SMT Virtual Conference Schedule

Sponsored by the Committee on the Status of Women
Jan Miyake (Oberlin Conservatory & Conservatory), Chair and Organizer; Lori Burns (University of Ottawa), Nadine Hubbs (University of Michigan), Alisha Lola Jones, (Indiana University), Presenters

Deborah Burton (Boston University), Chair

N.B. Unfortunately there was a Zoom error during this session, please use the following two links to access the recordings of this session:

Opera/Operetta - part 1

Opera/Operetta - part 2

• Andrew Vagts, Horn Fifths, Fanfare, and Pastoral Topics in Mozart's “Per pietà, ben mio”
• Karen E. H. Messina, Autonomous Accord: The Double Formal Complex in the Act I Finale of Tosca
• John Y. Lawrence, Sullivan’s Slyly Shifting Stresses

Christopher Doll (Rutgers University), Chair

N.B. Unfortunately there was a Zoom error during this session, please use the following two links to access the recordings of this session:

Towards Defining A Musical Style - part 1

Towards Defining A Musical Style - part 2

• Fred Hosken, Characterizing a Signature Metric Feel: The Stax Sound
• Steven Reale, “Bobbing on the Surface as the Shadow Glides Below”:Phishy Polyphony and the Evacuated Signifier
• Amy Bauer and Luis Zambrano, El cajón del Mariachi: Schemata of a Vernacular Genre

Andrew Mead (Indiana University), Chair

N.B. Unfortunately there was a Zoom error during this session, please use the following two links to access the recordings of this session:

20th-Century Composers’ Tonal Organization - part 1

20th-Century Composers’ Tonal Organization - part 2

• Dylan Principi, Milhaud’s Technique of Combination: Tonal Juxtapositions in the String Quartets
• Jared Redmond, Roslavets’s Old System of Tone Organization: Scriabinism, Synthetic Chords, and the Fifth Piano Sonata (1923)
• C. Catherine Losada, Rotational Arrays in the Music of Boulez

YouYoung Kang, Chair

• Callum Blackmore, Embodying the Querelle des Bouffons: The Voice of the Royal Mistress and Music-Theoretical Dispute in Eighteenth-Century France
• Siavash Sabetrohani, Pergolesi’s Stabat Mater: Musical Debates and Nationalist Aspirations in Late-Eighteenth-Century Germany
• Frank Heidlberger, Between Hamburg, Vienna and Paris: Anton Reicha’s Music Theory from the Perspective of his Early Manuscripts

Robert Hatten, Chair

• Kyle Hutchinson, Black Narratives in the White Racial Frame: Dialogue, Persistence, and Structure in Florence Price’s Piano Sonata in E Minor
• David Orvek, “Like a Piece of Woven Material”: Unity and Organicism in Elizabeth Maconchy's String Quartet No. 11
• Lindsey Reymore, A Timbral-Motivic Analysis of Obermüller’s different forms of phosphorus for Solo English Horn

Peter Smucker, Chair

• Joan Huguet, Montage Form and the Evolution of the Musical Theater Ensemble
• Christopher Gage, Filling in the Blanks: Formal Ambiguity in Game Show Themes of the 1970s
• Nathaniel Mitchell, Variations on a Theme by K. K. Slider: Variation Sets and the Hourly Music of Animal Crossing: New Horizons

Christine Boone, Chair

• Clare Sher Ling Eng, Exploring A Rhizomatic Model of Engaging Non-Canonic Music with Teresa Teng’s “Hai Yun” as Intertext
• Micheal Sebulsky, Improvised Structures in the Music of the Dave Matthews Band
• Stephen A. Spencer, Textural Problematics in The Jesus and Mary Chain’s Psychocandy

Joel Galand, Chair

• Desirée Mayr, Sonata Form Through the Eyes of Leopoldo Miguéz
• Graham G. Hunt, Redundant, Lesser, and Inconvenient Sonata-Rondo Forms?: Mozart’s and Haydn’s Late 18^th-Century Rondo Finales Revisited
• Alexis Millares Thomson, Form-Functional Roles of the Symphonic Motto

Sponsored by the Committee on Accessibility and Disability
Anabel Maler (University of Iowa), Chair and Organizer

• Stefan Sunandan Honisch, Extraordinary Times, Extraordinary Measures
• Richard Beaudoin, ‘We like no noise, unless we make it ourselves’: Music Theory’s (Insidious) Norms
• Stephanie Ban and Andrew Dell’Antonio, Rousseau as Neurodivergent Music Theorist: Thoughts on Disrupting Cognitive Barriers
• Sumanth Gopinath, Not Doing Music Theory: Reflections on My Path Through (and Around) the Profession
• Jennifer Iverson, Music Sociality
• Teresa Blankmeyer Burke, Epistemic Injustice and Deaf ‘Hearers’ of Music

Jocelyn Neal, Chair

• Kristi Hardman, The Vocal Backbeat as a Text Painting Device in Recent Mainstream Country Music
• Joseph VanderStel and David Temperley, Syncopation and Syllabic Stress in 20th-Century Popular Music
• Mitchell Ohriner, Anaphoric Descents in Hip-Hop Vocal Delivery

Jonathan Bernard, Chair

• John Heilig, Interpreting Harmony through Gesture in the Chromatic Music of Anton Webern
• Daniel Moreira de Sousa, Textural Gestures in the Music of Edgard Varèse
• Matthew Sandahl, Kurtág’s Fragmentary Forms: Incompletion and Unity in op.7 and op. 28

Patricia Hall, Chair

• Yi-Cheng Daniel Wu, Durational and Formal Organizations in Guoping Jia's The Wind Sound in the Sky (2002)
• Nathan Smith, Skiing in k Dimensions, Or, “Metric” k-ary n-Cubes in Some Music of (and since) Ligeti
• Joshua Banks Mailman, The Notational Technology of Stockhausen’s Refrain Mediating Between Serialism and Aleatoricism
• Charles Weaver, Messiaen’s Octatonic Voice Leading: A Neo-Riemannian Approach
• Stephen C. Brown, Interval Pairing and the Tonnetz in the Music of Lutosławski
• Niels Verosky, Extracting Scale Structure from Common Collections in Rock Music

Thomas Christensen, Chair

• Navid Bargrizan, From Monophony to Melo-Harmony: How Harry Partch Influenced Manfred Stahnke
• David E. Cohen, Marsilio Ficino’s Letter on Music Theory: Just Intonation, the Ovoid Scale, and the Neoplatonic One
• Daniel Villegas Vélez, Ut pictura, musica: Zarlino and Galilei on the Nature of Mimesis
• Garrett Groesbeck, Confronting Ma: Self-Orientalism and the Legacy of Tōru Takemitsu in Japanese Music Theory Discourse

Mark Spicer, Chair

• Frederick Reece, “Albinoni’s” Adagio: Baroque Forgeries and the Test of Time
• Bruno Alcalde, Listener Interactions with Musical Hybridity in the Piano Puzzler Podcast
• Ben Baker, Irony and Improvisation in Jazz Covers by The Bad Plus

Jason Yust Yust, Chair

• Dmitri Tymoczko, The Quadruple Hierarchy
• Patrick Domico and Lucy Y. Liu, Compositional Techniques that Define Stravinsky’s Neoclassical Counterpoint
• Karl Braunschweig, Embedded Dissonance in 18^th- and 19^th-Century Theory and Practice

Garrett Michaelsen, Chair

• Dustin Chau, Revisiting Kane’s Jazz Ontology: Signifyin(g) on Tune Titles
• Stephen S. Hudson, Decentering White Music Theory with Jazz Theory and Drake
• Timothy Koozin, The Music of Leanne La Havas: Embodiment and Mediation in Neo-Soul

Nathan Martin, Chair

• Christopher Segall, Sonata Form Without Main Theme
• Ellen Bakulina and Edward Klorman, Cadence as a Hypermetrical Focus
• Alan Elkins, Mixed Signals: Schematic and Form-Functional Ambiguity in the Keyboard Fantasias of C.P.E. Bach
• Jenine Brown and Daphne Tan, A Context-Sensitive Approach to the Pre-Dominant Function
• Damian Blättler, Deferred Tonic Returns in Maurice Ravel's Sonata Forms

Jade Conlee (Yale University), Tatiana Koike (Yale University), Organizers

Philip Ewell (Hunter College of the City University of New York), Chair

• Derek Baron, Autonomy: Liberal Musicology, Marxist Aesthetics, and Racial Capitalism
• Sam Reenan, Form: Deconstructing Hierarchy and Standard
• Renata Yazzie, Siihasin: A Diné Perspective on Music Analysis
• José R. Torres-Ramos, Mariachismo: Sounded Hypermasculinity
• Cat Slowik, The Technē Turn
• Martin Scherzinger, Meter, Africanized
• Daniel Walden, Pitch Fundamentalism and the Colonization of Tonal Space
• Jade Conlee, Audiation, Musical Aptitude, and Racial Epistemology
• Garrett Groesbeck, Scale, Chōshi, and the Tuning of the Heavens: Orientalism in Discussions of Japanese Music Theory
• Brian Fairley, Polyphony: Difference and Separability in Global Perspective

Johanna Devaney, Chair

• Emily Milius, Voice as Trauma Recovery: Vocal Timbre in Kesha’s “Praying”
• Drew Nobile, Alanis Morissette’s Voices
• Mary Blake Rose, That’s the Way I Am, Heaven Help Me: The Role of Pronunciation in Billy Bragg’s Recordings

Daphne Leong, Chair

• Christa Cole, “And the Nightingale Sings…”: Performative Effort in Elisabeth Lutyens’s The Valley of Hatsuse, Op. 62
• Ben Duinker, Unpacking Interpretive Difficulty in Contemporary Music
• Kara Yoo Leaman, Techniques of a Musician-Dancer: Analysis of an Improvised Tap Dance Performance by Dormeshia

Daniel Harrison, Chair

• Trevor deClercq, The Logic of Six-Based Minor for Harmonic Analyses of Popular Music
• Brad Osborn, Dual Leading-Tone Loops in Recent Multimedia
• Gabriel Venegas-Carro and Gabriel Navia, Plagal Orientation in Tonal Music: A Syntactic Approach

Sponsored by the Committee on LGBTQ+ Issues

Fred Maus (University of Virginia), Organizer

Part 1: Suzannah Clark (Harvard University), Chair; Ashon Crawley (University of Virginia, Religious Studies), Presenter; and Vivian Luong (University of Oklahoma), Respondent

Part 2: Fred Maus (University of Virginia), Chair; Alisha Lola Jones (Indiana University), Presenter; Stephan Pennington (Tufts University), Respondent

Part 3: Open conversation about LGBTQ issues and professional life (research, teaching, work-place)

Clifton Callender, Chair

• Tiffany Nicely, Mixed Messages: Motivic Ambiguity in Guinean Malinke Dance Drumming
• Stephen Taylor, Hemiola, Polytempo, and Aksak Rhythm in Nancarrow’s Piece No. 2 for Small Orchestra
• David Geary, A Three-Part Approach for Analyzing the Beat in Popular Music

John Roeder, Chair

• Scott Gleason, Analytical and Compositional Aspects of Webern Reception at Darmstadt and Princeton
• Hei-Yeung (John) Lai, Recontextualized Musical Quotations in Two Repetitive Post-Tonal Works of Adams and Górecki
• Tobias Tschiedl, Contour Theory, Gesture and Embodiment: Promises, Problems and Continuous Alter

Rachel Lumsden, Chair

• Jeffrey Perry, Cage and Joyce: Finnegans Wake, Demilitarized Language and Demilitarized Music
• Andrew Pau, The Musical Language of Freedom and Oppression in Richard Danielpour and Toni Morrison’s Margaret Garner
• Jordan Lenchitz, Organicism as Algorithm in Julius Eastman’s The Holy Presence of Joan d'Arc

Olga Sánchez-Kisielewska, Chair

• David Heinsen, Topical Specification of Vernacular Idioms: Understanding the Farruca and the Garrotín as Musical Topics in Spanish Modernism
• Alberto Martin Entrialgo, Lyricism in the Subordinate Themes of Isaac Albéniz’s Iberia
• Zachary Lloyd, Florence Price’s Use of African American Topics in Thumbnail Sketches: A Day in the Life of a Washerwoman

Sponsored by the SMT Program Committee and organized by Project Spectrum
Clifton Boyd, Chair; Michael Sampson and Christina Kittle (Jacksonville Community Action Committee), Co-facilitators

Alexander Rehding, Chair

• Knar Abrahamyan, Yuri Kholopov’s Theory of Universal Harmony as a Clandestine Bearer of Orthodox Beliefs
• Adem Merter Birson, “A Beautiful Voice from the Heavens”: Pitch-Centered Analysis of Turkish Makam Using Cantemir's Edvar (c.1700)

Sponsored by the SMT Professional Development Committee
Greg Decker (Bowling Green State University), Organizer; Don McLean (University of Toronto), Moderator; Daphne Tan (University of Toronto), Graham G. Hunt (University of Texas at Arlington), Anna Gawboy (Ohio State University), David Pacun (Ithaca College), Panelists

Jocelyn Neal, Chair

• Luke Poeppel, Notre Oiseaux: A Computational Study of the Messiaen Birdsong Transcriptions of New Caledonia
• Michael Clarke, Frédéric Dufeu, Keitaro Takahashi, and Axel Roebel, A Case Study in Using Interactive Aural Software for the Analysis of Spectral Music: Liza Lim’s ‘An Elemental Thing’
• Kája Lill, Karel Janeček’s Lydian and Phrygian Functions: Reconsidering Riemann in Light of His Czech Reception
• David Bashwiner, Was Riemann Wrong? Reassessing the Subharmonic Series

Keith Waters, Chair

• Guy Capuzzo, Composition, Improvisation, and Macroharmony in Henry Threadgill’s Sixfivetwo
• Rich Pellegrin, Salience, Triads, and Transformational Counterpoint in Robert Glasper’s Improvisation on “North Portland”
• Sean R. Smither, “Pulling Apart” and “Floating Above”: Cross-Rhythmic Metric Divergence in Jazz Improvisation

Julian Hook, Chair

• Florian Walch, Experiencing Mozart's Double Syntax in Three Parts: Chromatic Sequence and Expectation in the Divertimento in E♭ major, K. 563, I
• William O’Hara, Octatonic-Triadic Cycles and Amy Beach’s “Autumn Song”
• M. A. Coury-Hall, Rogue Symmetry: The Groupoid of Riemannian UTTs

Gretchen Horlacher, Chair

• Rebecca Simpson-Litke, An Examination of Improvisatory Practices in Salsa Music and Dance
• Amy Tai, Form in George Balanchine’s Concerto Barocco
• Lindsay Rader, Choreographic and Musical Interplay in Anne Teresa De Keersmaeker’s Bartók/Aantekeningen

Kyle Adams, Chair

• Anna Stephan-Robinson, Songs of Katherine Ruth Heyman: A New Diversity Resource for the Undergraduate Classroom
• Angela Ripley, Diversity and Deeper Learning: Teaching Theory through Touchstones
• Christopher Wm. White, Mara Breen, and Joe Pater, Some Properties of Text Delivery and Melodic Rhythm in Post-Millennial Popular Music
• Hanisha Kulothparan, Flow in the Alter Egos of Nicki Minaj

Sponsored by the SMT Committee on Race and Ethnicity
Aaron Carter-Ényì (Morehouse College), Organizer; Panayotis Mavromatis (New York University), Moderator and Organizer; Jean Kidula (University of Georgia), Onyee N. Nwankpa (University of Port Harcourt, Nigeria), Gilad Rabinovitch (Florida State University), Robert Tanner (Morehouse College), Panelists

Samuel Ng, Chair

• David Forrest, Form and Hypermeter in the Songs of Kate Bush
• Soo Kyung Chung, Mixed Rhythms in Chopin’s Ballades and Scherzos
• Robert L. Wells, Dancing with the Devil: Liszt’s Diabolical Metric Cycles

J. Daniel Jenkins, Chair

• David Hier, Chromatic Function in Schoenberg’s Atonal Music
• Andrew Eason, Cadence as Gesture in the Writings and Music of Arnold Schoenberg
• Johanna Frymoyer, Dancing Dodecaphony: The Form and Function of the Waltz Topic in Schoenberg’s Twelve-Tone Music

Jennifer Snodgrass, Chair

• Juan Chattah, Team-Based Cross-disciplinary Inquiry in Music Theory
• Jane Piper Clendinning, World Musics: The Final Frontier
• John Covach, Beyond the High-Brow Lens: A Pragmatic Approach to the Fundamental Revision in the Undergraduate Music Theory Core
• Cynthia I. Gonzales, Thoughts on Teaching with Technology: What Works? What Doesn’t?
• Braxton D. Shelley, Model Composition in the Gospel Classroom
• Leigh VanHandel, The 21^st-Century Theory Graduate Student

Cora Palfy, Chair

• Alexandrea Jonker, Keeping the “Ear” in “Ear Training”: Incorporating “Blind Hearing” for Improved Aural Skills Pedagogy
• Timothy Chenette, Beyond Gestalt Listening: Interdisciplinary Models for Harmonic Dictation
• Anabel Maler, Analyzing Melodic Lines in Sign Language Music

Alfred Cramer, Chair

• Calder Hannan, Diegetic Sound? Re-thinking Musical Narrative by way of Experimental Hip Hop
• Jeremy Tatar, Emergent Timbres and Motor Mimesis in Screw Music
• Joshua Rosner, Opening the Door: A Multifaceted Approach to the Analysis of Text Setting in Kate Soper’s Door (2007)

Richard Cohn, Chair

• Jennifer Harding, Musical Maps and Chord Cartographies: Mapping Harmony in Fourier Space
• Aditya Chander, Analyzing Hemiolas with the Discrete Fourier Transform
• Trevor Hofelich, Contextualizing Triadic Post-Tonality in Three Preludes from Dmitri Shostakovich’s 24 Preludes and Fugues, Op. 87
• Benjamin K. Wadsworth and Meghan O’Harra, Urlinie Play and Musical Narrative

Harald Krebs, Chair

• Alexander Martin, Dreamlike Ambiguities in Clara Schumann’s “Ihr Bildnis”
• Matthew Poon, “Schumann’s Fragment” Revisited: Non-Tonic Initiating Functions in the Nineteenth Century
• Jeremy Nowak, Pre-cadential Phrase Endings in the Piano Works of Robert Schumann

Chris Stover (Queensland Conservatorium, Griffith University), Anna Yu Wang (Harvard University), Organizers; Michael Tenzer (University of British Columbia), Noriko Manabe (Temple University), Co-Chairs

• Liam Hynes-Tawa, Three Views of Western Tonality: Successive Provincialization in the Orchestral Works of Yamada Kōsaku
• Scott Murphy, Carnatic Elucidations of Structure and Expression in Hollywood’s Scales
• Ian Quinn, On “Pien” (Biàn 變) Tonality
• Grant Sawatzky, Irregular to whom? Segmentation, grouping, and “irregular” phrase lengths in Klassen’s Plautdietsch folk song collection
• Chris Stover, “Proto-Structure” and “Anti-Structure”: Against Teleology in African Musical Processes
• Anna Yu Wang, Perceiving banyan: Temporal Syntax Unbeholden to Meter

Megan Kaes Long, Chair

• Carlos A. Perez Tabares, A Female Pastoral: Northern Italian Ballads as a Topic in Primo Ottocento Opera
• Peter Schubert, Willaert’s Contrapuntal Strategies

Jonathan De Souza, Chair

• James Renwick, Pitch, Voicings, and Fretboard Transformations in Tōru Takemitsu’s “Rosedale”
• Nicholas J. Shea, Open Strings as Lorentzian Wormholes: Traversing Parallel Universes in Fretboard Space
• Joti Rockwell, Theorizing Musical Motion: Moving with the Steel Guitar

Matt BaileyShea, Chair

• Matthew Arndt, Was ist: Satz
• Joshua Tanis, The Trouble with Line 3: Richard Strauss’s Sentential Settings of Four-Line Stanzas
• Michael Buchler, “Everything’s Coming up Roses”: Momma Rose’s Unfettered Optimism in Gypsy and her Problems with (Musical) Boundaries

Mariusz Kozak, Chair

• Christopher Goddard, “Your Soul is the Whole World”: Spatial Tension in Claude Vivier’s Siddhartha
• Orit Hilewicz, Experiencing Spaces through Musical Subjects in Caroline Shaw’s Plan and Elevation (2015) and Morton Feldman’s Rothko Chapel (1971)
• Zachary Zinser, Playing with Perspective in Billie Eilish’s “Party Favor” (2017)

Bryan Parkhurst, Chair

• Jason Noble, Comparing Temporal Fictions in Tonality and Triadic Post-Tonality: Chopin’s Fourth Ballade as a Link Between the Ages
• Derek J. Myler, Lewin’s Dubbit, Husserl’s Post-horn: A Multistable Model of Polytonal Perception

Lori Burns, Chair

• Michèle Duguay, The Sonic Construction of White Femininity in the Music of Taylor Swift
• Hayden Harper, 2B or Not 2B: Representations of Gender in Nier: Automata
• Gabriel Lubell, Experiencing Album Forms and Dialectics of Gender through Sleater-Kinney’s The Woods

Stefanie Acevedo, Chair

• Claire Arthur and Nathaniel Condit-Schultz, Testing the “Loose-Verse, Tight-Chorus” Model: A Corpus Study of Melodic-Harmonic Divorce
• Jinny Park, Meta Corpus Study of Chord-Loop Syntax in Twenty-First-Century Popular Music
• Matt Chiu and Andrew Blake, “All The Small Things”: Microtiming in Punk Music

Ji Yeon Lee (University of Houston), Chair and Organizer

• Jung-Min Mina Lee , Textural Expansion and Collapse as Formal Processes in Unsuk Chin’s Works
• Imri Talgam, A Perception-informed Approach to Performance of Metric Structure in Unsuk Chin’s Etudes
• Yayoi Uno Everett, Ritual and Rotation in Unsuk Chin’s Šu: Concerto for Sheng and Orchestra (2009)

Sponsored by the SMT Executive Board and Publications Committee
Jack Boss (University of Oregon; SMT Publications Committee Chair), Moderator; Peter Smith (University of Notre Dame; Editor of Music Theory Spectrum), Mitchell Ohriner (University of Denver; Editor of Music Theory Online), Megan Kaes Long (Oberlin College & Conservatory; Editor of SMT-V), Panelists