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: Saturday, 16/Nov/2024 | ||||
| 7:15am - 8:45am |
AMS Board and Council Breakfast Georgia Cowart Case Western Reserve University, Location: Chicago |
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| 7:30am - 9:00am |
Publications Committee Meeting Location: Hancock Parlor |
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| 8:30am - 6:00pm |
Exhibit Hall Open Location: Exhibit Hall |
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| 9:00am - 10:00am |
Copyright Controversies: Evolutions and Legacies Location: Price Chair: Joshua Neumann, Academy of Sciences and Literature Mainz Discussant: Katherine Leo Vaughan Williams and the Folksong Copyright Controversy Revisited "Everything Has Changed"? Taylor Swift's Music Copyright Legacy |
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| 9:00am - 10:30am |
“Unblemished Harmonies: Modernism in Spanish Music, 1898-1936” Alessio Olivieri University of Nebraska - Lincoln, Location: Adams Chair: William Krause, Hollins University Presentations of the Symposium Tradition and Modernity in Usandizaga’s Las golondrinas (1914): A Veristic Exploration Disinfecting the Piano: Suite para piano (1923) and the Advent of Bitonality in the Works of Joaquín Rodrigo Rafael Rodríguez Albert between Tradition and Modernism: a Multifaceted Composer in the Silver Era. |
Open Access Publishing in Musicology: A Roundtable Discussion Rachel Scott Illinois State University Library, Location: Crystal Chair: Rachel Scott, Illinois State University Library |
Rethinking Gender in Music Pedagogy and Research Lauren Shepherd University of Nebraska-Lincoln, Location: Wabash Chair: Jennifer Iverson, University of Chicago Presentations of the Symposium Without a Technical Bone in My Body: Critical Strategies for Inclusive and Accessible Technical Studio Design Starting from the Beginning Advocating for Inclusivity in Pedagogy Through Analysis and the Archive |
Seeking the Unseen, Hearing the Unheard: Amplifying Voices from the Periphery, c.1300–1500 Elina Hamilton , Location: Honoré Chair: Evan A. MacCarthy, UMass Amherst Presentations of the Symposium Songbooks for Margherita and Marietta: Florentine Women’s Musical Lives c. 1500 Theinred of Dover and the Consonance of the Third, c. 1340 [sic] Relying on the Lost and Unknown—the 15th-century manuscript Strasbourg, Bibliothèque Municipale 222 C.22 |
| Artifacts of French Music-Making Location: Water Tower Parlor Chair: Peter Asimov, University of Cambridge "Incunables du son": Contextualizing Guy Ferrant’s Sound Recording Collection Adam de la Bassée’s Ludus Anticlaudianum and Music-Making in Late-Medieval Lille Partimento as Socio-Musical Hieroglyph in Early Nineteenth-Century France |
Early Modern Musical Theater Location: Grant Park Parlor Chair: Berta Joncus, Guildhall School of Music and Drama Rediscovering Dramma in Musica: A Re-Consideration of its Origins at the Crossroads between Art Theory, Rhetoric, and Counter-Reformation. Singing for Others: Marionettes, Children, and ‘Pygmées’ at the Palais-Royal Death Once-Removed: Zombie Biopolitics and White World-Building in 'Le Turc généreux' (1735) |
Global Opera and Cross-Cultural Aesthetics Location: State Ballroom Chair: Ryan Minor, Stony Brook University Callas Athena: Greekness, Rebetiko, and the Unsentimental Performing Dissimulation in Jingju: Mei Lanfang and the Cross-Cultural Aesthetics of Feigned Madness The Butterfly (Lovers) Effect: Opera Reform and Composition in Western Idiom in the Chinese Yue Opera Film The Butterfly Lovers (1953) |
Music & Nazism Location: Spire Parlor Chair: Karen Painter “A ritual representation of new life in public spectacle”: Modernist Opera and German Identity in the Nationalsozialistische Kulturgemeinde (NSKG) “Dem deutschen Meister“? Liszt, Bayreuth and the Nazis Lament for the Heroes: A Musical Response to Nazi-Occupied Athens |
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| Onscreen Identities Location: Salon 12 Chair: Jacques Dupuis Much Too Sensuous: Irish Film Censor James Montgomery’s Musical Worries in the 1920s Hard Men Softened: Lyric Form and Anempathic Attachments in the Early Work of Martin Scorsese Mediated Stages: Theatricality and Emotional Persuasion in Taiwanese Documentary Film |
Pragmatic and Creative Solution-Making in Early Composition Location: Salon 10 Chair: Lynette Bowring Composing Music at a Cardinal’s Palace: Graffiti of Two New Three-voice Rondeaux at Villeneuve-lez-Avignon More Than Meets the Ear: Recomposition as Exegesis in Tomás Luis de Victoria’s Imitation Masses Re-used, reduced, recycled: a fragmented antiphoner from medieval Trier |
Scandinavian Symphony and Ballet Location: Monroe Chair: Christopher M Scheer, Utah State University Creating Musical Modernism in Mid-Twentieth Century Iceland George Balanchine and Song of Norway (1944) Composition as a Feminist Act: The Case of Elfrida Andrée’s Symphony No. 1 (1869) |
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| 9:30am - 11:00am |
Poster Session Location: Exhibit Hall Why do we practice the harmonic minor scale? Harmonies of Empowerment: Exploring Contemporary Women Composers Dana Kaufman and Leaha Villarreal in Western Art Music Feeling the Rigid Coldness of Bud Powell's "Glass Enclosure" Ways of Singing Poetry: Mapping Italian Song Formulas, 1504–1635 |
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| 10:45am - 12:00pm |
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 |
"She Proclaimed a Chicago Renaissance": Mapping Black Women's Classical World-Making (AMS Committee on Women and Gender Endowed Lecture) Christi Jay Wells Arizona State University, Location: Red Lacquer Ballroom Chair: Christi Jay Wells, Arizona State University |
“Fight the Real Enemy”: Sinéad O’Connor’s Musical and Cultural Legacies Áine Palmer Yale University, Location: Price Chair: Emmalouise St. Amand, Colby College Presentations of the Symposium Sinéad O’Connor, Catholicism, and Irish Society, 1990-1997 “I Never Said I Had a Problem with America”: Genre Trouble in Sinéad O’Connor’s Am I Not Your Girl? The Ceaseless Twilight of ‘Pop Time’ |
Decolonizing Ukrainian Music Location: Adams Chair: Halina Goldberg, Indiana University Chair: Laikin Dantchenko, Indiana University |
Dis-eased Musical Bodies Bettina Gisela Varwig University of Cambridge, Location: Water Tower Parlor Chair: Remi Chiu, JOHNS HOPKINS UNIVERSITY PEABODY CONSERVATORY OF MUSIC Presentations of the Symposium Bodies in Pain: Dis-eased Musicking in J. S. Bach’s St. John Passion Fearful Bodies – Fearful Sounds? Musically Navigating the Dis-ease of Plague Bent Bodies: Dis-ease in Heinrich Biber’s Scordatura and Joni Mitchell’s Alternate Tunings |
| Ensemble Origo Presents "Un sarao de la Chacona – Tracing the African and Mesoamerican Origins of the Sarabande and the Chaconne" Eric Rice University of Connecticut, Location: State Ballroom |
Music and the Third Reich Helmut Reichenbacher , Location: Spire Parlor Chair: Pamela Potter, University of Wisconsin-Madison Presentations of the Symposium Politics and the Werk: Staging Parsifal in NS-Germany Wir Machen Musik: Performing Gender and Race on Hitler’s Screens A Prototype Digital Tool for Analyzing Opera and Musical Theatre Programming during Third Reich |
Identity and Aesthetics in Asian American Popular Music Location: Honoré Chair: Eric Hung Shaping a Pluralistic Asian America: Revisiting Asian American Popular Music in the 1970s “The Ballad of Chol Soo Lee”: Asian American Song about You and Me Aesthetics of Deterritorialization: Transforming Traditional Music by Korean Diasporic Artists in 21st Century America |
Music Writing: Moving Beyond Notation Location: Salon 10 Chair: Rika Asai, University of Pittsburgh Searching for the True Land: A Critical Edition of Lee Morgan’s “Search for the New Land” Six String Standard: Evaluating Folk Guitaristic Legibility Through Text and Song Stendhal’s Embellishments: Music Notation and the History of Writing |
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| Navigating Issues of Trauma and Safety in the Post-Secondary Music Classroom Location: Crystal Chair: Matthew Baumer, Indiana University of Pennsylvania Discussant: Sara Haefeli, Ithaca College Abuse, Trauma, and the Politics of "Excellence" in US Musical Training Programs Trauma-informed Pedagogy and the Post-secondary Music Class The Student Experience Project in the Music History Classroom: Outcomes, Activities, and Observations |
Sounding European Identities Location: Grant Park Parlor Chair: John Gabriel, University of Melbourne “Everybody Wanna Move Like Us!”: Performing Afro-Sweden in the Eurovision Song Contest, 2019-2021 Synthesizers as Markers of Identity in the "Ost-Berlin School" of East German Electronic Rock Libation as Intercultural Communication: Hermann Leopoldi’s “I bin a stiller Zecher” |
Women, Life, and Music in Iran Location: Wabash Chair: Maria Virginia Acuna, University of Victoria Opera and 'Opera' in Iran: Battleground of Ideology and Gender Sound of Iran Say Her Name, Hear Our Voice: Exploring Intersectional Soundscapes in Iranian Diasporic Protests in the United States |
The Middle Ground in Anime Music Studies Kunio Hara University of South Carolina School of Music, Location: Salon 12 Chair: Brooke McCorkle Okazaki, Carleton College |
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| 10:45am - 12:45pm |
Black Voices and Sonic Racializations Location: Monroe Chair: Babatunji Dada, University of Ibadan The Negro Folk Symphony's New World Cecil Taylor in Madison and Yellow Springs, 1970–1973 Refusing to Be Finished: Marian Anderson and the 1963 March on Washington for Jobs and Freedom ‘If we became a homogenous culture’: Florence Price, Roy Harris, and the Search for American Musical Populism 1946-50 |
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| 11:00am - 12:30pm |
AMS Board Meet & Greet 3 Location: Exhibit Hall |
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| 12:00pm - 1:30pm |
AMS Pedagogy Study Group Business Meeting Location: Kimball |
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| 12:00pm - 2:30pm |
Dog Therapy Location: Marshfield |
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| 12:30pm - 1:30pm |
AMS Career Development Grants in American Music: Check-in 2 Location: Hancock Parlor |
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| 12:30pm - 2:00pm |
2024 MDSG Business Meeting Rebecca Schwartz University of Michigan, Location: Adams Chair: Rebecca Schwartz, University of Michigan |
AMS Council Location: Honoré |
AMS Global Music History Study Group Business Meeting Hedy Law , Location: Spire Parlor |
Haydn Society of North America Annual General Meeting Location: Empire |
| Jazz and Improvisation Study Group Business Meeting Kimberly Hannon Teal , Location: Wabash |
LGBTQ Study Group Business Meeting and Conversation Lee K. Tyson Ithaca College, Location: Chicago |
Listening to the Cold War Through the Anthropocene Gabrielle Cornish University of Wisconsin–Madison, Location: Crystal Presentations of the Symposium “Power to Produce for Peace”: The University of Michigan Symphony Band at the 1961 Cairo Agricultural Exhibition John Cage, 0’00”, and the Atomic Sublime Reflecting on Gaia: How Can the Soil Change in the New Cold War? |
Music and Embodiment in Screen Media Daniel Bishop Jacobs School of Music at Indiana University, Location: Water Tower Parlor Presentations of the Symposium “Close to You”: Bootleg Aesthetics, Grain, & the Erotics of Empathy in Todd Haynes’s <i>Superstar: The Karen Carpenter Story </i>(1987) “They were real”: Authenticity and Liveness in 1930s Hollywood Tap Dance Numbers |
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| Music and Philosophy Study Group Business Meeting Kyle Kaplan Syracuse University, Location: Price |
Music, Sound, and Trauma Study Group Business Meeting Jillian Rogers , Location: Grant Park Parlor |
Popular Music Study Group Business Meeting Location: Salon 10 |
Speed Networking Location: Clark 5 |
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| The Committee on Women & Gender: Looking to the Past, Envisioning the Future Christi Jay Wells Arizona State University, Location: Salon 12 |
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| 2:15pm - 3:45pm |
Home Away from Home: Diasporic Musical Expressions in the United States Uri S. Schreter Harvard University, Location: Grant Park Parlor Chair: Kay Kaufman Shelemay, Harvard University Presentations of the Symposium “As Natural to Me as Breathing”: Wedding Music and Jewish Identity in Postwar New York City “Subcultural Things: A Study of Transnational Being of the Balalaika and Domra in the United States” Rehearsing Multiculturalism: Andean Grupos Folklóricos in the Florida Panhandle |
Navigating the Archive: Collection Development, Stewardship, and Access Issues for Researchers in the 21st Century Paul Sommerfeld Library of Congress, Location: Price Chair: Paul Sommerfeld, Library of Congress |
On the redistribution of the sensible: Articulating critical popular music studies through emo rap, hardcore punk, and riot grrrl Runchao Liu , Location: Salon 10 Chair: Eric Hung Presentations of the Symposium “An Empire of Emotion:” Emo Rap, Auto-Tune, and the Sonic-racial Politics of Depression Soundtrack to (un)representable bodies: Musical archives and the urgency of alternative counter-discourses “Hyperactive Child”: Punk and Reagan-Era Neuropolitics |
Post-War France and its Others Mary Ann Smart University of California, Berkeley, Location: Spire Parlor Chair: Brian Kane, Yale University Presentations of the Symposium Abstraction’s Others: Yvonne Loriod’s prepared piano, beyond Boulez and Cage Music, Symbol, Myth: Claude Lévi-Strauss and the Anthropological Imaginary The Grain of the Voice before Barthes |
| Sonic Survival and Resistance through Performance and Memory Among Women in Latin America and Korea Victoria Mogollón Montagne The University of Texas at Austin, Location: Salon 12 Chair: James Gabrillo Presentations of the Symposium Gendered Memories and Sounding Silence in the Korean Borderland Women in Malandreo: Aesthetics, Violence and Urban Sociability in Caracas Polyphony of Indigenous Identities in ‘Mujeres del Viento Florido’: Strategic Alliances in the Face of the Labor Dynamics of Colonial Capitalism |
Sounding the Russian and Soviet Frontier: Perspectives from Manchuria, Bulgaria, and Armenia Ryan Gourley , Location: Water Tower Parlor Chair: Gabrielle Cornish, University of Wisconsin–Madison Presentations of the Symposium The Bulgarian Question in Music: Balkan Internationalism at the End of Empire War as Musical Entertainment: Sounding the Siege of Port Arthur on Early Gramophone Recordings Staging Geopolitics: Opera and Historical Revisionism in Soviet Armenia |
Queer Music Modalities: Nostalgia, Grief and Activism Location: Wabash Chair: Sadie Jessica Hochman, Harper College The Classical Music “Influencer:” Social Media, Feminist Activism, and the Gen-Z Performer Camping the ‘80s: Queer Nostalgia in Pop Music Remixes on YouTube The Black Queer Gospel According to Usher: Contested Religious Meanings in Michael R. Jackson's A Strange Loop (2019) |
Rethinking Beethoven in Theory and Practice Location: Adams Chair: Stephen Husarik, University of Arkansas - Fort Smith When Theory Intersects Performance: Flexible Formal Boundaries and Schmalfeldt’s “Becoming” in Beethoven’s Sonata in F major, Op. 10, no. 2, First Movement From Apotheosis to Bacchanal: Dance and the Beethovenian Finale Beethoven's Theme-and-Variation Movement in String Quartet Op. 131: Approaches to Formal and Hypermetrical Strategies Revealed Through Comparative Analysis |
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| Sounding Blackness: Defining Racial Identity through Music Location: Crystal Chair: Clifton Boyd, New York University Stride Organology: Fats Waller’s Victor Pipe Organ Recordings, 1926–1928 “In Our Raven-Like Body … Blooms a Heart as White as a Lily”: Sonic, Kinetic, and Visual Imaginings of Blackness in Court Festivals of the Protestant Union, 1596-1616 “Property of the Race”: Betty Boop, “Hot Licks,” and Musical Expropriation, ca. 1934 |
Staged Dance Location: Monroe Chair: Wayne Henry Heisler, The College of New Jersey “A ballet unlike any other”: Belsky’s Leningrad Symphony A Friendship in Music and Dance: Carlos Salzedo and Adolph Bolm What’s Funny About War? Humor, Banality, and French Artistic Identity in Parade |
Frozen Figures: Grief, Denial, and Stephen Sondheim's 1966 Television Musical Evening Primrose Location: State Ballroom |
Traveling Tunes, Pilfered Poems: Medieval Song Across Language, Genre, and Setting Anya B. Wilkening Columbia University, Location: Honoré Chair: Mary Channen Caldwell, University of Pennsylvania Presentations of the Symposium Stealing the Show: Composition, Authorship, and Musical Theft in the Kitāb al-Aghānī and the Troubadour Tradition The Winner Takes It All? How Melody Determines Attribution in Three Apparent Self-Contrafaction Networks Contrafacture and the lai lyrique |
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| 3:15pm - 4:30pm |
American Brahms Society Afternoon Reception Location: Cresthill |
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| 4:00pm - 5:30pm |
AI Ecstasy? Towards Generative AI Tools for Arab Music Melissa June Scott Carleton College, Location: Salon 12 Chair: Fadi Al-Ghawanmeh, University of Jordan |
Global Economies of Talent Anaar Desai-Stephens Eastman School of Music, University of Rochester, Location: Grant Park Parlor Chair: Lindsay Wright, Yale University Chair: Anaar Desai-Stephens, CUNY Graduate Center Presentations of the Symposium “Get the Hook”: the Birth of U.S. Talent Shows and the Aesthetics of Exclusion The Economy of Talent and Other Tales of Extractivism “‘All That Matters Here Is Talent:’ Musical Talent and the (Bio)Politics of Meritocracy in NeoLiberalizing India” |
East Asian Explorations of Temporality, Cyclicity, and Form Location: Honoré Chair: James Gabrillo Discussant: Bess Xintong Liu Music, Time, and History in East Asian Modernity: Temporal Disjuncture in He Zhanhao’s Eternal Regrets at Lin’an A Japanese Imperial Philosophy of Musical Fantasy A Taoist Approach to Bach: Zhu Xiao-Mei's Performance of the Goldberg Variations |
Amplifying Voices: Critical Approaches to Women in Rock, Jazz, and R&B Location: Salon 10 Chair: Amy Coddington Saying Something: Esperanza Spalding's "Girl Talk" and Jazz Patriarchy This is a Song About an Old Welsh Witch: Stevie Nicks’ “Rhiannon”(1976), the Wiccan Influx, and Feminist Spirituality in the Rock ’n’ Roll Counterculture |
| Global Music Theory: Perspectives on Tonality and Phrasing Location: Price Chair: Michael Weinstein-Reiman, The University of Wisconsin - Madison Theorizing Phrase Structure in Guqin Music Schoenberg over the Dnipro: Free Atonality and Dodecaphony in modernist Ukraine Alfabeto, punto, and diapason: the guitar as an instrument of music theory in seventeenth-century Iberia |
Jazz Convergences: Tone, Color, Fusion Location: Wabash Chair: Kimberly Hannon Teal Discussant: Justin Williams, University of Bristol Talking in Timbre: Tone Color as a Site for Interstylistic Improvisation We Like It Here: "Post-Fusion" Jazz and Snarky Puppy Ted Dunbar’s Theory of Tonal Convergence (1975) and the Speculative Tritone Substitution |
Musical Trends in 20th -Century England Location: Spire Parlor Chair: Heather Wiebe, University of Notre Dame Discussant: Trevor Nelson, Wichita State University The Historiography of Gustav Holst: Reconsidering Imogen Holst and At The Boar’s Head (1925) Girton’s Musical War: Music on the Home Front in a Cambridge Women’s College, 1914–1918 “Barbarians nearer home”: Defining the Pure and the Primitive in English Folksong |
Sound / Body Connections Location: Monroe Chair: Daniel Callahan, Boston College Journeys Through Snow: A Case Study on Nutcracker Reinvention Mr. Ailey, Sam, Miss Price, and the Hermitage: Intersections of Sexuality, Race, and Gender in Alvin Ailey’s Hermit Songs Pauline Oliveros and Biofeedback |
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| The Outsider Within: Black and African Voices in European Music Location: Crystal Chair: Mark A. Pottinger, Manhattan University African Music and the History of Colonial Time Blackening music: Joseph Bologne Chevalier de Saint-Georges on the 19th-century stage Style Change as Tactical Repositioning: José Maurício Nunes Garcia as a Black Colonial Subject |
Transnational Currents Location: Adams Chair: Marysol Quevedo, University of Miami Strained Strains: Complicating Nationalist Rhetoric at the NFL Super Bowl The Invention of Andalusi Music as Western Music during the Decolonization of the Maghreb Face to face with the 1889 gamelan: A first study of this legendary instrument, its features, and implications in the context of the Paris Universal Exhibition |
Voicing Coloniality Location: Water Tower Parlor Chair: Yili Zhou Contact Listening: Using and Refusing Hymnody in Early Native America Choirs as [a Tool of] Colonialism: Diagnostic Embodiment, Affect, and the Elision of Physical and Cultural in Choralism Algeria and Memories of Resistance in Tomasi’s Le Silence de la mer |
From Prague and Beyond: Slavic Routes for Voices and Winds Location: Red Lacquer Ballroom |
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| 4:00pm - 6:00pm |
Taylor Swift: Economies of Fandom and Female Rage Location: State Ballroom Chair: Paula Clare Harper, University of Chicago On Heartbeats and Heartbreaks: Diagnostic Listening in the Era of Taylor Swift Mean Girls: Or, Violence as Female Rage in Contemporary Popular Music Taylor Swift, Her Prosumer "Swifties," And The New Commodified Celebrity Narrative Creating Concert Culture: How Fan Behaviour at the Taylor Swift Eras Tour Movie Highlights Audience Co-Creation in Concert Experiences |
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| 6:00pm - 7:00pm |
AMS Business Meeting Location: Grand Ballroom |
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| 6:30pm - 8:30pm |
University of Cincinnati CMT-Musicology Reception Location: Spire Parlor |
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| 7:00pm - 7:30pm |
AMS Awards Ceremony Location: Grand Ballroom |
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| 7:00pm - 9:00pm |
Voices and Viols Jam Location: Kimball |
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| 7:30pm - 9:00pm |
AMS Awards Reception Location: Red Lacquer Ballroom |
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| 7:30pm - 9:30pm |
Accommodation and Accessibility in the Music Classroom Tekla Babyak Disabled Independent Scholar, Location: Crystal Presentations of the Symposium Leveraging Technology in Universal Design for Learning in the Music Classroom Beyond Compliance: Enhancing Accessibility in Higher Education through Universal Design for Learning Accommodation and Accessibility in the Music Classroom Exploring the Neurodiverse Classroom Sound Pedagogy: Using UDL in Score Reading and Music Listening |
Memes, Reels, TikToks: Inscribing and Visualizing Music in the Age of Social Media Giulia Accornero Yale University, Location: Grant Park Parlor |
The Body as Instrument, the Body as Insight: Bridging Jazz Music and Its Dance through Rhythm Tap, MDSG Workshop 2024 Rebecca Schwartz University of Michigan, Location: Honoré |
The Conflicting Sonic Memories of Mid-Twentieth-Century Wars in East Asia Kunio Hara University of South Carolina School of Music, Location: Salon 12 |
| University of Pennsylvania Music Department Reception Location: Chicago |
University of Texas at Austin Reception Location: Wilson |
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| 8:00pm - 10:00pm |
Stanford University Department of Music Reception Location: Hancock Parlor |
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| 9:30pm - 11:00pm |
LGBTQ Study Group Party Lee K. Tyson Ithaca College, Location: Monroe |
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| 9:30pm - 11:30pm |
Case Western Reserve University Reception Featuring a Celebration of Georgia Cowart Location: Adams |
Cornell Reception Location: Water Tower Parlor |
Indiana University Jacobs School of Music Networking Reception Location: Clark 5 |
McGill Reception Location: Marshfield |
| Princeton University Alumni and Friends Party Location: Cresthill |
UCLA Musicology Alumni Reception Location: Wabash |
University of Michigan Reception Location: Salon 6 |
Yale Alumni Reception & Party Location: Salon 7 |
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| 10:00pm - 11:59pm |
University of California, Berkeley Alumni Reception Location: Spire Parlor |
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