Conference Agenda

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.

Livestreaming Musical Analysis: Streaming as a Form of Online Music Theory Pedagogy - Stefanie Bilidas \nLivestreaming on Twitch cultivates strong communal relationships between streamers and their viewers and between audience participants (Flores-Saivaga et al. 2020; Ford et al. 2017; Taylor 2018; Wohn et al. 2018). A combination of entertainment and education, streams are about what T. L. Taylor calls “discovering together” (2018, 40). As real-time events, streams have a second life as Videos on Demand, turning them into fixed analytical objects. My lightning talk focuses on “music analysis” livestreams, where streamers ask viewers to make analytical remarks about either the perceived quality of several tracks or the appropriate generic category for the songs. To accomplish this task quickly, viewers use aural skills analysis based around “secondary parameters” (Meyer 1989, 15) such as timbre, texture as well as audio production. Driven by the parasocial relationship that streaming cultivates (Wohn et al. 2018), musical analysis becomes a sign of symbolic capital and economic capital when the streamer requires a small fee for interaction. As examples of “online pedagogies” over traditional “school pedagogies” (Vermeire et al. 2024), livestreams frame learning as a collective experience free of assessment (Thompson et al. 2024). Although livestreaming presents an alternative method of musical analysis, my talk will acknowledge how livestreaming often perpetuates a white- and male-centric way of listening (McDaniel 2021) and may create other inequities in music education. By examining the music analysis livestream as an analytical object, I show how music theory pedagogies of real-time and collaborative analysis are unique to the affordances of livestreaming itself.\n\n\nOptimize this! Why do we care if an AI can write songs? - Andrew Goldman\nAutonomous music AI systems like Suno (https://suno.com/home) can take in text prompts, and output audio of original songs. How can one compare human and AI-generated music, and what do different types of comparison reveal about implicit music-ontological commitments? I describe three ways to compare human and AI-generated music. To frame my discussion, I juxtapose my original song (“Optimize!”) with a song that Suno generated based on the same text prompt I gave to myself: “write an ironic song (for piano and voice) that criticizes the impetus to optimize our lives, focusing on themes of monetization.” The first kind of comparison is of products. Product-based questions center on music as a waveform or symbolic notation. I briefly compare some salient features of my product and Suno’s product. The second comparison is of processes. Such questions also usually center on processes of producing audio or symbols, and thus share ontological commitments with product-based questions. To compare my process to Suno’s, I briefly review some different types of AI architectures and some literature from music cognition on creativity. A third kind of comparison resists the work-based ontology of music: a comparison of musical practice. I argue that the social motivation to write my song, and the contexts for sharing my work, are all part of my songwriting activity. Of course, AI can contribute to social musical practice, but, in such cases, including Suno, AI music’s sociality is homuncular: it only has social purpose because the humans who use it do.\n\n\nAnamorphosis, écriture and hypertranslation in the musical objects of Tristan Murail - Amy Bauer\nTristan Murail composes with musical objects, a model that for him encompasses multiple parameters: frequency, ambitus, gesture, articulation, absolute and relative duration, electronic synthesis and internal movement. He defines a “musical object” as material short enough to be recognized as one entity based on its psychoacoustic properties, even after transformation of one or more component parameters. This model expands to include natural, musical and literary allusions from the mid-1990s on, to embrace geographical and personal information in L’Esprit des dunes (1993–94), Le Lac (2001) and the Portulan series (1998–2011), with musical objects that function as both local and global referents. The journey from natural sound to composition represents an aesthetics of continuity in reverse, which Murail labels anamorphosis, characteristic of our perception of monumental natural events. Minute sonic objects take on an enhanced grandeur when assembled into the sweeping, large-scale sonic portraits that constitute Murail\'s maritime scenes, records of extended travel, or Liber fulguralis (2008), the latter a complex negotiation between video accompaniment, Etruscan mythology and the visceral experience of thunder. The musical objects that compose these works have the ancillary effect of depersonalizing them, establishing, I argue, a new tradition of musical écriture for electroacoustic music. Murail\'s sound images—detached from an initial, natural model through translation, distortion or \" treason\"—invite philosophical reflection. Their sonic universe stands even more evocatively for the nature that inspired it, as one of Alain Badiou\'s hypertranslations: a translation that exists on the threshold of knowledge, reaching for the sublime.\n\n

Agenda\n12:30-12:45 \n“Hearing As”: Prior Knowledge of Syntactic Structure Affects ERP Components for Musical Expectation\n\nAndrew Goldman, Indiana University\n\n \n12:45-1:00\n“If You Give a Mouse a Melody: In Search of the Disney Sound”\n\nAmy King, Northwestern University\n\n \n1:00-1:15\n\"Simple but Mighty: Revisiting Longuet-Higgins’ Key-Finding Algorithm\"\n\nNathaniel Korn, University of Massachusetts Amherst\n\n \n1:15-1:30\n\"Sounds Good, Feels Good: Measuring Music and Emotion Perception in College Students\"\n\nNico Yanzaguano, Ursinus College\n\n \n1:30-1:45\n\"The Role of Memory On the Perception of Popular Music Chord Progressions\"\n\nAbigail Fiedler, Oberlin College\n\n \n1:45-2:00\nVote on Bylaws 

Breakfast meeting for current members of the AMS Board and Council. Closed meeting.

Singing from the original notation is the ultimate historical performance practice. Singing in old clefs, with no barlines, forces us to listen hard to the other voices, add accidentals on the fly, and recognize homorhythm, imitative entries, and cadences.\nWe will sing three pieces from the Libro Primo de la Croce, a serious early madrigal by Sebastiano Festa, a comic villottea by Francesco Patavino, and a serious late frottola by Marchetto Cara. The experience of singing them will provide a window into the similarities and differences among the three genres, providing a glimpse into the origins of the madrigal (or its pre-history, depending on your point of view). We will discuss the historical issues after singing.\nThe session is modeled on the long tradition of original notation sessions at the AMS annual meeting, formerly led by Valerie Horst and sponsored by Early Music America.  All kinds of musicians are welcome, including beginners.  We will provide everybody with copies of pages from the print, with rehearsal letters added. 

Incantare and the Mirandola Ensemble present Musical Landscapes Across the Americas, a program of music from the Spanish Americas and beyond. With Florida as its starting point, this concert expands to Spanish territories throughout the Americas, including sonorous polyphony, upbeat villancicos, and stately dances from Mexico, Guatemala, Peru, and the Iberian Peninsula.\nIn Spanish Florida, as in other parts of the Spanish Americas, western music was taught as part of a conversion method. Europeans were shocked and scandalized by indigenous music, which celebrated cultural practices—such as the veneration of women and unashamed eroticism—that threatened European hierarchies. Polyphony had no such presumption, and it was used as a tool to draw indigenous tribes away from their native religions, albeit with varied success. On the other hand, it was sometimes welcomed into indigenous musical culture, where it was adopted and honed alongside traditional musical practices.\nWhether for good or bad--probably both--the Catholic missions of the New World were a fulcrum for cultural change. In them, the Iberian priests introduced polyphony that used western modes and intervals in note-against-note lines in praise of the Catholic god. Music manuscript collections and western musical instruments were sent to the Americas on ships. In the missions, indigenous communities learned to sing, play, and compose music in the European style. This cultural blending extended throughout the Americas. Today, it is a deeply ingrained musical tradition in these lands.\nMusical Landscapes Across the Americas presents a small slice of this music, featuring works by Guerrero, Rimonte, Encina, Franco, and many others. While some of the composers presented on this program never stepped foot in the Americas, their music is representative of that which would have been performed here. Click for here for the program and here for the program notes.\nThis event will be held as part of the American Musicological Society’s Many Musics of America Project.

A reception for UCLA affiliates, alumni, and prospective students. 

Program\n12:30\nWorkFam Business Meeting\nYouYoung Kang and Alfred Cramer, WorkFam co-chairs\n\nPanel and Discussion\nMusic in Children’s Multimedia\n\n12:45\nIntroduction\nBen Baker, Eastman School of Music and Derek Myler, East Carolina University, organizers\n \n12:50\nLearning to Listen: Stylistic Literacy in “Edutainment” Games\nPamela Mason-Nguyen, UC Santa Barbara\n \n1:00\n“Freeze Dance!” Ludomusical Video and Implied Participation\nWilliam O’Hara, Gettysburg College\n \n1:10\nIt’s a Swinging Day in the Neighborhood: The Divergent Practices of Jazz Scoring in the Children’s Television Show Mister Rogers’ Neighborhood\nJames Heazlewood-Dale, Brandeis University\n \n1:20\nChildren’s Music in Music Theory I: Rationale, Skills, and Methods\nDavid Geary, Wake Forest University\n \n1:30-2:00\nDiscussion\n\n\nWorkFam Abstracts, Music in Children’s Multimedia\n\nLearning to Listen: Stylistic Literacy in “Edutainment” Games\nPamela Mason-Nguyen, UC Santa Barbara \nThe digitization of play has yielded video games for education and entertainment—or “edutainment.” My analysis focuses on games marketed towards 4-6-year-old players, an age which overlaps with when children are learning their culture’s musical conventions—or developing musical “literacy” (Hargreaves & Galton 1992/2017). In video game music, van Elferen (2016) describes how “literacy” relies on players’ exposure to multimedia music to interpret musical and sound-effect signifiers. Music stylistic literacy, then, grows through the process of experiencing how media objects represent those styles.\nIn this paper, I argue that music in North American edutainment games familiarizes children with the musical styles and their topical associations they encounter across the Western media landscape. My presentation centers on Putt-Putt Travels Through Time, Backyard Baseball, and Where in the World is Carmen Sandiego?, all from 1996. These three games reinforce musical parameters of blues, “world” musics, and Western art music and connect the styles to particular time periods, places, and communities. This work demonstrates that analyses of edutainment games can deepen our understanding of children’s media while inviting us to examine the musical and extra-musical associations we have learned to listen for.\n\n“Freeze Dance!” Ludomusical Video and Implied Participation\nWilliam O’Hara, Gettysburg College\nThis presentation develops the idea of “ludomusical video,” and examines how some YouTube videos for children create the conditions for musical participation and semi-interactive participation. Ludomusical videos are a fixed form of non-interactive media that nonetheless interpolates an implied participant or “player” by suggesting various forms of interaction. The category reaches backwards through the history of media (home exercise videos, karaoke and “Music Minus One,” etc.) but has proliferated in recent years thanks to the democratization of production technologies, and the broad reach and monetization opportunities presented by social video platforms.\nLudomusical videos often draw on existing models of media, whether aerobics videos, music and videos, or especially “rhythm games” such as Guitar Hero, Just Dance, or Beat Saber, asking children to move, dance, sing, or otherwise participate. While they are not themselves interactive, these videos invite participation by asking children to “play” a game by reacting to the music and images on the screen. In this talk, I will show how ludomusical videos translate audiovisual cues from existing forms or music and games to create interactive entertainment in a fundamentally fixed medium. Finally, I will briefly discuss the increasing prominence of such videos in contemporary elementary music education.\n \nIt’s a Swinging Day in the Neighborhood: The Divergent Practices of Jazz Scoring in the Children’s Television Show Mister Rogers’ Neighborhood\nJames Heazlewood-Dale, Brandeis University \nWithin the context of screen media, the sounds of a swinging rhythm section and a blues-inflected saxophone solo are commonly associated with narrative themes of criminality, urbanity, and sexuality. Scholarship on jazz in audiovisual media has largely focused on the music’s entanglement with 1950s films that explore such themes, notably The Man with the Golden Arm (1955), I Want to Live! (1958), and Anatomy of a Murder (1959). However, research tracing the history of jazz across screen media has overlooked the work of composers who, in the decades immediately following the 1950s, subverted these associations by using jazz in children’s media. This paper focuses on the collaborations between Fred Rogers and jazz pianist Jonny Costa in the television show Mister Rogers’ Neighborhood (1968–2001), offering a new perspective on jazz’s function in screen media. This project builds on scholarship on jazz in screen media (Gabbard 1996; Butler 2002; Carlson 2022) and music in children’s media (Maloy 2019; Barrett and Welch 2024; Young 2023). Hollywood composers may have used jazz in films about drug addiction, murder, and armed bank robbery, but it is also music that American families would come to associate with a man who helped prevent a ten-million-dollar budget cut to PBS by reciting one of his songs as testimony in Congress.\n \nChildren’s Music in Music Theory I: Rationale, Skills, and Methods\nDavid Geary, Wake Forest University\nMusic for children—including songs for TV shows, nursery-rhyme recordings on social media, and educational YouTube channels—can be musically sophisticated and captivating, making it a valuable repertoire to study in the undergraduate music theory curriculum for its intrinsic value, professional potential, and efficacy in preparing students for more advanced music-theoretical study. Three years ago, I created a two-week module for my Music Theory I class that develops written, aural, and keyboard skills related to this repertoire, and this lightning talk will describe the rationale behind its inclusion, the concepts and skills developed, and some of the specific activities and assignments implemented.

Guzheng (古筝), a traditional Chinese plucked zither, has a history spanning over 2,500 years, evolving from ancient court and folk traditions to a highly expressive instrument in modern Chinese music. Its distinctive timbre and rich repertoire reflect regional styles and historical transformations, making it a key medium for understanding Chinese musical heritage. In this performance, Wenshi Chen showcases the artistry of the guzheng, fostering greater appreciation for traditional instrumental practice in China and deepening the discourse on East Asian music within ethnomusicology.\nThe program features a total of ten pieces, with five highlighted selections that showcase the historical depth and evolving performance practice of the guzheng. The first piece, “High Mountains, Flowing Water,” is one of the most revered pieces in Chinese instrumental tradition, originating from the ancient guqin repertoire and later adapted for the guzheng. Historically associated with the tale of Bo Ya and Zhong Ziqi, this piece symbolizes the deep connection between music, nature, and friendship, offering insight into classical Chinese musical aesthetics. “Fisherman’s Song at Dusk,” composed in the early 20th century, evokes the serenity of fishermen returning home at sunset, blending traditional pentatonic melodic structures with modern techniques, reflecting the shift in Chinese instrumental music toward programmatic expression. “Yi Dance” draws inspiration from the lively and rhythmic folk dances of the Yi Chinese ethnic group, incorporating regional musical idioms and percussive techniques to showcase the adaptability of the guzheng in representing minority cultural traditions. “Cold Crows Playing in the Water” is a classic example of antique-style guzheng repertoire, featuring cascading glissandi and delicate ornamental phrases that mimic the movement of birds over water. This piece, with roots in the Qing Dynasty, exemplifies the refined elegance of historical guzheng compositions while serving as a bridge between early styles and contemporary performance approaches. The final piece, “The Elephant King’s Journey,” composed in 2019, demonstrates the ongoing evolution of the guzheng, blending traditional plucking techniques with modern harmonization and expanded expressive range, representing the instrument’s place in contemporary composition. By presenting both historical and modern works, this program highlights the guzheng’s dynamic legacy, contributing insights into Chinese instrumental traditions and their relevance in ethnomusicology discourse.

A Speed Networking session is scheduled for Saturday, November 8 from 12:30pm - 2:00pm during the 2025 AMS-SMT Joint Annual Meeting. Participants will be randomly placed into small groups and shuffled into new discussions every 8-10 minutes. Signup is required. The deadline to sign up for Speed Networking is Wednesday, November 5. Sign up for Speed Networking today!

The AMS Business Meeting will provide important updates for AMS members on the business of the Society.

\n\nJoin us as we announce the recipients of 2025 AMS awards.\n\n\n\n\n\n\n\n\n\n\n\n

\nAgenda: https://tinyurl.com/mwzew7fr\n2024 Business Meeting Minutes: https://tinyurl.com/4tamaf65 \n2026 Budget: https://tinyurl.com/2nm5atty\n

Agenda: https://tinyurl.com/mwzew7fr

Queering the Pitch was published in 1994. In a decade marked by the extraordinary sea changes initiated by the “new musicology,” it was an important milestone. The music disciplines in the Anglo-American world and beyond have never quite been the same since. Today work that takes place under the aegis of “queer” is, as a result, much more normal. And yet in the turmoil of the present global political scene it is increasingly the case that being queer, thinking in a queer fashion, and pursuing queer topics are again under duress. \n \nThe members of this plenary panel take this historical perspective as a starting point for thinking about what it might mean for us all, but for music theory particularly, still to be involved in the endeavor of queering the pitch. What might it mean to talk of a queer music theory? To what degree is this a particular concern of music theorists who are themselves queer? Is a queer music theory simply one that studies queer topics? Or is it less about our objects of study and more about our modes of doing so? To what degree then is music theory itself inherently queer? Or even life in the academy per se? What hopes, dreams, aspirations, and worries attend being queer in academic disciplines at a time when it is potentially dangerous to do so? And where do we go from here?  

This session features four lightning talks, followed by a panel discussion, that spotlight the work of young and emerging scholars. The session will examine how music serves—and is shaped by—forces beyond the purely sonic, tracing how political, spiritual, ecological, and cultural agendas inflect both musical creation and reception. Over four papers followed by panel discussion, this session reveals how seemingly “musical” practices are entangled with broader negotiations of power, identity, and meaning.\nHazel Landers explores Başak Günak’s Rewilding, arguing that its evocation of botanical growth depends not on spontaneous wildness but on the technological and modernist conditions of electronic music-making. Hannah Jackson considers gospel singer Kim Burrell’s controversial use of improvised ad-libs, situating the incident within Black church debates over authenticity, community validation, and the conferral of spiritual anointing. Turning to the Soviet Union, Holden Meech interrogates the Stalin Prizes, demonstrating how state-sponsored honors not only reinforced imperial dominance over minority musics but also continue to shape musicological narratives and performance repertoires, with implications for current decolonization efforts. Finally, Claire Ledingham examines the media presentation and public reception of American all-girl jazz bands in the interwar decades, showing how ideals of femininity and patriotism framed women’s musical labor in ways both empowering and restrictive.\nThis session is part of AMS Explore and has been organized by members of the AMS Education Committee.

This session features four lightning talks, followed by a panel discussion, that spotlight the work of young and emerging scholars. The session will explore how classical music continues to open new paths by reframing questions of politics, memory, mortality, and identity across diverse cultural contexts. Collectively, the papers demonstrate how the canon—often perceived as stable or apolitical—becomes a dynamic site for negotiation, resistance, and reinvention.\nSara Arango examines Colombia’s Cacerolazo Sinfónico, showing how musicians reimagined classical performance as a tool of civic protest, transforming the streets into resonant spaces of solidarity and resistance. Alyssa Spina reinterprets Shostakovich’s Eighth String Quartet, shifting emphasis away from reductive political readings to highlight how musical memory and distortion articulate trauma and complexity. Aleksander Prasolov turns to Richard Strauss, contrasting the metaphysical optimism of Tod und Verklärung with the disillusioned spiritual ambivalence of Im Abendrot, revealing how notions of death and the musical afterlife evolved across his career. João Rocha interrogates Brazilian composers’ exploitative uses of indigeneity, contrasting romanticized archetypes with modernist appropriations, and exposing how classical music has perpetuated colonial ideologies under the guise of national identity.\nTogether, these studies will illuminate how classical music—whether on the streets, in the concert hall, or in cultural imagination—remains a contested and evolving practice that both reflects and reshapes social, political, and philosophical realities.\nThis session is part of AMS Explore, and has been organized by members of the AMS Education Committee.

Join us at the showcase stage in the Exhibit Hall for some featured showcases! \n1:00pm - 1:15pm: Dr. Caiti Beth McKinney (Boulanger Initiative): \"Beyond the Box, Into the Barlines: Bringing Women Composers to the Mainstage with Boulanger Initiative\"\n1:30pm - 1:45pm: Brett Boutwell and Blake Howe (W. W. Norton): \"The Musician in Society: A New Pedagogical Framework for the Introductory Music Classroom\"\n2:00pm - 2:15pm: Sara Haefeli (W. W. Norton): \"Creating the New Edition of A History of Western Music\"

Feeling overwhelmed? Need a break? Stop by and say hi to our doggy therapists! They\'ll help you work through that stress with a concentrated dose of doggy cuddles. 

Organized by the AMS Committee on the Publication of American Music (COPAM).\n\nThe business meeting of COPAM which typically occurs at the AMS annual meeting.

The Princeton University Department of Music welcomes alumni, friends, and prospective students for fellowship, food, and drinks.

Please join us for the five-year anniversary of Open Access Musicology (OAM). We will toast past, present, and future authors, editors, and teachers while celebrating the release of Issue No. 3. Anyone interested in learning about, participating in, writing for, teaching, or editing OAM are welcome to join us, to share ideas, to spread the word, and to meet like-minded colleagues. Light refreshments will be served.

Stanford University Department of Music Reception.

Please join us for the Yale Party!

Business meeting of the AMS Council.

The Indiana University Jacobs School of Music Department of Musicology invites all current and prospective students, faculty, alumni, and friends of the department to join us for refreshments.

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.

Looking for a bit of fun? Want to put your knowledge to the test? Join us for the AMS-SMT Trivia Night, hosted by Dan Blim!

The SMT Analysis of World Musics and Autographs and Archival Documents Interest Groups joint meeting will feature four lightning talks on global histories of music theory, intercultural communications, and applications of these in archival studies. We welcome both new and returning members of SMT and AMS to join us for these engaging presentations! The meeting will conclude with brief business meetings for each group. \n\nYonatan Malin (Univ of Colorado-Boulder), \"Archives and Living Traditions: Interpreting Klezmer Manuscripts from the Vernadsky National Library of Ukraine”\n\nNico Schuler (Texas State University), \"Digital Archival Research for the Rediscovery of Late-19th Century African-American Music: A Case Study”\n\nAidan McGartland (McGill University), \"Uncovering Interculturalism in Margaret Sutherland\'s The Young Kabbarli”\n\nEli Oesterheld (Northwestern University), \" \'And They Say There Are No New Melodies\': Tensions Between Novel Cultural Practices and Familiar Musical Syntax in the Music of the John Frum Cargo Cult”

Join Dr. Timothy Chenette (Utah State University) and Dr. Thomas Yee (The University of Texas at San Antonio) for a dynamic two-part exploration of aural skills pedagogy that moves from musicianship fundamentals to interactive learning through video game music. Through guided analysis and demonstrations, you’ll discover fresh pathways to deepen listening, improve retention, and spark creative engagement in your students.\nDrawing on his OER textbook Foundations of Aural Skills, Dr. Timothy Chenette will unpack strategies for cultivating internalized knowledge, and address concepts such as musical memory, intonation and tonic perception. He will also share methods for engaging students with creative tasks including improvisation, to provide holistic pathways for aural skills development. \nDr. Thomas B. Yee will explore how video game music from the 8-bit era to contemporary soundtracks offers fertile ground for ear training and musicianship. Thomas will demonstrate strategies to leverage game music’s unique timbres and structures to inspire students’ ears and imaginations. Participants will experience live walkthroughs of related Auralia & Musition worksheets that map these strategies to core music theory concepts, fostering both fundamental skills acquisition and creative exploration.

Annual reception for alumni, faculty, current and prospective students, and friends of Cornell Music. 

The Haydn Society of North America (HSNA) invites members and guests to its Annual General Meeting, a gathering that highlights the society’s ongoing mission to advance scholarship, performance, and appreciation of Joseph Haydn and his contemporaries. The meeting provides an opportunity to reflect on the year’s achievements, share updates on society initiatives, and look ahead to upcoming projects, conferences, and publications.\nIn addition to business proceedings, the AGM serves as a collegial forum where members can connect across disciplines, exchange ideas, and strengthen the network of Haydn scholars, performers, and enthusiasts. Reports from officers and committees will be presented, including updates on Haydn: The Online Journal, outreach activities, and partnerships with sister organizations. Elections for open positions on the HSNA Board of Directors will also take place.\nThe event underscores HSNA’s commitment to fostering an inclusive community dedicated to eighteenth-century music studies. Members’ voices are essential to shaping the future direction of the society, and all are encouraged to participate.\nWe look forward to welcoming you to this year’s meeting, where the spirit of Haydn’s music and scholarship continues to inspire discovery, dialogue, and collaboration.

Organized by the AMS Pedagogy Study Group.\nBusiness meeting of the AMS Pedagogy Study Group.

Reception for Alums, current students and faculty, and friends of the Theory and Musicology/Ethnomusicology Programs at the University of Texas Butler School of Music.

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

SMT-Pod, the premier audio publication for the Society for Music Theory, is hosting an open, drop-in meeting. We encourage all to attend - current and past board members, previous and potential authors, and anyone interested in learning more about us. Come say hello and grab a sticker for your conference badge!

\nDebrief session for AMS Explore participants. Closed meeting.\n\n\n

Join UO faculty, students, alumni, and friends for a casual reception! Prospective graduate students are encouraged to stop by.

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 faculty, students, alumni, and friends of the Department of Music at the University of Pennsylvania.

McGill University reception.

University of Michigan Reception.

University of California, Berkeley Alumni Reception.

Please join us to celebrate this year\'s AMS and SMT award recipients!