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Mami 2020 Schedule V4 05262020 Music and the Moving Image XVI – REMOTE DEPT. of MUSIC and PERFORMING ARTS PROFESSIONS Program in Screen Scoring MAY 28 – MAY 31, 2020 Conference Committee Gillian B. Anderson, John Covach, Kate Galloway, Daniel Goldmark, Ronald H. Sadoff, Jessica Shine REGISTRATION ONLINE WEBSITE https://sites.google.com/nyu.edu/mami-2020 (Optional) Wednesday, May 27th, 1:00-3:00 pm Remote Conference Workshop, technical preparation, and Q&A (Optional) Wednesday, May 27th, 3:00-6:00 pm Test and individualized support session Thursday, May 28, 1:00-2:30 pm Welcome: Ron Sadoff and Gillian Anderson Blake Neely, Keynote Scoring Television: The New Golden Age in Streaming Media Thursday, May 28, 2020 3:00-4:30 pm 2. Chair: Ron Sadoff 3. Chair: John Covach 4. Chair: Robynn Stilwell 5. Chair: Nathan Platte Daniel Batchelder Lisa Coulthard and Lindsay Steenberg Claudia Lonkin “You Made Me Love You:” Judy Sonic Showdowns: Music and Fighting in “The Beatification of the Beat:” Hubert Ho Garland and the Performance of the John Wick Franchise Soundtrack and Documentary in 24 Cells, Fluids, and Visual Musics: Playing Sincerity Hour Party People the Picture at the 21st Century Planetarium Jonathan Minnick Aaron Price Hannah Blanchette Gabrielle Berry Jerry Goldsmith Goes to Space: Avant From Grinding to Grooving: An “Blurring the Lines Between Real and Listening Through the Vibrations: Haptic Garde Film Scores and Landscape in Investigation of Motoi Sakuraba's RPG the Fake”: Lana Del Rey’s National Musical Experiences in Baby Driver Planet of the Apes (1968) and Alien Combat Music Anthem and Youth Disillusionment with (2017) (1979) the American Dream Noah Balamucki John O’Flynn Kelly Cole Steven Janisse The General in Winter: Characterization Orchestral Scoring and Recording for TV Surprising, New Emotions: Female “Every Damn Song Is About You”: through Themes and Contrasts in Jerry and Film in Ireland - From the 1960s to Narrative in Paolo Sorrentino’s Youth Constructing Meaning with Sound and Goldsmith’s score for Patton the Early Twenty-First Century Songs in Baby Driver Thursday, May 28, 2020 5:00-6:00 pm 6. Chair: Claudia Gorbman 7. Chair: Gillian Anderson 8. Chair: Rebecca Fülöp 9. Chair: Jessica Shine Kevin Bozelka K. E. Goldschmitt Brent Yorgason James Deaville Synchronization Rights and the Curating a Continent for Disney: Resurrecting Kong: Challenges in the Television, Music, Race, and the Disabled Dramatic Nature of Song in Hollywood Afropop, Cultural Intermediation, and the Live Performance of Classic Hollywood City: Sounding Trauma and Restoration in Cinema: Lawrence Hirsch v Twentieth Corporate Compilation Soundtrack Film Scores the New Orleans of Treme Century Fox (1945) Jeff Lyon Toby Huelin James Buhler Megan Sarno Partners in Crime: Max Steiner’s ‘Whirlwind Strings and Punchy Brass Music, Digital Audio, Labor Fantasia and the New Themes for The Letter and The Fanfares': Library Music and its Use in Unfaithful British Travel Television Andrew Callaghan The Sonorous Mould: Indexicality, Inaudibility and Truth-claims in Hildur Guðnadóttir’s score for Chernobyl Friday, May 29, 2020 1:00-2:30 pm 10. Chair: Daniel Batchelder 11. Chair: Katherine Spring 12. Chair: John Covach 13. Chair: Jessica Shine Caitlan Truelove Tobias Pontara Nathan Platte Dorian Mueller “Oh, Great, Another Musical Number!”: Performance, Perfectionism, Power: West Side Story (1961) and Robert Wise “Cue the Punch in the Gut: Music and the Determining Disney’s Self-Parody in Critical dialogues with Classical Music Projection of Complex Emotion in Galavant (2015- 2016) and Enchanted Culture in Grand Piano (2013), The Jessica Getman Dramatic Plot Reveals (2007) Violin Player (2018) and The Perfection Power, Nostalgia, and the TV Musical in (2019) The Magicians (2015-–) Jingyi Zhang James McGlynn Jordan Stokes On and Beyond Mickey-Mousing: Nick Carraway, Kanye and ‘Dubious “This is what Garbage Utopia feels like.” Revisiting Yuan Muzhi’s City Scenes Descendants of Beethoven’: Narrative Jiadi Jiang Crazy Ex-Girlfriend vs. Richard Dyer’s (1935) Functions of Rearrangement in Baz Musical Numbers for the Revolution Showbiz Luhrmann’s The Great Gatsby (2013) James Peter Moffatt Megan Murph Daredevil (2003) vs Daredevil (2015): Robynn Stilwell Sonic Bias and Ecological Idealism in Daredevil, Netflix and the Changing Theatricality, Artifice, and Affective Commercials from the Digital Age Aesthetics of ‘Film’ Music Space in the Films of Baz Luhrmann Friday, May 29, 2020 3:00-4:30 pm 14. Chair: Katherine Spring 15. Chair: John Covach 16. Chair: Jessica Shine 17. Chair: Ron Sadoff Christopher Greene Noah Horowitz Ryan O’Dell Enoch Jacobus Musical and Narrative Transformation Hans Zimmer’s Sherlock Holmes: A Analyzing Narrative Moments Across Crossing the Diegetic Divide with Linkage in Nier and Nier: Automata Model for Leitmotivic Structure in the Media: The Plunge Technique in Batman: Arkham Knight Non-Linear Era Terrence Martin Stefan Swanson Christine Gengaro Anne Lake Hyper Light Drifter’s Warped Medium Cleaning Up the ‘Mess’: Black Hawk Development of A General Education Batman and the American Identity Crisis Down (2001), Alan Meyerson, and Film Music Appreciation Course: Case Timeline Layer Analysis Studies and Questions Jacob Hart Michael Baumgartner Landon Palmer Jon-Luke Martin Identifying Gestural Vocabulary in Paraphrases of Genre Film Music in Jean- What Was the Motown Soundtrack? The Friendly Neighborhood Superhero: An Video Games Through Audio Corpus Luc Godard’s 1960s Cinema Analysis of the Spider-Man Theme in the Manipulation. Marvel Cinematic Universe Friday, May 29, 2020 5:00-6:30 pm 18. Chair: James Deaville 19. Chair: Michael Baumgartner 20. Chair: Robynn Stilwell 21. Chair: Jessica Getman Alan Elkins Henry Balme Larissa A. Irizarry William Ayers Musical Form and Gameplay Context in Altered States of Consciousness in the Alter Egos: Janelle Monáe’s Negotiation Music without the Moving Image: The the Japanese Role- Playing Game Abstract Films of of Bodily Sovereignty Soundtrack for Star Wars: Shadows of the Jordan Belson and James Whitney Empire Per Broman Stefan Greenfield-Casas Dissolving the Boundaries between Art John Covach Meredith Ward Uematsu’s Postgame: The Music of and Artist: The Dying Franz Schubert in Disruptive Intertextuality: Yes, King Listening to Toto in Virtual Space: Music Final Fantasy in the Concert Hall Ingmar Bergman’s In the Presence of a Crimson, and the Score for Vincent and Loneliness in YouTube ‘Atmospheric’ Clown. Gallo’s Buffalo ‘66 Video Culture Andrew Powell Richard Piatak What's "of" got to do with it? ‘"Saint George for England, and [Queer] Anyanwu Obumneke Stellam Structuralism, Functionalism, and Video Edward’s Right!"’: Music, Anachronism, Technology in Film Music Production of Game Diegesis and OutRage! in Derek Jarman’s Edward New Nollywood II (1991) Saturday, May 30, 2020 1:00-2:30 pm 22. Chair: James Deaville 23. Chair: Ron Sadoff 24. Chair: Gillian Anderson 25. Chair: Claudia Gorbman Costantino Oliva Sergi Casanelles Jonny Best Jaclyn Howerton Exploring Musical Situations in Digital Spectral Transformation in Drones as a The Improvisational Practices of Early The Flemish Farm – Transnationalism, Games Harmonic Device in Mr. Robot’s Score Twentieth-Century ‘Silent’ Film Piano Propaganda, and the Film Music of Ralph Accompanists Vaughan Williams Sara Bowden Frank Lehman (Re)Playing for a Happy Ending: The Highway Hypnogogia: Sound and Music Julie Brown Associative Power of Music in Black for the Lynchian Drive Britain’s Rothafel? Walter F. Wanger in Mirror’s Bandersnatch the UK, 1921-24 Dave Ireland Marcos Acevedo-Arús Charles Leinberger Barbara Carvalho ‘The music shouldn’t acknowledge any of What a Thrill': Opening Theme as Somewhere between Modality and Composing a Nation through “Typically the jokes’: Audiovisual Incongruence and Narrative in Metal Gear Solid 3: Atonality: The Superset and Subset Portuguese” ‘Silent’ Film the Functions of Music in Dark Comedy Snake Eater Tetrachords in Ennio Morricone’s Score Films for Disclosure Saturday, May 30, 2020, 3:00-4:30 pm 26. Chair: Gillian Anderson 27. Chair: Ron Sadoff 28. Chair: Julie Brown 29. Chair: Dave Ireland Kate Galloway Elsie Walker Alexander Binns Beth Levy Duck, Duck, Goose: Gameplay, Animal Listening to BlacKkKlansman: Life 24x a Tokyo Sounds: Scoring the City’s Timing Is Everything: Musical Humor and (Un)Musicality, and Avatar Companion Second Changing Identity the Marx Brothers Species Richard Anatone Danijela Kulezic-Wilson Randolph Jordan Christopher Smith Rethinking the Idée Fixe and Leitmotif Sonic Demons in Robert Eggers’ The Bell Tower of False Creek: Urban Sound Dancing Revolution: Subaltern Dance in in Role-Playing Games: A New Lighthouse (2019) and the Masking of Indigenous the Marx Brothers’ A Day at The Races Methodology of Interpretation and Sovereignty under Vancouver’s Burrard (1937) Analysis Bridge Morgan Patrick Chelsea Oden Lisa Scoggin Oren Vinogradov Bootstrapping the Leitmotif: How Sinews and Ephemera in the Benevolent A New York State of Mind: Fleischer The Way You Look Tonight: Fred Astaire Narrative Film Composers Foster Sublime Studios' Screen Songs as Misremembered and the Crisis of Thematic Category Learning in Real Representations of New York City #menswear Masculinity Time Saturday, May 30, 2020, 5:00-6:30 30. Chair: Frank Lehman 31. Chair: Elsie Walker 32. Chair: Gillian Anderson 33. Chair: Gillian Anderson Kent Kercher Kirsten Westerman Phillip Johnston James Gabrillo Limitations & Functionalities: The ‘Music to drown by...Now
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