Sunday, November 7

Cora Palfy, Chair

• Alexandrea Jonker, Keeping the “Ear” in “Ear Training”: Incorporating “Blind Hearing” for Improved Aural Skills Pedagogy
• Timothy Chenette, Beyond Gestalt Listening: Interdisciplinary Models for Harmonic Dictation
• Anabel Maler, Analyzing Melodic Lines in Sign Language Music

Alfred Cramer, Chair

• Calder Hannan, Diegetic Sound? Re-thinking Musical Narrative by way of Experimental Hip Hop
• Jeremy Tatar, Emergent Timbres and Motor Mimesis in Screw Music
• Joshua Rosner, Opening the Door: A Multifaceted Approach to the Analysis of Text Setting in Kate Soper’s Door (2007)

Richard Cohn, Chair

• Jennifer Harding, Musical Maps and Chord Cartographies: Mapping Harmony in Fourier Space
• Aditya Chander, Analyzing Hemiolas with the Discrete Fourier Transform
• Trevor Hofelich, Contextualizing Triadic Post-Tonality in Three Preludes from Dmitri Shostakovich’s 24 Preludes and Fugues, Op. 87
• Benjamin K. Wadsworth and Meghan O’Harra, Urlinie Play and Musical Narrative

Harald Krebs, Chair

• Alexander Martin, Dreamlike Ambiguities in Clara Schumann’s “Ihr Bildnis”
• Matthew Poon, “Schumann’s Fragment” Revisited: Non-Tonic Initiating Functions in the Nineteenth Century
• Jeremy Nowak, Pre-cadential Phrase Endings in the Piano Works of Robert Schumann

Chris Stover (Queensland Conservatorium, Griffith University), Anna Yu Wang (Harvard University), Organizers; Michael Tenzer (University of British Columbia), Noriko Manabe (Temple University), Co-Chairs

• Liam Hynes-Tawa, Three Views of Western Tonality: Successive Provincialization in the Orchestral Works of Yamada Kōsaku
• Scott Murphy, Carnatic Elucidations of Structure and Expression in Hollywood’s Scales
• Ian Quinn, On “Pien” (Biàn 變) Tonality
• Grant Sawatzky, Irregular to whom? Segmentation, grouping, and “irregular” phrase lengths in Klassen’s Plautdietsch folk song collection
• Chris Stover, “Proto-Structure” and “Anti-Structure”: Against Teleology in African Musical Processes
• Anna Yu Wang, Perceiving banyan: Temporal Syntax Unbeholden to Meter

Megan Kaes Long, Chair

• Carlos A. Perez Tabares, A Female Pastoral: Northern Italian Ballads as a Topic in Primo Ottocento Opera
• Peter Schubert, Willaert’s Contrapuntal Strategies

Jonathan De Souza, Chair

• James Renwick, Pitch, Voicings, and Fretboard Transformations in Tōru Takemitsu’s “Rosedale”
• Nicholas J. Shea, Open Strings as Lorentzian Wormholes: Traversing Parallel Universes in Fretboard Space
• Joti Rockwell, Theorizing Musical Motion: Moving with the Steel Guitar

Matt BaileyShea, Chair

• Matthew Arndt, Was ist: Satz
• Joshua Tanis, The Trouble with Line 3: Richard Strauss’s Sentential Settings of Four-Line Stanzas
• Michael Buchler, “Everything’s Coming up Roses”: Momma Rose’s Unfettered Optimism in Gypsy and her Problems with (Musical) Boundaries

Mariusz Kozak, Chair

• Christopher Goddard, “Your Soul is the Whole World”: Spatial Tension in Claude Vivier’s Siddhartha
• Orit Hilewicz, Experiencing Spaces through Musical Subjects in Caroline Shaw’s Plan and Elevation (2015) and Morton Feldman’s Rothko Chapel (1971)
• Zachary Zinser, Playing with Perspective in Billie Eilish’s “Party Favor” (2017)

Bryan Parkhurst, Chair

• Jason Noble, Comparing Temporal Fictions in Tonality and Triadic Post-Tonality: Chopin’s Fourth Ballade as a Link Between the Ages
• Derek J. Myler, Lewin’s Dubbit, Husserl’s Post-horn: A Multistable Model of Polytonal Perception

Lori Burns, Chair

• Michèle Duguay, The Sonic Construction of White Femininity in the Music of Taylor Swift
• Hayden Harper, 2B or Not 2B: Representations of Gender in Nier: Automata
• Gabriel Lubell, Experiencing Album Forms and Dialectics of Gender through Sleater-Kinney’s The Woods

Stefanie Acevedo, Chair

• Claire Arthur and Nathaniel Condit-Schultz, Testing the “Loose-Verse, Tight-Chorus” Model: A Corpus Study of Melodic-Harmonic Divorce
• Jinny Park, Meta Corpus Study of Chord-Loop Syntax in Twenty-First-Century Popular Music
• Matt Chiu and Andrew Blake, “All The Small Things”: Microtiming in Punk Music

Ji Yeon Lee (University of Houston), Chair and Organizer

• Jung-Min Mina Lee , Textural Expansion and Collapse as Formal Processes in Unsuk Chin’s Works
• Imri Talgam, A Perception-informed Approach to Performance of Metric Structure in Unsuk Chin’s Etudes
• Yayoi Uno Everett, Ritual and Rotation in Unsuk Chin’s Šu: Concerto for Sheng and Orchestra (2009)

Sponsored by the SMT Executive Board and Publications Committee
Jack Boss (University of Oregon; SMT Publications Committee Chair), Moderator; Peter Smith (University of Notre Dame; Editor of Music Theory Spectrum), Mitchell Ohriner (University of Denver; Editor of Music Theory Online), Megan Kaes Long (Oberlin College & Conservatory; Editor of SMT-V), Panelists