Saturday, November 6

Want to see the Saturday sessions in a grid format? (PDF).

Coffee break room (open all day long)

9:30-10:45 ET

10:00-10:45 ET

11:00-12:00 ET

The Expanding History Of Theory II

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)

11:00-12:30 ET

Mentoring Students: Considerations, Practices, and Resources

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

Poster Session 3: Computer-Aided Analysis / Interrogating Riemann

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
Jazz: Improvisation/Polyrhythm

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
Neo-Riemannian Excursions

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

12:45-2:15 ET

Dance Explorations

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
Poster Session 4: Expanding Repertory For Pedagogy / Text Delivery In Pop And Rap

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
Perspectives of Black Composers

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

Shifting Meter

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

2:30-3:00 ET

3:00-3:20 ET

3:30-5:30 ET

Teaching Music in the 21st Century

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 21st-Century Theory Graduate Student

6:00-7:30 ET

8:00 ET