Conference Agenda
The Online Program of events for the 2025 AMS-SMT Joint Annual Meeting appears below. This program is subject to change. The final program will be published in early November.
Use the "Filter by Track or Type of Session" or "Filter by Session Topic" dropdown to limit results by type. Some of the sessions are also color coded: purple indicates performances, grey indicates paper forums, and orange indicates sessions which will be either remote, hybrid, or available online via the AMS Select Pass.
Use the search bar to search by name or title of paper/session. Note that this search bar does not search by keyword.
Click on the session name for a detailed view (with participant names and abstracts).
|
Session Overview |
| Date: Friday, 07/Nov/2025 | ||||
| 12:00am - 12:30am |
10th Annual AMS/SMT After Dark Location: Regency |
|||
| 7:15am - 8:45am |
SMT Retired Members Breakfast Reception Location: Lake Nokomis |
SMT Student Breakfast Reception Location: Northwoods |
||
| 7:45am - 8:45am |
AMS Student Chapter Representatives to Council Location: Lake Minnetonka Closed meeting. |
|||
| 8:00am - 9:45am |
Joint Poster Session Location: Nicollet Ballroom A The West Coast Birth of the Cool: Decoding the Dave Brubeck Octet Cataloging and Documenting American Industrial Bands The Z-relation, Trichordal Substructure, and Complementation Computational Schenkerian Analysis: Past, Present, and Future Echoes of Nineteenth-Century Piano Improvisation Is this GenAI or Human? An Experimental Pilot Study on Distinguishing Between AI-Generated and Human-Composed Music Tone-Clock Theory’s Expansion: An Analysis of Jenny McLeod’s Tone Clock Piece VIII Groove on the Field: Microtiming “Feels” and Rhythmic Synchronization in Marching Percussion Learning Music Theory in a Makerspace Environment Listening To See: Voice and Agency in Jeremy Dutcher’s “Sakomawit” Mapping Musical Structure onto Phonetic Choices: A Corpus Study of Jazz Scat Solos Temporal Symbolism Through Pentatonic-Chromatic Synthesis in Chen Qigang’s Reflet d’un temps disparu Beyond One-Size-Fits-All: Differentiated Instruction in Contemporary Aural Skills Pedagogy Cognitive processes in music analysis: An investigation through protocol analysis and eye tracking Through the Looking Glass: Exploring Musical-Parametrical Reflection in Kaija Saariaho’s Mirrors (1997) for Flute and Cello The Gaming Mindset in the Theory Classroom: Utilizing Constructive Competition for the Practice and Assessment of Speed and Accuracy in Core Theory Classes Tweety Catches the Groove: Repetition and Emergent Meter in Juvenile Song Sparrow (melospiza melodia) Vocalizations Pattern Recognition and Music Theory Ability Teaching the New Common Practice Period: Embracing Modern Studio Production in the Theory and Aural Skills Curriculum Chitinous Dissonance: Twelve-tone Compositional Techniques in the Music of Blotted Science Authentic Gasps: A Corpus Study of Intentional Phonated Inhalations in Bad Bunny’s Post-Studio Production Timbre and Periodicity in Boulez’s Orchestration of Frontispice by Maurice Ravel "Tha Crossroads": Defining Melodic Rap Falling and Flying in John Powell’s “Test Drive” from How to Train Your Dragon (2010) ¿Puedes Oírme? (Can you hear me?): Recognizing Iberian/Latin American Voices in the Music Theory Classroom Adventures in Functional Space, An Expanded Map of Harmonic Function |
|||
| 8:00am - 10:00am |
Rewriting the History of Nineteenth-Century Music for the Stage: the Parisian vaudeville Location: Minnehaha Presentations of the Symposium The Many Lives of a Dirty Little Song: Le beau Lycas aimait Thémire (Caveau 1778) The Singularity of Vaudeville How vaudeville became opérette, 1875–1890 Music on the Stage of Desire: Fantaisie-opérette, 1900-1910 |
|||
| 8:30am - 10:30am |
History of Theory II Location: Mirage Chair: Nathan Martin, University of Michigan Partimento and Harmony in Spain: Félix Máximo López’s Reglas Generales Reimagining Harmonic Function without the Harmonieschritte : Otakar Šín and Czech Music Theory in the Twentieth Century. Karg-Elert vs. Grabner: conflicting harmony pedagogies at the Leipzig Conservatory, and what they reveal about our understanding of harmonic function Theorizing Rhythm in the Sublunary World: Al-Fārābī and the Historicization of the Universalizing Impulse of Music Theory |
|||
| 9:00am - 10:30am |
Form I Location: Greenway Ballroom E-F Chair: Christopher Segall, University of Cincinnati The Linking Function And The Two-Dimensional Sonata Form Space Forms and Listening Strategies in Björk’s Sonic Utopia Lost and Found Keys, or First Theme Tonal Shifts in Post-Classical Sonata Form Expositions |
French Court Musics in the 17th and 18th Centuries Location: Lake Superior B Chair: Jim Cassaro The Cantatas of Philippe II d’Orléans Rediscovered: Rethinking the Early History of the Cantate française Dyeing Timbres and Painting Passions in Couperin’s “Folies françoises” Poisonous Personae: Operatic Sorceresses and Witchcraft in Late Seventeenth-Century France |
Gendering Asian Musical Instruments and Forms Location: Greenway Ballroom B-I Chair: Charles Stratford The Female Gendering of the Sarangi Sounding Gendered Trauma: The Voice of Female Ghost in Black Metal Song “Li Gui” From Courtesans to Clickbait: Gender, Power, and the Persistent Marginalization of Women in China’s Pipa Tradition |
Hip-Hop Identities: Negotiating Boundaries of Race and Nationality Location: Boundary Waters Ballroom C-D Chair: Dan DiPiero Negotiating Whiteness in 1990s Hip-Hop: Eminem, Insane Clown Posse, and Detroit Horrorcore “Watashi wa star:" Fusion, Rebirth, and Hip-Hop Identity in Megan (2024) “You man love the Americans too much”: Reading, hearing and renegotiating America in Black-British rap music |
| In Fashion: Musical Women in the Long 18th Century Location: Greenway Ballroom C-H Chair: Alexandra Amati, Harvard University The Self-Fashioning of Musical Women, 1760–1800 Musical Parties Public and Private: Observing Music in the Journal of Miss Jane Ewbank of York, 1803–1805 Vittoria Tesi: the Conception of the Black Diva in Italian Opera, 1715–1775 |
Liminal and Supernatural Topics Location: Lake Bemidji Chair: Dylan J Principi, Florida State University Trolls, Norwegian Identity, and the Musical Uncanny: Agathe Backer Grøndahl’s I Blaafjellet, Op. 44 In the Beast’s Footsteps: The Kaijū Subtopic in Monster Media Social Media’s Role in the Emergence of Musical Topics |
Medieval and Early Modern Chant Traditions Location: Great Lakes C Chair: John MacInnis, Dordt University Discussant: Giovanni Zanovello, Indiana University Our Lady of Guadalupe of Mexico and King Ferdinand VI of Spain: The Politics of Liturgy in Spanish Chant Sources Khabuvy, anenaiki: singing nonsense 12th-17th century Greek and Russian Orthodox chant Sounding the Dead: Wills, Chant, and Hybrid Commemorations in Early Modern Venetian Crete |
Music and Games Location: Boundary Waters Ballroom A-B Chair: Peter Smucker, Stetson University DM as DJ?: Understanding the Dungeon Master as Player through Ludomusicality Musical Function and Meaning in the Japanese Role-Playing Game Tracing Percussion Orchestration in Early NES Soundtracks (1983-1987): Understanding Coded Parameters Through FFT Analysis |
|
| Music, Sexual Performance, and Ethno-Porn Location: Lakeshore C Chair: Elizabeth Wollman Earwitness Accounts of Sexuality and Other Ethnopornographic Tales Lost to the An(n)als of History: Whatever Happened to the First X-Rated Musical Film? “The Freak who Sings in the Tubs”: Camp Performance and Gay Empowerment in New York’s Continental Bathhouse |
Silence and Sound in Urban Environments Location: Lake Minnetonka Chair: Kirsten Paige “In My Merry Oldsmobile”: The Affectual Ecology of the Musical Car, 1905–1958 Peter Handford’s Steamscapes The City’s Deepest Image of Itself: The Sounds of Los Angeles Between the Fires |
Sounding Disability Location: Lakeshore B Chair: Jeannette D. Jones Discussant: David VanderHamm, Johnson County Community College Music and visual disability in the early modern Hispanic world: The tradition of blind organists Rendering Disability: Experiencing the Sonically Disabled Film Body Traces of d/Deaf History: Listening to Henri Gaillard's 1918 Laboratoire de la Parole Recording |
Soundtrack Semantics Location: Lakeshore A Chair: David Clem Discussant: Berthold Hoeckner “Music for the Eyes” Sebastiano Arturo Luciani and the Roots of Italian Film Music Studies Before and After Synchronized Sound Complicating “Icelandic Sound” in Film and TV Composition Hidden Choirs: Choralism in Hollywood Film Epic Soundtracks |
|
| “The Times They Are A-Changin’”: Musicking through Challenging Times Location: Greenway Ballroom D-G |
200 Years of Italian Opera in the United States: 1825–2025 Location: Great Lakes B Presentations of the Symposium Composing Italian opera in 1820s New York: European fantasies in Manuel García’s L’amante astuto Lorenzo Da Ponte’s Longing to Return as a Librettist “In the Fairyland of Roast Beef and Plum Pudding”: The 1833 Controversy on Italian Opera |
Listening for the Holocaust in Polish/Jewish Musical Culture Location: Lake Superior A Presentations of the Symposium “Mozart was Never More Beautiful”: The Politics of the Classical Canon in the Warsaw Ghetto Roman Palester, Jewish Aid, and the Aporias of the Holocaust Musical Recollections of the Polish Past in Mieczysław Weinberg’s Symphony No. 8, Polish Flowers |
Musicology Pedagogy for the Future: Incorporating Experiential Learning through Public Musicology Location: Great Lakes A |
|
| Ravel at 150: Enduring Insights and New Initiatives Location: Regency |
Transatlantic Contrafacta: Musical Circulations in Colonial Mexico/New Spain and Territorial New Mexico Location: Northstar Ballroom B Presentations of the Symposium Contrafacta for Evangelization and Devotion in Colonial Mexico: Three Case Studies Second Responsories at Eighteenth-Century Mexico City Cathedral Migrant Melodies Across Borders: Contrafactum Practices in 19th-Century Catholic New Mexico |
Writing about Music Otherwise Location: Northstar Ballroom A |
||
| 9:00am - 12:00pm |
SMT Graduate Student Workshop: Analyzing Antiphony: Theorizing Music-Text Relations for the Digital Episteme Location: St. Croix |
SMT Graduate Student Workshop: Hearing Technologies Location: Cedar Lake |
||
| 9:30am - 4:30pm |
Contemporary Issues in Music & Copyright Law: A CLE Special Session Location: Skyway A-B Chair: Katherine Leo Chair: Serona Elton, University of Miami |
|||
| 10:15am - 12:15pm |
Politics and Representations of Identity in Music Location: Minnehaha Chair: Gundula Kreuzer Interpolating Tradition, Resisting Power: Okinawan Hip-Hop and the Politics of Musical Hybridity ‘Roman salutes’ and ethnic makeup in Clemente’s Fracassi’s Aida (1953) Jennie June's Fairie Songs “Tricolor Music”: Verdi’s I Lombardi in 1848 |
|||
| 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. |
|||
| 10:45am - 12:15pm |
Analysis of Popular Music II Location: Lake Bemidji Chair: Brad Osborn, University of Kansas “Loads of Random Major Chords”: Triadic Progression as Motive in the Music of Cardiacs Harmonic tension and temporality in loop-based popular music “I’m sorry y’all, I often drift – I’m talking gift” Microrhythmic analysis of rap – categorization, malleability and structural bothness. |
Braille and Beyond: Making Music Theory Accessible through Inclusive Design Location: Greenway Ballroom E-F Chair: Toby Rush, University of Dayton Chair: Dave Easley |
Chinese and Chinese-American Operatics Location: Great Lakes B Chair: Peng Liu Cantonese Opera, Historical Reality vs. Contemporary Popular Perception: "Jyutkek Daklongpou" and Its Forgotten Predecessors Sound, Erasure and Archive of the Invisible: Chinese Theater in 19th Century California |
Defining Femininity and Female Power through Music Location: Lakeshore A Chair: Mary Simonson Singing Femininity in a Mennonite Voice Only A Woman Knows How to Treat a Woman Right: Chappell Roan and the Queering of Femininity Revenge Anthems: Violence and Gender in Country Music |
| In the Shadow of the Holocaust Location: Lake Superior A Chair: Tina Frühauf The Singing Survivor: The Voice, Affect, and Testimony after 1945 Music and the Politics of Migration in the Cyprus Detention Camps, 1946-1948 Ursula Mamlok’s Diary, 1937-1944: The Odyssey of a Young Jewish Composer |
Instrumental and Sonic Masculinities Location: Regency Chair: Emanuele Senici, University of Rome La Sapienza Manifesting the Black “Middlebrow” and Negotiating Sounded Masculinity: Pianists Don Shirley, Rachmaninoff, and Liberace “Semper Fi, Do or Die”: Hegemonic Masculinity in a Homosocial Musical Knob Interfaces, Masculinity, and the Politics of Control |
Keyboard Technologies: Inscription and Replay Location: Lakeshore B Chair: Jason Rosenholtz-Witt, University of Kentucky Reviving the Ghost in the Machine: The Steinway Spirio and the New Era of Mechanical Performance Redefining "Old" Organ Tablature Rudolf Serkin’s Rolls with the Punches |
Memory and Meaning in Medieval and Early Modern Music Location: Great Lakes C Chair: Andrew H. Weaver, Catholic University of America The Quiet After the Cannons: Sounds of Peace After the Thirty Years’ War The Friend Who Got Around: Medieval Theater, Church Music, and a Rather Inappropriate Song Concerts that Shaped the Canon: Early Performances of Medieval and Renaissance Music |
|
| Memory, Affect, and Attention Location: Lakeshore C Chair: Andrew Goldman, Indiana University Musical features shape semantic content of music-evoked autobiographical memories Materializing Affect in Sound: Ethnography, Nostalgia, and Kinesthetic Memory in the Arab Diaspora Investigating the impact of textural dynamics on performers’ listening behaviors and coordination |
Sonic Redface Location: Lake Superior B Chair: Katie Rios, Mercer University Redwoods and Redface: "Playing Indian" in the Forests of California The "Primitive" Within: Sonic Redface and American Musical Identity Salvage Tourism and the 1928 Minneapolis Performance of Winona, “Minnesota’s own grand opera,” by Alberto Bimboni and Perry Williams |
American Orchestral History: the Composers, the Programming, and the Performers Location: Boundary Waters Ballroom C-D Presentations of the Symposium Howard Hanson and the Pitfalls of American National Identity Orchestral Programming and American Identity in the Great Depression and World War II Frances Blaisdell: Trailblazing Flutist in the Face of Orchestral Gender Discrimination |
Changing the Topic: New Paradigms for Topic Theory Location: Greenway Ballroom D-G Presentations of the Symposium Topics aren’t Icons Topic Theory and/as Iconography Extraction, Commodification, Circulation: Topical Representation and Modernity (Game)playing with Signs: Topical Learning and Present-Day Listeners |
|
| Emerging Directions in Music Theory Publication Location: Boundary Waters Ballroom A-B Presentations of the Symposium Modeling Musical Analysis (Oxford University Press, 2025) “Music Theory in the Plural,” - Music Theory Online SMT-V |
Form, Voice, and Canonicity: Taking Dolly Parton’s Songwriting Seriously Location: Great Lakes A Presentations of the Symposium Form Is Like a Fingerprint: Dolly Parton’s Songwriting Craft Women’s Voices, Women’s Lives: Dolly Parton’s Singing and Storytelling Across Genre Hall of Famous: Dolly Parton and the New Pantheon |
Integrating Disciplinary Silos in Our Teaching Location: Northstar Ballroom A |
Reich at 89 Location: Greenway Ballroom C-H Presentations of the Symposium Lingering Horrors: Trauma in Reich’s Different Trains, “After the War” Reich’s Philosopher: Ludwig Wittgenstein’s influence on Reich and his Reception in Music Theory The Evolution of Reich’s Tritone Bop Musical Translation and Recontextualization of Gerhard Richter’s Film Moving Picture (946-3) in Steve Reich’s Reich/Richter Reich and Rock: Evaluating a Conjunction Steve Reich and Intergenerational Discourse in American New Music |
|
| The Perils and Promises of Timbrephilia Location: Greenway Ballroom B-I Presentations of the Symposium In Defense of Timbrelessness Sounding Like Russians; Or, In Search of the “Russian Sound” Timbre and psychoacoustic labor: Lutherie at the nexus of language, materiality, and affect |
Why Worcester? Location: Northstar Ballroom B Presentations of the Symposium Worcester I Worcester III Worcester II |
|||
| 10:45am - 12:45pm |
Black American Composers and Coded Meanings Location: Mirage Chair: Stephanie Doktor, Temple University Julia Perry's Metamodernist Drift Minimalism, Repetition, and Irreverence in the Music of Julius Eastman Florence Price's Epic Endings Florence Price’s “Monologue for the Working Class” and the Sounds of Solidarity |
Psychiatry, Psychoanalysis and the Music of Troubled Minds Location: Lake Minnetonka Chair: Erin Michelle Brooks, State University of New York at Potsdam Psychoanalysis and the self in Emmanuel Ghent's early computer music improvisations Nervous Geniuses: Kurt Singer’s Diseases of the Musical Profession and the German-American Exchange of Neurasthenia Arvo Pärt’s Tintinnabulation as Intervention in Grief Studies Melancholy, Psychiatry, and the Romantic Artist: Franz Richarz on the Death of Robert Schumann |
||
| 11:00am - 12:00pm |
Project Spectrum Meeting Location: Executive Boardroom Closed meeting. |
|||
| 11:00am - 12:15pm |
Exhibit Hall Showcases: Auralia & Musition, Artusi, and AMS Publications Location: Exhibit Hall |
|||
| 11:00am - 12:30pm |
AMS Board Meet & Greet 2 Location: Exhibit Hall |
|||
| 12:30pm - 1:30pm |
AMS Career Development Grants in American Music: Check-in 1 Location: Executive Boardroom Closed meeting. |
|||
| 12:30pm - 2:00pm |
AMS/MLA RISM Committee Meeting Location: Cedar Lake Closed meeting. |
Fellowship and Scholarship Opportunities at the University of Leuven (Belgium) Location: Great Lakes C |
SMT Committee on Disability and Accessibility Brown Bag Lunch Location: Lake Nokomis Open to all attendees. |
SMT Committee on Feminist Issues and Gender Equity Brown Bag Lunch Location: Lake Harriet Open to all attendees. |
| SMT Global Interculturalism and Musical Peripheries Interest Group Meeting Location: Greenway Ballroom E-F |
SMT Improvisation & Post-1945 Music Analysis Interest Groups Meeting Location: Lakeshore B |
SMT Jazz & Hip-Hop and Rap Interest Groups Meeting Location: Greenway Ballroom D-G |
SMT Music and Psychoanalysis Interest Group Meeting Location: Lakeshore C |
|
| SMT Music Notation and Visualization Interest Group Meeting Location: Lake Bemidji |
SMT Popular Music Interest Group Meeting Location: Great Lakes A |
SMT Russian and Soviet Music Interest Group Meeting Location: Lake Superior B |
Society for Seventeenth-Century Music Informal Business Meeting Location: Boundary Waters Ballroom A-B |
|
| AMS Ludomusicology Study Group Business Meeting Location: Northstar Ballroom B |
AMS MDSG Business Meeting with Short Papers, 2025: New Directions in Choreomusicology Location: Lake Superior A Presentations of the Symposium Rhythmic Motives and “Las amarillas”: A Choreomusical Case Study Accentuation Patterns and their Impact on Steps in Scottish Highland Dance The Gurdjieff Movements Between Ritual and Reconstruction |
AMS Music and Marxism Study Group Business Meeting Location: Greenway Ballroom C-H |
Brown Bag Lunch - An AMS Childhood and Youth Study Group Social Location: Lakeshore A |
|
| Celebrating Diversity: An Eileen Southern Travel Fund and Howard Mayer Brown Fellowship Reunion Location: Boundary Waters Ballroom C-D |
Music of the Long Thirteenth Century: Genre, Kind, and Culture Location: Minnehaha |
Music, Protest, and Systems of Representation in Latin America, the Caribbean, and the Iberian Peninsula Location: Greenway Ballroom B-I Presentations of the Symposium The Prohibition of Afro-Brazilian Sacred Music and Its Afterlives Sound, Perversion, and Insurrection in Cristóbal de Molina’s Account of the Chiapas War of Castes 1867-1870 The Audible Ineffable: Mobilizing Grief during Mexico City’s ‘Glitter Revolution’ “Cómo un fantasma se aparece”: Ghost Smuggling Ballads as Repositories of Haunting, Transgenerational Trauma, and Religiopolitical Migrant Resilience +57: Perreo, musicology, and the limits of aesthetic and political action |
New Work in LGBTQ Music Studies Location: Great Lakes B Presentations of the Symposium Queer Shaped Notes: Experiencing political and social transformation through Sacred Harp Singing ‘On the other side of a television screen’”: The t4t affective world of I Saw the TV Glow (2024) Fabulatory Loudness: Archiving Transfeminine Performance in the Americas On A Lesbian Relationship with the Electric Guitar: How Queer, Female Guitarists Destabilize and Reimagine the Instrument’s Material and Symbolic Lives |
|
| 12:30pm - 2:30pm |
Mozart Society of America Study Session & Business Meeting Location: Northstar Ballroom A |
|||
| 1:00pm - 2:00pm |
Knitting Circle Location: St. Croix |
|||
| 1:00pm - 2:15pm |
Exhibit Hall Showcases: Boulanger Initiative, Society for Music Theory, and Coalition of Music Organizations Location: Exhibit Hall |
|||
| 1:00pm - 3:00pm |
SMT CV Review Session Location: Northwoods |
SMT CV Review Session Waiting Room Location: Northwoods |
||
| 2:15pm - 3:45pm |
Capturing Music: Notational Privilege and Practice Location: Lakeshore A Chair: Ginger Dellenbaugh Notation as Common Practice Doctoring the Staff & Doctoring Beethoven: Possibilities and Pitfalls in Transcribing Patricia Kopatchinskaja’s Aesthetics in Ludwig van Beethoven’s Concerto for Violin in D Major, op. 61: 1. Allegro ma non troppo ‘Capture in notation’: Ornette Coleman, transcription and il/legibility |
Making Use of Jazz on Screen Location: Lake Minnetonka Chair: Sean Lorre, Rutgers University "'Shut Those Motherf----s Up!’: Jazz, Identity, and Resistance in Mike Figgis’ s Stormy Monday" Duke Ellington’s A Drum Is A Woman: A Counterargument to Paul Whiteman’s Gentrification of Jazz “Swing it, Professor: Jazz, Schools, and the Hollywood Film in the Mid 20th Century” |
Operatic Cultures of the 17th and 18th Centuries Location: Boundary Waters Ballroom C-D Chair: Bertil van Boer Maritime geographies of the Hamburg Opera: The case of Antonio Gualandi Antonio Salieri's "Tarare"/"Axur," Heinrich Wilhelm Haugwitz, and Opera Politics in Post-Napoleonic Habsburg Moravia Rethinking Operatic Comedy: Busenello, Goldoni, and dramma giocoso |
Sacred Music and the Performance of Power Location: Lakeshore B Chair: Melinda Latour Afro-European Music, Religion and Performance in the Early Modern Kingdom of Kongo Amo Christum: Music for a Divine Marriage Translation as Musical Reclamation: Oratorio Adaptation and Sephardic Acoustic Identity in Eighteenth-Century Amsterdam |
| Singing Memory: Traditional and Folk Musicking in the British Isles Location: Greenway Ballroom C-H Chair: Trevor R. Nelson, Wichita State University Discussant: Christopher Scheer, Utah State University “All Lovers of Cornwall:” Defining the Cornish Celtic Folk through Song in the Late Nineteenth and Early Twentieth Centuries Singing the Past, Shaping the Present: Female Voices and the Festival as Archive |
Song Form Location: Lakeshore C Chair: David Forrest, Texas Tech University Grooving until you can’t: formal process and embodiment in early British Grindcore How Are Verse Melodies Different than Chorus Melodies?: A Katy Perry Corpus Study Form and the Song Persona |
Structure and Effect in Beethoven Location: Great Lakes C Chair: Stephen Husarik, University of Arkansas - Fort Smith Discussant: Sanna Pederson, University of Oklahoma "An die ferne Geliebte" between Death and Resurrection: Beethoven, Lobkowitz, and mourning in Vienna around 1800 Is counting a joke? Beethoven’s sketches for the Scherzo of Quartet Op. 127 “Menial” Beethoven: Beethoven’s Four-Hand Grand Fugue and the Consequences of Musical Labor |
Techniques and Technologies Location: Lake Bemidji Chair: Jonathan De Souza, University of Western Ontario “Keys to the Lamborghini”: Picking Transformations and Embodiment in Rock Guitar Instructional Videos of the early 1990s Mixed Signals: Exploring the Production Mix in Hip-Hop Music’s Problem for AI, and AI’s problem for Music |
|
| Transatlantic Musical Cultures Location: Greenway Ballroom B-I Chair: Elaine Fitz Gibbon, Amherst College Mozart in the Midwest: Music-Making for German Milwaukee, 1843-1900 Canadian Foreign Policy and Transatlantic Cultural-Musical Exchanges during the 1970s Transatlantic Musical Culture and Nationalism: George Frederick Bristow, Nineteenth-Century Americanist Composer |
(Re)sounding Europe: Borders, Boundaries, Belonging Location: Great Lakes B |
Constructing Identity in Rhiannon Giddens and Michael Abels's Omar (2022) Location: Mirage Presentations of the Symposium "Here We Have Our Place": The Musical Construction of African Identity in Omar Musical Representations of Assimilation and the Antebellum South in Omar The Role of the Chorus in Omar |
New Horizons with Historical Notations Location: Northstar Ballroom B |
|
| Non-Academic Jobs after a Music Degree Location: Lake Superior A |
Searching for "lo inaudito" in the Sound Archive Location: Great Lakes A Presentations of the Symposium Finding What Is Lost: The Intangible Archive of València’s Falles Festival Dispossession of Archives, Archives of Dispossession Mexican Rarities, De-Sedimentation, and the Promise of a Sound Archive of Postnational Memory |
Socio-technical Histories of Digital Music Location: Lake Superior B Presentations of the Symposium Melodrama, Silent Film, and the Foundations of Generative AI Music “Shitpost Modernism” and the (mis)reading of combinatorial internet aesthetics Calculable Surfaces: Topic Theory and History of the "Digital Musical Object" |
Symbolism and Intermediality in Early Music: New Work Inspired by the Research of Anne Walters Robertson Location: Greenway Ballroom D-G |
|
| 2:15pm - 4:15pm |
Femininity and Female Archetypes Location: Minnehaha Chair: Nancy Newman "Blues Is A Woman": Situating Feminist Desire in Fantasy Concerts “The Woman Who Sings”: Femininity, Authenticity, and Russification in late Soviet Estrada Beyond the Eternal Feminine: Orientalism, Gender, and Timbre in Mel Bonis's Femmes de Légende “Tehran Tokyo”: Re-Presentation of Femininity in Iranian Pop Music |
|||
| 2:15pm - 5:30pm |
Don't Wake the Balrog! Navigating Copyright Issues in Publication Location: Boundary Waters Ballroom A-B Presentations of the Symposium Introduction to US and European Copyright Laws' Roles in Academic Music Publications The role of libraries and librarians Transforming video examples Asian languages and copyright research Creating an open educational resource |
Teaching Music Theory Through Times of Disaster and Trauma Location: Greenway Ballroom E-F Presentations of the Symposium Practicing Nimble Pedagogy Musical Ensembles and Disaster Pedagogy Faculty Governance in the Face of Natural Disasters Music Theory as "Home Room" Trauma, Instructional Response, and Institutional Memory |
||
| 4:00pm - 5:30pm |
Analysis of Vocal Music Location: Mirage Chair: Alexander Martin, Stetson University Suspended Textures in Lili Boulanger's Songs Chant Allusion in 1880-1920 French Art Songs Machaut's Monophonic Lais |
Celebrating Scandinavian and Somali Music with the Nordstär Ensemble Location: Northstar Ballroom A |
City Soundscapes Location: Greenway Ballroom C-H Chair: Winnie W. C. Lai, Dartmouth College Industrialized Cityscape in Ralph Vaughan Williams’ "A London Symphony" "The Sound of a Positive Dollar:" The Chicago Bucket Boys and Contestations of Public Spaces Within Chicago's Street Music Ordinance Debates Community, Race, and Politics Downtown |
East and West Location: Regency Chair: Nancy Rao, Rutgers University Pentatonicism, Serialism, Hindemithian “Harmonic Fluctuation,” and Referential Collection Patterns in Zhongrong Luo’s “Picking Lotus Flowers at the Riverside” Sonata Genre and Korean Influence: Eastern and Western in Isang Yun’s First Symphony Circles of Fragile Branches in East Asian Fifth-Relations |
| Embodiment and Musical Gendering Location: Lakeshore A Chair: Christina Baade Sonic Bleeding: Menstruation in Pop Music and the Disruption of Reproductive Time The Conservatory-to-Cult Pipeline in Literary Fiction and Social Media “I sing like a girl”: Madonna and the voicing of gendered temporalities in the neoliberal era |
Form in Popular Music Location: Lake Bemidji Chair: Alyssa Barna, University of Minnesota Bridge Function in Recent Popular Music Corpus of Chaos: Headbanging to Conventional Form Cues in Meshuggah’s Unconventional Songs “The Bridge of Our Lives”: The Anthem Bridge as the Emotional Climax in Modern Pop |
Jazz Philosophies and Perspectives Location: Lake Minnetonka Chair: Scott Gleason, Oxford University Press Death, Denial, and Desire: Absolute Silence in Alice Coltrane’s Musical Metaphysics (1968-1972) Five Ways of Listening to Miles Davis’s Aura (1989): New Sources and Perspectives Sounding Like Money: Regressive Listening, Bad Faith, and the Reproduction of “Goodbye Pork Pie Hat” |
Music in the Early Modern Luso-Hispanic World Location: Greenway Ballroom B-I Chair: John Romey Nahua Notions of the Sacred in Seventeenth-Century Christmas Villancicos Manuel de Sumaya, ambivalent criollismo, and re-adaptation Cândido Inácio da Silva (1799/1800-1838): Composer of Songs, Master of Slaves |
|
| Perspectives on 19th-Century Sacred Music Location: Lakeshore C Chair: Eftychia Papanikolaou German Sincerity vs. Italian Vitality: Haydn's Masses in the Eyes of His Early Biographers A Berliozian Aesthetic of Sacred Music English Hymnody from Leipzig Conservatory Professors: William Bradbury’s Album Book from Germany |
Race, Nation, and Identity Location: Lake Superior A Chair: Elea Proctor, The Ohio State University So Long, Farewell: The Musical Politics of Westminster Abbey Independence Services, 1962–1966 Canonic Variations: Samuel Coleridge-Taylor and the Black Atlantic White and Black Blues: The 1990 Eurovision Song Contest and the Prospect of European (Racial) Integration |
Soviet Legacies Location: Great Lakes B Chair: Olga Haldey Fraud, Cultural Politics, and Early Soviet Bureaucracy at the Tbilisi Opera House Mazowsze and the Modernization of Polish Culture: Folk Music, Socialist Realism, and Postwar Reconstruction Nikolay Medtner and the Development of Soviet Music |
Storytelling Through Dance Location: Boundary Waters Ballroom C-D Chair: Daniel Callahan, Boston College Eighteenth-Century Dance Topics in Lin-Manuel Miranda’s Hamilton: Historical Allusions and Social Critique Farewell Dances: A Viennese Company Ball on the Eve of the “Anschluss” The Mulatas de Fuego Onscreen: A Global Enactment of Afro-Cuban Dance |
|
| Structure and Representation in 20th Century Film Music Location: Great Lakes A Chair: Rika Asai Cinematic Structures as Musical Structures in Chantal Akerman’s Early Films Theater and Pantomime Representations in Marcel Carné’s Children of Paradise (1945) Music, Sound and Silence: Contrasting Religious Discourse Through Parallel Adaptations by Scorsese (2016) and Shinoda (1971) |
Technology, Timbre, and Trans Identities Location: Greenway Ballroom D-G Chair: Emily Wilbourne Transhuman Timbres: Mimetic Engagement with Glitch Aesthetics in Three Songs by TAMAGOTCHI MASSACRE Hearing The TV Glow: Sonic/Somatechnic Possibilities for Queer Becoming in Jane Schoenbrun’s I Saw the TV Glow “Like the World Fading into View After a Dream:” Spectral Houses, Music, Memory and the Trans* Gothic in The House in Fata Morgana (2012) |
“Crepi il lupo”: Critiquing Labor, Class, and DEIA in the Early Careers of Opera Singers Location: Great Lakes C Presentations of the Symposium “Other Duties as Assigned”: Abuse, Labor, and Surviving the American Opera Industry’s Resident Artist Programs Meeting “The Other’s” Need: An Analytic Framework to Evaluate DEI Initiatives in American Opera Companies as Acts of Care |
Editing Musicology and Theory Journals: How Can We Improve the System Together? Location: Lakeshore B |
|
| 4:00pm - 6:00pm |
Generative AI and New Frontiers in Musicology Location: Lake Superior B Chair: Alison Maggart, The University of Texas at Austin Voices Beyond the Human: AI-Singing and Posthuman Musicking on Bilibili Responsible Performance Practice, Generative AI and Interpretation Cyberspace, Threads, and AI Music: Music’s Role in Taiwan’s 2024 Blue Bird Movement Musicology "at the Frontier of Human Knowledge": AI (Mis)alignments in Humanity's Last Exam |
|||
| 4:30pm - 6:30pm |
Transcultural Historical Musicology Location: Minnehaha Chair: Brett Boutwell Echoes from the Bengal Tiger: Towards a Transcultural (Micro)historical Musicology The Music of Johann Sebastian Bach in Ghana: History, Performance Practices, and Concert Programming The Cosmopolitan Ear Spanish Estudiantinas and the Global Rise of Plectral Ensembles in the Belle Epoque |
|||
| 5:45pm - 6:45pm |
Prospective Graduate Student Fair Location: Nicollet Ballroom B-C |
|||
| 5:45pm - 7:45pm |
University of Kansas School of Music Reception Location: Cedar Lake |
|||
| 6:00pm - 7:30pm |
Tufts Friends and Alumni Reception Location: Lake Nokomis |
|||
| 6:00pm - 8:00pm |
RIPM and RILM Reception Location: Lake Harriet |
University of Cincinnati CCM Reception Location: Skyway A-B |
||
| 6:15pm - 8:15pm |
Rice University Reception Location: Greenway Ballroom C-H |
|||
| 6:30pm - 8:30pm |
Florida State University Musicology and Music Theory Joint Reception Location: St. Croix |
Friends of Stony Brook Location: Lake Superior B |
W. W. Norton Reception Location: Lake Superior A |
|
| 6:45pm - 7:45pm |
AMS Explore: Debrief Location: Executive Boardroom Closed meeting. |
Joint Student Reception Location: Northwoods |
||
| 7:00pm - 8:30pm |
SMT Composition Interest Group Meeting Location: Regency |
SMT Music Theory Pedagogy Interest Group Meeting Location: Greenway Ballroom E-F |
Taken in Stride: The Mundanity of Ambulation Location: Music Box Theatre |
Satie is Dead, Long Live Satie Location: Mirage |
| 7:00pm - 9:00pm |
New York University Reception Location: Boundary Waters Ballroom A-B |
University of Illinois Reception Location: Nicollet Ballroom D1 |
||
| 7:00pm - 9:15pm |
Dear Lara (film screening) Lara St. John1, Patrick Hamm2 1: N/A; 2: N/A Location: Lakeshore A Chair: Stephanie Jensen-Moulton, Syracuse University |
|||
| 7:30pm - 9:30pm |
AMS Music and Media Study Group and SMT Film and Multimedia Interest Group: Poster Session and Business Meeting Location: Lake Bemidji Presentations of the Symposium Exploring the Alograve Scene and Algorithmic Music The Paradigm Shift in Music and Music Scholarship Created by Recording Technology: A Change in the Dialectical Process for Modern Music Scholarship The Mando with No Name: Exploring Morricone, Göransson and New Musical Soundscapes of the Old West Coloring Sound: Intertextual Expressions of Music, Meaning, and Identity in Kyary Pamyu Pamyu's Music Videos A Dance Party in the Desert: Rhythmic Play in Super Mario Bros. Wonder Musical Gestures and Expression in Bridgerton: Love, Humor, and Introspection in Film Scoring Degree of Audiovisual Congruence Shapes Listener Engagement with Short-Form Media |
Birds, Bats, and Broken Ice: Rethinking the “Human” of “More-than-Human Musicking” (Roundtable and ESG Business Meeting) Location: Minnehaha Presentations of the Symposium Sounding Nature, Transcending Sentiments: An Ecomusicological Perspective on Ancient Chinese Guqin Music Atmospheric Sovereignty: Reclaiming Multi-Species Relations in Hawai‘i Exotica PawkieTalkie: Human-Pet Ventriloquism, Pet Voice, and Narrating the Domesticated Animal in Internet Audiovisual Media Bat Fest(s): Situating Science and the More-than-Human Breaking the Ice: Percussive Encounters with Glacial Soundscapes |
||
| 8:00pm - 10:00pm |
Brandeis University and University of Pittsburgh Joint Reception Location: Greenway Ballroom D-G |
|||
| 9:00pm - 11:00pm |
Columbia University Reception Location: Lake Harriet |
Society for American Music Reception Location: Greenway Ballroom B-I |
University of Chicago Reception Location: Boundary Waters Ballroom C-D |
|
| 9:30pm - 11:30pm |
Case Western Reserve University Reception Location: Skyway A-B |
CUNY Graduate Center Reception Location: Lake Superior A |
Not Another Cocktail Party! (An AMS-SMT Dance) Location: Lakeshore B-C |
Society for Christian Scholarship in Music Annual Reception Location: Lake Nokomis |
| University of North Texas Reception Location: Lake Superior B |
Voices and Viols Jam Location: Lake Minnetonka |
|||