Saturday, November 6

Alexander Rehding, Chair

• Knar Abrahamyan, Yuri Kholopov’s Theory of Universal Harmony as a Clandestine Bearer of Orthodox Beliefs
• Adem Merter Birson, “A Beautiful Voice from the Heavens”: Pitch-Centered Analysis of Turkish Makam Using Cantemir's Edvar (c.1700)

Sponsored by the SMT Professional Development Committee
Greg Decker (Bowling Green State University), Organizer; Don McLean (University of Toronto), Moderator; Daphne Tan (University of Toronto), Graham G. Hunt (University of Texas at Arlington), Anna Gawboy (Ohio State University), David Pacun (Ithaca College), Panelists

Jocelyn Neal, Chair

• Luke Poeppel, Notre Oiseaux: A Computational Study of the Messiaen Birdsong Transcriptions of New Caledonia
• Michael Clarke, Frédéric Dufeu, Keitaro Takahashi, and Axel Roebel, A Case Study in Using Interactive Aural Software for the Analysis of Spectral Music: Liza Lim’s ‘An Elemental Thing’
• Kája Lill, Karel Janeček’s Lydian and Phrygian Functions: Reconsidering Riemann in Light of His Czech Reception
• David Bashwiner, Was Riemann Wrong? Reassessing the Subharmonic Series

Keith Waters, Chair

• Guy Capuzzo, Composition, Improvisation, and Macroharmony in Henry Threadgill’s Sixfivetwo
• Rich Pellegrin, Salience, Triads, and Transformational Counterpoint in Robert Glasper’s Improvisation on “North Portland”
• Sean R. Smither, “Pulling Apart” and “Floating Above”: Cross-Rhythmic Metric Divergence in Jazz Improvisation

Julian Hook, Chair

• Florian Walch, Experiencing Mozart's Double Syntax in Three Parts: Chromatic Sequence and Expectation in the Divertimento in E♭ major, K. 563, I
• William O’Hara, Octatonic-Triadic Cycles and Amy Beach’s “Autumn Song”
• M. A. Coury-Hall, Rogue Symmetry: The Groupoid of Riemannian UTTs

Gretchen Horlacher, Chair

• Rebecca Simpson-Litke, An Examination of Improvisatory Practices in Salsa Music and Dance
• Amy Tai, Form in George Balanchine’s Concerto Barocco
• Lindsay Rader, Choreographic and Musical Interplay in Anne Teresa De Keersmaeker’s Bartók/Aantekeningen

Kyle Adams, Chair

• Anna Stephan-Robinson, Songs of Katherine Ruth Heyman: A New Diversity Resource for the Undergraduate Classroom
• Angela Ripley, Diversity and Deeper Learning: Teaching Theory through Touchstones
• Christopher Wm. White, Mara Breen, and Joe Pater, Some Properties of Text Delivery and Melodic Rhythm in Post-Millennial Popular Music
• Hanisha Kulothparan, Flow in the Alter Egos of Nicki Minaj

Sponsored by the SMT Committee on Race and Ethnicity
Aaron Carter-Ényì (Morehouse College), Organizer; Panayotis Mavromatis (New York University), Moderator and Organizer; Jean Kidula (University of Georgia), Onyee N. Nwankpa (University of Port Harcourt, Nigeria), Gilad Rabinovitch (Florida State University), Robert Tanner (Morehouse College), Panelists

Samuel Ng, Chair

• David Forrest, Form and Hypermeter in the Songs of Kate Bush
• Soo Kyung Chung, Mixed Rhythms in Chopin’s Ballades and Scherzos
• Robert L. Wells, Dancing with the Devil: Liszt’s Diabolical Metric Cycles

J. Daniel Jenkins, Chair

• David Hier, Chromatic Function in Schoenberg’s Atonal Music
• Andrew Eason, Cadence as Gesture in the Writings and Music of Arnold Schoenberg
• Johanna Frymoyer, Dancing Dodecaphony: The Form and Function of the Waltz Topic in Schoenberg’s Twelve-Tone Music

Jennifer Snodgrass, Chair

• Juan Chattah, Team-Based Cross-disciplinary Inquiry in Music Theory
• Jane Piper Clendinning, World Musics: The Final Frontier
• John Covach, Beyond the High-Brow Lens: A Pragmatic Approach to the Fundamental Revision in the Undergraduate Music Theory Core
• Cynthia I. Gonzales, Thoughts on Teaching with Technology: What Works? What Doesn’t?
• Braxton D. Shelley, Model Composition in the Gospel Classroom
• Leigh VanHandel, The 21^st-Century Theory Graduate Student