Conference Agenda
The Online Program of events for the 2024 AMS Annual Meeting appears below. This program is subject to change. The final program will be published in early November.
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Click on the session name for a detailed view (with participant names and abstracts).
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Session Overview |
| Date: Friday, 15/Nov/2024 | ||||
| 12:00am - 12:30am |
AMS After Dark (con't) Location: Monroe |
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| 7:30am - 9:00am |
JMHP Editorial Board Meeting Location: Wilson |
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| 7:45am - 8:45am |
AMS Student Chapter Representatives to Council Location: Clark 5 |
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| 8:30am - 10:00am |
Eileen Southern Scholars Breakfast and Mentoring Session Location: Cresthill |
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| 8:30am - 10:30am |
Power and Resistance: Musical Historiographs of China and Tibet Location: Price Chair: Hedy Law What makes listening “extractive”? Sulfur, jade, and resource-making in 18th-century China Wang Xilin, Tiananmen Square, and Symphony no. 3 “Music is for the People”: Zheng Xiaoying, Yangxizhongchang, and Das Lied von der Erde Tibetan Buddhist Philosophy in Jokar's Symphonic Poem Gendun Chophel |
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| 8:30am - 6:00pm |
Exhibit Hall Open Location: Exhibit Hall |
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| 9:00am - 10:30am |
Rendering Audible: Voice, Creative Practice, and 18th-century Airs about African Enslavement Berta Joncus Goldsmiths, University of London, Location: Adams Chair: Naomi André, University of North Carolina at Chapel Hill |
Augustinian Soundscapes: The Church and Monastery of San Giovanni a Carbonara in Naples Kyrie Ekaterina Bouressa McGill University, Location: Monroe Chair: Evan A. MacCarthy, UMass Amherst Presentations of the Symposium The monastery in the context of Neapolitan and European history Plainchant and Its Local Context at the Monastery of San Giovanni Carbonara Performance as Pedagogy: Neumes in the Aeneid and the Metamorphoses at San Giovanni a Carbonara |
Building Ideology in Chicago Natalie Farrell University of Chicago, Location: Honoré Chair: Mark Clague, University of Michigan Presentations of the Symposium From Fieldhouse to Opera House: Ideology, Infrastructure, and Music in Chicago’s Parks During the Early 20th Century In Search of Lost Reverb Time: Orchestra Hall Renovations and the Acoustic Work Environment The Battle to Preserve The Warehouse |
Curating Memory: Sonic and Musical Commemorations of Systematic Persecution and Genocide Nicole Gabrielle Steinberg University of Maryland, College Park, Location: Crystal Chair: Amy Lynn Wlodarski, Dickenson College Presentations of the Symposium Resonant Legacies, Dissonant Translations: A Comparative Ethnographic Analysis of Sonic Curation in Holocaust and US Slave Memorial Sites Performing Auschwitz Abroad: The Passenger in Bregenz, Tel Aviv, and Madrid Negotiating Appropriateness: Ambivalence about the Use of Music in Exhibitions Commemorating Romani Genocide |
| Disciplinarity and the Affordances of Musicological Critique Derek Baron Rutgers University-New Brunswick, Location: Grant Park Parlor Chair: Sumanth Gopinath, University of Minnesota Presentations of the Symposium How does the Law Hear? Settler Jurisdiction, Aurality and the Sound/Law Problem Music Studies Against Race Science; or, Some Limits of Some Critique Unveiling Silence: A Paradigmatic Critique of Musicological Criticism through Voiceless Voice in Hiroshima by Toshio Hosokawa |
Performing Remix from Broadside to Broadway Richard Will University of Virginia, Location: Water Tower Parlor Chair: Jessica Gabriel Peritz, Yale University Presentations of the Symposium Singing Fake News Performers Critiquing Opera “Now More Than Ever”: Black Womanhood and the Politics of Revival in Oklahoma! (2019) |
Scoring the Genre Film Philip Bixby , Location: Wabash Chair: Julie Hubbert, University of South Carolina Presentations of the Symposium "Just the Right Note of Melancholy Regret": Scoring the 1970s British Gangster Film The Gay Movie Soundtrack Horror's Hostile Formalism: Inexorable Sonic Design in Dario Argento's Inferno and David Prior's The Empty Man |
Shades of Red: Russian Musical Inheritances across the Soviet ‘Periphery’ Alexander Fadi Hardan Brown University, Location: Salon 10 Chair: Kevin Bartig, Michigan State University Presentations of the Symposium Listening for Sovietization in Cold War Cuba Russian "guitar poetry" in late Soviet Central Asia |
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| Operatic Regionalism Location: Spire Parlor Chair: Colleen Lydia Renihan, Queen's University Creating a National Operatic Metropole: The Chicago Civic Opera Company (1922–1932) and the “Capitol of the Great Empire of the Middle West" ARTICULATING MODERNITIES ON STAGE: OPERA IN LATE-COLONIAL MEXICO Winning Fame and Fortune? Race and Operatic Competitions in mid-century America |
The Social Life of Musical Instruments Location: Salon 12 Chair: Erik Broess, Rice University A Highway Acoustemology Race, Labor, Body: The Player Piano and the Mediation of Blackness Instruments and Their Musicians on the Grand Tour, 1775–1795 |
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| 9:00am - 11:00am |
MGG Online - Meeting Editorial Board Location: Hancock Parlor |
Composition / Adaptation / Reception Location: State Ballroom Chair: Lindsey Macchiarella, University of Texas at El Paso Virtuosic (Dis)continuities: Ravel Translating Liszt Philosophy’s Unsounded Note: The Silence of Melody in Erik Satie’s Vexations Americanizing Berlioz’s Roméo et Juliette: Theodore Thomas, the John Church Company, and J.H. Cornell’s English Translation Romantic Thresholds |
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| 10:45am - 11:45am |
Coffee Break Location: Exhibit Hall Join us in the Exhibit Hall for a complimentary service of coffee and other beverages with light snacks. First come, first served. |
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| 10:45am - 12:15pm |
Grove Music Online Roundtable Deane Root University of Pittsburgh, Location: Crystal Chair: Scott Gleason, Oxford University Press |
Representations of Musical Mentorship Nina Penner Brock University, Location: Grant Park Parlor Chair: Nathan Platte Presentations of the Symposium “If you cannot fight them with art, do so as a teacher”: Musical Influence and Mentorship in Der Musikfeind (1835) and Der Sohn vom Ritter Gluck (1837) “Push People Beyond What’s Expected of Them”: Pedagogy and Narrative Control in Mr. Holland’s Opus (1995) and Whiplash (2014) Mentorship Relationships and the Weight of Tradition in Lena Raine’s Soundtrack to Chicory: A Colorful Tale (2021) |
Chicago: America's Musical Crossroads Location: Honoré Chair: Larry Hamberlin, Middlebury College The Chicago Musical College and Midwestern Modernism Alternative Country Love Songs: Bloodshot Records and the "Chicago Sound" Gigging in the Great Migration: How Chicago Musicians Built New Careers on the South Side, 1940-1950 |
Racial Politics on Broadway: Explorations of Race in Musical Theater Location: Water Tower Parlor Chair: Mark Burford, Reed College The Good, the Bad, and the Body: Moral Imperatives in Hairspray The Witch’s Rap and the Racial Politics of Into the Woods Oz and The Urban Imagination: Musical Adaptations of L. Frank Baum’s Novel and Changing Conceptions of the American City |
| The Experience and Legacy of Soviet Musical Identities Location: Salon 10 Chair: Olga Haldey, University of Maryland Discussant: Anne Searcy Sonically Articulated Spaces for Women: Soviet Women’s Labor, Ethnicity, and Solidarity in Nino Davadze’s The Geometry of Soviet Women Avet Terterian’s First Symphony: Sacred Music and Avant-garde in the Late Soviet Armenia Sounding US Blackness on Post-War Soviet Screens |
The Secret Life of Manuscripts: Illuminations and Improvisations Location: Monroe Chair: Frederick Reece Inside the Practice Room of an Eighteenth-Century Improviser: Reading Behind the Text of the Gallipoli Manuscript Feminine Refusal Allegorized: Songs and Snakes in Machaut’s Manuscript A Choirbooks and Crossroads: Tracing Liturgy, Educational Heritage, and Franciscan Networks in Colonial Mexico |
Understanding and Mediating Contemporary Culture Through Opera Location: Spire Parlor Chair: Hannah Lewis, University of Texas at Austin Transmedia Activist Opera, Reconsidered: Elite Capture in the White Snake Projects’ The Pandemic Trilogy (2020-2021) Materiality and the Case of Tan Dun’s Tea: A Mirror of Soul Intercultural Music and Approaches to Total Art: The “Shadow Chord” in Akin Euba’s Opera Chaka |
Women and the Piano in the 19th Century Location: Salon 12 Chair: Margaret Lucia, Shippensburg University “Describe her hair. Does she have curls or a part?” Clara Schumann on other virtuosas. Teresa Carreño and the Legitimization of Powerhouse Pianism At the Intersection of Loss and Renewal: Women, Widowhood, and Piano Culture in the Long Nineteenth Century |
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| “Vivir mi vida: Toward a Critical Salsa Romántica and a Sonic Global South Brownness” (Critical Race Lecture) Location: Adams “Vivir mi vida: Toward a Critical Salsa Romántica and a Sonic Global South Brownness” (Critical Race Lecture) |
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| 10:45am - 12:45pm |
Cinematic Interpretations Location: Wabash Chair: Michael Baumgartner, Cleveland State University Discovery of "The Psycho Theme" Cool Jazz, Quiet Revolution: The Racial Politics of Jazz at the National Film Board of Canada in the 1960s The Theme That Was Never Born: Deleted Music from Tiomkin’s “It’s a Wonderful Life” Sounding the Clarion: Call-to-Action Music in the Attenborough Nature Documentary |
Performing Gender in Music and Dance Location: Price Chair: Sharon Mirchandani, Westminster Choir College The Jeanie Auditions: Stephen Foster and White Southern Womanhood in Florida, 1951-1979 "Girling" at the Tropical Piano: Race, Sex, Value, and the Domestication of Cuban Contradance The Relatable Rebel: Miranda Lambert’s Expressions of Femininity Erotic Agency and Queer Embodiment in Martines–Metastasio’s Secular Chamber Cantata La Tempesta (1778) |
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| 11:00am - 12:30pm |
AMS Board Meet & Greet 2 Location: Exhibit Hall |
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| 11:45am - 1:15pm |
Sound Expertise LIVE! The American Composer and the Future of the Conservatory with Jonathan Bailey Holland Katharine Ellis , Location: State Ballroom Chair: William Robin, Visa |
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| 12:00pm - 1:00pm |
Knitting Circle Location: Medinah Parlor Chair: Steve Swayne, Dartmouth University Chair: Kunio Hara, University of South Carolina School of Music |
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| 12:30pm - 1:30pm |
AMS Career Development Grants in American Music: Check-in 1 Location: Hancock Parlor |
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| 12:30pm - 2:00pm |
Accessibility and the History of Theory August Sheehy , Location: Adams |
AMS Global East Asian Music Research Study Group Business Meeting Amanda Hsieh , Location: Salon 12 |
CCRI Brown Bag Lunch Jennifer Saltzstein Indiana University, Location: Wilson |
Ethical Approaches to Trauma Studies Research and Media—Screening and Discussion of WE ARE NOT AFRAID: Music and Resistance in Apartheid Prisons (co-directed by Janie Cole and Shameela Seedat) Jillian Rogers , Location: Monroe |
| Lightning Lounge: "Political uses of music in Latin America, the Caribbean, and the Iberian Peninsula" Vera Wolkowicz , Location: Spire Parlor Presentations of the Symposium Rethinking “Francoist Music” through Intimate History Unmasking Amália: Fado and Covert Protest Popular music, media, and violence in Mexico; or, the bellicose ordinary Title: Opera Aria, Patriotic Song, Funeral Dirge: The Political Uses of Aurora Musical Tertulias and the Pursuit of Democracy in Mexico City, 1866–1867 El Caloret Faller: Sound, Language, and the Political Power of Musical Implicature |
Mozart Society of America Study Session & Business Meeting Location: Water Tower Parlor |
Organology Study Group Annual Meeting Lidia Chang Colorado College, Location: Grant Park Parlor Presentations of the Symposium Instruments as specimens: How the Photographs of 19th-century English Instrument Collections Made Organology a Science The Plek Machine: A Study of Automation in California’s Guitar Repair Shops Berthelot’s Serpent Tablature: A Blueprint for a Lost Musical Instrument from Colonial Canada |
Queer at AMS: The LGBTQ Study Group Returns to Chicago Lee K. Tyson Ithaca College, Location: Salon 10 |
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| Religious Conversion and Music among Christians and Jews: A Transhistorical View Uri Jacob , Location: Crystal |
Society for Seventeenth-Century Music Informal Business Meeting Location: Salon 7 |
Speed Mentoring Location: Clark 5 |
Student Reception Location: Empire |
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| Wesleyan University Press Book Launch Location: Indiana |
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| 1:45pm - 3:45pm |
The Instrumental Self: Musical Instruments as Expressions of Social and Spiritual Identity Location: Price Chair: John Romey, Purdue University Fort Wayne Phonocentrism in Chopin’s Piano Music Silenced Voices and History from Below: Working-Class Violin Culture in Britain, 1880-1930 Coya Huarmi: Reconstruction of a Song, a Vessel, and an Ancestor’s voice “A Bad Instrument Although Well Played”: Status, Identity, and the Nineteenth-Century Double Bassist |
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| 2:00pm - 3:30pm |
AMS/MLA Joint RISM Committee Location: Hancock Parlor |
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| 2:15pm - 3:45pm |
Ancient Forms in Modern Times: Sacred, Semiotic, and Situated Interpretations of Guqin (古琴) Repertory MingJun X Wilson University of Michigan, Location: State Ballroom Chair: Qingfan Jiang, Peabody Institute at the Johns Hopkins University Presentations of the Symposium Performing Sacred Connections: Interpreting Divine-Human Interactions and the Revival of an Ancient Genre through “Shenren Chang” (神人畅) Qin as Performable Work: Two Semiotic Analysis of "Meihua Sannong" Responding to Composing/Performing Dynamics in Contemporary Guqin Music |
Axes of Time in Eastern Orthodox Sonic Space Brian Fairley University of Pittsburgh, Location: Grant Park Parlor Chair: Luisa Nardini, University of Texas at Austin Presentations of the Symposium Anaphora, Anamnesis, Apocalypse: Music and Time in the Hymns of the Great Entrance in the Orthodox Church The Veil Was Torn: Inverse Perspective in Sofia Gubaidulina’s St. John Passion Deep Time of Polyphony: Twentieth-Century Excavations of Medieval Georgian Chant |
Embodying Women's Song in the Middle Ages Henry Parkes University of Nottingham, Location: Monroe Chair: Rebecca Maloy, University of Notre Dame Presentations of the Symposium In the Footsteps of St. Dunstan’s Virgins: Vestiges of Female Song and Dance in Metz MS 1168 The Procession of Memory at Wilton Abbey Embodying the Magdalene at Late Medieval Barking Abbey |
Songs of Agency: Women’s Voicing of Identity in the Long Nineteenth Century Rachel Michele Bani Converse University, Location: Spire Parlor Chair: Jennifer Oates, Carroll College Presentations of the Symposium Voicing Germanic Nationalism: Lieder in Caroline Pichler’s Biedermeier Music Salon Women, Song, and the Battle for Land Reform in Nineteenth-century Scotland Revoicing Tennyson: Maude Valérie White’s Asseveration of Faith in Four Songs from “In Memoriam” |
| Disruptive Vocal Techniques in 19th Century Opera Location: Water Tower Parlor Chair: Lily Tamara Kass Lethal Timbres and Exploding Tenors: Reconstructing a Change in Operatic Vocal Technique, 1830–1848 The Operatic Sounds of Prosthetics: Performing Disability in Rigoletto The prehistory of Sprechgesang as theoretical opposition to bel canto in the nineteenth century |
Hip-Hop Aesthetics Location: Wabash Chair: Loren Kajikawa, George Washington University Promotion Effects in Music Videos: Run DMC and Aerosmith’s “Walk this Way” Stylo Milo: Gendered Aesthetics in Tamil Rap Seriously Unserious: The Aesthetics of Absurdity in Viral Hip-Hop Remixes |
Movement and Emotion in the Works of Franz Joseph Haydn Location: Adams Chair: Barbara Dietlinger, University of North Texas Learnedness as Type and Style in Haydn's Nelsonmesse Reassessing Haydn's Orfeo in the Theater Incorporating Haydn’s Minuets: Towards a Somatic Theory of Music |
Sound Wars: Weaponizing Sound Media Technologies Location: Salon 12 Chair: Susan Bay, University of California, Berkeley A Fascist's Guide to Music Weaponizing IP: The Sinister and the Absurd in Sonic Encounters between Police Officers and Activists Vocal Deepfakes and The New Rhetorical Strategies of The Online Copyright Debate: "Clean" Data, Content "Creators," and Popular Music in The Era of AI |
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| South Side Impresarios: Sonic Legacies and Lineages Location: Honoré |
Towards Indigenous-Led Art Music: Bridging Scholarship, Performance, and Activism Rena Roussin University of Toronto, Location: Salon 10 Chair: Alexa Woloshyn, Carnegie Mellon University |
Workshop in Research Techniques and Bibliography, led by Répertoire International de Littérature Musicale Ralph Whyte Répertoire International de Littérature Musicale (RILM), Location: Crystal Chair: Ralph Whyte, Répertoire International de Littérature Musicale (RILM) |
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| 4:00pm - 5:30pm |
Alt Rock to Alt Right: The “Alternative Revolution” and its Ironic Aftermath S. Alexander Reed Ithaca College, Location: Water Tower Parlor Chair: S. Alexander Reed, Ithaca College Presentations of the Symposium “Play Free Bird!” Communal Sarcasm and Alternative Rock in the 1990s Protest Song as Empty Vessel: The Leftist Anthems of the Alt Right “No, You Can’t Take That Away from Me!”: Wounded Entitlement, 1990s Alt Rock, and Financialized Media Industries Then and Now |
Forensic Musicology Now Katherine Leo , Location: Price Chair: Katherine Leo |
Improvisation in Chicago Kimberly Hannon Teal , Location: Honoré |
Rethinking Bruckner Studies: Questioning Old Answers and Asking New Questions in a Bicentennial Year Benjamin Korstvedt Clark University, Location: Grant Park Parlor Chair: R. Larry Todd, Duke University Presentations of the Symposium “A Titan in Battle with the Gods”: Viennese Reception of Bruckner in the 1880s and 1890s The New Anton Bruckner Complete Edition: Revisiting Old Editorial Issues Bruckner, postcritique |
| Critical Examinations of Minimalism: Focusing on Gender and Race Location: Salon 10 Chair: Edmund Mendelssohn, University of California, Berkeley Music as Craftivism: The Feminist Minimalism and Serialism of Ann Southam Notation, Repetition, and Feminism in Ann Southam’s Glass Houses Philip Glass’s Dance and the Institutionalization of Minimalism |
Handel, Cosmopolitanism and Empire in the 18th Century Location: Adams Chair: Erica Levenson, University of Michigan Handel, Queen Caroline, Merlin's Cave, and the Performance of Power in 1730s London “What a father the lord has bestowed upon me”: The Fowke Family, Handel, and Imperial Gender in Eighteenth-Century Calcutta Staging Conquest and Colonial Encounter in Handel’s Poro, re dell’Indie |
Hip-Hop as Catharsis and Social Commentary Location: Wabash Chair: Alisha Jones The “Cathartic Cry” in Hip-Hop: Redefining Sonic Warfare Night of the Social Dead: Hip-hop, Zombies, and the Aesthetics of Vulgarity in Lupe Fiasco's The Cool SIGNIFYIN’ THE GOLDEN AGE: ESTABLISHING A HIP-HOP COMMUNITY THROUGH INTRA-GENRE QUOTATION |
Making Music for the Screen: Duke Ellington, Leonard Bernstein, and Mr. Rogers Location: Crystal Chair: Julie Hubbert, University of South Carolina Manufacturing the Maestro: the Infrastructure of Educational Television on Omnibus (1952–61) Riffing on the Soundtrack Album in Duke Ellington Plays with the Original Motion Picture Score from Walt Disney’s Mary Poppins (1964) Mister Rogers the Opera Composer and the Peculiar Genesis of Josephine the Short Neck Giraffe |
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| Reaching Audiences: Approaches to Music Broadcasting and Advertising Location: Salon 12 Chair: Theodore Gordon, Baruch College & Graduate Center, CUNY An Accidental Benchmark: Tracing the History and Outsized Influence of the GTZAN Dataset on Music Recommendation Systems (Dis)Connected by Wire. Music Transmissions via Telephone as an “Audible Infrastructure” in the Late Nineteenth Century Studebaker Songs: Product Advertising with Sheet Music in the Nineteenth Century |
Sounding "Real": Identity and Authentic Performance Location: Spire Parlor Chair: Esther Marie Morgan-Ellis, University of North Georgia ‘Sounding’ Bartók c.1950 Creating Characters: Billy Bragg's Pronunciation in Mermaid Avenue The Scratchy Fiddle: Cultural Politics of Timbre in Old-Time Music |
Worship, Women, and Song: Medieval/Early Modern Economies of Sex and Power Location: Monroe Chair: Michael Noone, Boston College Discussant: Melinda Latour, Tufts University At the Intersection Between Music, Love, Devotion and Sexuality: Late-Medieval Song of Songs Antiphons in Germany Sin and Singing Nuns: Tensions Between Musical Activity and Reform in the Convents of the Convertite, c. 1569-1607. ‘Extraordinary Subtill Queanes’: Musical Diplomacy and Jewish Women in the Early Modern Constantinople Harem |
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| 5:00pm - 6:30pm |
Prospective Graduate Student Fair Location: Grand Ballroom |
Robert F. Judd Fund Donor Reception Location: State Ballroom |
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| 5:45pm - 7:45pm |
Friends of Stony Brook Location: Salon 6 & 7 |
Norton Reception Location: Empire |
Reception for Opera Lab and New Material Histories of Music Book Series Location: Wilson |
Rice University Alumni Reception Location: Indiana |
| RILM / RIPM Reception Location: Hancock Parlor |
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| 6:30pm - 7:45pm |
Skills and Resources for Early Music Study Group Business Meeting and Keynote Daniel DiCenso College of the Holy Cross, Location: Honoré Presenter: Janie Cole, University of Connecticut |
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| 6:30pm - 8:30pm |
New York University Reception Location: Wabash |
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| 7:00pm - 8:30pm |
Visions of Afro-Futurism from the 1970s Location: Art Institute of Chicago, Rubloff Auditorium Please use the Art Institute entrance at 230 S. Columbus Drive |
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| 7:00pm - 9:00pm |
Brandeis University Reception (open to all) Location: Clark 5 |
Eighteenth-Century Societies Reception Location: Salon 4 & 9 |
Florida State University College of Music Alumni Reception Location: Chicago |
University of Illinois Reception Location: Kimball |
| University of Pittsburgh Reception Location: Grant Park Parlor |
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| 7:30pm - 9:30pm |
Childhood and Youth Session and Business Meeting: Spotlight on New and Emerging Work from Early-Career Scholars Ryan Bunch , Location: Crystal |
Sex, Drugs, and Disappointment: Popular Music And Feeling Badly Amy Coddington , Location: Adams Presentations of the Symposium Keynote: The Travels of Unhappy Songs: Or, Feeling Mediated, from Du Bois to “Fast Car” Depression in Three Tempos: RAYE’s 21st Century Blues Survivor’s Guilt: Navigations of Masculinity, Political Disdain and Mental Health in Black-British Rap Music Tuning into Emotions: How Bad Feelings Resonate within the TikTok Music Industry Ecosystem Climate Afro-Dysphoria, Ugly Feelings, and Affective Analysis in Childish Gambino’s “Feels Like Summer” |
Teaching Music Philosophy Kyle Kaplan Syracuse University, Location: Monroe |
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| 7:45pm - 9:30pm |
Lenka Hlávková Memorial Session Michael Beckerman New York University, Location: Honoré |
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| 9:00pm - 11:00pm |
Columbia University Reception Location: Hancock Parlor |
Harvard Alumni and Affiliates Reception Location: State Ballroom |
University of Chicago Reception Location: Empire |
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| 9:30pm - 11:30pm |
Society for Christian Scholarship in Music Annual Reception Location: Wilson |
University of North Texas Reception Location: Salon 5 & 8 |
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