Saturday, November 14

9:00–9:45 CST

Morning Yoga(AMS Platform)

10:00–10:50 CST

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

10:00–11:30 CST

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

11:00-11:50 CST

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

12:00–12:50 CST

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

12:00–1:30 CST

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

1:00–1:50 CST

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

1:00–2:15 CST

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

2:30–4:00 CST

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

3:00–4:50 CST

Coffee Break (AMS Platform)

3:00–5:00 CST

Exhibit Hall Open Hours(AMS Platform)

4:00–4:50 CST

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

6:00–7:30 CST

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

6:00–7:30 CST

Listen and Unwind (AMS Platform)