The Online Program of events for the 2023 AMS & SMT Joint 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 |
| Date: Sunday, 12/Nov/2023 | ||||
| 8:30am - 12:15pm |
Exhibit Hall Open Location: Plaza Exhibit 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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| 9:00am - 10:00am |
Analyzing Jazz Location: Grand Ballroom I Chair: Joon Park, University of Illinois Chicago Grouping Against the Groove: Metrical Dissonance in Hiromi’s “Voice” Monk's Bridges |
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| 9:00am - 10:30am |
Blindness and Musical Identity Location: Windows Chair: Jeannette Jones, College of the Holy Cross Belisario’s Blindness: The Disabling of Operatic Conventions Performing blindness and the anxiety of visuality in the career of Maria Theresia von Paradis Touching Melodies: Tactile Notation at the Vienna Institute for the Blind |
Contemporary American Opera at the Intersection of Genre and Institution Ryan Ebright , Location: Governor's Sq. 14 Chair: Emily Richmond Pollock, MIT Presentations of the Symposium “At least as much theater as it is music”: Redefining Opera at the National Endowment for the Arts, 1976–1980 Singing Opera’s Museum: Historicity and Self-Reflexivity in New American Opera Co-Producing Convention: Operatic Repetition on the Contemporary U.S. Stage |
Expanded Anthology of Sources in the History of Music Theory Thomas Christensen University of Chicago Location: Plaza Court 2 Chair: Thomas Christensen, University of Chicago Chair: Nathan John Martin, University of Michigan Presenter: Lester Hu, University of California, Berkeley |
Music and Female Agency in European Society Location: Plaza Ballroom D Chair: Sanna Pederson “My Harmonious Companion”: English Square Pianos as Sites of Women’s Agency in the Eighteenth Century From Matinée Musicale to the Brighton Musical Union: Anna Caroline de Belleville and the Cultivation of “Classical” Chamber Music Culture Tracking Women’s Multiple Roles in the Concert Life of Vienna 1780-1830: Opportunities, Networking, and Agency |
| Music and Quackery in Britain and America Remi Chiu Peabody Institute of the Johns Hopkins University, Location: Plaza Ballroom E Chair: Ellen Lockhart Presentations of the Symposium Music’s Uses at the Advent of England’s Pharmaceutical Trade Singers, Piano Players, and Pill Poppers: The Musical Marketing of Medicine in Victorian England Selling Sweet Songs and Vicious Fraud: Music and Patent-Medicine Advertising, 1890–1906 |
Music and World War II Location: Governor's Sq. 16 Chair: Heather de Savage, Central Connecticut State University "The Answer to the Enemy's Siren": GI Jill and Government Sponsored Intimacy in World War II Radio Thriving in a WWII Margaritaville: Musical Ecology, Leonard Bernstein, and Key West in 1941 |
Music of China Location: Governor's Sq. 11 Chair: Nathan Lam Understanding Metric Flexibility and Performance Practice in Chinese Traditional Singing Luo Zhongrong’s trio ensemble One Yun Sharing Three-Gong Systems and the blending of Chinese and Western theoretical systems Expanding Music Literacy: Chinese Kunqü Opera Stage-Speech Tone Contour Transformation in YAO Chen’s Pipa Plays Opera (2013) |
Power and Aurality in Colonial Latin America Javier Marín-López Universidad de Jaén, Location: Governor's Sq. 17 Presentations of the Symposium Hearing Doctrine: Catechism as Aurality in Colonial Mexico Exaudi vocem meam. Race, Voice, and Transgression in New Spain |
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| Revisiting the 2017 _Musicology Now_ "Open Letter to AMS Members on the State of the Academic Job Market": Strategies for Implementation Catherine Mayes , Location: Grand Ballroom II |
Signs in Film and Television Location: Governor's Sq. 15 Chair: Chelsea Nicole Oden, Adams State University Twisted Tones and Jumbled Styles: Musical Humor in Hong Kong Mo Lei Tau Movies. Vanishing Variations: Motivic Uniqueness as a Signifier of Prize Value on "The Price Is Right" A Corpus of Corpses: Murder and Modernism in the Crime Films of Max Steiner |
Theorizing Timbre, Texture, and Space in Hip-Hop Music Location: Silver Presentations of the Symposium A New Model for Analyzing Texture in Recorded Hip Hop Trap Music’s Heterogeneous Sound Ideal Spatial Reinterpretation in Hip-Hop Sampling Practice |
Timbres, Voices, Ciphers Location: Plaza Court 1 Chair: Lindsey Reymore, Arizona State University Hypnagogia, Oppression, and Sexual Desire in Rebecca Saunders’s O (2017) Tuning and Timbre as Critical Text Setting in Kate Soper’s Cipher Play, Nonsense, and Illusory Identities in Unsuk Chin’s Akrostichon-Wortspiel |
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| 10:15am - 11:30am |
Coffee Break Location: Plaza Exhibit 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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| 10:15am - 12:15pm |
The Popular Singing Voice Location: Grand Ballroom I Chair: Christine Boone Trauma, Dissociation, and the Popular Singing Voice Voicing Form in Beyoncé's Lemonade Stability and Instability in Vocal Performance: A Case Study of Rihanna’s Anti (2016) Excess Inhalations in Taylor Swift’s Midnights (2022) |
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| 10:45am - 11:45am |
Discoveries in Post-Tonal Music Location: Silver Chair: Antares Boyle Whole-Tone-Plus Hexachords and Row Partitioning Strategies in Two Works by Roger Sessions The legacy of Ligeti’s unsung innovation: Textural Incline of Pitch (TIP) |
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| 10:45am - 12:15pm |
Contrafacts: A Template for Agency and Identity Formation Kendall Hatch Winter , Location: Governor's Sq. 17 Chair: Drew Edward Davies Presentations of the Symposium Aquilino Coppini’s Third Book (1609) and the Diplomatic Use of Spiritual Contrafacts Opera Seria Contrafacts at the Amsterdam Sephardic Synagogue and the Negotiation of Jewish Identity in the Eighteenth Century Hegemonic Refashioning: The 1888 Song Leaflet of the American Woman Suffrage Association |
Demystifying Public Musicology Eduardo Herrera Indiana University, Location: Grand Ballroom II |
France and the Politics of Cultural Exchange Location: Plaza Ballroom E Chair: Jeanice Brooks Crossing the Pyrenees: The Spanish troupe of queen Maria Theresa at the court of France (1660-1672). Dedicating Songs to Citizen Youth: Gender, Language, and Thomas Rousseau’s _Les Chants du patriotisme_ (1792, 1795) Opéra-Comique, Politics, and the French in Early America: Monsigny’s _Le déserteur_ in Philadelphia |
Music and Dance Location: Plaza Court 1 Chair: Rachel Short, Shenandoah Conservatory Krump Meets Rameau: Affect, Bodies, and the Communication of Emotions Spinning in Silence: Musical Visuality in the Marching Arts Not Just a “Little Parade”: Engaging Interactions Between Music and Dance in “La cumparsita” from Carlos Saura’s Tango |
| Narrating Indigenous Musical Histories Location: Plaza Ballroom D Chair: Allison Robbins How Music Renders Property: Museums, Pieces, and Other Common Dispossessions Tracing Sounds, Sounding Traces: Indigenous Musical Histories of a Mexican Island Upstream of Global Music History: Against the Musical Flow in North Sumatra |
On the Totalitarian Stage Location: Governor's Sq. 16 Chair: Gabrielle Cornish Bartók, Communist Propaganda, and the Ban on Musical Works under Rákosi In 'The Land of Smiles:' Ideology, theatricality and responsibility on the totalitarian stage Late Operetta and Early Fascism: Politics of Light Music in Italy, 1920–30 |
Opera and the Politics of Inclusion and Consent Location: Governor's Sq. 14 Chair: Lily Kass Intervening in Art: A Case Study in Contemporizing Consent for the Archive Opera’s New Realism: Engaging Harm, Care, and Repair Whose Story Is This?: Indigenous Narratives and the Unsettling of Opera in North America |
Semiotics Location: Governor's Sq. 11 Chair: Yayoi U. Everett, CUNY Hunter College and the Graduate Center A Semiotic Exploration of the Music of Game of Thrones and House of the Dragon From Topic to Prime Sonority: The Structural Evolution of the "Guitar Chord" in Alberto Ginastera’s Oeuvre A “Woman’s Way of Listening” to Beethoven: Topical Competencies and Perceiving a Lullaby Topic in Beethoven’s Op. 90/II and Op. 101/I |
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| Specters of Polyphony Location: Governor's Sq. 15 Chair: Jonathan De Souza, University of Western Ontario What is the Difference Between Polyphony and Heterophony?: Music Theory Classifications as Instruments of Social Class-Making Visualizing the relative brightness of concurrent textural layers in Ruth Crawford’s Music for Small Orchestra (1926) Specters of Bach: Hauntology in the Music of Sofia Gubaidulina |
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