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1990: Oakland T ofpapers read November 7 through at the joint November lI, L990 meetings of the Oakland, California American Musicological Society Fifty-sixth Annual Meeting Society for Ethnomusicology Thirty-f.fth Annual Meeting Society for Music Theory Thirteenth Annual Meeting Contents Thursday, Nouember 8 I Dance Music (SEM)-2:00-3:30 2 Elliott Carter (SMT)-2:00-3:30 3 Music Theory and Practice (SEM)-2:00-3:30 4 Byzantine and Neo-Byzantine Chant (Combined)-2:00-5:00 8 Gender Roles and Ambiguity (AMS)-2:00-5:00 10 Iconography (AMS)-2:00-5:00 12 Pretonal Music (SMT)-2:00-5:00 14 Historical Research in Chinese Music (AMS)-2:00-5:00 l6 Processes of Composition (SEM)-2:00-5:00 l8 Renaissance Secular Music (AMS)-2:00-5:00 20 Revivals (SEM)-2:00-5:00 22 Schenker (SMT)-2:00-5:00 24 Theory (AMS)-2:00-5:00 27 Time and Music (Combined)-2:00-5:00 29 Generative Melodic Systems (SEM)-3:30-5:00 30 Pedagogy and Computer Applications (SMT)-3:30-5:00 Friday, Nouember 9 32 American Musics (AMS)-9:00-12:00 33 Approaches to Analysis I (SMT)-9:00-12:00 35 Attributes and Attributions (Combined)-9:00-12:00 37 Beethoven Received (AMS)-9:00-12:00 39 Gender Studies (SEM)-9:00-12:00 41 Historical Studies in Ethnomusicology (SEM)-9:00-12:00 45 Hugo Riemann's Contributions (Combined)-9:00-12:00 46 Jazz Studies (SEM)-9:00-12:00 48 Medieval Topics (AMS)-9:00-12:00 50 Methodology (SMT)-9:00-12:00 52 Performers and Performance (AMS)-9:00-12:00 54 Rhythm and Cognition (SMT)-9:00-12:00 56 Ritornelli, Concerto, Symphony (AMS)-9:00-12:00 58 Theory as Text (SMT)-9:00-12:00 60 Anatomy of a Song (Combined)-1:30-3:45 61 Applied Ethnomusicology (SEM)-l:30-3:45 63 Dance and Dance Music (AMS)-1:.30-3:45 65 Ethnoaesthetics (SEM)-l:30-3:45 Theory (SEM)-9:00-12:00 67 Histor-ical Consciousness (AMS)- l:30-3:lb 139 Ethnomusicological Relations (SEM)-9:00-12:00 69 History of American Theory (SMT)- l:50-3:4b 142 Music and Power Immigrant Communities (SEM)-9:00-12:00 7Q Music in Immigranr Communities I (SEM)- l:30-3:45 144 Music in (AMS)-9:00-12:00 72 Norr-Verbal Communicarion (SEM)-l:30-3:4b 146 Music in Society in Film (AMS)-9:00-12:00 74 Plrilosophical Reconsiderations (SMT) l:30-3:,45) 148 Perspectives on Music 75 Proportion (AMS)- l:30-3:45 150 Transformations (AMS)-9:00-12:00 (SMT)- l0:30-12:00 76 Romantic Aesthetics (AMS)- l:30-3:45 152 Aesthetics and Experimental Music 78 Three Americans (AMS)-l:30-3:45 153 India and China (SEM)-9:00-12:00 SattLrd.ay, Noaember I 0 Study Sessions Selected Abstracts And Descriptions 80 \\'orld Music Educarion (SEN{)-8:30-12:00 155 Computer Databases I. (AMS) Bl Twelve-Tone Music (SMT)-g:00-10:30 156 Recordings and Performance Practice (AMS) 83 Aff'ect, Meaning, and Cultural Cocle (Combined)-g:00_12:00 157 Thesaurus Musicarum Latinarum (AMS) 84 liighteenth Century Opera (AMS)-9:00-12:00 157 Responsbility of the Press (SENI) 86 .fazz Scholarship Institutionalization (Combined)_9:00_12:00 88 Jan:idek, Debussy, Srrauss, and Spelling (SMT)_9:00_12:00 !)0 Nledieval Norarion (AMS)-9:00-12:00 92 \{usic and Politics (SEM)-9:00-12:00 95 X.{usic as Consrrucr of Identity (SEM)-9:00-12:00 97 Narrative and Trope (SMT)-9:00-12:00 99 Popular Music (SEM)-9:00-12:00 101 The Second Viennese School (AMS)-9:00-12:00 103 Sixteenth Cenrury Harmony (AMS)-g:00-12:00 105 Theoretical Framework for Gender and Music (Combined)_ !):00- I 2 :00 107 New Technologies ancl Field Methods (SEM)-l:00_2:30 108 Approaches to Analysis II (SMT)-2:00-b:00 I l0 Bart6k Studies (Combined )-2:00-5:00 11,1 Borrorvings (AMS)-2:00-5:00 116 Hymnody as an Expression of Culrure (Combined)-2:00-b:00 118 L.iturgical Music (AMS)-2:00-5:00 120 Representations of Women (AMS)-2:00-b:00 122 Romar-rtic Music (AMS)-2:00-5:00 124 Tr'r'entieth Century Music (SMT)-2:00-5:00 Su.nrkty, Nolember I I 127 Contour (SMT)-9:00-10:30 l28 Chant (AMS)-9:00-12:0C) 130 Composers and Sexuality (AMS)-9:00-12:00 134 Concepts of Harmony and System (Combinecl)-9:00_12:00 136 Cultural Interacrions in Composition (Combined)_g:00_12:00 Theory (SEM)-9:00-12:00 67 Histor-ical Consciousness (AMS)- l:30-3:lb 139 Ethnomusicological Relations (SEM)-9:00-12:00 69 History of American Theory (SMT)- l:50-3:4b 142 Music and Power Immigrant Communities (SEM)-9:00-12:00 7Q Music in Immigranr Communities I (SEM)- l:30-3:45 144 Music in (AMS)-9:00-12:00 72 Norr-Verbal Communicarion (SEM)-l:30-3:4b 146 Music in Society in Film (AMS)-9:00-12:00 74 Plrilosophical Reconsiderations (SMT) l:30-3:,45) 148 Perspectives on Music 75 Proportion (AMS)- l:30-3:45 150 Transformations (AMS)-9:00-12:00 (SMT)- l0:30-12:00 76 Romantic Aesthetics (AMS)- l:30-3:45 152 Aesthetics and Experimental Music 78 Three Americans (AMS)-l:30-3:45 153 India and China (SEM)-9:00-12:00 SattLrd.ay, Noaember I 0 Study Sessions Selected Abstracts And Descriptions 80 \\'orld Music Educarion (SEN{)-8:30-12:00 155 Computer Databases I. (AMS) Bl Twelve-Tone Music (SMT)-g:00-10:30 156 Recordings and Performance Practice (AMS) 83 Aff'ect, Meaning, and Cultural Cocle (Combined)-g:00_12:00 157 Thesaurus Musicarum Latinarum (AMS) 84 liighteenth Century Opera (AMS)-9:00-12:00 157 Responsbility of the Press (SENI) 86 .fazz Scholarship Institutionalization (Combined)_9:00_12:00 88 Jan:idek, Debussy, Srrauss, and Spelling (SMT)_9:00_12:00 !)0 Nledieval Norarion (AMS)-9:00-12:00 92 \{usic and Politics (SEM)-9:00-12:00 95 X.{usic as Consrrucr of Identity (SEM)-9:00-12:00 97 Narrative and Trope (SMT)-9:00-12:00 99 Popular Music (SEM)-9:00-12:00 101 The Second Viennese School (AMS)-9:00-12:00 103 Sixteenth Cenrury Harmony (AMS)-g:00-12:00 105 Theoretical Framework for Gender and Music (Combined)_ !):00- I 2 :00 107 New Technologies ancl Field Methods (SEM)-l:00_2:30 108 Approaches to Analysis II (SMT)-2:00-b:00 I l0 Bart6k Studies (Combined )-2:00-5:00 11,1 Borrorvings (AMS)-2:00-5:00 116 Hymnody as an Expression of Culrure (Combined)-2:00-b:00 118 L.iturgical Music (AMS)-2:00-5:00 120 Representations of Women (AMS)-2:00-b:00 122 Romar-rtic Music (AMS)-2:00-5:00 124 Tr'r'entieth Century Music (SMT)-2:00-5:00 Su.nrkty, Nolember I I 127 Contour (SMT)-9:00-10:30 l28 Chant (AMS)-9:00-12:0C) 130 Composers and Sexuality (AMS)-9:00-12:00 134 Concepts of Harmony and System (Combinecl)-9:00_12:00 136 Cultural Interacrions in Composition (Combined)_g:00_12:00 Thursdav Afternoon Sessions - ThursdaY afternoon DANCE MUSIC (SEM) Chair: To be announced TLINGIT TRADITIONAL DANCE AND SIB IDENTITY Thomas F. Johnston, University ol Alaska This study concerns aspects of Tlingit traditional potlatch dancing in southeast Sitka' coastal Alaska. Fieldtvork rvas carriecl ottt in Yakutat, Hoonah' Angoon' and intennittently during the period 1974-1980, funded b.v the National Endorvment for the Hurnanities. ThemostirnportantTlingittotemicsibcrestobjectsweredesigl.red,notfor wearing while enihroned or for wall display, but for masked dance-drama perpet- guardiarr uating incient lineage origin myths, probably relared to the concept of the spirit"quest. Within the sicial context of highlv forrnalized cerernonial potlatches stlPremacy, where matrilineal exogamous phratries Eagle and Raven vied fol status displaved rveighty crest helmers;nd ernblemmed regalia such as the Chilkat bla'ket anJelevated revered Bear, Wolf, Killer-Whale, Salmon totemic crests, the animistic ul transfbrmational essence being brought to lile via symbolic rn<tvement and powerf imager,v. iheatri.al posturing by alternatirrg groups of elaborately costumed host and g.,.rt, do.t...., follorving'st.ict proto-oi, served.to validate and affirm life-cvcle ihung"r; involving inherifance, niming, lineage hierarchv, allegiance' social porver balanie, and evolving princely and patriarchal identiq ' For ethnomttsi..rLgit,t, this provides a classic example of the complementarity of music, dance, art, ..ligint-t, arrd social system in a non-Western society' THE DIARIES OF HOD CASE: A STUDY IN RURAL DANCE N{USIC New York' Geneseo .Jarnes W. Kimball, State University of dances and Hod Case of Bristol, C)ntario County, New York, played over 2000 career that started as flany irrfornal sessions, in a fiddle, piccolo arrd banjo playing diaries for o, og. f.r,.,.,..r-r a'd lasted into his eighiies. He also kept carefully rvritten he gives^us_a good T3 y"ears, from lg6? until his deathin 1940, and through these and accolrnt of musical life in a rural New York torvn. First as an active dance fiddler his son's local orchestra leader, then as an occasional though dated player who notes Case musical activities, and finally as an old-timer at fiddlers' picnics and contests' today' We know horv his includes details that bring iis experiences to life -mtrsic and inter.acted with his persoi-ral life; we have facts on the arrival of Irelv trends techrrology; and we have dau on nearly every occasion he played-where it was' rvere paid' etc' l-row he g'ot ttt".., lvho played and on what instruments, what they at northert-t Corrrp.,t!.
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