Sunday, November 15, 9:00–12:00 CST

9:00–9:45 CST

Morning Mindfulness(AMS Platform)

10:00–10:50 CST

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

10:00–11:15 CST

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

11:00-11:50 CST

Timbre

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
Balanchine

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

11:30-12:45 CST

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

12:00–12:50 CST

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”

1:00–1:50 CST

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

1:00–2:15 CST

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

2:00–3:30 CST

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

2:30–3:00 CST

SMT Business Meeting

Patricia Hall, President

3:00–3:15 CST

SMT Awards Presentation

Catherine Nolan, Chair

3:00–4:50 CST

Coffee Break

3:00–5:00 CST

Exhibit Hall Open Hours

5:00–5:50 CST

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

6:00–7:30 CST

Listen and Unwind (AMS Platform)

6:00–8:30 CST

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

Matthew Baumer and Leigh VanHandel, Co-Chairs