Saturday, November 14, 12:00–3:00 CST

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