SMT Virtual Conference Schedule

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Saturday, November 7


Morning Yoga Session (AMS Platform)


Chinese Music and Chinese Music Theory

Ya-Hui Cheng, Chair

  • Anna Yu Wang, The Cultural Binds of Tonal Function
  • Lars Christensen, The Disunity of Ancient Chinese Music Theory
Forces, Energy, and Balance

Sarah Marlowe, Chair

  • Peter Franck, A Performative Perspective of Voice Leading
  • John Reef, Bach’s Energetic Shapes
  • Tobias Tschiedl, Balancing, Not Balance/Imbalance: The “Melodic Center of Mass” as a Time-Dependent, Continuous Substitute for Atemporal, Discrete Inversional Axes
Meter and Time Poster Session

Rebecca Jemian, Chair

  • Kaho Inoue, Connoted Semibreves in Pre-Franconian Theory
  • Grant Sawatzky, Generative Meter and Phrase-Rhythmic Multivalence in Three Slavic Folk Tunes
  • Rachel Mann, Temporal Techniques in the Serial Music of Roberto Gerhard
  • Scott C. Schumann, Rhythmic Cycles and Ostinati as Formal Process in the Music of Tigran Hamasyan
  • David Geary, Analyzing Drum Patterns and Drum Pattern Changes in Twenty-First Century Mainstream Pop
Work and Family Interest Group

Yonatan Malin, Chair

  • Clare Sher Ling Eng, Teaching Chromatic Harmony with Children’s Music
  • Antonella DiGiulio, Music Theory in Early Childhood: An Integration of Structured and Unstructured Learning
  • Alfred Cramer and YouYoung Kang, Ruth Crawford Seeger and Songs for Children


Fraught Intersections between Music Theory and its 'Others'

Philip Ewell, Chair

  • Liam Hynes-Tawa, Becoming a Major Country: Modal Binaries in Imperial Japan
  • Clifton Boyd, “What Are We Trying to Preserve?” Vernacular Music Theory in the Barbershop Harmony Society
  • Marc Edward Hannaford, Fugitive Music Theory: Outlining a Diverse Network of Practices and Practitioners

Seth Monahan, Chair

  • Emma Soldaat, Structural Self-Reflection as Formal Determinant: Pure Memory and Mahler’s Symphony no. 5
  • Sam Reenan, The “Rondo” and the “Burleske” in Mahler’s Rondo-Burleske
Post-1945 Music Analysis Interest Group

Laura Emmery and Antares Boyle, co-chairs

Early Music Analysis Group

Carolann Buff, Chair


Contrapuntal Innovations

Christoph Neidhöfer, Chair

  • Ryan Taycher, What’s New in the Ars nova?
  • Evan Campbell, Mean Counterpoint and Temperamental Choices in the Early Baroque
  • Alexandrea Jonker, “Dissonation” of Tonal Materials in Vivian Fine’s Ultra-Modernist Compositions
Gesture and Transformation in Instrumental Performance

Edward Klorman, Chair

  • Mark Micchelli, Sound Structures and Naked Fire Gestures in Cecil Taylor’s Solo Piano Music
  • Toru Momii, Performing Te: Gesture, Form, and Interculturality in Dai Fujikura’s neo for Solo Shamisen
Form Poster Session

Catrina S. Kim, Chair

  • Michael Baker, Felix Mendelssohn’s Dominantized Tonics
  • Poundie L. Burstein, Some Perfect Authentic Cadences are More Perfect than Others
  • Tim Cutler and Sam Bivens, Synthesizing the Tonal and Rhetorical Dramas of Franz Clement’s D-Minor Violin Concerto
  • Joseph Chi-Sing Siu, Phrase-Rhythmic Norms in Classical Expositions: A Corpus Study of Haydn’s and Mozart’s Piano Sonatas
  • Bryan Stevens, The Medial Subphrase in the Eighteenth-Century Spanish Style: Characteristics, Function, and Variants
Music Cognition Interest Group

Janet Bourne, Chair


On Rotational Form

Steven Vande Moortelle, Chair

  • Michael J. Puri, “Rituals of Circularity”: On the Conceptual Underpinnings of Rotational Form
  • Audrey Jane Slote, Formal Process as Reanimation of the Past in Enrique Granados’s “Epílogo: Serenate del Espectro”
  • Carl Burdick, The Sonata-Fugue Hybrid in Haydn’s Early Symphonies
Musical Experience in Time and Space

Aaron Harcus, Chair

  • Dorian A. Mueller, Conceptualizing Musical Narrative Space: A “Phenomenological” Journey through Chopin’s Nocturne in F-sharp Minor, op. 48/2
  • Scott Gleason, Music Phenomenology in the Princeton School
  • Daphne Tan, Music Analysis as Esoteric Activity: Viktor Zuckerkandl at Eranos
Music Theory Pedagogy Interest Group

Leigh VanHandel, Chair

Russian Music Theory Interest Group

Ellen Bakulina, Chair

  • Christopher Segall, Attingent Harmonic Function in Zara Levina’s Poem for Viola and Piano
  • Lee Cannon-Brown, Ivan Wyschnegradsky and the Enigma of Modern Music
  • Jacy Pedersen, Twelve-Tone Technique as a Formal Device in the Works of Shostakovich
  • Adam Moffett, Musical Forces in the Serial Music of Igor Stravinsky


Analysis of Music for Dancing

Chris Stover, Chair

  • Brenna J. Langille, The Hidden Influencers of Jazz: An Analysis of Eddie Brown’s BS Chorus
  • Eric McKee, Loving out Loud: Romantic Coupling in Early Sound Films (1928–1933)
  • Rebecca Simpson-Litke, A Corpus Study of Metric Dissonance in Salsa
  • Lina Sofia Tabak, Pulse Dissonance in Colombian Currulao
Rediscovering Opera: The Politics of Form, Semiotics, and Representation

Knar Abrahamyan, Chair; Yayoi Uno Everett, Respondent

  • Calvin Peck, The (Attempted) Subversion of Dissonance in Opera by the First Empire
  • Knar Abrahamyan, Secularizing Soviet Armenia: Enacting Power Dynamics through Operatic Topoi
  • Stephen Johnson, Sounding Chosŏn: Form and Class Struggle in North Korea’s Sea of Blood
Gary Karpinski’s Aural Skills Acquisition: Its Influence Twenty Years Post-Publication and Future Directions

Cynthia I. Gonzales, Chair; Daniel Shanahan, Respondent

  • Timothy Chenette, Gary Karpinski’s Aural Skills Acquisition: Listening Skills
  • Cynthia I. Gonzales, Gary Karpinski’s Aural Skills Acquisition: Sight Reading
  • Leigh VanHandel, Gary Karpinski’s Aural Skills Acquisition: Cognition of Aural Skills
Interest Group on Improvisation

Gilad Rabinovitch and Andrew Goldman, Chair


Welcome Break and Coffee Reception (AMS Platform)


Exhibit Hall Open Hours (AMS Platform)



SMT Executive Board Meet and Greet (Remo)


Listen and Unwind (AMS Platform)

Sunday, November 8


Morning Mindfulness (AMS Platform)


Microrhythm and Displacement in Hip-Hop and Funk

Anne Danielsen, Chair

  • Ben Duinker, Functions of Expressive Timing in Hip-Hop Flow
  • Michael Bruschi, The Role of Beat Two in Funky Grooves
  • Fred Hosken, Metric Feel and Form in “Superstition”: Analyzing Stevie Wonder’s Beat “Pockets”
History of Theory

Maryam A. Moshaver, Chair

  • Russell O’Rourke, Where Zarlino Got His Listener
  • David E. Cohen, “In which it is evident that perception is always deceived”: Pythagorean Rationality and Descartes’ “Clear and Distinct Ideas”
  • Carmel Raz, Blinded by “Nature”: Walter Young’s “Essay on Rythmical Measures” (1790)
Transformational and Serial Techniques Poster Session

Richard Cohn, Chair

  • Kája Lill , N-dimensional Ski-hill Graphs and Complex Meters
  • M.A. Coury-Hall, Reconsidering Negative Harmony: Melodic Dualism in Bárdos’ Scalar Schemata
  • David Orvek, Schubert, Schoenberg, and Some Extensions to Cohn’s Sum-Class System
  • Lauren Hartburg, Mapping Schnittke’s Sequences in Bonded Uniform Triadic Transformation Spaces
  • Jack Boss and Tim S. Pack, George Theophilus Walker: A Unique, African-American, Voice in Twelve-Tone Music


Global Interculturalism and Musical Peripheries and Analysis of World Music Joint Interest Group Meeting

Chris Stover and Anna Yu Wang, Co-Chairs

  • Anna Yu Wang, In Exchange for Modernity
  • Priyanka Venkatesh, Discovering India in Western Art Music: An Exploration of Exoticism and Interculturality in Works for Western Violin
  • Dustin Chau, Gates’ Signifyin(g), Kane’s Ontology_ Jazz Standard Replications Through an Afrological Lens
  • Lucy Y. Liu, Counter-framing and the Styles of Analytical Critical Discourse
  • Stephen Lett, Hungry Theorizing
  • Nathan Lam, Jianpu and the third solfege
  • Clare Eng, Between Cultural Appropriation and Perpetuating White Superiority
  • Gavin Lee, Posthumanist Music Theory, Or, The End of Formalism


Salvatore Sciarrino's Novel Forms: Organic Ideals and Multilinear Temporalities

Orit Hilewicz, Chair; Robert Hasegawa, Respondent

  • Robert Hasegawa, Response
  • Christian Utz, Imperceptible Beginnings and Inescapable Endings: Suspended and Enhanced Temporality in the Semanticized Form of Salvatore Sciarrino
  • Antares Boyle, Gestural Time and Grundgestalt in Sciarrino’s Recitativo Oscuro
  • Mingyue Li, Through Chaos: Conceiving A New Organicism in the Music of Salvatore Sciarrino
Schubert and Chopin

Jonathan Guez, Chair

  • Stephen Gomez-Peck, (Hyper)metrical Games in Schubert’s Early Piano Sonatas
  • Caitlin Martinkus, Form-Functional Displacement in Schubert’s Sonata Forms
  • David Falterman, Analyzing Chopin’s Fourth Ballade Through a Two-Dimensional Lens
Schemas, Frames, and Paradigms Poster Session

Janna Saslaw, Chair

  • Megan Kaes Long, Complicating the Modal Paradigm with the Music of William Byrd
  • Gilad Rabinovitch, What Kind of Linear Theory is Schema Theory?
  • Jordan Lenchitz, Spectral Fission in Barbershop Harmony
  • Tom Johnson, Megan Lavengood, and Evan Williams, Tracing Music Theory’s (un)Shifting Frames: A Natural Language Processing Approach


Workshop – Histories of Music Theory Pedagogy: Techniques, Institutions, Epistemologies (AMS Platform)

  • Lindsay Wright, Benjamin Steege, Fanny Gribenski, Emily Dolan, Anicia Timberlake, Michael Weinstein-Reiman, and Joshua Navon, Panelists


Linguistic Expression and Popular Music

Karen Fournier, Chair

  • Anabel Maler and Robert Komaniecki, Rhythmic Techniques in Signed Rap
  • Noriko Manabe, Abe Road: the Beatles in Linguistic Simulacrum as Political Parody in Japan
Voice Leading Spaces and Transformation

Robert L. Wells, Chair

  • Matthew Kiple, Collection Space: Systematizing Parsimonious Transformations in French Scalar Tonality
  • Leah Frederick, Generic (Mod-7) Approaches to Chromatic Voice Leading
  • Greg Hartmann, Parsimony in Microtonal Music
Jazz Interest Group

Garrett Michaelsen, Chair

Autographs and Archival Documents Interest Group

Joshua DeVries and Benjamin Levy, co-chairs


Committee on Race and Ethnicity Travel Grant Luncheon, for invited recipients only (Remo)


The Period and Cyclic Form in the Nineteenth Century

William Caplin, Chair

  • Diego Cubero, Romantic Periods
  • Xieyi (Abby) Zhang, Periodically Asymmetrical: On the Analytical Implications of an Expanded Antecedent
  • Levi Walls, Global Double Cycle and Damaged-Global Double Cycle as Representations of Fate in Nineteenth-Century Opera
Rethinking What Counts in Serial Music

J. Daniel Jenkins, Chair

  • Sabrina Clarke, Virgin Mary, Voce Interna, Hystericized Body: Simona Fabien’s Melodic Disintegration in Dallapiccola’s Volo di notte (1937–39)
  • Paul V. Miller, Stockhausen as Gender-Bender? Serial Systems of Structure and Sex in the Opera Cycle Licht
Dance and Movement Interest Group

Rachel Short and Matthew Bell, co-chairs


Theorists Talk about Musicals

Michael Buchler and Rachel Lumsden, co-chairs

  • Greg Decker, The Waltz Topic and Aspects of Love in Broadway Shows after 1940
  • Nathan Beary Blustein, Torch Song Ternaries: Broadway Medleys as Reinterpretation
  • Michael Buchler, Communism, Baptism, Canned Corn, and Other Salty Matters: Songs That Aren’t about Sex (That Are Totally about Sex)
  • Richard J. Plotkin, Unraveling Uncertainty in Sondheim’s Ladies
  • Rachel Lumsden, “Queer Temporalities” in Fun Home
  • Rachel Short, Desire in Hell: A Love Song That Transforms Gods and Men
  • Nicole Biamonte, Tonality as Sexuality in The Rocky Horror Show
New Perspectives on Referents in Analyses of Improvisation

Andrew Goldman, Chair; Matthew W. Butterfield, Respondent

  • Marc Edward Hannaford, Recomposing the Referent: An Ecological Perspective
  • Garrett Michaelsen, Being Self-Referential
  • Joon Park, The Problem of Invisible Transcribers: Towards a Materialist View of the Referent
  • Sean R. Smither, Referents in the Palimpsests of Jazz: Disentangling Tune from Improvisation in Recordings of Ellington and Strayhorn’s “Satin Doll”
  • Michelle Yom, The Referent’s Double
Music and Philosophy Interest Group

Avinoam Foonberg, Bryan Parkhurst, and Lee Cannon-Brown, co-chairs

  • Andrew J. Chung, Posthuman but not Post-Colonial: The Subject of New-Materialism-Inspired Sonic and Vibrational Thought Remains Hegemonic
  • Amy Bauer, Music theory, ecological listening and the sublime object
  • Jessie Cox, Posthumanistic Organology: Diffracting the Instrument


Stories from the Frontlines

Sponsored by the Committee on Race and Ethnicity
Somangshu Mukherji, Chair

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


Committee on the Status of Women Brown Bag Luncheon, Open to all! (Remo)


Coffee Break (AMS Platform)


Exhibit Hall Open Hours (AMS Platform)


Graduate School Fair, Open to all!


Roundtable – Musical Interculturality: Scopes, Methods, Approaches (AMS Platform)

  • Anna Maria Busse Berger, Tobias Janz, Larry Witzleben, Philip Bohlman, Martin Scherzinger, Christian Utz, John Winzenburg, Nancy Yunhwa Rao, and Yayoi Uno Everett, Panelists


Listen and Unwind (AMS Platform)


Mediating the Cold War (AMS Platform)

Sponsored by the the AMS Cold War and Music Study Group and the SMT Post-1945 Music Analysis Interest Group
Marth Sprigge (University of California, Santa Barbara) and Laura Emmery (Emory University), Co-Chairs; , Respondent

  • Eduardo Herrera, Scientificity, Experimentation, and Electroacoustic Music at CLAEM
  • Noel Torres-Rivera, Collaboration, Politics and Technology in Rafael Aponte-Ledée’s Presagio de Pájaros Muertos
  • George Adams, Maryanne Amacher’s Musical Technologies
  • Ryan Gourley, Soviet Jazz on American Vinyl: The Politics of Record Circulation
Saturday, November 14


Morning Yoga(AMS Platform)


Joni Mitchell

Lloyd Whitesell, Chair

  • Peter Kaminsky and Megan Lyons, Enactive Soundscapes: Physio-musical and Formal Process in the Music of Joni Mitchell
  • Nancy Murphy, Metric Freedom and Confessional Performance Practice in Joni Mitchell’s “Blue”
Brahms and Beethoven

Frank Samarotto, Chair

  • Lucy Y. Liu, Musical Logic in the Slow Movement of Brahms’s Second Symphony
  • Risa Okina, Revealing the Secret: The Musical Uncanny and its Narrative Implications in the Finale of Brahms’s Piano Quintet in F minor, op. 34
  • Thomas Posen, The Eroica Continuity Sketches: A Form-Functional Perspective
Pedagogy and Cognition Poster Session

Jenine Brown, Chair

  • Sarah Gates, The Making of a Theorist: On the Cognition of Music-Theoretic Expertise
  • Ivan Jimenez, Tuire Kuusi, Isabella Czedik-Eysenberg, and Christoph Reuter, The Effect of Vertical Pitch Structures, Timbre, and Duration on Memory for Chords
  • Sarah Louden, Using Principles of Crossmodal Perception to Promote Accessibility and Diversity in the Classroom
  • Jennifer Shafer, Spaced Learning, Screen Names, and Speed: Fluent Fundamentals in Fifty Minutes Per Week
  • Brian Edward Jarvis and John Peterson, Don't Count Your Cadences Before They Hatch: Advocating for Discussions of Closure in Pedagogical Contexts
Queer Resource Group

Taylor Myers, Chair


Special Session: Black Lives Matter in Music: A Conversation with Tazewell Thomson, Librettist of 'Blue' (AMS Platform)

Steve Swayne, Moderator

  • Naomi Andre and Richard Desinord, Panelists


Unsettling Encounters: Transfer, Exchange, and Hybridity in Global Music Theory

Anna Zayaruznaya, Chair

  • Andrew Hicks, The Original Global and the Global Origins of Music Theory
  • Roger Mathew Grant, Pedagogy and Seduction in the Eighteenth-Century Mission Music of Bolivia
  • Daniel Walden, Global Tonnetze
Scripts, Schemas, and Prototypes

Lawrence Zbikowski, Chair

  • Richard Ashley, On Prototypes and the Prototypical: An Investigation of Music-Theoretic Concepts
  • Matthew Boyle, Begging Cadences, or The Rossinian Art of Pandering
  • Nathaniel Mitchell, The “Se cerca” Script: Dialogic Networks in an Eighteenth-Century Aria Tradition
Popular Music Interest Group

Christine Boone, Chair

  • Maya Gibson, Monstrous Men
  • Tanya Honerman, The Music of 'Monstrous Men
  • Trevor de Clerq, The Musicians Behind the Monsters
  • Emily Milius, Monstrosity in the Classroom: Is it Really Worth It?
  • William Cheng, Response
Music and Disabilty Interest Group

Chantal Lemire, Chair


Gesture, The Mimetic Hypothesis, and Musical Feels

Juan Chattah, Chair

  • Christa Cole, Being Cecil, Feeling Feldman: Gestural Analysis of Two Avant-Garde Piano Works
  • Crystal Peebles, Mimetic Invitation in Shaw’s Partita for 8 Voices
  • Dora A. Hanninen, Musical Feels
Sonata Problems

Carissa Reddick, Chair

  • Christopher Brody, Two Langerian Sonata-Form Problems, with Solutions by Beach and Medtner
  • Jan Miyake, Formal Problems as Opportune Inconveniences in Haydn’s Late Piano Trios
  • Peter H. Smith, Dvořák and Subordinate Theme Closure: “Positive” Analytical Results for a “Negative” Approach to Romantic Form
Popular and Video Game Music Poster Session

Elizabeth Medina-Gray, Chair

  • Joshua Albrecht, Brawlers, Bawlers, and Bastards: The Semiotics of Vocal Timbre in the Music of Tom Waits
  • Bronwen Garand-Sheridan, Key and Affect in the Million-Song Dataset
  • Stephanie Lind, Analyzing Subversion in Undertale Through Soundscape
  • S. Alexander Reed, An Idiom of Melodic-Harmonic Divorce: Sub-Circle Motion in Popular Music and the Deceptive ♭VIIadd9
  • Christopher Wm. White, Some Elements of Form in American Popular Music, 1958–1991
Music and Psychoanalysis Interest Group

Dylan Principi, Chair

  • Amy Bauer, Discussion: “The Sublime Object of Music Analysis


Workshop: Fostering Decoloniality: From Local Archives to Global Dialogue (AMS Platform)

  • Robin Attas, Philip Burnett, Lindelwa Dalamba, David Irving, Roe-Min Kok, and Lilliana Saldaña, Panelists


Analyzing Recordings

Bruno Alcalde, Chair

  • Richard Beaudoin, Microtiming the Marginal: The Expressive Rhythm of “Insignificant Noises” in Recordings by Claire Chase, Evgeny Kissin, and Maggie Teyte
  • Michèle Duguay, Gendering the Virtual Space: Sonic Femininities and Masculinities in the Billboard charts, 2008–18
  • Nathan Pell, Tempo as Form: Unnotated Orchestral Rubato in Early Recordings, Treatises, and Composition
(Re)defining Drama

William Marvin, Chair

  • Benjamin Graf and Graham Hunt, Loosening the “Shackles” of Sonata Form: Intersections of Formal, Tonal, and Operatic Drama in Fidelio
  • Morgan Markel, The Dramatic Potential of Auxiliary Cadences in Cole Porter Songs with Minor-to-Major Choruses
  • Sasha Drozzina, Discovering Dramaturgy in the Music of Sofia Gubaidulina via Valentina Kholopova’s System of Expression Parameters


Who Is Allowed to Be a Genius?

Sponsored by the Committee on the Status of Women
Judith Lochhead, Chair; Laura Emmery, Moderator

  • Cora Palfy, Genius and the Canon: The Effects of Exclusion
  • Charity Lofthouse, The Work of a Novice: Genius, Professionalism, and Contemporary American Women Monastic Composers
  • Nikola Komatović, 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
  • Joseph Straus, Romantic Geniuses, Idiot Savants, and Autistic People Who Are Good at Music
  • Jessica Shand, Artificial Creativity, Artificial Genius: Improvising Computers and the Listening Subject
  • Vivian Luong and Taylor Myers, Contextualizing Musical Genius: Perspectives from Queer Theory


Plenary Session – Changing the Story: Embodiment as Musical Practices and Experiences

Marion A. Guck, Chair

  • Mariusz Kozak, Kinesthesis, Affectivity, and Music’s Temporal (Re-/Dis-)Orientations
  • Marianne Kielian-Gilbert, Dramatizing Difference: Embodying Music’s Materiality and (Inter)subjective Dynamics (Nina Simone’s “Little Girl Blue” from Live at Montreux 1976)
  • Fred Everett Maus, Music Theory in the 1970s and 1980s: Three Women
  • Daphne Leong, Embodying Music: Three Questions from Practice


Coffee Break (AMS Platform)


Exhibit Hall Open Hours(AMS Platform)


Meaningless Excitement and Smooth Atonal Sound: Phish at the Intersection of Music Theory and Cultural Studies (AMS Platform)

  • Jacob A. Cohen, Affective Music Theory, Public Musicology, and the Construction of Phish Fan Identity
  • Heather Laurel, Towards a Classification System of Improvisational Types in Phish’s Live Performances
  • Steven Reale, On the Persistence of Groove: Structural Fog and Jouissance in a “Split Open and Melt” Jam


Modulations and Intersections: Disability and the (Un)critical Role of Music (AMS Platform)

Sponsored by the The AMS Music and Disability Study Group, SMT Music and Disability Interest Group, SMT Global Interculturalisms and Musical Peripheries, SMT Scholars for Social Responsibility Interest Group
Stefan Honisch (University of British Columbia), Jeannette Jones (College of the Holy Cross), Chantal Lemire (Western University), Ji Yeon Lee, Organizers


Listen and Unwind (AMS Platform)

Sunday, November 15


Morning Mindfulness(AMS Platform)


New Directions in Topic Theory

Robert S. Hatten, Chair

  • Olga Sánchez-Kisielewska , Musical Topics as Products and Tools of Historically Informed Performance
  • Jesse Gardner, Beyond the Fusion Principle: Pop Topics in the Music of the Miles Davis Quintet, 1964-1972
  • James Donaldson, Transforming the Post-Tonal Topic in Ligeti’s Violin Concerto
Apropos Wagner and Strauss

Alexander Rehding, Chair

  • Marie-Ève Piché , Precursors of the Tristan Chord and the “Till sixth” in Fétis’s Traité complet (1844)
  • David Byrne, Sigfrid Karg-Elert’s Common-Tone Transformation System, and His Analyses of Wagner’s Magic Sleep Motive
  • Craig Duke, Lyric Forms as “Performed” Speech in Das Rheingold
Mathematics of Music Interest Group

Mike Hall, Chair; Jason Yust, Vice-Chair

  • Lauren Hartburg, Intersectional Compatibility in Uniform Triadic Transformations
  • Matt Chiu and Noah Kahrs, Navigating the P-DFT Model: Subject-Data Correlations and Component Comparisons
  • Matthew Kiple, Constructing a New 'Transformational' Space for Maximally and Nearly Even Collections


Provincializing Music Theory: Epistemic Frameworks for the New Comparativism

Gavin Lee, Chair; C. Catherine Losada, Respondent

  • Martin Scherzinger, Pre-Colonial Rhythm and Meter in Africa
  • Gavin Lee, Genealogy of the Pentatonic Scale
  • John Roeder, Comparative Musical Modernism: Jia Guoping’s Whispers of a Gentle Wind and Helmut Lachenmann’s Allegro Sostenuto
  • Amy Bauer, Ultra-Modernism and the Cosmopolitan Ideal in the Late Music of Carlos Chávez
  • C. Catherine Losada, Response



John Y. Lawrence, Chair

  • Matt Chiu and Noah Kahrs, Chord Spacing and Quality: Lessons from Timbre Research
  • Ethan Edl, Janáček’s Virtual Viola d’Amore
  • Kristi Hardman, The Acoustic Properties of Tanya Tagaq’s Vocal Sounds as Situated on Timbral Continua

Maeve Sterbenz, Chair

  • Jacob Fitzpatrick, Stravinsky and Balanchine’s Agon: A Laban Movement Analysis of the Music and Dance
  • Kara Yoo Leaman, Swingin’ Bach in Ballet: Motivic Development and Funky Rhythms in Balanchine’s Concerto Barocco (1941)
  • Amy Ming Wai Tai, Rhythm and Meter in Dance as Bergsonian durée


Using Open Educational Resources for Inclusive, Flexible, and Innovative Music Theory Pedagogy

Bryn Hughes, Chair and Discussant

  • Bryn Hughes, Introduction
  • Kyle Gullings, In the Trenches Using OMT
  • Chelsey Hamm, Supporting AP Music Theory: Open Music Theory’s Secondary School Outreach
  • Megan Lavengood, Not Just a Theory: How to Put an Egalitarian Music Theory Curriculum into Practice
  • Brian Edward Jarvis and John Peterson, Assessing for Retention: Modeling Creative, Multi-Use Quiz Design
  • Mark Gotham, Computational Methods for Augmented Anthologies


Postwar Transformations of the American Common Stock

Chelsea Burns, Chair

  • Nicholas Stoia, The Transformation of Prewar Blues Into Postwar Rhythm and Blues
  • Jocelyn R. Neal, “Show Me”: Fiddle Breaks and Politics in Country Covers of R&B
  • Evan Rapport, Common Stock Sources of Early American Punk
Reconsidering Schenker and Hierarchy

Jason Hooper, Chair

  • David R. W. Sears, Emergent Hierarchies: Harmonic Reduction from the Bottom Up
  • Vivian Luong, Redrawing Analytical Lines
  • Alan Dodson, Schenker’s Nodal Points and “the Higher Requirement of Tonality”


Perspectives on Metal Music

Jose M. Garza, Jr., Chair

  • Lori Burns, Female-Fronted Extreme Metal: Jinjer, Gender, and Genre Norms in Sound & Image
  • Guy Capuzzo, ”Dance to the Dissonant Sway”: Groove, Headbanging, and Entrainment in Extreme Metal
  • Calder Hannan, Tempo, But For Whom? Rhythmic Parallax in Car Bomb’s “Blackened Battery”
  • Stephen Hudson, How Much Math is in Math Rock? Riffs, Progressive Rhythm, and Embodied Music Theory
Clara and Robert Schumann

Stephen Rodgers, Chair

  • Andrew Malilay White, Entextualization in Clara Schumann’s Nineteenth-Century Pianism
  • Julie Pedneault-Deslauriers, Beyond Vierhebigkeit: Phrase Structure and Poetic Meaning in Three Lieder by Clara Schumann
  • Alexander Martin, Parenthetical Insertions and Ellipses in Robert Schumann’s Eichendorff Liederkreis
Music Informatics Interest Group

Christopher White, University of Massachusetts Amherst


Roles and Ethics in the Peer Review Process

Sponsored by the Professional Development Committee
Nicole Biamonte, Chair and Moderator

  • Joseph Straus, Some Practical Suggestions for Writing Reader’s Reports and for Reading Them
  • Jennifer Iverson, Harassing Behaviors in Peer Review
  • Christopher Segall, How to Write a Reader’s Report
  • Nicole Biamonte, Best Practices for Journal-Submission Communications


The Sound Object and Music Media (AMS Platform)

Sponsored by the AMS Music and Media Study Group and SMT Film and Multimedia Interest Group
Kate Galloway, Julianne Grasso, William O'Hara, Katherine Reed, Reba Wissner, Moderators


SMT Business Meeting

Patricia Hall, President


SMT Awards Presentation

Catherine Nolan, Chair


Coffee Break


Exhibit Hall Open Hours


Substantial Similarity and the Role of Forensic Musicology in Music Copyright Litigation (AMS Platform)

  • Katherine Leo, Can You Copyright a Chord Progression?: Evaluating Harmonic Similarity in Federal Copyright Litigation
  • Alexander Stewart, Melody, “Beats,” and Minimalism: Protectability in Contemporary Popular Music
  • Devin Chaloux, When Analysis is Performance, What Ethical Guidelines Must Forensic Musicologists Consider?
  • Dana DeVlieger, Searching for Similarity: Confirmation Bias in Partisan Forensic Musicology
  • Andre Redwood, Sharp Contrasts on “Blurred Lines”: Williams v. Gaye and a Clash of Amici


Listen and Unwind (AMS Platform)


Pedagogy for the Public: Using Social Media Strategies to Create Understanding and Engagement (AMS Platform)

Matthew Baumer and Leigh VanHandel, Co-Chairs