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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Session Overview | |
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Location: Spire Parlor 6th floor, Palmer House Hilton Hotel |
| Date: Thursday, 14/Nov/2024 | |
| 2:15pm - 3:45pm |
Sounding Borders: Orality and Aurality in the U.S.-Mexico/New Spain Border Region,18th-19th Centuries Javier Marín-López Universidad de Jaén, Location: Spire Parlor Chair: Jacqueline Avila, University of Texas at Austin Presentations of the Symposium Sounding Contested Space: Aural Culture in Jesuit Missions in Northwestern New Spain Music, Memory, and Resistance: Inocencio Martínez and Cultural Hybridity in Rural New Mexico, 1833-1889 “‘It continued to delight our ‘barbarian ears’: Music and the Belliphonics of the US Invasion of Mexico, 1846–1848 |
| 4:00pm - 6:00pm |
Music and Migration Location: Spire Parlor Chair: Eduardo Sato Migrant Music Making and the Limits of International Solidarity in Socialist East Germany Music, Magic, and Migration: György Ligeti’s Síppal, dobbal as Sonic Healing Prison Music as Reform, Research and Recreation in the 1930s: Immigrant Folk Songs at the Reformatory for Women at Framingham Specters, Saints, and Borderlands: Ghost Smuggling Ballads as Haunting Testimonio of Trauma and Survival in the Undocumented Migrant Experience |
| 7:30pm - 9:30pm |
AMS Pedagogy Study Group Evening Session (Please see below for individual paper titles for the two groups.) Kristy Swift University of Cincinnati, Location: Spire Parlor Presentations of the Symposium Who cares. . . and how? Innovations in information literacy: enhancing student learning with the Music Companion to the Framework for Information Literacy |
| Date: Friday, 15/Nov/2024 | |
| 9:00am - 10:30am |
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 |
| 10:45am - 12:15pm |
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 |
| 12:30pm - 2:00pm |
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 |
| 2:15pm - 3:45pm |
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” |
| 4:00pm - 5:30pm |
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 |
| Date: Saturday, 16/Nov/2024 | |
| 9:00am - 10:30am |
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 |
| 10:45am - 12:15pm |
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 |
| 12:30pm - 2:00pm |
AMS Global Music History Study Group Business Meeting Hedy Law , Location: Spire Parlor |
| 2:15pm - 3:45pm |
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 |
| 4:00pm - 5:30pm |
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 |
| 6:30pm - 8:30pm |
University of Cincinnati CMT-Musicology Reception Location: Spire Parlor |
| 10:00pm - 11:59pm |
University of California, Berkeley Alumni Reception Location: Spire Parlor |
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