Conference Agenda

The American Musicological Society is proud to present an unforgettable performance and lecture by musicologist and music creator Kwami Coleman.\nThis lecture/performance focuses on stride piano technique, where a pianist’s left hand maintains the rhythmic pulse of a song with alternating leaps between the instrument’s lower and middle registers, simulating the dialogic and propulsive exchange within a band’s rhythm section.\nStride was one of the first methods developed in American popular music where a singular musician could, with the additions of a melody-carrying right hand and the human voice, achieve a texturally dense and polyrhythmic performance. Popularized in the 1920s by virtuoso New York pianists James P. Johnson, Thomas “Fats” Waller, and Willie “The Lion” Smith, all of whom were thereafter known to as the “Harlem School” of stride piano because they lived and frequently performed uptown, the technique turned the piano into a virtual band-in-a-box in a way that no other instrument had yet except for the church organ, at least until the turntables and mixer of the discotheque decades later.\nKwami Coleman will interpret some of this historical piano repertoire and use it as an aesthetic and technical source for further improvisation, interpolating sounds via synthesizer and sampler—more contemporary, electronic (digital and analog) bands-in-boxes. Coleman will also read aloud prepared prose that highlights some of the historical and technical details, also posing questions for audience members to ponder and respond to. “Taken In Stride” is Coleman’s dialog with a more acoustic past and the thoroughly electronic and more automated present, and this dialog will extend to attendees who, in their presence and participation, will join in, in stride—in rhythmic and registral exchange.\nGET YOUR TICKET: This event is part of the American Musicological Society’s Many Musics of America Project. Tickets are required. Registered attendees of the 2025 AMS-SMT Joint Annual Meeting should register via Annual Meeting registration form. Those who have already registered for the 2025 Joint Annual Meeting may add this event to their registration by completing the Special Events Add-On form. Non-conference attendees can purchase tickets on TicketSpice. 

This session will be held as a paper forum. Paper forums, a session type introduced in 2024, consist of three paper presentations on closely-related topics and are designed to foster closer intellectual connections among presenters. To help do this, the session will have a discussant who will provide learned commentary and feedback after the three papers. The chair will then hold a single, collective Q&A at the end of the session.

This session will be held as a paper forum. Paper forums, a session type introduced in 2024, consist of three paper presentations on closely-related topics and are designed to foster closer intellectual connections among presenters. To help do this, the session will have a discussant who will provide learned commentary and feedback after the three papers. The chair will then hold a single, collective Q&A at the end of the session.

\nNoah Kahrs, Indiana University (Post-1945 Music Analysis Interest Group), Chair\nYiyi Gao, University of North Texas (Improvisation Interest Group), Virtual Chair\nAndrew Malilay White, University of Chicago (Improvisation Interest Group)\nGui Hwan Lee, James Madison University (Post-1945 Music Analysis Interest Group)\n \nAt SMT 2025 Minneapolis, Improvisation/Post-1945 Music Analysis Interest Groups will host a joint annual meeting that celebrates the80th birthday year of Anthony Braxton. In this meeting, we invite three 10-minute presentations (plus 10-minute QnA) on Anthony Braxton, his contemporaries, and analytical approaches to improvisation in contemporary concert music. A group QnA will then follow.\n \n\n12:30 – 12:40 PM: Business & Important Announcements from Post-1945 Music & Improvisation Interest Groups (Co-winners of the 2025 SMT Post-1945 Music Analysis Group Publication Award will be announced as well.)\n12:40 – 1:00 PM: “Improvisation in the ‘50 for the Future’ Corpus” (Antares Boyle)\n1:00 – 1:20 PM: “Antecedents - A Case Study about Transitions in Free Improvised Music” (John Scott)\n1:20 – 1:40 PM: “From Text to Sound: Henry Brant’s ‘Instant Composition’ and the Convergence of Improvisation and Structure” (Joel Hunt)\n1:40 – 2:00 PM: Group QnA\n\n

The work of Jacques Lacan (1901-1981) is notoriously inscrutable. Over the course of his long career the psychoanalyst wrote very little, most of which was collected under the title of Écrits in 1966, and much of this writing was intended to be resistant to straightforward understanding. But if Lacan didn’t publish much, he was, however, a prolific lecturer, giving weekly seminars for most of the year from 1950 until 1980, and it is through these seminars that he articulated many of his most foundational ideas. Among these, Seminar XI: The Four Fundamental Concepts of Psychoanalysis has been by far the most influential. Hosted from January to June 1964 by the École Normale Supérieure less than two months after Lacan was kicked out of the International Psychoanalytic Association, the seminar develops a number of concepts that have proven to be indispensable for disciplines across the humanities for over sixty years.\n \nThe Society of Music Theory’s Music and Psychoanalysis Special Interest Group invites those attending this year’s AMS/SMT joint conference in Minneapolis to attend our session on Jacques Lacan’s Seminar XI: The Four Fundamental Concepts of Psychoanalysis on Friday, November 7th at Lakeshore C from 12:30PM to 2PM. The session is intended to be conversational and pedagogical, with the aim of both introducing the text to those without extensive background in philosophy, psychoanalysis, or continental theory, and reimagining its utility for those with pre-existing theoretical commitments in psychoanalysis. We plan to discuss each of the four concepts (repetition, gaze, drive, the subject) alongside important aspects of their reception both in and outside of music studies, as well demonstrate them by way of musical examples.

A brief business meeting and awards ceremony followed by a scholarly roundtable.\nPresentations:Edward Klorman: “Mozart’s Early Viennese String Quartets, K. 168-73, and the Question of Stylistic Continuity\"Paul Corneilson: “The Original Cast of Mozart’s La finta giardiniera\"Matteo Magarotto: “A Modular Analysis of Mozart’s Sonatas: A Case Study with K. 279-84\"Beverly Wilcox: “Paris in the 1770s: Mozart, Mass Patronage, and the Central European Travel Itinerary\"

This concert, presented by the Nordstär Ensemble, highlights the musical traditions of Somali, Swedish, and Norwegian communities in Minneapolis. Based locally, the ensemble has performed at venues such as the American Swedish Institute, Norway House, and the Somali Museum, bringing cultural expressions to a wide audience. Hear the distinctive sounds of the nyckelharpa, a Swedish keyed fiddle, alongside the hardingfele, a Norwegian fiddle known for its resonant sympathetic strings. Somali percussion will also feature prominently, blending these diverse traditions into a unique and vibrant musical experience.\nMusicians Carrie Danielson, Renee Vaughan, Harbi Mohamed Kahiye,  Sarah Pradt, Paul Sauey, Rehanna Kheshgi, Alaba Illesanmi, and Laura McKenzie each brings their own intimate knowledge of their heritage, resulting in a performance that is both rich in cultural meaning and artistically compelling. This concert offers a rare and dynamic fusion of Northern European and East African musical forms, showcasing the cultural richness of Minneapolis’ immigrant communities, past and present.

Members, friends, and potential members of the Society for American Music are invited to join us for a reception. We look forward to seeing all of our friends old and new!\nThe Society for American Music is dedicated to the study, teaching, creation, and dissemination of all musics in the Americas. As a scholarly, collegial, and inclusive organization, we serve a wide and diverse array of academics, librarians, composers, performers and members of the general public. Please come by and learn more about our organization!

This session will be held as a paper forum. Paper forums, a session type introduced in 2024, consist of three paper presentations on closely-related topics and are designed to foster closer intellectual connections among presenters. To help do this, the session will have a discussant who will provide learned commentary and feedback after the three papers. The chair will then hold a single, collective Q&A at the end of the session.

Reception for current and former students and faculty

The joint meeting of the SMT Jazz Interest Group and Hip-Hop & Rap Interest Group will feature 10-minute lightning talks on points of dialogue between jazz and hip-hop/rap. The agenda for the meeting is as follows:I. 10 minute Lightning Talks (each followed by up to 5 minutes of Q&A)\n\nJacob P. Cupps, “Deconstructing Jazz Rap: Footwork, Sampling, and Formal Process in RP Boo & Armand Hammer’s \'Blood Running High\' (2023)”\nCollin Felter, “Hargrove’s Horns: An Analysis of Roy Hargrove’s Horn Arrangements for the Soulquarians”\nAnna Peloso, “Analyzing Jazz–Hip-Hop Hybridity: Tension and Release in the Music of DOMi & JD BECK”\nLeah Amarosa, “Jazz as Collaborator and Canvas in Rap: McKinley Dixon\'s Conversational Soundscape in Beloved! Paradise! Jazz!?”\nKevin Costello, “Interactions Between Jazz Schemata, Melody, and Formal Position in Popular Music”\n\nII. Business Meetings (each IG will meet separately in the same room)

Brandeis and Pitt Alumni and Friends Joint Reception.

\nHow can we make our music theory classrooms more accessible, engaging, and welcoming for students with visual impairments? This workshop introduces the fundamentals of braille music notation and shows how small, intentional changes can make classrooms supportive and challenging for all learners, rather than leaving non-sighted students to devise their own accommodations. Participants will learn the basics of how braille music works, explore teaching strategies that support non-sighted learners, and consider how principles of universal design can benefit all students, not just those with disabilities. Through hands-on activities, attendees will create a short braille score of their own, gaining practical insight into how students experience music in braille. By the end of the session, participants will leave with both a clearer understanding of braille music notation and concrete strategies to foster a more inclusive and inspiring learning environment for every student.\nSponsored by the SMT Committee on Disability & Accessibility

Lightning Talks: Interculturalism in Brazilian, Ghanaian, and Nigerian Music\n\nProgram\nChair: Desirée Mayr (Bahia State University) and Aaron Carter-Ényì (Morehouse College)\n\nThe Riser Schema in Brazilian Choro - Stephen Guerra (University of Buffalo)\nKagoro Kundun: Background and Analysis of a Drummistic Piano Work - Anton Vishio (University of Toronto) and Christian Onyeji (University of Nigeria)\nBrazilian Style through Hispanic Ears: Cantata Sudamericana’s Integration Project - Bruno Alcalde (University of Richmond)\nFrom Rondo to Quasi-Sine Curve: Formal Approaches in Gyimah Labi’s “Earthbeats” - Hang Ki Choi (PhD scholar at the City University of New York)\nDiscussion\n\n \nOrganizer: Desirée Mayr & Aaron Carter-Ényì (co-chairs).\nIf you would like to join the Interest Group, please send an email to Desirée Mayr or Aaron Carter-Ényì (djmayr@gmail.com or Aaron.CarterEnyi@Morehouse.edu).\n \nAbstracts\nThe Riser Schema in Brazilian Choro\nChoro is Brazil’s longest-living native instrumental tradition. Its pitch practices are said to trace back to those of European salon music of the early- to mid-1800s, such as especially the polka—although this has yet to be investigated plainly in musical analysis. So, choro harmony should be easily conceptualized in terms of Euroclassical theory. Indeed, it is in many ways. Forms tend to be regular three-part rondos or two-part ternaries with four four-bar phrases per part. The fourth phrase in most major-key choros gives one bar to SD, two to I-vi-ii-V, with or without secondary dominants, modal mixtures, and extensions, and one to tonic. In the few cases when this doesn’t happen, the four quarter-note beats allotted to the usual I-vi-ii-V are replaced by the four events of the riser schema, any of a finite set of harmonic solutions to the voice-leading line 5-#5/b6-6-7. Most of these solutions are unprecedented in Euroclassical music, whether light or serious, and as such, remain theoretically undefined. This owes to two pressures. First, choro harmony is conducted by guitars, and fretboard space and its attendant manual-visual patterns work in different ways than those of keyboard space. Second, choro guitarists were not conservatory trained. In my 12 minutes, I’ll introduce the riser schema and all those different harmonizations of it that I’ve found, taking note of which possibilities are absent. Lastly, I’ll suggest which may be the most common solution and why, both speculatively and based on a recent study that I conducted\n \nKagoro Kundun: Background and Analysis of a Drummistic Piano Work\nOur presentation is centered on Christian Onyeji\'s new piano work, Kagoro Kundun, premiered by Anton Vishio earlier in the conference; the composition draws its creative idiom and inspiration from a traditional music of the Kagoro people which combines voice and instruments in its performance. Creative elements and idioms of the indigenous music provided compositional materials that were simulated in the piano. Onyeji will present the cultural background of the work and an introduction to the motivations for the drummistic style he has developed, which brings to the fore the uniqueness of piano in simulating African rhythmic and drumming techniques. In his contribution, Vishio will discuss the motivic and rhythmic organization of this diversely-textured piece. He will also explore technical demands engendered by the work, especially for a pianist trained in a European-derived tradition in which the percussive nature of the piano is often sublimated.  \n \nBrazilian Style through Hispanic Ears: Cantata Sudamericana’s Integration Project\nAs the only official Portuguese-speaking country in South America, Brazil is surrounded by Hispanic culture. This linguistic and cultural behemoth of an \"island\" in Latin America interacts with the encircling countries in rich ways, but its musical identity, unified due to conscious political efforts throughout the 20th century, overpowers combinations to the point of becoming stereotyped. A different unification is pursued by Ariel Ramírez and Félix Luna in Cantata Sudamericana (1972), sung by Mercedes Sosa. The project, within the nuevo cancionero movement, has the goal of integrating South American music while renovating its folk traditions. The aim for continental musical unity brings many stylistic challenges in the selection of instruments, harmonies, rhythms, and lyrics throughout the album\'s eight tracks. Some songs focus on plural combinations, but in a few instances, Ramírez and Luna dwell on a single country. Perhaps the most friction is seen in “Canta Tu Canción,” representing the “big neighbor” Brazil. The composition offers a unique opportunity to see Brazil through Argentinean eyes: musically written as Bossa Nova, and linguistically and socio-historically through the choice of Spanish language and hints of Afro-Brazilian markers such as “macumba” and “Samba.” These musical and word choices evince Brazil’s perceived identity and role in this integration of South America. In this brief talk I will explore the general style markers, topics, and textual references used in “Canta Tu Canción,” connect these choices with the album in general, and highlight the challenges of Brazilian and Afro-Brazilian musical culture within Hispanic Latin America.\n \nFrom Rondo to Quasi-Sine Curve: Formal Approaches in Gyimah Labi’s “Earthbeats”\nAfrican art music remains underexplored, overshadowed by the extensive literature on traditional African music. However, African art music possesses many intriguing aspects that bear careful study, such as the innovative approach to formal design in this repertoire. An example that is particularly representative in this regard is Ghanaian composer Gyimah Labi’s \"Earthbeats,\" from his Five Dialects in African Pianism. This piece begins with a refrain-episode alternation that is reminiscent of a rondo. Yet, midway through, its first episode begins to reappear insistently, as if hijacking the role of the refrain. Themes from the refrain and the first episode also coalesce to create hybrid thematic sections that obscure the sense of a rondo. Two of Labi’s publications—his foreword to “Earthbeats” and his treatise, Theoretical Issues in African Music—offer insights into the seemingly idiosyncratic form of this piece. In the foreword, Labi describes the refrains and hybrid sections of “Earthbeats” as transitional bridges, thereby suggesting a stark contrast from the stabilizing function typically associated with a refrain. In his treatise, he emphasizes the importance of balance in a composition’s formal design, such as balancing coherence with variation or motion with stasis. Building on these writings by Labi, I interpret “Earthbeats” as involving a series of motion-stasis alternations, displaying what Labi calls a “quasi-sine curve”: an undulating, continuous cycle of climaxes and depressions, periodically interrupted by discontinuity. I conclude my presentation by exploring how Labi’s quasi-sine curve model can be applied to other African art music pieces.\n 

Values-Aligned Teaching\n \nWhether we intend it or not, our teaching communicates and promotes specific values: as Rogers states, “Even the most neutral courses will have hidden biases” (2004, 15–16). These values relate to content (“X music is worthy of serious study”; “Students must learn contemporary techniques”), learning and personal development (“Active learning is the best way to truly engage with education,” “Students must learn to handle failure productively”), worldview (“All cultures have music of value,” “All people deserve autonomy and agency”), and more. Paying close attention to our values allows us to improve our courses (Rogers 2004), makes our teaching and other activities more personally fulfilling (Snodgrass 2022), and helps ensure we are not betraying our stated values through our actions (Ewell 2020). From a practical perspective, this is also useful in writing a Teaching Philosophy, often required for job applications and evaluation/promotion.\n\nAt the 2025 meeting of the Music Theory Pedagogy Interest Group, we will explore articulating teaching values and using them to evaluate our teaching, alternating lightning talks and time for small-group discussion facilitated by our panelists in a collaborative setting. Four lightning talks will explore different approaches to teaching values, setting up a discussion of attendees’ values and how they put these values into practice. Four more lightning talks will share ways that different scholars have used their values to evaluate their teaching or changed their teaching to better fit their values. A final discussion period will give time for consideration of alignment between values and teaching. The session will end with a short (15 minute) business meeting, including a call for nominations for the next chair of the interest group.\n\nLightning talks:\n\n\nPhilip Duker (University of Delaware) and Jennifer England (Montana State University), “The Stepping-Up Principle”\nPeter Schubert (McGill University), “Style is the Answer to Everything”\nAlexandrea Jonker (SUNY Potsdam), “Valuing Care in Music Theory Pedagogy”\nDavid Easley (Oklahoma City University), “A Punk Pedagogy for Music Theory”\nJocelyn Ho and James Humberstone (The University of Sydney), “The Labour of Agency: Co-Design and the Ethics of Shared Power in the Music Classroom”\nEllen Shaw (Michigan State University), “Surveying the Experiences of Black Students within the Music Theory Sequence”\nLeah Frederick (University of Colorado Boulder), “Should We Grade Participation, Preparation, and Attendance? If So, How?”\nMichael Chikinda (University of Utah), “Inakomysliye: Values-Aligned Teaching in an Increasing Environment of Political Assertion\"\n\n

Since 2016, we at AMS After Dark have hosted an annual comedy panel to accompany the fascinating scholarship we encounter at AMS/SMT/SEM conferences. Panelists will each deliver a 5–7-minute parodic presentation, after which the audience will hopefully woo them with the most delightful Q&A they have ever experienced. Awards will be given for categories like most esoteric, most likely to be a real conference paper in 50 years, and most self-indulgent question.The theme for this year’s 10th annual(!) panel is “Toward a Truly Historically Informed Music Theory,” with a focus on numerology. As always, however, we will welcome papers that satirize ANY aspect of music scholarship, so long as they do not cross the line into personal offenses.Full Call for Papers (to circulate in September): amsafterdark.neocities.org (or https://bit.ly/amsad2025cfp if you prefer to read the Chicago Manual of Style for funsies)Program (to be posted in early November): https://bit.ly/amsad2025programFollow us on Twitter @AMSafterdark

The SMT Composition Interest Group Meeting will feature six composer-theorists exploring the connection between their compositional practice and theoretical research and interest. These 15-minute short presentations will include theoretical and analytical discussions and playing of original compositions (live or recorded), focusing on topics including signature transformations and Chinese music theory, just intonation and other microtonal tensing systems, intersections of common practice and popular music, nature and composition, and African pianism.\n\nNathan Lam, “Pentatonic Xuangong Inversions”\nDongryul Lee, “Redefining Harmony: Limited Consonant Ratio Integers and Thresholds in Microtonal Tuning Systems”\nDavid Temperley, “Extending the ‘Common Practice’ with Devices from Popular Music”\nVictoria Malaway, “Composing in the Wilderness: Lux”\nEthan Isaac, “In the Shape of a Home - Balancing Corporeality and Abstraction in Just Intonation Music”\nAyọ̀  Olúrántí, “Eré Ayò: A Study in African Pianism”\n

Meeting of the AMS Student Chapter Representatives to Council. Closed meeting.

Calling all voices and viols: come jam with us! We\'ll bring the music and the instruments, you bring enthusiasm and bravery. All levels of viol players (including future viol players) welcome and all singers too. Sponsored by the Viola da Gamba Society of America and hosted by Lindsey Macchiarella and Jacob Jahiel.\nDigital music reading encouraged. If you have a device, please bring it!

Join us at the showcase stage in the Exhibit Hall for some featured showcases! \n1:00pm - 1:15pm: Dr. Caiti Beth McKinney (Boulanger Initiative): \"Exploring the Boulanger Initiative Database\"\n1:30pm - 1:45pm: Chris Segall (Society for Music Theory): \"SMT Book Auction\"\n2:00pm - 2:15pm: Matt Brounley (American Musicological Society): \"Join the Coalition of Music Organizations\"

Hosted by the SMT Professional Development Committee.

All students welcome! The Joint Student Reception is a great opportunity to network with your peers.

For the first time, the AMS will offer practicing attorneys Continuing Legal Education (CLE) credits for participation in a special, one-day seminar on “Contemporary Issues in Music and Copyright Law” at the 2025 AMS-SMT Joint Annual Meeting. Four CLE sessions will be offered on Friday, 7 November 2025. Topics include copyright litigation, music copyright infringement scenarios, AI and music, and more.\nFor registration and more information, see here.\n

The University of Cincinnati College-Conservatory of Music invites prospective students, alumni, faculty, students, friends, and all conference-goers to join us for refreshments and conversation!

Reception for current students, alumni, prospective students, faculty, and friends of Case Western Reserve University.

By invitation only.

Looking to decompress? Join Kunio Hara, Emily Wilbourne, and Steve Swayne at the AMS-SMT Knitting Circle!\nBYOY. If you do not have yarn or knitting supplies, you can get some at the nearby Target. (Or, if you don\'t mind going further out, check out the Weavers Guild of Minnesota.)

All alumni, current students and faculty, and guests and interested party\'s are welcome.

Open to all SSCM members.

Please join us for the NYU FAS Department of Music reception. All are welcome!

Please join us for an evening of celebration and socializing!

Organized by the AMS Popular Music Study Group and the SMT Popular Music Interest Group.\nAs North American music departments create more and more space for the study of popular music within their disciplines and curricula, popular music scholars often find themselves having to identify primarily with one field of music studies while carrying out interdisciplinary and/or cross-methodological research. How do scholars based in music departments and schools navigate the divided terrain of music studies, whose extant fields were largely developed before the emergence of popular music studies in the academy? What challenges do they face when designing courses and curricula that include, or focus on, popular music? And how do we see the interdisciplinary field of popular music studies affecting music studies from here, now that it ostensibly has a place within academic music departments and schools?\nThe SMT Popular Music Interest Group, in collaboration with the AMS Popular Music Study Group, will hold a roundtable featuring panelists who are contributing exciting work to the fields of music theory, musicology, and ethnomusicology with research and teaching that are inclusive of methods used across these fields, as well as of foci outside of music studies. Each panelist will spend approximately 10 minutes discussing the role of interdisciplinarity in their own research trajectory and pedagogy, as well as their thoughts on disciplinary boundaries within and around the study of popular music. The roundtable will then open to the audience for a discussion of the limits and possibilities for navigating research and teaching across our divided disciplinary, methodological, and pedagogical terrain. By discussing the ways in which we, as popular music scholars and educators, engage in studies that straddle lines between music theory, musicology, and ethnomusicology—as well as those outside of music entirely—we aim to draw attention to the ways we are, and can continue to be, “undisciplining” popular music studies.

This session will be held as a paper forum. Paper forums, a session type introduced in 2024, consist of three paper presentations on closely-related topics and are designed to foster closer intellectual connections among presenters. To help do this, the session will have a discussant who will provide learned commentary and feedback after the three papers. The chair will then hold a single, collective Q&A at the end of the session.

The musicology department at the University of Leuven (Belgium) welcomes scholars at all career stages and with an interest in historical musicology, music theory, and/or ethnomusicology to an information session on fellowship and scholarship opportunities at Leuven. The organizers, David Burn (AMS) and John Koslovsky (SMT), will give an overview of the research activities within the musicology department, discuss available funding schemes, and offer guidance on the application process. Attendees will also have the opportunity to ask questions about practical issues (e.g., visa requirements) as well pitch ideas for specific projects (e.g., PhD, postdoctoral, sabbatical, and other short-term residencies). We particularly encourage early career scholars to join, though scholars at a later career stage are also welcome to discuss possibilities.\nThe musicology department at the University of Leuven Leuven comprises four main research groups: Early Music, led by Prof. David Burn; the Classical and Romantic period, led by Prof. John Koslovsky; 20th and 21st century music, led by Prof. Pieter Bergé; and Cultural Musicology, led by Prof. Cassandre Balosso-Bardin.

This session will be held as a paper forum. Paper forums, a session type introduced in 2024, consist of three paper presentations on closely-related topics and are designed to foster closer intellectual connections among presenters. To help do this, the session will have a discussant who will provide learned commentary and feedback after the three papers. The chair will then hold a single, collective Q&A at the end of the session.

The Music Notation and Visualization Interest Group will feature of a panel of scholars who will each discuss an exceptionally designed visualization they published in an article or book. The session is intended to help scholars at any level, including graduate students, learn how to use images to tell a story and to turn the ordinary into the extraordinary. \n\nLeah Frederick, University of Colorado Boulder\nJohanna Frymoyer, University of Notre Dame\nJudith Lochhead, Stony Brook University\nVictoria Malawey, Macalester College\nMitchell Ohriner, University of Denver\nSteven Rings, University of Chicago\n\n\nThe panel will be moderated by MNVIG co-chair, Eric Isaacson (University of New South Wales), author of Visualizing Music.

Come one, come all and join RIPM and RILM on Friday evening! RIPM and RILM jointly provide access to some 300 years of music literature. Join in the celebration of our long-standing collaboration and future endeavors. 

Reception for affiliates, alumni, and friends of the Columbia University Music Department.

Closed meeting; by invitation only.

Check-in for recipients of AMS Career Development Grants in American Music.

Debrief session for AMS Explore participants. Closed meeting.

This informal gathering offers a wonderful opportunity to reconnect with colleagues, share memories, and celebrate your lasting contributions to the Society and the field of music theory.

Tufts Friends and Alumni Reception.

All are warmly invited to join us at the annual reception of the Society for Christian Scholarship in Music.

By invitation only.

Closed meeting.

The musicology and music theory faculty at The University of Kansas School of Musicwarmly invite you to a catered reception for prospective students, prospective faculty members, and alumni. We are always on the lookout for new graduate students in these areas (both MM and PhD, with assistantships available), and are always interested in meeting with prospective faculty.

Come join W. W. Norton for light snacks, drinks, and live music to celebrate the work of our wonderful authors.

A gathering for CUNY Graduate Center affiliates, alumni, and friends.

\"Soviet Music and Politics\" special session featuring guest speakers: \n\n\n\nInessa Bazayev, \"Collage, Nostalgia, and Photomontage in the Music of Alfred Schnittke”\nLeah Batstone, \"\'Growing on the Soil of the New\': Reading Roslavets from Sloboda Ukraine\"\nInna Naroditskaya, \"Mugham-Jazz, Soviet Media and Politics\"\nDaniil Zavlunov, “Political Realignment, Epistemological Conflict, and Professional Opportunism in Late-Soviet Musicology\n\n

Reception for past, current, and potential students and faculty at SUNY Stony Brook

The University of North Texas invites students, prospective students, alumni, faculty, friends, and all conference-goers to join us for refreshments and conversation!

The Prospective Graduate Student Fair is a meet-and-greet event. The fair is an opportunity for prospective graduate students to meet with representatives of multiple departments of music to learn more about their graduate programs, resources, and the opportunities on offer.\nATTENTION - Department Leaders: You must reserve a table and designate a liaison for your institution to be represented. Click here to reserve space for your institution to participate in the Prospective Graduate Student Fair!

Had a tough year? We hear you! The AMS and SMT office staff invite you to dance your stress away at Not Another Cocktail Party! (An AMS-SMT Dance Party). The playlist will feature great dance music from pop artists born in Minnesota or with strong connections to the state.\n(Yeah, yeah...this is mostly just an excuse for us to dance to Prince and Lizzo all night. But what\'s wrong with that? Join us!)\nWant even more dancing? Well, you\'re in luck. The AMS LGBTQ Study Group hosts a dance party on Saturday night. It\'s a space to build community and celebrate queer joy. Allies welcome.

University of Illinois Musicology Program Reception.