Friday, November 5

Mark Spicer, Chair

• Frederick Reece, “Albinoni’s” Adagio: Baroque Forgeries and the Test of Time
• Bruno Alcalde, Listener Interactions with Musical Hybridity in the Piano Puzzler Podcast
• Ben Baker, Irony and Improvisation in Jazz Covers by The Bad Plus

Jason Yust Yust, Chair

• Dmitri Tymoczko, The Quadruple Hierarchy
• Patrick Domico and Lucy Y. Liu, Compositional Techniques that Define Stravinsky’s Neoclassical Counterpoint
• Karl Braunschweig, Embedded Dissonance in 18^th- and 19^th-Century Theory and Practice

Garrett Michaelsen, Chair

• Dustin Chau, Revisiting Kane’s Jazz Ontology: Signifyin(g) on Tune Titles
• Stephen S. Hudson, Decentering White Music Theory with Jazz Theory and Drake
• Timothy Koozin, The Music of Leanne La Havas: Embodiment and Mediation in Neo-Soul

Nathan Martin, Chair

• Christopher Segall, Sonata Form Without Main Theme
• Ellen Bakulina and Edward Klorman, Cadence as a Hypermetrical Focus
• Alan Elkins, Mixed Signals: Schematic and Form-Functional Ambiguity in the Keyboard Fantasias of C.P.E. Bach
• Jenine Brown and Daphne Tan, A Context-Sensitive Approach to the Pre-Dominant Function
• Damian Blättler, Deferred Tonic Returns in Maurice Ravel's Sonata Forms

Jade Conlee (Yale University), Tatiana Koike (Yale University), Organizers

Philip Ewell (Hunter College of the City University of New York), Chair

• Derek Baron, Autonomy: Liberal Musicology, Marxist Aesthetics, and Racial Capitalism
• Sam Reenan, Form: Deconstructing Hierarchy and Standard
• Renata Yazzie, Siihasin: A Diné Perspective on Music Analysis
• José R. Torres-Ramos, Mariachismo: Sounded Hypermasculinity
• Cat Slowik, The Technē Turn
• Martin Scherzinger, Meter, Africanized
• Daniel Walden, Pitch Fundamentalism and the Colonization of Tonal Space
• Jade Conlee, Audiation, Musical Aptitude, and Racial Epistemology
• Garrett Groesbeck, Scale, Chōshi, and the Tuning of the Heavens: Orientalism in Discussions of Japanese Music Theory
• Brian Fairley, Polyphony: Difference and Separability in Global Perspective

Johanna Devaney, Chair

• Emily Milius, Voice as Trauma Recovery: Vocal Timbre in Kesha’s “Praying”
• Drew Nobile, Alanis Morissette’s Voices
• Mary Blake Rose, That’s the Way I Am, Heaven Help Me: The Role of Pronunciation in Billy Bragg’s Recordings

Daphne Leong, Chair

• Christa Cole, “And the Nightingale Sings…”: Performative Effort in Elisabeth Lutyens’s The Valley of Hatsuse, Op. 62
• Ben Duinker, Unpacking Interpretive Difficulty in Contemporary Music
• Kara Yoo Leaman, Techniques of a Musician-Dancer: Analysis of an Improvised Tap Dance Performance by Dormeshia

Daniel Harrison, Chair

• Trevor deClercq, The Logic of Six-Based Minor for Harmonic Analyses of Popular Music
• Brad Osborn, Dual Leading-Tone Loops in Recent Multimedia
• Gabriel Venegas-Carro and Gabriel Navia, Plagal Orientation in Tonal Music: A Syntactic Approach

Sponsored by the Committee on LGBTQ+ Issues

Fred Maus (University of Virginia), Organizer

Part 1: Suzannah Clark (Harvard University), Chair; Ashon Crawley (University of Virginia, Religious Studies), Presenter; and Vivian Luong (University of Oklahoma), Respondent

Part 2: Fred Maus (University of Virginia), Chair; Alisha Lola Jones (Indiana University), Presenter; Stephan Pennington (Tufts University), Respondent

Part 3: Open conversation about LGBTQ issues and professional life (research, teaching, work-place)

Clifton Callender, Chair

• Tiffany Nicely, Mixed Messages: Motivic Ambiguity in Guinean Malinke Dance Drumming
• Stephen Taylor, Hemiola, Polytempo, and Aksak Rhythm in Nancarrow’s Piece No. 2 for Small Orchestra
• David Geary, A Three-Part Approach for Analyzing the Beat in Popular Music

John Roeder, Chair

• Scott Gleason, Analytical and Compositional Aspects of Webern Reception at Darmstadt and Princeton
• Hei-Yeung (John) Lai, Recontextualized Musical Quotations in Two Repetitive Post-Tonal Works of Adams and Górecki
• Tobias Tschiedl, Contour Theory, Gesture and Embodiment: Promises, Problems and Continuous Alter

Rachel Lumsden, Chair

• Jeffrey Perry, Cage and Joyce: Finnegans Wake, Demilitarized Language and Demilitarized Music
• Andrew Pau, The Musical Language of Freedom and Oppression in Richard Danielpour and Toni Morrison’s Margaret Garner
• Jordan Lenchitz, Organicism as Algorithm in Julius Eastman’s The Holy Presence of Joan d'Arc

Olga Sánchez-Kisielewska, Chair

• David Heinsen, Topical Specification of Vernacular Idioms: Understanding the Farruca and the Garrotín as Musical Topics in Spanish Modernism
• Alberto Martin Entrialgo, Lyricism in the Subordinate Themes of Isaac Albéniz’s Iberia
• Zachary Lloyd, Florence Price’s Use of African American Topics in Thumbnail Sketches: A Day in the Life of a Washerwoman

Sponsored by the SMT Program Committee and organized by Project Spectrum
Clifton Boyd, Chair; Michael Sampson and Christina Kittle (Jacksonville Community Action Committee), Co-facilitators