Saturday, November 7, 12:00–4:00 CST

12:00–12:50 CST

Contrapuntal Innovations

Christoph Neidhöfer, Chair

  • Ryan Taycher, What’s New in the Ars nova?
  • Evan Campbell, Mean Counterpoint and Temperamental Choices in the Early Baroque
  • Alexandrea Jonker, “Dissonation” of Tonal Materials in Vivian Fine’s Ultra-Modernist Compositions
Gesture and Transformation in Instrumental Performance

Edward Klorman, Chair

  • Mark Micchelli, Sound Structures and Naked Fire Gestures in Cecil Taylor’s Solo Piano Music
  • Toru Momii, Performing Te: Gesture, Form, and Interculturality in Dai Fujikura’s neo for Solo Shamisen
Form Poster Session

Catrina S. Kim, Chair

  • Michael Baker, Felix Mendelssohn’s Dominantized Tonics
  • Poundie L. Burstein, Some Perfect Authentic Cadences are More Perfect than Others
  • Tim Cutler and Sam Bivens, Synthesizing the Tonal and Rhetorical Dramas of Franz Clement’s D-Minor Violin Concerto
  • Joseph Chi-Sing Siu, Phrase-Rhythmic Norms in Classical Expositions: A Corpus Study of Haydn’s and Mozart’s Piano Sonatas
  • Bryan Stevens, The Medial Subphrase in the Eighteenth-Century Spanish Style: Characteristics, Function, and Variants
Music Cognition Interest Group

Janet Bourne, Chair

1:00–1:50 CST

On Rotational Form

Steven Vande Moortelle, Chair

  • Michael J. Puri, “Rituals of Circularity”: On the Conceptual Underpinnings of Rotational Form
  • Audrey Jane Slote, Formal Process as Reanimation of the Past in Enrique Granados’s “Epílogo: Serenate del Espectro”
  • Carl Burdick, The Sonata-Fugue Hybrid in Haydn’s Early Symphonies
Musical Experience in Time and Space

Aaron Harcus, Chair

  • Dorian A. Mueller, Conceptualizing Musical Narrative Space: A “Phenomenological” Journey through Chopin’s Nocturne in F-sharp Minor, op. 48/2
  • Scott Gleason, Music Phenomenology in the Princeton School
  • Daphne Tan, Music Analysis as Esoteric Activity: Viktor Zuckerkandl at Eranos
Music Theory Pedagogy Interest Group

Leigh VanHandel, Chair

Russian Music Theory Interest Group

Ellen Bakulina, Chair

  • Christopher Segall, Attingent Harmonic Function in Zara Levina’s Poem for Viola and Piano
  • Lee Cannon-Brown, Ivan Wyschnegradsky and the Enigma of Modern Music
  • Jacy Pedersen, Twelve-Tone Technique as a Formal Device in the Works of Shostakovich
  • Adam Moffett, Musical Forces in the Serial Music of Igor Stravinsky

2:00–3:00 CST

Analysis of Music for Dancing

Chris Stover, Chair

  • Brenna J. Langille, The Hidden Influencers of Jazz: An Analysis of Eddie Brown’s BS Chorus
  • Eric McKee, Loving out Loud: Romantic Coupling in Early Sound Films (1928–1933)
  • Rebecca Simpson-Litke, A Corpus Study of Metric Dissonance in Salsa
  • Lina Sofia Tabak, Pulse Dissonance in Colombian Currulao
Rediscovering Opera: The Politics of Form, Semiotics, and Representation

Knar Abrahamyan, Chair; Yayoi Uno Everett, Respondent

  • Calvin Peck, The (Attempted) Subversion of Dissonance in Opera by the First Empire
  • Knar Abrahamyan, Secularizing Soviet Armenia: Enacting Power Dynamics through Operatic Topoi
  • Stephen Johnson, Sounding Chosŏn: Form and Class Struggle in North Korea’s Sea of Blood
Gary Karpinski’s Aural Skills Acquisition: Its Influence Twenty Years Post-Publication and Future Directions

Cynthia I. Gonzales, Chair; Daniel Shanahan, Respondent

  • Timothy Chenette, Gary Karpinski’s Aural Skills Acquisition: Listening Skills
  • Cynthia I. Gonzales, Gary Karpinski’s Aural Skills Acquisition: Sight Reading
  • Leigh VanHandel, Gary Karpinski’s Aural Skills Acquisition: Cognition of Aural Skills
Interest Group on Improvisation

Gilad Rabinovitch and Andrew Goldman, Chair

2:30–4:00 CST

Welcome Break and Coffee Reception(AMS Platform)