and more out. With a wider, more inclusive, repertoire than opportunities for music analysis. The authors ever, the text explores music that will be relevant also added many new examples of music by to every musician. women and composers of color. digital.wwnorton.com/guidetotheory4 digital.wwnorton.com/conciseharmony2

The Norton Guide to Teaching Musician’s Guide to Aural Music Theory Skills, 4e: Sight-Singing and Rachel Lumsden, Jeffrey Swinkin Ear Training Featuring 23 essays by outstanding teacher- Paul Murphy, Joel Phillips, Jane Piper Clendinning, scholars on topics ranging from Schenkerian Elizabeth West Marvin theory to gender, The Norton Guide to Teaching The Musician’s Guide to Aural Skills helps Music Theory covers every facet of music theory students develop skills in ear-training and sight- pedagogy. The volume serves as a reference for theory teachers and a text for pedagogy classes. NEW singing through a repertoire of real music that students listen to and perform. Interested in which essays are included? Visit wwnorton.com/rd/teachmusic digital.wwnorton.com/auralskills4et

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60 New and recent from Norton Independent and Employee-Owned

The Enjoyment of Music: Listen, 9e Essential Listening, 4e Joseph Kerman, Gary Tomlinson Kristine Forney, Andrew Dell’Antonio, The Ninth Edition boasts a striking visual design, Joseph Machlis streamlined pedagogy, and exciting online The book that weaves together a concise text resources. These improvements enhance the and rich media resources in a compact and engaging musical discussion that has always been affordable package. The new Fourth Edition the core of this teachable, accessible introduction features enhanced pedagogy built around new to music appreciation. Listen helps students listening objectives and Listening Challenge develop an understanding of great music; it online activities, a revised repertory that includes builds the skills required for engaged listening popular teaching pieces, and streamlined while using rich biographical and cultural Listening Guides. context to situate the music in time and place. digital.wwnorton.com/enjmusic4ess digital.wwnorton.com/listen9

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61 opera fantasia. Rachel Becker, Boise State 03:00PM – 03:50PM University Chair(s): Emily Frey, Brandeis University Notes from the Underground: Exploring Bay Area Reassessing Romanticism Musical Culture Through the Berkeley Barb 12:00PM – 12:50PM (1965–80). Michael Palmese Chair(s): Andrew Weaver, The Catholic University of Music, the Public Sphere, and Nation-Building: America 18th-Century Musical Writings in Berlin. Romanticism Glimpsed through Cracks: How, Siavash Sabetrohani, University of Chicago Where, and Why Algae Grows. Nicholas “To channel the taste and judgment of the public Stevens, Wichita State University in a proper direction”: Reading published

Kitsch Unbound. Carlo Caballero, University of opera criticism as state propaganda in AMS - Sunday, 8 November Colorado, Boulder Nicholas I’s Russia (1825-1855). Daniil Zavlunov

AMS Business Meeting and Awards Ceremony Medieval and Early Modern Vanguards 01:00PM – 02:50PM 03:00PM – 03:50PM Chair(s): Chair(s): Anne Levitsky, Columbia University Suzanne Cusick, New York University Ockeghem the Mathematician: Symmetry and Pattern in Presque transi. Adam Knight Gilbert, University of Southern California Queer Hearing Fiddling Troubadours and the Three Estates. 03:00PM – 03:50PM Kelli McQueen, University of Illinois At Urbana- Chair(s): Stephan Pennington, Tufts University Champaign Transgender Transformistas: Hemispheric Chanting, Dancing, and Preaching Songs of Approaches to Trans Music Studies. Matthew the Franciscan Friar William Herebert. Peter Leslie Santana Loewen, Rice University and Robin Waugh, The Man With the Golden Dress: Bond songs, Wilfrid Laurier University bearded ladies, and intertextually queer vocality. Freya Jarman, University of Liverpool Coffee Break “The Bro Code”: Young M.A and Black Queer 03:00PM – 04:50PM Female Masculinity in Rap. Lauron Kehrer

Virtual Exhibit Hall Open Hours Musical Networks and Institutions 03:00PM – 05:00PM 03:00PM – 03:50PM Chair(s): Virginia Christy Lamothe, Belmont University New Perspectives on 16th-century Venice York Minster: A Scrutiny of Musical Manners, 04:00PM – 04:50PM 1760-1800. Shaun Stubblefield, University of Chair(s): Emiliano Ricciardi, University of Colorado Boulder Massachusetts, Amherst Musicians’ Complaints as Evidence of Unwritten The Madrigal Print as Travelogue: Traversing Performance Practice in Early Seicento the Venetian Stato da mar in Giandomenico Bergamo. Jason Rosenholtz-Witt Martoretta’s Third Book. Dan Donnelly, OISE - Mobile Networks and the Elizabethan In Nomine. University of Toronto Zoe Weiss, Cornell University Metrolingualism in Sixteenth-Century Venice: Evidence from the Vernacular Song Repertoire. Kate Van Orden, Harvard University The Power of Music Criticism Agnus Dei / Aspice Domine: Ippolito Baccusi’s

62 Polytextual Mass Movement and the Turkish Chapel Hill Menace. Alessandra Ignesti, Schulich School Richard Strauss and Plattenmögliche Musik: of Music of McGill University Arbitrating Technological Failure in Phonography Before 1914. Matthew Mendez, Otherworldly Voices in Opera Yale University 04:00PM – 04:50PM American Democratization Efforts through Chair(s): Heather Hadlock, Stanford University Recorded Music in Occupied Japan. Fusako Hamao Voices from Elsewhere in Richard Wagner’s Music Dramas. Woodrow Steinken, University “Especial Miracles”: The Collective Making of the of Pittsburgh Phonograph as an American Musical Product. Siel Agugliaro, University of Pennsylvania Projecting the Phantasmagorical Presence: The AMS - Sunday, 8 November Fluctuating Body and 19th-Century Music. Feng-Shu Lee, National Chiao Tung University Eighteenth-Century Germany Opening a Celebrity’s Closet: Cecilia Davies’s 05:00PM – 05:50PM Music Collection. Margaret Butler, University of Chair(s): Sarah Day-O'Connell, Skidmore College Wisconsin-Madison The Singing Muse of J. S. Scholze. Andrew Talle, Northwestern University Pedagogy for Busy People (Committee on Career- Coffee, the Pharmakon, and Narcomusicology. Related Issues - Contingent Labor) Sean Colonna 04:00PM – 05:30PM “Every Theater in Germany”: Decentralizing Chair(s): German Music Theater in Central Europe, Christopher Campo-Bowen, Virginia Tech 1775-1800. Austin Glatthorn, Durham University Reba Wissner, Columbus State University Speaker(s): Musical Interculturality: Scope, Methods, Samantha Bassler, New York University and Approaches (Roundtable) Rutgers University at Newark 05:00PM – 06:30PM Molly Breckling, University of West Georgia Speaker(s): Matilda Ertz, Youth Performing Arts School/ Yayoi Uno Everett, University of Illinois at University of Louisville Chicago Luis-Manuel Garcia, University of Birmingham Christian Utz, University of Music and Performing Brandi Neal, Coastal Carolina University Arts Graz John Winzenburg, Hong Kong Baptist University Jazz, Gender and Society: a discussion with Nancy Yunhwa Rao, Rutgers University Terri Lyne Carrington and Farah Jasmine Griffin Martin Scherzinger, NYU Steinhardt (Committee on Women and Gender Endowed Philip V. Bohlman, University of Chicago Lecture) Anna Maria Busse Berger, University of California 04:00PM – 05:30PM Davis Speaker(s): Tobias Janz, University of Bonn Farah Jasmine Griffin, Columbia University Larry Witzleben, University of Maryland Terri Lynn Carrington, Berklee College of Music Stephanie Jensen-Moulton Listen and Unwind 06:00PM – 07:30PM The Impact of Recordings 05:00PM – 05:50PM Hatred and//of Music (Music & Philosophy Study Chair(s): Mark Katz, University of North Carolina at Group)

63 06:00PM – 07:30PM Piano irresistible. Sophie Benn, Case Western Chair(s): William Cheng Reserve University Speaker(s): Patrick Nickelson, Queen’s University Mediating the Cold War (AMS Cold War and Katharina Clausius, Université de Montréal Music Study Group and SMT Post-1945 Music Vivian Luong, University of Virginia Analysis Interest Group) Samuel Chan, New York University 06:00PM – 08:00PM Tamara Levitz Speaker(s): Jamie Currie, University of Buffalo Eduardo Herrera, Rutgers University Noel Torres Rivera, CUNY Graduate Center

Stretches, Leaps, Turns: Experiments in Music- George Adams, University of Chicago AMS - Sunday, 8 November Dance Relationships (Music and Dance Study Ryan Gourley, University of California, Berkeley Group) Gabrielle Cornish, University of Miami 06:00PM – 07:30PM Jennifer Iverson, University of Chicago Chair(s): Julia Randel, University of Dayton, and Moderator(s): Stephanie Schroedte, Heidelberg University Martha Sprigge, University of California, Santa Panel 1 Barbara Antares Boyle, Portland State University Listening to Dance Music: Pedagogical Laura Emmery, Emory University Experiments in Choreomusicology. Caitlin Schmid, St. Olaf College Corporeal Witchery and Criticism of the Global Music Histories at the Interstices: Contemporary Culture in Harry Partch’s Perspectives across North and South (Global Postdramatic Dance-Satire The Bewitched. Music History SG) Navid Bargrizan, Texas A&M University- 06:00PM – 08:00PM Commerce Chair(s): Sound Doesn’t Always Have to Be Heard: Gabriel Solis Productive Reuse and the Aurality of Yvonne Liao, University of Oxford Movement in Nick Cave’s Soundsuits. Kate Olivia Bloechl Galloway, Renssalaer Polytechnic Institute Speaker(s): Panel 2 Sergio Ospina Romero Makoto Harris Takao “Sound as a Physical Reality”: Object and Carlos Roberto Ramirez Gesture in Malcolm Goldstein’s Improvisations. Juliana Pistorius Jay Arms, University of Pittsburgh Brian Barone Rhythm, Balance, and Affect: Working with Aliah Ajamoughli Choreographer Bobbi Jene Smith. Keir GoGwilt Princeton University Reception Panel 3 06:00PM – 08:00PM “Material Realities: Dancing Decreation in La Host(s): Passion de Simone”. Farrah O’Shea, University Wendy Heller, Princeton University of California, Los Angeles (UCLA) Elizabeth Margulis, Princeton University “Show me slowly what I only know the limits of”: Music-Dance Relationships in Les Ballets Jazz de Montréal’s Dance Me. Wayne Heisler, The College of New Jersey “…humble marionettes / The wires of which are pulled by fate…”: Dance and Comedy in Le

64 Moderator(s): AMS - Saturday, 14 November Steve Swayne, Dartmouth College

Morning Yoga Session Unheard Modernisms 09:00AM – 09:45AM 11:00AM – 11:50AM Speaker(s): Chair(s): Victoria Aschheim, Dartmouth College Samantha Bassler, New York University The Intimate Economy of the 1957 Donaueschingen Festival. Kyle Kaplan Otto Luening’s Tape Prosody. Joseph Pfender Remembering World War II (Re-)Publishing Ruth Crawford: String Quartet 10:00AM – 10:50AM 1931, Andante for Strings, and the Case of the Chair(s): Amy Lynn Wlodarski, Dickinson College Missing Bass. Ian Sewell The Sound of Testimony: Gender and AMS - Saturday, 14 November Performance after the Holocaust. Abby Traditional and Modern Guitar Anderton 11:00AM – 11:50AM “From Summer Sands to Armageddon’s Reach”: World War II in the Music of Iron Maiden. Caitlin Chair(s): David VanderHamm, University of Central McAlister Oklahoma (N)one shall escape: A Survivor from Warsaw and Vahdah Olcott-Bickford (1885-1980): Institutional Hollywood aesthetics. Torbjørn Ottersen, The Pioneer of the Modern American Guitar Van Leer Jerusalem Institute Landscape. Kathy Acosta Zavala, University of Arizona Tracing Duende: On the Pellizco, a Rhythmic Gender and Print Culture Gesture in Flamenco Dance. K. Meira 10:00AM – 10:50AM Goldberg, Fashion Institute of Technology, Chair(s): Kelly Huff, Washburn University Foundation for Iberian Music, CUNY Mystery, Music Engraving, and France's Mauro Giuliani and the Congress of Vienna: "Artisanal" Enlightenment. Julia Doe, Columbia Musical Representations of Power and Politics. University Lindsay Jones, University of Toronto Ignored and unsung: Susana Muñoz, Early Modern Spain’s most prolific printer of sacred Folk Borrowings music. Michael Noone, Boston College 12:00PM – 12:50PM “To send them into the World - in the best Chair(s): Sarah Gerk, Binghamton University Manner I am able”: Publishing Music by Subscription in 18th-Century Britain. Joseph Something Borrowed, Something New: The Darby, Keene State College Roots of Bob Miller and His Songs. Joel Roberts, University of Memphis Benjamin Britten and the “Alternative” English Special Session: Black Lives Matter and Folk Revival. Julian Onderdonk, West Chester Music: A Conversation with Tazewell Thompson, University Wells School of Music librettist of Blue (AMS Committee on the Annual Meeting in joint session with SMT) At Home with the Exotic: the Celtic and the Oriental as Mutual Otherworlds in British 10:00AM – 11:30AM Psychedelia. Kathryn Straker Speaker(s): Aesthetics of Imagined Folk Origins: Tazewell Thompson, Manhattan School of Music Reconsidering the Communal Ballad Theory Naomi Andre, University of Michigan in Published American Folksong, 1910–1930. Richard Desinord, Howard University Brian Jones, Eckerd College

65 Hearing Voices: The Sound of Operatic Madness Marketing Black Music in the Age of Schizophrenia. Diana Wu, The 12:00PM – 12:50PM University of Western Ontario Chair(s): Braxton Shelley, Harvard University Cripping Haydn Studies: The Final Decade and Disabled Narrative in the Late Oratorios. Rena Thy Kingdom Come: Black Gospel Music Goes Roussin, University of Toronto Multicultural. Cory Hunter, Eastman School of Music, University of Rochester “Dussek the (Im)moral Composer: A Case Study in Disability, Physiognomy, and Nineteenth- Marvin Gaye and the Black Performance Circuit. Century Reception”. Matthew Leone Andrew Flory, Carleton College Hip Handel: Race, “Classical” Music Marketing,

and the Strange Case of Too Hot to Handel. Feminism in Popular Music AMS - Sunday, 8 November Gabrielle Ferrari, Columbia University 12:00PM – 12:50PM Chair(s): Gail Woldu, Trinity College Music and Critical Disability Theory The Passion of Miley Cyrus: Medievalism as Pop 12:00PM – 12:50PM Feminism in Mother’s Daughter. Gillian Gower, University of Edinburgh Chair(s): Stefan Sunandan Honisch, University of British Columbia Sex, Samples, Self: Performing Availability from Donna Summer to TLC. Danielle Sofer, Welcome to His Nightmare: Deciphering Horror LGBTQ+ Music Study Group x Age(ing) in Alice Cooper’s “Ol’ Black Eyes is Back” 2020 Tour. Kelso Molloy, New York Hearing Racial Politics in Beyoncé’s and the Dixie University Chicks’ “Daddy Lessons”. Rebekah Hutten, Schulich School of Music, McGill University

66 Concert Cultures Buxtehude’s Sicut Moses exaltavit serpentum 12:00PM – 12:50PM in deserto (BuxWV 97). Malachai Bandy, Chair(s): Simon McVeigh, Goldsmiths, University of University of Southern California London The Musicological Value of Fictional Foreign Technologies of Opera Travelers: Stalkoff, gentilhomme russe en 01:00PM – 01:50PM France and Concert Conducting in Eighteenth- Chair(s): Nick Stevens, Wichita State University Century Dijon. Beverly Wilcox, California State Space Opera: Alienation, Voice, and Colonialism University, Sacramento in Sci-Fi Regietheater. Micaela Baranello, Music Clubs and the Building of Concert Culture University of Arkansas in Rio de Janeiro`s Belle Époque (1870-1922). Liveness and participation in bootleg opera Miranda Sousa, University of Pittsburgh recordings. Laura Moeckli, Bern University of Cultural Economics and Music Business: The the Arts AMS - Saturday, 14 November Bach-Abel Subscription Concerts, 1773- Antonio Meucci, opera and telephonic listening. 1775. Ann Van Allen-Russell, Trinity Laban Ditlev Rindom, King’s College London Conservatoire of Music And Dance Boredom and the Vocal Score. John Dilworth, Against the Patriarchy Harvard University 01:00PM – 01:50PM Chair(s): Lisa Barg, McGill University Fostering Decoloniality in Music: From Local Archives to Global Dialogue (Workshop) Queer and Religious Feminist Myth-Building in Tori Amos’s Boys for Pele (1996–1998). H. 12:00PM – 01:30PM Megumi Orita, The University of North Carolina Chair(s): Robin Attas, Queen’s University at Chapel Hill Speaker(s): #AdrianaMater: An Opera Concerning Rape and Lilliana Saldaña, University of Texas at San Pregnancy. Larissa Irizarry Antonio Lindelwa Dalamba, University of the Witwatersrand Pianisms Philip Burnett, University of Bristol 01:00PM – 01:50PM Yvonne Liao, University of Oxford Chair(s): Adriana Ponce, Illinois Wesleyan University David Irving, CREA & Institució Milà i Fontanals Tightly Laced and Bound by Method: Clara de Recerca en Humanitats-CSIC Schumann and the Construction of Nineteenth-Century Female Pianism. Theodora Recontextualizing 17th-century Music Serbanescu-Martin, Cornell University 01:00PM – 01:50PM Schumann’s Hand, Logier’s Chiroplast, and Chair(s): Rose Pruiksma, University of New Wieck’s Role in an Unresolved Mystery. Bonny Hampshire Miller, Independent Scholar Singing Sacrilege: Music and the Idolatry Programming and Performance Practice: Anna Problem in the Operatic Spectacles of Vienna Caroline de Belleville’s Changing Approach and Versailles, 1661-1689. Devin Burke to Virtuosity in the Early Nineteenth Century. Peng Liu, University of Texas At Austin Musical Rhetoric as Racial Commentary: Samuel Capricornus’s Sacred Concerto “Ich bin schwarz” (1664) and Views on Blackness in Annual Meeting of the Ludomusicology Study Seventeenth-Century Germany. Arne Spohr, Group (Ludomusicology Study Group) Bowling Green State University 01:00PM – 02:30PM Geometry, Alchemy, and Rosicrucian Symbol in Chair(s):

67 Elizabeth Hambleton Alexandra Krawetz, Yale University Julianne Grasso Made in USA: Music, Radio Drama, and the Kitsch Ryan Thompson Aesthetic. Rika Asai, University of Pittsburgh Speaker(s): “Orchestra By Radio”: American Film Thomas Yeh Presentation and Wireless Technology in Dominique Pelletier the early 1920s. Mary Simonson, Colgate Karen Cook, University of Hartford University Kate Galloway, Rensselaer Polytechnic Institute

Voice and Race Music and Social Activism 02:00PM – 02:50PM 02:00PM – 02:50PM Chair(s): Zeynep Bulut, Queen's University Belfast Chair(s): Will Cheng, Dartmouth College Trading Tapes, Visualizing Voices: Materiality, Towards the Sonic Good Life. Daphne Carr, NYU Identity, and the Metropolitan Opera Radio AMS - Saturday, 14 November Gay Choruses and a Regular Program of Broadcasts. Erin Brooks, SUNY Potsdam Commissioning New Music on Loss and An American ‘Double Monster’ in Paris (1873- Tragedy in the Larger LGBTQ+ Community 1874): Millie-Christine McCoy, Singing for Purposes of Social Activism. Kevin Phénomène, on Tour. Remi Chiu, Loyola Schattenkirk, Longwood Universtiy University Maryl and Dana Gorzelany-Mostak, “A Land More Kind than Home, More Large Georgia College Than Earth”: The Intersection of Kansas City’s “Creole Nightingales” and the White Voice in Jim Musical and LGBT Communities in Christopher Crow Vaudeville. Kristen Turner, North Carolina Lacy’s Requiem for Victims of AIDS. Louis State University Niebur

Teaching Precarity (Graduate Education Vocal Subjectivities Committee) 02:00PM – 02:50PM 02:00PM – 03:50PM Chair(s): Natasha Loges, Royal College of Music, Chair(s): London Erika Honisch Processing Encrypted Failures: Laurie James Q. Davies, UC Berkeley Anderson’s “O Superman” from Big Science Speaker(s): to Homeland. Maria Murphy, University of Michael Puri, University of Virginia Pennsylvania Robert Pearson, Emory University Madrigals in Dialogue: What Multi-Speaker Marcus Pyle, New York University Settings Tell Us About Voice and Readership Naomi Graber in the Italian Madrigal. Seth Coluzzi, Colgate University White Privilege “Ideal Hausmusik” or “Chamber Music for Voice”: 03:00PM – 03:50PM Brahms’s Vocal Quartets and the Politics of Chair(s): Patrick Rivers, University of New Haven Genre. Robert Michael Anderson, University of North Texas Payton vs. “Jazz”: Unpacking the Racialized Power Dynamics of an Instagram Meme. Andrew Kluth, Case Western Reserve Radio in 20th-century America University 02:00PM – 02:50PM Cultural Diversity and the Musical Representation Chair(s): Christina Baade, McMaster University of California in Regional 1970s Television. The Safety and Hazard of Music: Value and Kendra Leonard, Silent Film Sound & Music Children’s Music in Interwar America. 68 MUSIC MA N MSC AT ENN STATE A Theory and History. Students benefit from a distinguished faculty, individualized attention, small class sizes, pedagogical training, R our two-year program well prepared to enter top doctoral programs in their field, and we have a strong record of graduate placement. A number of teaching assistantships (including a full-tuition waiver and stipend) are available each year on a competitive basis.

MUSICOLOGY MUSIC THEORY F V 19th-century music, historical 20th- and 21st-century music, performance practices, music post-tonal analysis, the Beatles, and politics popular music, Baroque music

T— early music, —compositional R process, sketch studies, Stravinsky, Monteverdi, manuscript studies, counterpoint interdisciplinary studies T Y—music after American music, topic theory, R film music E century music, dance music, Chopin, Schenkerian theory, theories of tonal rhythm

apply today musicpsuedu Archive Martha Schulenburg, CUNY Graduate Center Jazz, Whiteness, and the Question of Joe Zawinul’s Soul. Mikkel Vad Coffee Break 03:00PM – 04:50PM Music and the Environment in the 1970s 03:00PM – 03:50PM Virtual Exhibit Hall Open Hours Chair(s): Megan Murph, University of Kentucky 03:00PM – 05:00PM Studying Score Sketches of Music for Wilderness Lake. Sarah Teetsel, University at Buffalo Chicago’s Musical Scenes Jerry Goldsmith Goes to Space: Avant-garde Film 04:00PM – 04:50PM Scores and Landscape in Planet of the Apes Chair(s): Mark Clague, University of Michigan (1968) and Alien (1979). Jonathan Minnick, UC School of Music, Theatre & Dance AMS - Saturday, 14 November Davis The Fortnightly Friends of Opera: Chicago “Before the Deluge”: The No Nukes Concerts Clubwomen and Civic Operatic Patronage. (1979) and Confessional Songs as Cody Norling, University of Iowa Environmental Anthems. Christa Bentley, Oklahoma City University Banding Together Against—and for—Nazism: Bands as Cultural Brokers in Chicago’s German-American Community. Alyssa Wells, Performing Indigeneity University of Michigan 03:00PM – 03:50PM Making Music (and ballet) Modern: Chicago in Chair(s): Glenda Goodman, University of the 1920s. Carolyn Watts, Princeton University Pennsylvania Music, Manuscripts, and Missionaries: Villancicos Wagner’s Influence(s) in the Highlands of Early Colonial Guatemala. 04:00PM – 04:50PM Kirstin Haag Chair(s): Mark Berry, Royal Holloway University of “Cosmic Stones: Sounding Guanche and London Speculative Indigeneity in the Canary Islands”. Mark Lomanno, Albright College Performing Racism: Wagner as a Conductor and the Aesthetics of Antisemitism. Daniel ‘He is happening to my body’: Matriarchal Barolsky, Beloit College Musical Politics in Early Modern Wendake. Jessica Herdman, University of Manitoba Gender, Japan, and Tristan for Women: Takarazuka’s Wagner Adaptations. Brooke McCorkle Okazaki, Carleton College Beyond the Femme Fatale On the Connection Between François Delsarte’s 03:00PM – 03:50PM “Course in Applied Aesthetics” (1839-1859) Chair(s): Sharon Mirchandani, Westminster Choir and Richard Wagner’s Aesthetic Writings. College of Rider University Bradley Hoover, University of Oxford Salome as Victim: Representations of Rape and Adapting the Lyric Drama to the Spanish National Trauma in Twenty-First-Century Productions of Opera: Wagnerian Influence in Conrado Strauss’s Salome. E. Margaret Cormier, McGill del Campo’s El final de don Álvaro (1910- University 1911). David Ferreiro Carballo, Universidad Operatic Dystopias, Lilith’s Utopia: Peter Eötvös’s Complutense de Madrid Paradise Reloaded (Lilith) (2013). Jane Forner, University of Aberdeen “Meaningless Excitement and Smooth Atonal “Those Theda Bara Eyes”: The Remediation Sound”: Phish at the Intersection of Music Theory of the Vamp from Cinema to Tin Pan Alley. and Cultural Studies

70 04:00PM – 04:50PM Richard Wagner, Maurice Schlesinger, and the Chair(s): Graeme Boone, The Ohio State University Labor of Music Publishing. Peter Mondelli, Affective Music Theory, Public Musicology, and University of North Texas the Construction of Phish Fan Identity. Jacob A. Cohen Popular Music Study Group Business Meeting Towards a Classication System of Improvisational (Popular Music Study Group) Types in Phish’s Live Performances. Heather 05:00PM – 05:50PM Laurel On the Persistence of Groove: Structural Fog and Music and Resistance Jouissance in a “Split Open and Melt” Jam. 05:00PM – 05:50PM Steven Reale, Youngstown State University Chair(s): Andrea Bohlman, University of North Carolina at Chapel Hill AMS - Saturday, 14 November AMS Board Meet and Greet (3 of 4) “Now We are Dead:” Ethel Voynich’s Epitaph in 04:00PM – 04:50PM Ballad Form and the Aftermath of Rebellion. Anna Brashears, The Catholic University of Brandeis Reception America 04:00PM – 04:50PM “Avert th’impending Doom”: New Perspectives Host(s): on William Billings’s An Anthem, for Fast Day Emily Frey, Brandeis University (“Mourn, mourn”). Charles E. Brewer, College Mark Kagan, Brandeis University of Music, Florida State University “The Consequences of Making it Public”: Composition, Dedication, and Dissemination Performance: Thunder Band of Bohdan Mazurek’s Polnische lieder ohne 05:00PM – 05:50PM worte – dedicated to Anka Kowalska (1982). Emily Theobald, University of Florida Reception Histories 05:00PM – 05:50PM The Fun Party: Games & Prizes with Auralia & Chair(s): Erin Knyt, Uniiversity of Massachusetts Musition Amherst 05:00PM – 05:50PM Handling Tovey’s Bach. Reuben Phillips, Institute Host(s): for Advanced Studies in the Humanities, Peter Lee, Auralia & Musition University of Edinburgh Tim Wilson, Auralia & Musition Gottschalk’s Grooves. Steven Baur, Dalhousie University Eastman School of Music Alumni Party Before and After Debussy: American Responses 05:00PM – 07:00PM to Gabriel Fauré’s Pelléas et Mélisande, Host(s): Boston and New York, 1902–1912. Heather de Ben Baker, Eastman School of Music Savage, Central Connecticut State University Roger Freitas, Eastman School of Music

Musical Labor in the 19th Century UT Austin Welcoming Reception 05:00PM – 05:50PM 05:00PM – 07:00PM Chair(s): Laura Stokes, Brown University Host(s): The Making of a Music Metropolis: Berlin Before Andrew Dell'Antonio, University of Texas at 1900. Pamela Potter, University of Wisconsin- Austin Madison Luisa Nardini, University of Texas at Austin

71 Career Development

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History of Music Theory Study Group Business 06:00PM – 07:30PM Meeting (History of Music Theory Study Group) Organizer(s): 06:00PM – 07:30PM Jeannette Jones, College of the Holy Cross Chair(s): Andrew Hicks Stefan Honisch, University of British Columbia Chantal Lemire, Western University Miriam Piilonen, University of Massachusetts Sounding the Hong Kong Protests Amherst 06:00PM – 07:30PM Gavin Lee, Soochow University (China)Lemire, Chair(s): Hedy Law, The University of British Miriam Piilonen, and Gavin Lee Columbia Dismantling Narratives of (Dis)Ableism: Tracing Add Oil! (加油): Hong Kong’s Pro-Democracy Discourse of Belonging in the Era of COVID-19. Protests and Cross-Cultural Formal Play in Ram Ryan Weber, 不撤不退 Cheung’s “Don’t Retreat! ( ). Christi Saint-Saens' Suite Algerienne and President Jay Wells, Arizona State University Trump's COVID-19 rhetoric. Tekla Babyak, “I Heard You Through the Tear Gas!”: Sound Acts Independent Scholar in the 2019–20 Hong Kong Protests. Winnie W. Music and the Maiming of the New World at the C. Lai, University of Pennsylvania Orbis Spike, 1610. Andrew Chung Einstein's Einstein, on Opera's Hegemonic Modulations and Intersections Assimilation of Disability. Anna Gatdula (SMT Music and Disability Interest Group, AMS Colonizing the Coronavirus in China: Quarantine, Study Group on Music and Disability, SMT Global Media Representation, and the Sounds of Interculturalisms and Musical Peripheries, and Neoliberal Biopolitics. James Deaville SMT Scholars for Social Responsibility Interest Group)

73 Listen and unwind 06:00PM – 08:00PM

From Tin Pan Alley to Paisley Park: Space and Place in Popular Music (Popular Music Study Group) 06:00PM – 08:00PM Chair(s): Andrew Flory, Carleton College, and Christa Bentley, Oklahoma City University Turf Wars: Hearing Resistant Bodies at the Super Bowl. Joanna Love, University of Richmond Mapping Rock History in Downtown New York,

1965-1975. Eric Charry, Wesleyan University AMS - Sunday, 14 November I Didn’t Know They Were British: The Impacts of British Identity on Black R&B Success. Anthony Harrison, Virginia Tech Place, Race, and Space: Sun Ra’s Esoteric Geographies. Anna Gawboy, The Ohio State University Música Michicana: A Texas-Mexican Audiotopia in the Midwest. Richard Davila, Michigan State University From Tin Pan Alley to Paisley Park: Space and Place in Popular Music. Andrew Flory, Carleton College Christa Bentley

McGill University Reception 07:00PM – 07:50PM Host(s): Lisa Barg, McGill University Lloyd Whitesell, McGill University

Global East Asian Music Research Study Group Business Meeting (Global East Asian Music Research Study Group) 07:00PM – 08:30PM

University of Chicago Alumni Party 07:00PM – 09:00PM Host(s): Peter Gilette, University of Chicago Berthold Hoeckner, University of Chicago

74 Rosalía’s El mal querer. Ramona Gonzalez, AMS - Sunday, 15 November UCLA

Morning Mindfulness Session Voice-Centered Histories 09:00AM – 09:45AM 10:00AM – 10:50AM Chair(s): Marcelle Pierson Music in Occupied Southern Italy Partched Fields, or Musicological Borderlands in 10:00AM – 10:50AM a Season of Voice. Jake Johnson, Oklahoma City University Chair(s): Dinko Fabris, Gresham College Voice, Viriditas, and the Semiotic Chora in Scarlatti’s Call ‘to Arms’: Resisting Spanish Rule Hildegard’s Mystical Theology. Alec Wood in the Neapolitan Production of Comodo Antonino (1696). Zoey Cochran, McGill “It Doesn’t Want to Sound Like Voices:” Choral

University Voices and Film Music. Donald Greig, AMS - Sunday, 15 November Independent Scholar Locating Plebe Communities in Sixteenth- Century Neapolitan Song. Nathan Reeves, Northwestern University New Perspectives on Black Musicians in Pastoral Politics in the Lyric Song of Late- Performance Fifteenth-Century Southern Italy. Elizabeth 11:00AM – 11:50AM Elmi, Iowa State University Chair(s): Mark Burford, Reed College S(w)inging for Hitler: African-American Jazz Rehearsing Performance Practice in the 19th Musician Herb Flemming between Black Century and White in Nazi Germany. John Gabriel, 10:00AM – 10:50AM University of Melbourne Conservatorium of Music Chair(s): Virginia Whealton, Texas Tech University Black Minstrel & Jubilee Music in the Early 1880s: Rehearsing the Social: Beethoven’s Late Repertoire, Touring Schedules, Geography, Quartets in Paris, 1825–1829. Fabio Morabito, and Forgotten Musicians. Nico Schuler, Texas University of Alberta State University More Soul than Voice: Style, Sound, and Meaning Beyond Call and Response: Jazz and the Black in the Nineteenth-Century French Romance. Church Since the 1980s. Dana Gooley, Brown Nathan Dougherty, Case Western Reserve University University ‘Every man sings for himself’: What we can learn from/about the principles and practices of Music and Jewish Identity 19th-century orchestral string sections. Claire 11:00AM – 11:50AM Holden, University of Oxford Chair(s): Tina Frühauf, Répertoire International de Littérature Musicale and Columbia University Trauma and Repair Negotiating Jewish Identity in Dave Brubeck’s 10:00AM – 10:50AM The Gates of Justice. Kelsey Klotz, University of North Carolina At Charlotte Chair(s): Juan Fernando Velasquez, University of Michigan Falling Off the Roof and into the Opera House: Jews, Opera, and Anxiety in Twentieth Century Symbolic Reparations and Sonic Memorials: America. Samantha Cooper, New York Music Gifts in Colombia’s Late Armed Conflict. University Sebastian Wanumen Jimenez, Boston University “Not a Zionist, But a Stateless Jewish Refugee”: Wolpe, Shlonsky, Seter and the Bauhaus Quejío: Flamenco Trauma Expression and

75 Aesthetics in Their Music in Palestine. and Stretto Fuga in Gombert’s Magnificat Tertii Ronit Seter, Jewish Music Research Centre, et octavi toni. Ian Lorenz, Schulich School of Jerusalem / Fairfax, VA Music, McGill University

Realism in French and Spanish Opera Medieval Music and Women Religious 11:00AM – 11:50AM 12:00PM – 12:50PM Chair(s): César Leal, Gettysburg College Chair(s): Allison Altstatt, University of Northern Iowa Towards a Spanish Verismo Opera: Tomás Trinum per trinam: Female Agency through Bretón’s La Dolores and the Discourse on Medieval Song. Alison Kaufman Ópera Española around 1900. Alessio Olivieri, To Be Continued: The Long View of Cistercian University of California Riverside Chant at the Abbey of Beaupré. John The “Everyday Truth” of Realist Operatic Set Glasenapp, Saint Meinrad Seminary and

Design in Fin-de-Siècle Paris. Catherine School of Theology AMS - Sunday, 15 November Ludlow, University of Washington Music, Death, and Women’s Communities in Late Medieval Europe. Miriam Wendling Hardware, Software 11:00AM – 11:50AM Musical Instruments and Materiality Chair(s): Clara Latham, The New School, Eugene 12:00PM – 12:50PM Lang College Chair(s): Guido Olivieri, The University of Texas at Toward a Mise en Circuit: Archiving Tone in Austin, Butler School of Music Electric Guitar Pedals. Erik Broess, University The Grain of the Wood: HIP Discourse in an Age of Pennsylvania of Distance. Jonathan Gibson, James Madison Subverting algorithmic policies of sonic control in University Nicolas Collins’s Broken Light (1992). Eamonn Heavy Relics: Instrument Distressing as Bell, Trinity College Dublin Manufactured History. Kai West, University of Digital Labor and the Musical Exchange Value Michigan and Joshua DeVries of Max for Live Devices. Landon Morrison, Il filo: The Circulation of Anglo-Roman Musical Harvard University Products, 1798-1832. Amalya Lehmann, University of California, Berkeley Rethinking Analytic Paradigms 12:00PM – 12:50PM On Being: Quiet and Stillness in Black Music Chair(s): Eileen Mah, University of Indianapolis (Critical Race Lecture, Committee on Race and Understanding Key in Eighteenth-Century Opera: Ethnicity) Musical Practice over Dramatic Emotion. 12:00PM – 01:30PM Alvaro Torrente, Universidad Complutense Chair(s): Nina Eidsheim, UCLA, and Alejandro de Madrid and Ana Llorens, Instituto Madrid, Cornell University Complutense de Ciencias Musicales Speaker(s): “This is the rule. Of course, I don’t compose Farah Jasmine Griffin, Columbia University that way”: Bruckner, Sechter, and the Theory/ Practice Dichotomy. Miguel Ramirez, Eastern Nostalgia Across Genres Mennonite University 01:00PM – 01:50PM “Batter My Heart”: John Adams’ Doctor Atomic Chair(s): Erin Bauer, University of Wisconsin- and the Slippery Art of “Standing For”. Michael Whitewater Schachter, Harvard University Nostalgia and Subversion: The Musical Number “A Marvellous Delight”: Compositional Planning in Steven Universe and Over the Garden Wall.

76 Thomas Hanslowe Movement in 1850s America. Julia Chybowski, Greta Van Fleet and the Sound of the Past in University of Wisconsin-Oshkosh Contemporary Rock. Jeff Williams “Ghostly Moans of Guitars in Exile”: Nostalgia Russian Transnationalisms & Nationalism in Argentine Orquesta Típica 02:00PM – 02:50PM Tango. Eric Johns, University of California, Chair(s): Albrecht Gaub, Independent Scholar Riverside Voiceless Ethnic Minorities: Representing Taranchis at Ethnographic Concerts. Adalyat Singers and Song in the Low Countries Issiyeva, Schulich School Of Music, McGill 01:00PM – 01:50PM University Chair(s): Elizabeth Weinfield, The Julliard School The Politics of Russian Music Abroad: Resisting The Extraordinary Lives of Ordinary Singers c. Modernism in Medtner and Ilyin. Patrick

1500. Robert Nosow Domico, Indiana University AMS - Sunday, 15 November “She sings a song of her desire”: Female Song Interculturality in the ‘Eurasian’ Compositions of Culture of the Dutch Republic as Represented Alexander Tcherepnin and Aaron Avshalomov. by Gesina ter Borch. Kaylee Simmons, Indiana John Winzenburg, Hong Kong Baptist University University A Transnational Space for a Modern Musical Jazz Modernisms Russia: The Russian Symphony Society of New York. Jamie Blake, University of North Carolina 02:00PM – 02:50PM at Chapel Hill Chair(s): Tamika Sterrs-Howard, University of North Georgia Castrati in Context Modernity as Jazz Paradox: Techno-Futurist/ Techno-Primitivist Aesthetics in George 02:00PM – 02:50PM Antheil’s Ballet Mécanique. Angharad Davis, Chair(s): Roger Freitas, Eastman School of Music Yale University The gargarismi of Lazzaro Paoli: Singing, John Cage’s Silent Cudgel, Wadada Leo Smith’s Pharmacology, and Castration in Eighteenth- Silent Shapes. Michael Heller, University of Century Tuscany. Bruce Brown, University of Pittsburgh Southern California Incommensurate Erroll Garner: Rethinking The Merit of Novelty: Castrato Pachierrotti as Modernity and the Shape of the Jazz Canon. Haydn’s Princess Ariadne (London, 1791). Irene Monteverde, University of Pittsburgh Katelyn Clark, University of British Columbia

Anti-Slavery Meet-and-Greet for Prospective Graduate 02:00PM – 02:50PM Students Chair(s): Melvin Butler, University of Miami 02:00PM – 03:30PM Objects, Persons, Voices: Abolitionist Song and Small Musical Things in Late Eighteenth- The Sound Object and Music Media (AMS Century London. Nicholas Mathew, UC Music and Media Study Group / SMT Film and Berkeley Multimedia Interest Group) Louisiana Imagined: Gender, Race, and Slavery in 02:30PM – 03:30PM Le Planteur (1839). Helena Spencer, University Chair(s): of North Carolina Wilmington Kate Galloway, Rensselaer Polytechnic Institute Intertextuality in Joshua Simpson’s Original Anti- Katherine Reed Slavery Songs and the Expanding Abolition Julianne Grasso

77 Reba Wissner, Columbus State University Signification in the Dramatic Works of Robert William O’Hara Schumann. Christoher Ruth, Shenandoah Speaker(s): Conservatory Christina Baade, McMaster University Ghostly Summer Camp: A Soundscape Study. Maria Zuazu, Queen’s College, CUNY Codee Spinner, University of Pittsburgh Erik Broess, University of Pennsylvania Landon Morrison, Harvard University New Organology, Old Music Ryan Bunch, Rutgers-Camden 03:00PM – 03:50PM Kate Galloway, Rensselaer Polytechnic Institute Victoria Aschheim, Dartmouth College Chair(s): Andrew Hicks, Cornell University Rock Music Reconsidered: Extreme Early Music and Upper Paleolithic Musical Fantasies in The Sexuality Onstage Cave of Forgotten Dreams (2011). Samuel Dorf, 03:00PM – 03:50PM

University of Dayton AMS - Sunday, 15 November Chair(s): Emily Richmond Pollock, MIT Against the Monochord: Numbers, String Perverting Performance: BDSM on the Opera Lengths, and the History of Music Theory. Stage. Axel Englund, Stockholm University Caleb Mutch, Max Planck Institute For “Uncovering” Susanna: Lukács, Lacan, and Empirical Aesthetics Phallic Essence in Weimar Opera. Blake Taylor, University of Connecticut Coffee Break “Singing about Sex(uality) in Lloyd Webber’s 03:00PM – 04:50PM Musicals”. Amanda Eubanks Winkler, Syracuse University Virtual Exhibit Hall Open Hours 03:00PM – 05:00PM Music and Migration 03:00PM – 03:50PM Sight and Sound Chair(s): James Gabrillo, The University of Texas at Austin, Butler School of Music 04:00PM – 04:50PM Feeling Exile and Singing Migration: Music and Chair(s): John Gabriel, University of Melbourne Spiritual Pilgrimage in Central Europe during Conservatorium of Music the Era of Re-Catholicization (ca. 1598–1648). Rhapsodies of Color and Sound: Choreography Tom Marks in the Visual Music Films of Mary Ellen Bute. Empathy, Migration, and Child Subjects in Italian Henry Balme, Yale University Rapper Ghali’s “Cara Italia”. Jeremy Frusco, Musical Time, Sexuality, and Mortality in Two University of Florida Diptychs by Hans Baldung Grien. Jane Hatter Beethoven Returns to Bonn: Misuse, “A German Opera for the German People”: Memorialization, and Migration in Mauricio Altarpieces and Accommodation in Paul Kagel’s Ludwig van (1969). Elaine Fitz Gibbon Hindemith’s Mathis der Maler. Lesley Hughes, University of Wisconsin-Platteville The Varieties of Spirituality 03:00PM – 03:50PM Music and Somatic Practice Chair(s): Christopher Scheer, Utah State University 04:00PM – 04:50PM The Musical Unconscious Reconsidered in Chair(s): Jessica Holmes, UCLA Herb Alpert School Bazaillas, Debussy, and Boulanger. Megan of Music Sarno, University of Texas At Arlington Sonny Rollins, yogi. John Kapusta Spirituality and the Fugal Topos: Contrapuntal Embodied Spirituality in Meredith Monk’s Atlas.

78 Michael Bennett, University of Washington Tamara Levitz Sotto voce: S(t)imulating Intimacy in ASMR Music. Samantha Bassler, New York University and Ivan Raykoff, The New School Rutgers University at Newark Elisa Corona Aguilar Emily Richmond Pollock Global Musical Flows across the Centuries Stephanie Jensen-Moulton 04:00PM – 04:50PM Chair(s): Kate Van Orden, Harvard University Substantial Similarity and the Role of Forensic Open Worlds: Globalization, Localization, and Musicology in Music Copyright Litigation Video Game Music. William Gibbons, Texas 05:00PM – 05:50PM Christian University Chair(s): George Washington University Law School Managing Agencies, Intercolonial Telegraphs, and Intercontinental Steamers: The Business Can You Copyright a Chord Progression?: Evaluating Harmonic Similarity in Federal

of Western Music in India, 1800s. Bradley AMS - Sunday, 15 November Shope, Kutztown University Copyright Litigation. Katherine Leo, Millikin University Did “European Music” Exist before the 1680s? Deconstructing an Assumed Category, from a Melody, “Beats,” and Minimalism: Copyright Global History Perspective. David Irving, CREA in Contemporary Popular Music. Alexander & Institució Milà i Fontanals de Recerca en Stewart, University of Vermont Humanitats-CSIC When Analysis Is Performance, What Ethical Guidelines Must Forensic Musicologists Consider? Devin Chaloux, Indiana University Practicing Theory in the 14th Century Searching for Similarity: Confirmation Bias in 04:00PM – 04:50PM Partisan Forensic Musicology. Dana DeVlieger, Chair(s): Susan Forscher Weiss, Johns Hopkins Northwestern University Pritzker School of Law University Sharp Contrasts on “Blurred Lines”: Williams v. Contradictory Perspectives in Machaut’s Motet 5: Gaye and a Clash of Amici. André Redwood, Mensuration, Materia, Sonority. Henry Burnam, SUNY, Albany Yale University Vitriacan Practice as Theory. Anna Zayaruznaya, Performing Identity in Popular Song Yale University 05:00PM – 05:50PM Music as a Mirror to Reality: Johannes Vetulus de Anagnia’s Book About Music. Philippa Chair(s): Aida Huseynova, Indiana University - Ovenden, Yale University Bloomington The Color of Home: Difference and the Politics of Belonging in Kurdish Popular Music. Jon AMS Board Meet and Greet (4 of 4) Bullock, University of Chicago 04:00PM – 04:50PM Victor Tsoi’s “Kukushka”: Ideological Transformation and Russian Geopolitics in Towards a More Humane (American Post-Soviet Popular Music. Shaun Hillen, Musicological) Society: A Community Reading Arizona State University, Tempe of Berg and Seeber’s The Slow Professor: Identity and Intimacy in Chinese Idols. Ya-Hui Challenging the Culture of Speed in the Academy Cheng, University of South Florida (Committee on Women and Gender) 04:00PM – 05:30PM Africa and Empire Speaker(s): Caitlin Schmid 05:00PM – 05:50PM Gregory Brown Chair(s): Johann Buis, Wheaton College

79 Villages, Czech and African: Music, Exhibitions, and Shana Goldin-Perschbacher, University of and Ethnoracial Hierarchies in Late Pennsylvania Nineteenth-Century Prague. Christopher Corner Politics: The Queer Coalitional Politics Campo-Bowen, Virginia Tech of Miles Davis, Elliott Powell (University of Sounding Trans-Gibraltar: The Making of the Minnesota). Mediterranean Border in colonial Morocco (1912-1956). Samuel Llano, University of Childhood and Youth Study Group Business Manchester Meeting (Childhood and Youth Study Group) 06:00PM – 07:30PM Transnational Operatic Networks Chair(s): 05:00PM – 05:50PM Ryan Bunch, Rutgers-Camden Chair(s): Adriana Martínez, Eureka College Sarah Tomlinson

Unpacking Harlequin’s Suitcase: AMS - Sunday, 15 November Transnationalism in Early Eighteenth-Century Listen and unwind Comic Opera. Erica Levenson, SUNY Potsdam 06:00PM – 08:00PM Specters of Empires, Empires of Specters: Operatic Afterlives in Early Modern Milan. “Pedagogy for the Public: Using Social Carlo Lanfossi, University of Milan, Italy Media Strategies to Create Understanding Identity and otherness on stage: Italian opera and Engagement,” a joint session of the SMT and Manuel García in Postcolonial Mexico Pedagogy Interest Group and the AMS Pedagogy (1827-1829). Francesco Milella, University of Study Group Cambridge 06:00PM – 08:30PM From the Redwoods to the Riviera: The Chair(s): Bohemian History of Joseph Redding’s Fay- Leigh VanHandel, University of British Columbia Yen-Fah. Beth E. Levy, Univ of California, Davis Matthew Baumer, Indiana University of Pennsylvania Imagine PhD: Workshop on a Career Speaker(s): Development Tool for Humanists (CCRI Andrew Granade, University of Missouri-Kansas Workshop) City 05:00PM – 06:30PM David Thurmaier, University of Missouri-Kansas Chair(s): City Robert Pearson, Emory University Kristin Marie Franseen, Carleton University Danielle Fosler-Lussier, Ohio State University Malia Jade Roberson, California State University, Channel Islands and Pomona College Organology Study Group Reading Discussion Stephen Gomez-Peck, The Graduate Center, (Reading Group on Organology) CUNY Samuel Teeple 06:00PM – 07:30PM Aaron Grant, Missouri Western State University Speaker(s): Alex Ludwig, Berklee College of Music Matt Zeller Kent Cleland, Baldwin Wallace University Lidia Chang Toby Rush, University of Dayton

New Directions in Queer Music Scholarship Boston University Virtual Reception (LGBTQ Study Group) 07:00PM – 07:50PM 06:00PM – 07:30PM Host(s): Chair(s): Ryan Dohoney, Northwestern University, Michael Birenbaum Quintero, Boston University

80 Music of the United States of America (MUSA) is a national series of scholarly editions that seeks to reflect the character and shape of American music making. MUSA is a co- publication between the American Musicological Society and A-R Editions and is support- ed by the National Endowment for the Humanities.

The MUSA volumes are cross-listed in the series Recent Researches in American Music. MUSA titles are listed under their American series volume number in Recent Researches in Music Online (www.rrimo.com).

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Noble Sissle and Eubie Blake: Shuffle Along Edited by Lyn Schenbeck and Lawrence Schenbeck • MU29/A085 ISBN 978-1-9872-0028-7

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81 SMT Schedule Grid

82 SMT - Saturday, 7 November

Saturday, November 7 All times are in CST. ‡ Denotes joint session/meeting on SMT Platform

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 9:00 – MORNING MEDITATION* 9:45 AM 10:00 – CHINESE MUSIC AND FORCES, ENERGY, AND METER AND TIME POSTER WORK AND FAMILY 10:50 AM CHINESE MUSIC THEORY BALANCE SESSION INTEREST GROUP MEETING Ya-Hui Cheng, Chair Sarah Marlowe, Chair Rebecca Jemian, Chair The Cultural Binds of Tonal A Performative Perspective of Connoted Semibreves in Pre- Function Voice Leading Franconian Theory Anna Yu Wang Peter Franck Kaho Inoue The Disunity of Ancient Bach’s Energetic Shapes Generative Meter and Phrase- Chinese Music Theory John Reef Rhythmic Multivalence in Lars Christensen Three Slavic Folk Tunes Balancing, Not Grant Sawatzky Balance/Imbalance: The “Melodic Center of Mass” as Temporal Techniques in the a Time-Dependent, Serial Music of Roberto Continuous Substitute for Gerhard Atemporal, Discrete Rachel Mann Inversional Axes Rhythmic Cycles and Ostinati Tobias Tschiedl as Formal Process in the Music of Tigran Hamasyan Scott C. Schumann Analyzing Drum Patterns and Drum Pattern Changes in Twenty-First Century Mainstream Pop David Geary

11:00 – FRAUGHT INTERSECTIONS MAHLER EARLY MUSIC ANALYSIS POST-1945 MUSIC ANALYSIS 11:50 AM BETWEEN MUSIC THEORY Seth Monahan, Chair INTEREST GROUP MEETING INTEREST GROUP MEETING AND ITS “OTHERS” Structural Self-Reflection as Philip Ewell, Chair Formal Determinant: Pure Becoming a Major Country: Memory and Mahler’s Modal Binaries in Imperial Symphony no. 5 Japan Emma Soldaat Liam Hynes-Tawa The “Rondo” and the “What Are We Trying to “Burleske” in Mahler’s Preserve?” Vernacular Music Rondo-Burleske Theory in the Barbershop Sam Reenan Harmony Society Clifton Boyd

83 SMT - Saturday, 7 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 11:00 – Fugitive Music Theory: 11:50 AM Outlining a Diverse Network (Cont’d) of Practices and Practitioners Marc Edward Hannaford 12:00 – CONTRAPUNTAL GESTURE AND FORM POSTER SESSION MUSIC COGNITION 12:50 PM INNOVATIONS TRANSFORMATION IN Catrina S. Kim, Chair INTEREST GROUP MEETING Christoph Neidhöfer, Chair INSTRUMENTAL Felix Mendelssohn’s PERFORMANCE What’s New in the Ars nova? Dominantized Tonics Edward Klorman, Chair Ryan Taycher Michael Baker Sound Structures and Naked Mean Counterpoint and Some Perfect Authentic Fire Gestures in Cecil Taylor’s Temperamental Choices in Cadences are More Perfect Solo Piano Music the Early Baroque than Others Mark Micchelli Evan Campbell Poundie L. Burstein Performing Te: Gesture, “Dissonation” of Tonal Synthesizing the Tonal and Form, and Interculturality in Materials in Vivian Fine’s Rhetorical Dramas of Franz Dai Fujikura’s neo for Solo Ultra-Modernist Compositions Clement’s D-Minor Violin Shamisen Alexandrea Jonker Concerto Toru Momii Tim Cutler and Sam Bivens

Phrase-Rhythmic Norms in Classical Expositions: A

Corpus Study of Haydn’s and Mozart’s Piano Sonatas Joseph Chi-Sing Siu The Medial Subphrase in the Eighteenth-Century Spanish Style: Characteristics, Function, and Variants Bryan Stevens

1:00 – ON ROTATIONAL FORM MUSICAL EXPERIENCE IN MUSIC THEORY PEDAGOGY RUSSIAN MUSIC THEORY 1:50 PM Steven Vande Moortele, Chair TIME AND SPACE INTEREST GROUP MEETING INTEREST GROUP MEETING Aaron Harcus, Chair “Rituals of Circularity”: On the Conceptual Conceptualizing Musical Underpinnings of Rotational Narrative Space: A Form “Phenomenological” Journey Michael J. Puri through Chopin’s Nocturne in F-sharp Minor, Op. 48/2 Formal Process as Dorian A. Mueller Reanimation of the Past in Enrique Granados’s “Epílogo: Music Phenomenology in the Serenate del Espectro” Princeton School Audrey Jane Slote Scott Gleason The Sonata-Fugue Hybrid in Haydn’s Early Symphonies Carl Burdick 84 SMT - Saturday, 7 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 1:00 – Music Analysis as Esoteric 1:50 PM Activity: Viktor Zuckerkandl (Cont’d) at Eranos Daphne Tan 2:00 – GARY KARPINSKI’S AURAL ANALYSIS OF MUSIC FOR REDISCOVERING OPERA: INTEREST GROUP ON 2:30 – 4:00 PM 3:00 PM SKILLS ACQUISITION: ITS DANCING THE POLITICS OF FORM, IMPROVISATION MEETING WELCOME BREAK AND INFLUENCE TWENTY YEARS Chris Stover, Chair SEMIOTICS, AND COFFEE RECEPTION* POST-PUBLICATION AND REPRESENTATION The Hidden Influencers of FUTURE DIRECTIONS Knar Abrahamyan, Chair Jazz: An Analysis of Eddie Cynthia I. Gonzales, Chair Brown’s BS Chorus Yayoi Uno Everett, Daniel Shanahan, Respondent Brenna J. Langille Respondent Gary Karpinski’s Aural Skills Loving out Loud: Romantic The (Attempted) Subversion Acquisition: Listening Skills Coupling in Early Sound Films of Dissonance in Opera by Timothy Chenette (1928-1933) the First Empire Eric McKee Calvin Peck Gary Karpinski’s Aural Skills Acquisition: Sight Reading A Corpus Study of Metric Secularizing Soviet Armenia: Cynthia I. Gonzales Dissonance in Salsa Enacting Power Dynamics Rebecca Simpson-Litke through Operatic Topoi Gary Karpinski’s Aural Skills Knar Abrahamyan Acquisition: Cognition of Pulse Dissonance in Aural Skills Colombian Currulao Sounding Chosŏn: Form and Leigh VanHandel Lina Sofia Tabak Class Struggle in North Korea’s Sea of Blood Stephen Johnson

3:00 PM 3:00 – 5:00 PM

EXHIBIT HALL OPEN HOURS* 3:30 – GRADUATE STUDENT GRADUATE STUDENT 5:00 PM WORKSHOP WORKSHOP 4:30 – 5:30 PM Analysis of Music and the Theorizing Categorically: Film SMT EXECUTIVE BOARD Musicalized Moving Image Music and Beyond MEET & GREET** Anna Gawboy Scott Murphy All attendees are invited to attend. 5:00 – 6:00 PM 6:00 – LISTEN AND UNWIND* 7:30 PM

85 SMT - Sunday, 8 November

Sunday, November 8 All times are in CST. ‡ Denotes joint session/meeting on SMT Platform

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 9:00 – MORNING MEDITATION* 9:45 AM

10:00 – MICRORHYTHM AND HISTORY OF THEORY TRANSFORMATIONAL AND 10:00 – 11:50 AM 10:50 AM DISPLACEMENT IN HIP-HOP Maryam A. Moshaver, Chair SERIAL TECHNIQUES GLOBAL AND FUNK POSTER SESSION Where Zarlino Got His INTERCULTURALISM AND Anne Danielsen, Chair Richard Cohn, Chair Listener MUSICAL PERIPHERIES AND Functions of Expressive Russell O’Rourke N-dimensional Ski-hill Graphs ANALYSIS OF WORLD MUSIC Timing in Hip-Hop Flow and Complex Meters INTEREST GROUPS JOINT “In which it is evident that Ben Duinker Kája Lill MEETING perception is always

The Role of Beat Two in deceived”: Pythagorean Reconsidering Negative Funky Grooves Rationality and Descartes’ Harmony: Melodic Dualism in Michael Bruschi “Clear and Distinct Ideas” Bárdos’ Scalar Schemata David E. Cohen M.A. Coury-Hall Metric Feel and Form in “Superstition”: Analyzing Blinded by “Nature”: Walter Schubert, Schoenberg, and Stevie Wonder’s Beat Young’s “Essay on Rythmical Some Extensions to Cohn’s “Pockets” Measures” (1790) Sum-Class System Fred Hosken Carmel Raz David Orvek Mapping Schnittke’s Sequences in Bonded Uniform Triadic Transformation Spaces Lauren Hartburg George Theophilus Walker: A Unique, African-American, Voice in Twelve-Tone Music Jack Boss and Tim S. Pack

11:00 – SALVATORE SCIARRINO’S SCHUBERT AND CHOPIN SCHEMAS, FRAMES, AND 11:00 AM – 12:30 PM 11:50 AM NOVEL FORMS: ORGANIC Jonathan Guez, Chair PARADIGMS POSTER WORKSHOP* IDEALS AND MULTILINEAR SESSION (Hyper)metrical Games in HISTORIES OF MUSIC TEMPORALITIES Janna Saslaw, Chair Schubert’s Early Piano PEDAGOGY: TECHNIQUES, Orit Hilewicz, Chair Sonatas Complicating the Modal INSTITUTIONS, Robert Hasegawa, Stephen Gomez-Peck Paradigm with the Music of EPISTEMOLOGIES Respondent William Byrd Emiy Dolan, Fanny Gribenski, Form-Functional Megan Kaes Long Joshua Navon, Benjamin Displacement in Schubert’s Steege, Anicia Timberlake, Sonata Forms Michael Weinstein-Reiman, Caitlin Martinkus Lindsay Wright

86 SMT - Sunday, 8 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 11:00 – Imperceptible Beginnings Analyzing Chopin’s Fourth What Kind of Linear Theory 11:50 AM and Inescapable Endings: Ballade Through a Two- is Schema Theory?

(Cont’d) Suspended and Enhanced Dimensional Lens Gilad Rabinovitch Temporality in the David Falterman Spectral Fission in Semanticized Form of Barbershop Harmony Salvatore Sciarrino Jordan Lenchitz Christian Utz Tracing Music Theory’s Gestural Time and (un)Shifting Frames: A Grundgestalt in Sciarrino’s Natural Language Recitativo Oscuro Processing Approach Antares Boyle Tom Johnson, Megan Through Chaos: Conceiving Lavengood, and Evan A New Organicism in the Williams Music of Salvatore Sciarrino Mingyue Li

12:00 – LINGUISTIC EXPRESSION VOICE LEADING SPACES JAZZ INTEREST GROUP AUTOGRAPHS AND 12:00 – 1:30 PM 12:50 PM AND POPULAR MUSIC AND TRANSFORMATION MEETING ARCHIVAL DOCUMENTS COMMITTEE ON RACE AND Karen Fournier, Chair Robert L. Wells, Chair INTEREST GROUP MEETING ETHNICITY TRAVEL GRANT Rhythmic Techniques in Collection Space: LUNCHEON** Signed Rap Systematizing Parsimonious By invitation only Anabel Maler and Robert Transformations in French Komaniecki Scalar Tonality Matthew Kiple Abe Road: The Beatles in Linguistic Simulacrum as Generic (Mod-7) Approaches Political Parody in Japan to Chromatic Voice Leading Noriko Manabe Leah Frederick Parsimony in Microtonal Music Greg Hartmann

1:00 – THE PERIOD AND CYCLIC RETHINKING WHAT DANCE AND MOVEMENT HISTORY OF THEORY 1:50 PM FORM IN THE NINETEENTH COUNTS IN SERIAL MUSIC INTEREST GROUP MEETING INTEREST GROUP MEETING CENTURY J. Daniel Jenkins, Chair

William Caplin, Chair Virgin Mary, Voce Interna, Romantic Periods Hystericized Body: Simona Diego Cubero Fabien’s Melodic Disintegration in Periodically Asymmetrical: Dallapiccola’s Volo di notte On the Analytical (1937–39 ) Implications of an Expanded Sabrina Clarke Antecedent Xieyi (Abby) Zhang Stockhausen as Gender- Bender? Serial Systems of

Structure and Sex in the Opera Cycle Licht Paul V. Miller 87 SMT - Sunday, 8 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 1:00 – Global Double Cycle and 1:50 PM Damaged-Global Double (Cont’d) Cycle as Representations of Fate in Nineteenth-Century Opera Levi Walls

2:00 – THEORISTS TALK ABOUT NEW PERSPECTIVES ON 2:00 – 3:15 PM MUSIC AND PHILOSOPHY 3:00 PM SEX…IN MUSICALS REFERENTS IN ANALYSES INTEREST GROUP MEETING STORIES FROM THE Michael Buchler and Rachel OF IMPROVISATION FRONTLINES ‡ Lumsden, Chairs Andrew Goldman, Chair Sponsored by the Committee The Waltz Topic and Aspects Matthew W. Butterfield, on Race and Ethnicity of Love in Broadway Shows Respondent Somangshu Mukherji, Chair after 1940 Recomposing the Referent: Stifling Sameness: Hardships Greg Decker An Ecological Perspective of Immigration, Parenthood, Torch Song Ternaries: Marc Edward Hannaford and Being Non-white Broadway Medleys as Contingent Faculty Being Self-Referential Reinterpretation Adem Merter Birson Garrett Michaelsen Nathan Beary Blustein Assessing My Market Value: The Problem of Invisible Communism, Baptism, One Perspective on Transcribers: Towards a Canned Corn, and Other Contingent Labor in Music Materialist View of the Salty Matters: Songs That Theory Referent Aren’t About Sex (That Are Catrina S. Kim Joon Park Totally About Sex) (Re)Visioning Race and Michael Buchler Referents in the Palimpsests Gender in Music Theory and of Jazz: Disentangling Tune Unraveling Uncertainty in Composition from Improvisation in Sondheim’s Ladies Paula Grissom Recordings of Ellington and Richard J. Plotkin Strayhorn’s “Satin Doll” Negotiating and Nurturing “Queer Temporalities” in Fun Sean R. Smither Ethnicity, Social Justice, Home Stress, and Trauma, Pre- and The Referent’s Double Rachel Lumsden Post-COVID in an Urban Michelle Yom Commuter College Desire in Hell: A Love Song Noé Dinnerstein That Transforms Gods and Men A Perspective from the Rachel Short Academic Labor Movement Sumanth Gopinath Tonality as Sexuality in The Rocky Horror Show Fighting for Class Equality Nicole Biamonte Through the Power of Collective Bargaining: Toward Livable Working Conditions for Graduate Students in the Performing Arts Anna Nelson 88 SMT - Sunday, 8 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**)

2:00 – Make Sure Your Own Mask is 3:00 PM Secure before Assisting (Cont’d) Others: Contingent Faculty as Care Workers Michael Berry Extreme Adjuncting: When Contingent Labor Becomes the Norm Reba Wissner Navigating Academia, Single- Parenthood, and First-Gen Experiences Patricia Hall 3:00 PM 3:00 – 4:00 PM BROWN BAG LUNCHEON** Hosted by the SMT Committee on the Status of Women 3:00 – 4:50 PM COFFEE BREAK* 3:00 – 5:00 PM EXHIBIT HALL OPEN HOURS* 3:30 PM 3:30 – 5:30 PM GRADUATE SCHOOL FAIR 5:00 PM 5:00 – 6:30 PM ROUNDTABLE* MUSICAL INTERCULTURALITY: SCOPES, METHODS, APPROACHES Anna Maria Busse Berger, Philip Bohlman, Yayoi Uno Everett, Tobias Janz, Nancy Yunhwa Rao, Martin, Scherzinger, Christian Utz, John Winzenburg, Larry Witzleben

89 SMT - Sunday, 8 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 6:00 PM 5:00 – 6:30 PM ROUNDTABLE* MUSICAL INTERCULTURALITY: SCOPES, METHODS, APPROACHES (CONTINUED) 6:00 – 7:30 PM LISTEN AND UNWIND* 6:00 – 8:00 PM MEDIATING THE COLD WAR* Martha Sprigge and Laura Emmery, Co-Chairs Gabrielle Cornish and Jennifer Iverson, Respondents Innovation and Collaboration at CLAEM Antares Boyle, Moderator Scientificity, Experimentation, and Electroacoustic Music at CLAEM Eduardo Herrera Collaboration, Politics and Technology in Rafael Aponte- Ledée’s Presagio de Pájaros Muertos Noel Torres-Rivera Recording Technologies and Cold War Cultural Consciousness Martha Sprigge, Moderator Maryanne Amacher’s Musical Technologies George Adams Soviet Jazz on American Vinyl: The Politics of Record Circulation Ryan Gourley

90 SMT - Saturday, 14 November

Saturday, November 14 All times are in CST. ‡ Denotes joint session/meeting on SMT Platform

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 9:00 – MORNING MEDITATION* 9:45 AM 10:00 – JONI MITCHELL BRAHMS AND BEETHOVEN PEDAGOGY AND QUEER RESOURCE GROUP 10:00 – 11:30 AM 10:50 AM Lloyd Whitesell, Chair Frank Samarotto, Chair COGNITION POSTER MEETING SPECIAL SESSION* SESSION Enactive Soundscapes: Musical Logic in the Slow BLACK LIVES MATTER IN Jenine Brown, Chair Physio-musical and Formal Movement of Brahms’s MUSIC: A CONVERSATION Process in the Music of Joni Second Symphony The Making of a Theorist: On WITH TAZEWELL Mitchell Lucy Y. Liu the Cognition of Music- THOMPSON, LIBRETTIST OF Peter Kaminsky and Megan Theoretic Expertise “BLUE” Revealing the Secret: The Lyons Sarah Gates Steve Swayne, Moderator Musical Uncanny and its Metric Freedom and Narrative Implications in the The Effect of Vertical Pitch Naomi Andre, Richard Confessional Performance Finale of Brahms’s Piano Structures, Timbre, and Desinord, Tazewell Thompson Practice in Joni Mitchell’s Quintet in F minor, Op. 34 Duration on Memory for “Blue” Risa Okina Chords Nancy Murphy Ivan Jimenez, Tuire Kuusi, The Eroica Continuity Isabella Czedik-Eysenberg, Sketches: A Form-Functional and Christoph Reuter Perspective

Thomas Posen Using Principles of Crossmodal Perception to Promote Accessibility and Diversity in the Classroom Sarah Louden Spaced Learning, Screen Names, and Speed: Fluent Fundamentals In Fifty Minutes Per Week Jennifer Shafer Don’t Count Your Cadences before They Hatch: Advocating for Discussions of Closure in Pedagogical Contexts Brian Edward Jarvis and John Peterson

91 SMT - Saturday, 14 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 11:00 – UNSETTLING ENCOUNTERS: SCRIPTS, SCHEMAS, AND POPULAR MUSIC INTEREST MUSIC AND DISABILITY 10:00 – 11:30 AM 11:50 AM TRANSFER, EXCHANGE, PROTOTYPES GROUP MEETING INTEREST GROUP MEETING SPECIAL SESSION* AND HYBRIDITY IN GLOBAL Lawrence Zbikowski, Chair BLACK LIVES MATTER IN MUSIC THEORY On Prototypes and the MUSIC: A CONVERSATION Anna Zayaruznaya, Chair Prototypical: An WITH TAZEWELL The Original Global and the Investigation of Music- THOMPSON, LIBRETTIST OF Global Origins of Music Theoretic Concepts “BLUE” Theory Richard Ashley (CONTINUED) Andrew Hicks Begging Cadences, or The Pedagogy and Seduction in Rossinian Art of Pandering the Eighteenth-Century Matthew Boyle Mission Music of Bolivia The “Se cerca” Script: Roger Mathew Grant Dialogic Networks in an Global Tonnetze Eighteenth-Century Aria Daniel Walden Tradition Nathaniel Mitchell 12:00 – GESTURE, THE MIMETIC SONATA PROBLEMS POPULAR AND VIDEO GAME MUSIC AND 12:00 – 1:30 PM 12:50 PM HYPOTHESIS, AND MUSICAL Carissa Reddick, Chair MUSIC POSTER SESSION PSYCHOANALYSIS WORKSHOP* FEELS Elizabeth Medina-Gray, Chair INTEREST GROUP MEETING Two Langerian Sonata-Form FOSTERING Juan Chattah, Chair Problems, with Solutions by Brawlers, Bawlers, and DECOLONIALITY: FROM Being Cecil, Feeling Feldman: Beach and Medtner Bastards: The Semiotics of LOCAL ARCHIVES TO Gestural Analysis of Two Christopher Brody Vocal Timbre in the Music of GLOBAL DIALOGUE Avant-Garde Piano Works Tom Waits Robin Attas, Philip Burnett, Formal Problems as Christa Cole Joshua Albrecht Lindelwa Dalamba, David Opportune Inconveniences in Irving, Roe-Min Kok, Yvonne Mimetic Invitation in Shaw’s Haydn’s Late Piano Trios Key and Affect in the Million Liao, Lilliana Saldaña Partita for 8 Voices Jan Miyake Song Dataset Crystal Peebles Bronwen Garand-Sheridan Dvořák and Subordinate Musical Feels Theme Closure: “Positive” Analyzing Subversion in Dora A. Hanninen Analytical Results for a Undertale Through “Negative” Approach to Soundscape Romantic Form Stephanie Lind Peter H. Smith An Idiom of Melodic- Harmonic Divorce: Sub-Circle Motion in Popular Music, and add9 the Deceptive ♭VII S. Alexander Reed Some Elements of Form in American Popular Music, 1958–1991 Christopher Wm. White

92 SMT - Saturday, 14 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 1:00 – ANALYZING RECORDINGS (RE)DEFINING DRAMA 1:00 – 2:15 PM 12:00 – 1:30 PM 1:50 PM Bruno Alcalde, Chair William Marvin, Chair WORKSHOP* WHO IS ALLOWED TO BE A Microtiming the Marginal: Loosening the “Shackles” of GENIUS? ‡ FOSTERING The Expressive Rhythm of Sonata Form: Intersections of Sponsored by the Committee DECOLONIALITY: FROM “Insignificant Noises” in Formal, Tonal, and Operatic on the Status of Women LOCAL ARCHIVES TO Recordings by Claire Chase, Drama in Fidelio Judith Lochhead, Chair GLOBAL DIALOGUE Evgeny Kissin, and Maggie Benjamin Graf and Graham Laura Emmery, Moderator (CONTINUED) Teyte Hunt Richard Beaudoin Genius and the Canon: The The Dramatic Potential of Effects of Exclusion Gendering the Virtual Space: Auxiliary Cadences in Cole Cora Palfy Sonic Feminities and Porter Songs with Minor-to- Masculinities in Major Choruses Contextualizing Musical the Billboard charts, 2008–18 Morgan Markel Genius: Perspectives from Michèle Duguay Queer Theory Discovering Dramaturgy in Vivian Luong and Taylor Myers Tempo as Form: Unnotated the Music of Sofia Orchestral Rubato in Early Gubaidulina via Valentina The Work of a Novice: Recordings, Treatises, and Kholopova’s System of Genius, Professionalism, and Composition Expression Parameters Contemporary American Nathan Pell Sasha Drozzina Women Monastic Composers Charity Lofthouse A Nun or Avant-Gardist? Heterogenous Creative Aspects in Byzantine Concerto by Serbian Composer Ljubica Marić as a Reaction on Socio-Esthetical Limitations of Former Yugoslav Milieu Nikola Komatović Romantic Geniuses, Idiot Savants, and Autistic People who are Good at Music Joseph Straus Artificial Creativity, Artificial Genius: Improvising Computers and the Listening Subject Jessica Shand 2:00 PM

93 SMT - Saturday, 14 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 2:30 PM 2:30 – 4:00 PM

PLENARY SESSION* CHANGING THE STORY: EMBODIMENT AS MUSICAL PRACTICES AND EXPERIENCES Marion A. Guck, Chair Kinesthesis, Affectivity, and Music’s Temporal (Re-/Dis-) Orientations Mariusz Kozak Dramatizing Difference: Embodying Music’s Materiality and (Inter)subjective Dynamics (Nina Simone’s “Little Girl Blue” from Live at Montreux 1976) Marianne Kielian-Gilbert Music Theory in the 1970s and 1980s: Three Women Fred Everett Maus Embodying Music: Three Questions from Practice Daphne Leong

3:00 PM 3:00 – 4:50 PM COFFEE BREAK* 3:00 – 5:00 PM EXHIBIT HALL OPEN HOURS*

94 SMT - Saturday, 14 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 4:00 – 3:00 – 4:50 PM 4:50 PM COFFEE BREAK* (CONTINUED) 3:00 – 5:00 PM EXHIBIT HALL OPEN HOURS* (CONTINUED) 4:00 – 4:50 PM “MEANINGLESS EXCITEMENT AND SMOOTH ATONAL SOUND”: PHISH AT THE INTERSECTION OF MUSIC THEORY AND CULTURAL STUDIES* Affective Music Theory, Public Musicology, and the Construction of Phish Fan Identity Jacob A. Cohen Towards a Classification System of Improvisational Types in Phish’s Live Performances Heather Laurel On the Persistence of Groove: Structural Fog and Jouissance in a “Split Open and Melt” Jam Steven Reale 6:00 – MODULATIONS AND 7:30 PM INTERSECTIONS: DISABILITY AND THE (UN)CRITICAL ROLE OF MUSIC* Stefan Honisch, Jeannette Jones, Gavin Lee, Chantal Lemire, Miriam Piilonen, Organizers Dismantling Narratives of (Dis)Ableism: Tracing Discourse of Belonging in the Era of COVID-19 Ryan Weber

95 SMT - Sunday, 15 November

Sunday, November 15 All times are in CST. ‡ Denotes joint session/meeting on SMT Platform

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 9:00 – MORNING MEDITATION* 9:45 AM 10:00 – NEW DIRECTIONS IN TOPIC APROPOS WAGNER AND 10:00 – 11:15 AM MATHEMATICS OF MUSIC 10:50 AM THEORY STRAUSS INTEREST GROUP MEETING PROVINCIALIZING MUSIC Robert S. Hatten, Chair Alexander Rehding, Chair THEORY: EPISTEMIC Musical Topics as Products Precursors of the Tristan FRAMEWORKS FOR THE and Tools of Historically Chord and the “Till sixth” in NEW COMPARATIVISM Informed Performance Fétis’s Traité complet (1844) Gavin Lee, Chair Olga Sánchez-Kisielewski Marie-Ève Piché C. Catherine Losada, Beyond the Fusion Principle: Sigfrid Karg-Elert’s Common- Respondent Pop Topics in the Music of Tone Transformation System, Pre-Colonial Rhythm and the Miles Davis Quintet, 1964 and His Analyses of Wagner’s Meter in Africa – 1972 Magic Sleep Motive Martin Scherzinger Jesse Gardner David Byrne Genealogy of the Pentatonic Transforming the Post-Tonal Lyric Forms as “Performed” Scale Topic in Ligeti’s Violin Speech in Das Rheingold Gavin Lee Concerto Craig Duke James Donaldson Comparative Musical Modernism: Jia Guoping’s Whispers of a Gentle Wind and Helmut Lachenmann’s Allegro Sostenuto John Roeder Ultra-Modernism and the Cosmopolitan Ideal in the Late Music of Carlos Chávez Amy Bauer

11:00 – TIMBRE BALANCHINE 11:50 AM John Y. Lawrence, Chair Maeve Sterbenz, Chair Chord Spacing and Quality: Stravinsky and Balanchine's Lessons from Timbre Agon: A Laban Movement Research Analysis of the Music and Matt Chiu and Noah Kahrs Dance Jacob Fitzpatrick Janáček’s Virtual Viola d’Amore Ethan Edl

96 SMT - Sunday, 15 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 11:00 – The Acoustic Properties of Swingin’ Bach in Ballet: 11:30 AM – 12:45 PM 11:50 AM Tanya Tagaq’s Vocal Sounds Motivic Development and USING OPEN EDUCATIONAL (Cont.d) as Situated on Timbral Funky Rhythms in RESOURCES FOR Continua Balanchine’s Concerto INCLUSIVE, FLEXIBLE, AND Kristi Hardman Barocco (1941) INNOVATIVE MUSIC Kara Yoo Leaman THEORY PEDAGOGY Rhythm and Meter in Dance Bryn Hughes, Chair and as Bergsonian durée Discussant Amy Ming Wai Tai In the Trenches Using OMT Kyle Gullings Supporting AP Music Theory: Open Music Theory’s Secondary School Outreach Chelsey Hamm Not Just a Theory: How to Put an Egalitarian Music Theory Curriculum into Practice Megan Lavengood Assessing for Retention: Modeling Creative, Multi-Use Quiz Design Brian Edward Jarvis and John Peterson Computational Methods for Augmented Anthologies Mark Gotham 12:00 – POSTWAR RECONSIDERING 12:50 PM TRANSFORMATIONS OF HIERARCHY AND THE AMERICAN COMMON SCHENKER STOCK Jason Hooper, Chair Chelsea Burns, Chair Emergent Hierarchies: The Transformation of Harmonic Reduction from Prewar Blues into Postwar the Bottom Up Rhythm and Blues David R. W. Sears Nicholas Stoia Redrawing Analytical Lines “Show Me”: Fiddle Breaks Vivian Luong and Politics in Country Schenker’s Nodal Points and Covers of R&B the “Higher Requirement of Jocelyn R. Neal Tonality” Common Stock Sources of Alan Dodson Early American Punk Evan Rapport 97 SMT - Sunday, 15 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 1:00 – 1:00 – 2:00 PM CLARA AND ROBERT 1:00 – 2:15 PM MUSIC INFORMATICS 1:50 PM SCHUMANN INTEREST GROUP MEETING PERSPECTIVES ON METAL ROLE AND ETHICS IN THE Stephen Rodgers, Chair MUSIC PEER REVIEW PROCESS ‡ Jose M. Garza, Jr., Chair Entextualization in Clara Sponsored by the Professional Schumann’s Nineteenth- Development Committee Female-Fronted Extreme Century Pianism Nicole Biamonte, Chair and Metal: Jinjer, Gender, and Andrew Malilay White Moderator Genre Norms in Sound & Image Beyond Vierhebigkeit: Nicole Biamonte, Jennifer Lori Burns Phrase Structure and Poetic Iverson, Christopher Segall, Meaning in Three Lieder by Joseph Straus, Panelists “Dance to the Dissonant Clara Schumann Sway”: Groove, Julie Pedneault-Deslauriers Headbanging, and Entrainment in Extreme Metal Parenthetical Insertions and Guy Capuzzo Ellipses in Robert Schumann’s Eichendorff Tempo, But For Whom? Liederkreis Rhythmic Parallax in Car Alexander Martin Bomb’s “Blackened Battery” Calder Hannan How Much Math is in Math Rock? Riffs, Progressive Rhythm, and Embodied Music Theory Stephen Hudson

2:00 PM 2:00 – 3:30 PM THE SOUND OBJECT AND MUSIC MEDIA* Kate Galloway, Julianne Grasso, William O’Hara, Katherine Reed, Reba Wissner, Co-Chairs The BBC's Programmes as Broadcast Logs Christina Baade The Ceremonial Bugle as an (Afterlife) Artifact María Edurne Zuazu Reading Knob Interfaces: The Archaeology of Electric Guitar Tone Erik Broess

98 SMT - Sunday, 15 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 2:00 PM Musical Playthings: Children's (Cont’d) Toys and Instruments in the Ludic Archive Ryan Bunch Indigenous Knowledge Transmission, the Turntable, and the Fibrous Beats in Turning Tables Kate Galloway Freedom and Anna Clyne's iPhone Victoria Aschheim 2:30 – BUSINESS MEETING 3:00 PM 3:00 – 3:00 – 3:15 PM 3:00 – 4:50 PM 5:00 PM AWARDS PRESENTATION ‡ COFFEE BREAK* 3:00 – 5:00 PM EXHIBIT HALL OPEN HOURS* 5:00 – SUBSTANTIAL SIMILARITY 5:50 PM AND THE ROLE OF FORENSIC MUSICOLOGY IN MUSIC COPYRIGHT LITIGATION* Can You Copyright a Chord Progression?: Evaluating Harmonic Similarity in Federal Copyright Litigation Katherine Leo Melody, “Beats,” and Minimalism: Protectability in Contemporary Popular Music Alexander Stewart When Analysis is Performance, What Ethical Guidelines Must Forensic Musicologists Consider? Devin Chaloux

99 SMT - Sunday, 15 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 5:00 – Searching for Similarity: 5:50 PM Confirmation Bias in Partisan (Cont’d) Forensic Musicology Dana DeVlieger Sharp Contrasts on “Blurred Lines”: Williams v. Gaye and a Clash of Amici André Redwood 6:00 PM 6:00 – 8:00 PM LISTEN AND UNWIND* 6:00 – 8:30 PM PEDAGOGY FOR THE PUBLIC: USING SOCIAL MEDIA STRATEGIES TO CREATE UNDERSTANDING AND ENGAGEMENT * Matthew Baumer and Leigh VanHandel, Co-Chairs Media Methods A Pedagogical Approach to Podcasting Andrew Grenade and David Thurmaier Fake News Then and Now: Bringing Public Media Literacy to the Musicology Classroom Kristen Franseen #MusicTheory: How I Use Instagram Marketing in My #musictheoryclass for Student Success Malia Jade Roberson From Consumer to Producer: Cultivating Digital Literacy in the Music Appreciation Classroom Stephen Gomez-Peck and Samuel Teeple

100 SMT - Sunday, 15 November

Joint Sessions/Events (AMS*) CST Red Room Blue Room Green Room Orange Room and Special Events (Remo**) 6:00 PM Creating a Channel (Cont’d) Cultivated Career Skills Through Public Music Theory Aaron Grant The Explainer Video Alex Ludwig What I Wish I Had Known Before Starting a Music Theory YouTube Channel Kent Cleland Music Theory for Musicians and Normal People Toby Rush

101 The American Musicological Society and the Society for Music Theory thank these advertisers and exhibitors for their generous support.

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