SMT Virtual Conference Schedule

Download the full program (PDF).
Click a triangle to see all of the sessions on that day.

Coffee break room (open all day long)

Thursday, November 4

click to expand/contract all Thursday sessions Want to see the Thursday sessions in a grid format? (PDF)

9:30-10:45 ET

11:00-12:30 ET

Intersectionality and Music Analysis: An Introduction

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
Towards Defining A Musical Style

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
20th-Century Composers’ Tonal Organization

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
History Of Theory: 18th-Century Europe

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

12:45-2:15 ET


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
Flexible Themes and Forms

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
Songs In Flux

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
Sonata Forms

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 18th-Century Rondo Finales Revisited
  • Alexis Millares Thomson, Form-Functional Roles of the Symphonic Motto

12:45-4:00 ET

Whose Voices? Epistemic Injustice and Exclusion in Music Academia

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

2:30-4:00 ET

Delivery Schemata And Vocal Stress

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
Gestures And Fragments

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
Poster Session 1: 20th/21st-Century Compositional Strategies

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

2:30-4:30 ET

The Expanding History Of Theory I

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


7:00 ET

Friday, November 5

click to expand/contract all Friday sessions Want to see the Friday sessions in a grid format? (PDF)

Coffee break room (open all day long)

9:30-10:45 ET

10:00-10:45 ET

11:00-12:30 ET

Transforming Tunes/Appropriating Styles

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 18th- and 19th-Century Theory and Practice
Rethinking Jazz

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
Poster Session 2: The Late 18th Century – And Beyond

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

11:00-2:15 ET

Antiracist Music Theories: Redefining The Discipline’s Key Terms

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

12:45-2:15 ET

Pop Vocals

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
Performative Challenges

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
New Perspectives On Tonality

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

12:45-4:00 ET

Voice, Sexuality, and Embodiment in Black Worship

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)

2:30-4:00 ET

Analyzing Complex Rhythms

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
Analysis Within Temporal Context

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
Sounds Of Freedom/Liberation/Demilitarization

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
Vernacular Idioms And Topics

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

4:15-5:45 ET

Scholars As Community Activists: Abolition And Anti-Racism In Practice

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

6:00-7:30 ET

8:00 ET

Saturday, November 6

click to expand/contract all Saturday sessions Want to see the Saturday sessions in a grid format? (PDF)

Coffee break room (open all day long)

9:30-10:45 ET

10:00-10:45 ET

11:00-12:00 ET

The Expanding History Of Theory II

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)

11:00-12:30 ET

Mentoring Students: Considerations, Practices, and Resources

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

Poster Session 3: Computer-Aided Analysis / Interrogating Riemann

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
Jazz: Improvisation/Polyrhythm

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
Neo-Riemannian Excursions

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

12:45-2:15 ET

Dance Explorations

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
Poster Session 4: Expanding Repertory For Pedagogy / Text Delivery In Pop And Rap

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
Perspectives of Black Composers

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

Shifting Meter

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

2:30-3:00 ET

3:00-3:20 ET

3:30-5:30 ET

Teaching Music in the 21st Century

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 21st-Century Theory Graduate Student

6:00-7:30 ET

8:00 ET

Sunday, November 7

click to expand/contract all Sunday sessions Want to see the Sunday sessions in a grid format? (PDF)

Coffee break room (open all day long)

9:30-10:45 ET

11:00-12:30 ET


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
Timbral Techniques

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)
Poster Session 5: Fourier Analysis / Linear Approaches

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
The Schumanns

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

11:00-2:15 ET

Provincializing Western Art Music Syntaxes

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

12:45-2:15 ET

Cinquecento And Ottocento

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
Compositional Uses Of Space

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)

2:30-3:30 ET

Temporality And Listener Experience

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

2:30-4:00 ET

Gender Studies

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
Corpus Approaches to Popular Music Analysis

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
Celebrating Unsuk Chin

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)

4:15-5:45 ET

Demystifying The Peer Review Process

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