Thursday, November 4

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

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

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

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

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

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

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

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

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

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

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

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

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