AMS/SMT Society for Music Theory ASHGATE American Musicological Society New Music Titles from Nashville 2008 6-9 November Ashgate Publishing… Abstracts Nicholas Maw: Odyssey Sgt. Pepper and the Beatles Kenneth Gloag It Was Forty Years Ago Today Landmarks in Music Since 1950 Edited by Olivier Julien Includes 31 music examples Ashgate Popular and Folk Music Series Jun 2008. 148 pgs. Hbk. 978-0-7546-3855-1 Includes 2 tables, 6 musical examples and 5 musical figures The Ashgate Aug 2008. 208 pgs. Hbk. 978-0-7546-6249-5 Research Companion to Japanese Music Musicological Identities Edited by Alison Tokita Essays in Honor of Susan McClary and David W. Hughes Edited by Jacqueline Warwick, SOAS Musicology Series Steven Baur and Raymond Knapp Includes 81 b&w illustrations May 2008. 288 pgs. Hbk. 978-0-7546-6302-7 and 112 music examples Oct 2008. 472 pgs. Hbk. 978-0-7546-5699-9 Thresholds: Rethinking Landscapes of the Mind: The Spirituality Through Music Program & Abstracts Marcel Cobussen Music of John McCabe Includes 10 b&w illustrations Edited by George Odam and 9 music examples Guildhall Research Studies: 6 Oct 2008. 182 pgs. Hbk. 978-0-7546-6479-6 Includes 36 b&w illustrations Pbk. 978-0-7546-6482-6 and 35 music examples Jul 2008. 276 pgs. Pbk. 978-0-7546-5816-0 Infant Musicality New Research Dark Side of the Tune: for Educators and Parents Popular Music and Violence Johannella Tafuri Bruce Johnson and Martin Cloonan, SEMPRE Studies in Ashgate Popular and Folk Music Series The Psychology of Music Includes 12 b&w illustrations 9 b&w illustrations, 5 graphs Nov 2008. 260 pgs. Hbk. 978-0-7546-5872-6 and 33 music examples Nov 2008. 230 pgs. Hbk. 978-0-7546-6506-9 Genesis and The Lamb Pbk. 978-0-7546-6512-0 Lies Down on Broadway Kevin Holm-Hudson The Rock Canon Ashgate Popular and Folk Music Series Canonical Values in the Includes 10 musical examples Reception of Rock Albums Nov 2008. 210 pgs. Hbk. 978-0-7546-6139-9 Carys Wyn Jones Pbk. 978-0-7546-6147-4 Ashgate Popular and Folk Music Series Sep 2008. 182 pgs. Hbk. 978-0-7546-6244-0 Music, Informal Learning and the School: A New Guilhermina Suggia: Cellist Classroom Pedagogy Anita Mercier Includes 20 b&w illustrations Lucy Green and 1 music example Ashgate Popular and Folk Music Series Sep 2008. 186 pgs. Hbk. 978-0-7546-6169-6 Nashville 2008 May 2008. 226 pgs. Hbk. 978-0-7546-6242-6 Pbk. 978-0-7546-6522-9 From Pac-Man to Pop Music Desire, Drink and Death in Interactive Audio in Games English Folk and Vernacular and New Media Edited by Karen Collins Song, 1600–1900 Ashgate Popular and Folk Music Series Vic Gammon Includes 7 b&w illustrations and 17 line drawings Includes 6 b&w illustrations May 2008. 224 pgs. Hbk. 978-0-7546-6200-6 and 19 musical examples Pbk. 978-0-7546-6211-2 Feb 2008. 282 pgs. Hbk. 978-0-7546-6094-1 Come visit our booth in the book exhibit! www.ashgate.com Contents Thursday afternoon, 6 November 39 Across the Nineteenth Century 41 The Compass of Medieval Song 44 Haydn 48 Messiaen’s Language 52 Mode and Scale 54 Music Between Men 57 Music for the Million 61 Representations 63 Wagner and His Uses Thursday evening, 6 November 67 American Music in the Global Cold War: Music Crossing Borders 68 Brahms at 175: A Study Session on Current and Future Trends in Brahms Scholarship 69 Diversity in the Music Classroom: Confronting the Politics of Inclusion and Access 71 Fisk University: On Black Musical Heritage, Leaders, and Legacies 72 Partimento, Que Me Veux Tu? 73 Research Directions in the Italian Cantata Friday morning, 7 November 75 Les Acteurs de l’Opéra 76 The Ballets Russes at 100 78 Collaborations 80 Conservative Voices in Medieval-Renaissance Theory 82 Convent Music 84 Discovering Repertories of Italian Sacred Music 85 Instrumental Eccentricities 87 The Lied: Interior Spaces 89 Music and Crisis 90 New Takes 92 Patterns in Popular Music 94 Riemann 95 Serialism’s Similarities 97 Staging 99 Tonal Voice Leading 100 Utopias Friday afternoon, 7 November 102 Ferdinand Ries (1784–1838): Herald of Romanticism 103 Accent in Language, Accent in Music 106 From Broadway to the Concert Stage 109 Italian Opera and the Cinematic Imagination 111 The Math Session 113 Musique française: Idea and Ideology 117 Poster Session 118 Reading Listening 120 Sound Effects 123 Style and Symbolism in Fifteenth-Century Music 126 Voices of Castrati 130 Wagner and Bruckner Friday evening, 7 November 133 Addressing the Gender Imbalance 133 Allusion, Influence and the Ambiguity of Cover Songs in Popular Music 134 Ecocriticism and Musicology 135 In Private, In Public, At Court: The Rise of the Prima Donna in Seventeenth and Early Eighteenth-Century Italy and Austria 136 Music Theory as Sense: The Musical Philosophy of Jean-Luc Nancy 138 Sacred or Profane? Popular Music and Religion in the United States 139 Scholars with Disabilties Saturday morning, 8 November 141 Bartók 142 Chromatic Extravagance 143 Early Baroque: Time, Space, and Performance 146 Haunting and Damnation 150 Medieval Polyphony 151 Metric Problems 152 Music and Commodity Culture 155 Music and the Scientific Spirit 159 Phrase Rhythm 160 Prima Donnas at Work 163 Resistance, Propaganda, and Music in Uniform 167 Twentieth-Century String Quartets Saturday afternoon, 8 November 168 Cecilia’s Circle: O Let Me Weep: Distressed Women in Music, 1650–1750 169 Brazil 171 Changing the Score 173 Critters and Kids 176 Ethereal Voices, Mute Subjectivities 180 Indigenous Catholicism 182 Performing Women: Trangression and Virtuosity 185 Their Own Voices 187 Theology Through Song 189 Youthful Indiscretions: Copland and Thompson Saturday evening, 8 November 192 Archiving Schenker / Discovering Schenker 193 Luso/Hispanic Music Research Trajectories for the Coming Twenty Years 196 Puccini the Modernist? 197 Redneck Rebellion: Constructing and Deconstructing the Masculine and Feminine in Country Music Sunday morning, 9 November 199 Dancing Through Time 202 Empirical Music Theory 204 Generation Gaps 206 Indeterminacy 207 Ligeti 208 Liturgy, Literacy, and Chant Reform 212 Nineteenth-Century Form 213 Political Polarities in the 30s 217 Rural and Urban Creations 219 Transnational Dialogues 222 Women and Keyboards: Strategies of Subversion and Resistance 267 Index of Participants 271 Maps Abstracts Thursday afternoon, 6 November ACROSS THE NINETEENTH CENTURY (SMT) David Kopp, Boston University, Chair TIERED Polyphony AND Its ROLE IN THE PIANO MUSIC OF JOHANNES BRAHMS Brent Auerbach University of Massachusetts, Amherst Tiered polyphony is defined as a special texture in which multiple voices express indepen- dent melodic material at proportional speeds. Common in Bach in the context of trio sonatas and chorale preludes, tiered polyphony also appears in Brahms’s piano music. When it does, the effect of the polyphony is quite striking: passages exhibiting this texture give off an aura of extreme drive and inexorability. In Brahms’s tiered polyphony, one line usually serves as a guide rail following a chromatic path, another exhibits the surface-melodic pitch cells unique to the piece at hand, and additional voices act as filler. This paper formalizes a system for describing tiered polyphony in terms of its number of voices and their degree of rhythmic/metric and motivic/cyclic independence. It then demonstrates how awareness of this texture can provide insights into Brahms’s works that are unavailable through conventional analytic approaches. In response to tonal readings of Brahms’s Rhapsody in B Minor, op. 79 no. 1, given by Smith (2006) and Samarotto (2003), this paper advocates a motivic approach to explain the harmonic organization of the Rhap- sody’s hexatonic A section and the dramatic roles of its B section and coda. Similar results are obtained when this method is applied to select works from Brahms’s op. 5 and op. 76. CARL MARIA von WEBER’S MEDIANT Transformations Joseph E. Morgan Brandeis University My paper surveys the adult dramatic compositions of Carl Maria von Weber for chromatic transformations and their relationship to the dramatic/poetic organization. The works dis- cussed include his Kampf und Sieg Cantata (1815), the insert aria “Was sag’ ich” (1818), Der Freischütz (1821), Euryanthe (1823), and Oberon (1826). The analyses reveal several functions in Weber’s use of mediant progressions: as a foil to dominant harmony, expressing dramatic developments that are markedly different from those that occur over dominant progressions; as an expression of a character’s romantic transformation, in which the dominant’s arrival is an expression of the resulting conflict of the tonic and mediant areas; and finally, as a sym- metrical organization in which the mediant/submediant areas are treated as poles around tonic harmony. Abstracts Thursday afternoon 40 Auditory STREAM Segregation AND Schubert’S PIANO Sonata IN B-Flat, D.960 Ben Duane Northwestern University This paper explores how auditory stream segregation affects one’s perception of the first movement of Schubert’s Piano Sonata in B-Flat, D. 960. (Stream segregation is a process by which the auditory system organizes segregates sounds into auditory streams.) Several authors have studied the role of stream segregation: e.g. McAdams and Bregman (1979), Wright and Bregman (1987), Huron (1991). These studies, however, are limited either to discussion of gen- eral compositional principles or statistical analysis of large musical corpora, and do not engage music on a measure-by-measure level. I attempt to fill that gap. The paper has two main parts. In part one, I present an analytic method. This method de- rives from Bregman’s (1990) theory that the auditory system accomplishes stream segregation by using multiple heuristics in parallel, each of which attends to a different type of acoustic cue.