Thursday, November 4, 2:30 ET

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