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.
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Click on the session name for a detailed view (with participant names and abstracts).
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Session Overview |
| Date: Saturday, 08/Nov/2025 | ||||
| 7:15am - 8:45am |
AMS Board and Council Breakfast Location: Northstar Ballroom A Closed meeting. |
SMT Interest Groups Breakfast Meeting Location: Skyway A-B Closed meeting. |
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| 7:30am - 9:00am |
Journal of Musicology Pedagogy Editorial Board Meeting Location: Executive Boardroom Closed meeting. |
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| 8:00am - 10:00am |
SMT-Pod Drop-In Gathering Location: Lake Nokomis Open to all attendees. |
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| 9:00am - 10:30am |
18th Century Issues Location: Mirage Chair: Olga Sánchez Kisielewska Three Melodies Walk Backwards Into a Bar: Enigmatic Music Notation in BWV 1087 and its Antecedents Stravinsky's Reinvention of 18th-Century Schemas in the Neoclassical Period Hélène de Montgeroult’s “Accelerated” Etude after Haydn |
Chronicling American Folk Song Location: Lakeshore C Chair: Larry Hamberlin “Many Songs, One Nation: Towards a Pluralistic Understanding of Folksong in America, 1890s–1930s” Where ‘Songs Old Men Have Sung’ Were Sung: Robert W. Gordon and the Origins of California Folk Song The Distributed Sonic Archives of Participatory Musicians |
Colonial Perspectives, Stereotypes, and Caricatures Location: Greenway Ballroom B-I Chair: Knar Abrahamyan Imagined Migration and Colonialist Narratives in Heitor Villa-Lobos’s Symphony No. 10 “Amerindia” (1952-1954) Technology, Race, and Colonialism in Caricatures of Manzotti’s Excelsior, 1880–1900 Columbus, Catholicism, and Colonialism in Central European Opera circa 1930 |
Cultural Representation and Artistic Agency in Asian Popular Music Location: Minnehaha Chair: Stella Li, RILM From Military Stages to Pop Charts: The Eighth Army Show System and the Making of South Korean Popular Music Strengthening the Socialist Legacy: Red Songs and Nationalism in C-Pop The Core of Technique in “Bad Apple” Video Remixes |
| Form II Location: Regency Chair: Andrew Aziz, San Diego State University Climax and Excess in the Song Forms of Jim Steinman Cadenza Reviving a One-Time Theme: The Case of the Dramatic Transition Theme in Mozart’s Piano Concertos K. 467 and K. 482 Picking up the Pieces: Form in Late Beethoven |
Gender Play: Music and Forms of Gender Impersonation Location: Lakeshore A Chair: Ashley Ann Greathouse, University of Cincinnati & Marshall University Discussant: Daniele Shlomit Sofer, University of Dayton Becoming “Miss Grym”: Gender, Politics, and Suffragist Impersonation in Vaudeville and Music Halls Musical Worldbuilding in Drag: Trans-Coded ‘Spliced Collage’ and Audience Co-Creation “Is That My Camera?”: Voicing Camp on RuPaul’s “Snatch Game” |
Listening Through Machines Location: Greenway Ballroom D-G Chair: Jingyi Zhang, Harvard University Listening to ‘Machine Listening’: Resistance and Reification in Contemporary Music Practice Listening to the Chinese Room: Muzak, Artificial Intelligence, and Humanity as Encounter Fetish, c. 1776 |
Music and the Visual Arts Location: Lakeshore B Chair: Navid Bargrizan, East Carolina University "Music That Makes Holes in the Sky": The Idea of Absolute Music in Georgia O'Keeffe's Early Music Paintings Wassily Kandinsky: A Paint-Splattered Musical Modernist Fanny Hensel’s Notturno Napolitano in the Artistic Imagination |
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| Musical and Extramusical Agendas (AMS Explore) Location: Lake Minnetonka Chair: Sarah Eyerly, Florida State University, Tallahassee Chair: James O'Leary, Oberlin College Sowing the Flora of Modernity: Başak Günak’s Rewilding Anointing, Authenticity, and Ad-libbing Stalin Prizes: State-Sponsored Awards and European Decolonization “Glorifying the American Girl:” Patriotism, American Femininity, and All-Girl Bands from the 1920s-1940s |
New Approaches to Harmonic Function Location: Greenway Ballroom E-F Chair: Kyle Hutchinson, Colgate University "The Most Distinctive Feature:" Harmonic Function within The Sacred Harp The Prominent Dominant: Representing Function in the Roman Numeral Analysis of Tritone Substitutions Beyond the Classical Canon: A Neo-Dualist Approach to Harmonic Function for Broader Tonal Contexts |
Responses to Authoritarianism Location: Lake Superior B Chair: Jeremy Eichler “A New Style for a New Time”: Chaos and Consolidation in the Works of Paul Hindemith Advocating for Operetta in Mussolini’s Italy: An Archival Story |
AMS Global Music History Study Group Keynote: Examining the Construction of Continental and Hemispheric Categories in Music History: 'European Music' and 'Western Music' Location: Northstar Ballroom B |
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| Day-to-day Music-Making in the Middle Ages: Re-thinking Historiographical Narratives through the Benedicamus Domino Location: Greenway Ballroom C-H Presentations of the Symposium Making Music in the Margins: Notation and Practice in Twelfth-Century Pistoia Polytextual Motets as “Simple” Polyphony Multipurpose Music in the Fifteenth Century: The Benedicamus Domino Carols |
Expressing Young Adulthood in Post-2010 American Popular Music: Generation Z, Feminist, and Queer Perspectives Location: Lake Bemidji Presentations of the Symposium Reading Transgender Identity in Music: SOPHIE’s “It’s Okay to Cry” and “Faceshopping” Hill Country Gay Boy: Topophilia, Queer Embodiment, and Myself in the Music of Sufjan Stevens “I’m the Perfect All-American:” Producing a Commodification of Girlhood for a New Generation |
Listening to Vinyl, Together: Music, Meaning, and Materiality in Communal Listening Practice Location: Great Lakes A Presentations of the Symposium A ‘Physically Sound’ Nation: Listening to Fitness Vinyl of the 1960s The Juketheque Record: Continuous Dance Music in 1960s U.S. American Discotheque Jukeboxes Modern Analog Listening and the Transculturation of the Japanese Jazz Kissa |
Music, Silence, and Social Action in an Age of Perpetual Crisis Location: Boundary Waters Ballroom C-D |
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| Opera and Untold Black Stories Location: Great Lakes B Presentations of the Symposium Dispelling Racial Othering through Opera: Edmond Dédé's Morgiane (1887) Singer, Composer, Librettist: Current engagement with Black Opera and examining the careers of Denyce Graves, Nkeiru Okoye, and Sandra Seaton "Divided Soul": Historiography and Biography in The Passion of Mary Cardwell Dawson |
Planning a Research Agenda: Sound Strategies for Faculty and Future Faculty Location: Lake Superior A |
War and Peace in France Location: Great Lakes C Presentations of the Symposium Compère and the Wartime Devotion of the French Royal Chapel (1494-95) Hobrecht’s Motet Against War Adolphe Sax’s Sonic Fusillades and the Military Politics of Timbral Homogeneity |
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| 9:00am - 12:15pm |
Hearing Marginalization, Demanding Equity Location: Boundary Waters Ballroom A-B Presentations of the Symposium Sonic Misogyny and Resistance: Gender-based Violence and Girlhood in J-pop ...And My (Trans?) Gender Analysis Subversion and the Double Burden in Varvara Gaigerova’s Suite for Viola and Piano Teaching Fanny: Marginalized Voices in Rock and the Role of AI in Repertorial Equity Identity in the Brass Quintet Genre |
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| 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. |
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| 10:45am - 12:15pm |
Black Racial Representations on the Musical Stage Location: Great Lakes B Chair: Marva Carter “With just a leavening of low comedy”: John W. Isham’s Black Chorines Circa 1900 Race, Representation, and the Limits of Dramaturgy Rewriting Wickedness: Black Feminine Power, Labor, and Race from The Wonderful Wizard of Oz (1900) to Wicked (2024) |
Colonial Narratives and Negotiations Location: Greenway Ballroom B-I Chair: Bess Xinton Liu Singing Between Empire and Colony: Yi Nanyŏng’s Survival Tactics in Colonial Korea Acousmatic Empire: Pierre Schaeffer, African Radio, and the Late Colonial State More than “ribald song… and smutty jest”: Vice District Performance as Black/Indigenous Survivance in the Boomtown West |
Composing Women: Identity and Creative Agency Location: Great Lakes A Chair: Megan Sarno Double-Voicedness as Feminist Agency in Johanna Beyer’s “The Federal Music Project” (1936) and “The Composer’s Forum Laboratory” (1937) Dedicating the Exposition: Women musicians in the fin-de-siècle United States through Amy Beach’s para-musical writing ‘Love Has the Victory’: Musical Representations of Female Power in Ethel Smyth’s Der Wald |
Experience and Agency in 20th Century Music Location: Regency Chair: Orit Hilewicz, Jacobs School of Music, Indiana University Experiencing the Music of Brian Ferneyhough Imagining Posthumanist Musical Agency with George Crumb’s Music for a Summer Evening When a composer does not want their performers to succeed: examining the vocal and pianistic styles of Strauss’s Der Krämerspiegel (1918) |
| Expression in Vocal Music II Location: Greenway Ballroom E-F Chair: Emily Garlen Milius, Peabody Institute of the John Hopkins University Celebration and Self-Empowerment in Rachel Platten’s “Fight Song” Make-Believe Becomes Material-Reality: Analyzing the Musical Persona of Anna Indiana Cadential Expression of Tonalities in Cavalli’s Il Giasone |
Floating: Music on/in Water Location: Great Lakes C Chair: Nick Stevens Microcosm/Macrocosm: The Hydrophonic Sound Art Practice of Tomoko Sauvage Water Music on the Arno: The Argonautica of 1608 An Ecology of Water and Orchestra: Deleuzian Becomings in Tan Dun’s Water Concerto |
Harmony and Narrative in Film Music Location: Mirage Chair: Frank Lehman, Tufts University Parallel Tritone Progressions in Film: Affekt and Voice Leading Kiarostami and Kristeva: A Study of Abjection and Semiotics in the Film Taste of Cherry (1997) Minding the Fantastical Gap at Crime Scenes in Batman Media |
New Paths in Classical Music (AMS Explore) Location: Lake Minnetonka Chair: Sarah Eyerly, Florida State University, Tallahassee Chair: James O'Leary, Oberlin College The Sound of Resistance: From the Cacerolazo Sinfónico to the Musical Protests of Today The Distortion of Memory: Recasting the Fourth Movement of Dmitri Shostakovich's Eighth String Quartet Composing the End and What Comes After: Death and the Musical Afterlife in Tod und Verklärung and "Im Abendrot" Romantic and Modern Tropes of Brazilianness: The Exploitation of Brazilian Indigenous Peoples in Art Music |
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| Singing from the original notation: the Libro Primo de la Croce (Rome: Pasoti and Dorico, 1526/1520) and the origins of the madrigal Location: Northstar Ballroom A Chair: Julie Emelyn Cumming, McGill University |
Sounding the Healthy and Unhealthy Body Location: Greenway Ballroom D-G Chair: Alexander Cowan, Jesus College, Cambridge Contagion and Commemoration in Fanny Hensel’s Cholera Cantata The Early Modern Afterlife of Musica Humana: Sonic Circulation in Robert Fludd’s Meta-Physiology (Re)Constructing the Healthy Turn: Body Images and Mental Health in Popular Music |
The Secret Life of Keyboards Location: Lakeshore C Chair: Lindsey Macchiarella “Which of these keyboards would you eat?” Towards an Aesthetics of Computer Keyboard Sounds Reinforcing the Tone: Connections in the Transference of Clavichord-Specific Devices |
Theorizing and Contextualizing the Harlem Renaissance Location: Greenway Ballroom C-H Chair: Paul Schleuse Thomas W. Talley’s Harlem Renaissance Musicology Reconceiving “Renaissance Happenings”: Blurred Boundaries and the Ethos of R. Nathaniel Dett’s The Ordering of Moses (1932) Seed Funding Black Theatre: Rockefeller Support of the Morehouse College and Atlanta Symphony Orchestra Premiere of Scott Joplin’s Treemonisha |
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| “Demy-Frères: Perspectives on the Collaboration Between Jacques Demy and Michel Legrand” Location: Lake Superior B Presentations of the Symposium Genre and The Umbrellas of Cherbourg Reflexive Dubbing in The Young Girls of Rochefort (1967) Complicated Passions and Discreet Documentaries: The Demy-Legrand Partnership via Varda Counterfactual Casting and Audiovisual Style in Demy and Legrand’s Parking (1985) |
Analytical Approaches to Anime Song (Anison) Location: Lake Bemidji Presentations of the Symposium The Anime OP(ening): a Corpus Study of Anison Anison’s Incomplete Narratives: Media Mix, Musical Form, and Divergence in "The Tatami Galaxy" From End Credits to Endless Loops: Intermedial Palimpsests of Momoiro Clover Z’s “Nippon Egao Hyakkei” |
Creative (Mis)Reading: Musical Adaptation of the Modern Novel Location: Lakeshore B Presentations of the Symposium A“Bad” German: Walter Kretschmer in Weinberg’s "The Passenger" “Her Voice Is Full of Money”: Daisy Buchanan’s Siren Song in Kate Soper’s "Voices from the Killing Jar" Sympathy for the Devil: Woland as Adaptation |
Forms of Listening in Contemporary Politics Location: Boundary Waters Ballroom C-D Presentations of the Symposium Clogged Ears, Undemocratic Times A Pedagogy of Event-Listening Inter-ideological Acoustics: A Model of Listening for a Divided Society |
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| Legal Auralities: Critical Approaches to Music, Sound, and Law Location: Lakeshore A |
Performing Modernity Otherwise: Asian Interventions and Reimaginations of the Western Canon Location: Lake Superior A Presentations of the Symposium Staging Cultural Crossings: Opera, Translation, and Musical Modernity in 19th-Century Bengal A Kaleidoscope of Butterflies: Reimagining Madama Butterfly through an Asian-American Lens Deep Critic, Surface Critique? Yuja Wang’s “Superficial” Beethoven and Subversion of History |
State of the Field: Jazz and Gender Location: Minnehaha |
Tracing the Intersection of Dance and Music through the University of Minnesota Performing Arts Archive and the Francis V Gorman Rare Arts Books, Media, and Artists Archives Location: Northstar Ballroom B |
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| 11:00am - 11:45am |
Exhibit Hall Showcases: Auralia & Musition, Artusi Location: Exhibit Hall |
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| 11:00am - 12:30pm |
AMS Board Meet & Greet 3 Location: Exhibit Hall |
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| 12:00pm - 2:30pm |
Dog Therapy Location: Northwoods |
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| 12:30pm - 1:30pm |
AMS Career Development Grants in American Music: Check-in 2 Location: Executive Boardroom Closed meeting. |
AMS Explore: Debrief Location: Lake Nokomis Closed meeting. |
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| 12:30pm - 2:00pm |
AMS Council Meeting Location: Boundary Waters Ballroom C-D Closed meeting. |
Business meeting of the Committee on the Publication of American Music Location: Skyway A-B |
Haydn Society of North America Annual General Meeting Location: Lake Harriet |
Open Access Musicology Location: St. Croix |
| SMT Analysis of World Musics & Autographs and Archival Documents Interest Groups Meeting Location: Lake Bemidji |
SMT Music and Philosophy Interest Group Meeting Location: Lakeshore A |
SMT Music Cognition Interest Group Meeting Location: Lakeshore C |
SMT Timbre and Orchestration Interest Group Meeting Location: Greenway Ballroom E-F |
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| SMT Work and Family Interest Group Meeting Location: Mirage |
Speed Networking Location: Nicollet Ballroom A |
AMS Cold War and Music Study Group Business Meeting Location: Greenway Ballroom D-G |
AMS Global Music History Study Group Business Meeting Location: Greenway Ballroom B-I Presenter: Daniel Castro Pantoja, Emory University Presenter: Hedy Law, University of British Columbia Presenter: Ireri Chávez Bárcenas, Bowdoin College |
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| AMS Jazz and Improvisation Study Group Business Meeting Location: Minnehaha |
AMS Popular Music Study Group Business Meeting Location: Lake Superior A |
Bad Instructions? Anarchy, Excess, and Scarcity in Music Notation Location: Greenway Ballroom C-H |
Musicking in Disabled Community: Access Intimacy and Cultural Activism. Location: Lake Minnetonka Presentations of the Symposium Access Culture at the Cedar ArtsAbly and Disability Culture Crip Sonorities |
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| Sounding Just? Pathways to Equity in Global Music Pedagogies Beyond North America Location: Lake Superior B Presentations of the Symposium Sounding Just? Pathways to Equity in Global Music Pedagogies Beyond North America Sounding Just? Pathways to Equity in Global Music Pedagogies Beyond North America Sounding Just? Pathways to Equity in Global Music Pedagogies Beyond North America |
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| 1:00pm - 2:15pm |
Exhibit Hall Showcases: Boulanger Initiative, W. W. Norton Location: Exhibit Hall |
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| 2:15pm - 3:45pm |
AMS Pedagogy Study Group Business Meeting Location: Lake Harriet |
Chinese Guzheng Performance from Antiquity to Modernity Location: Regency |
European Bellephonics: The Sounds of War and Peace Location: Great Lakes B Chair: Jacek Blaszkiewicz Contested, Controlled, Blended: Catholic Street Song in the Urban Soundscapes of Nineteenth-Century France “The cannons fired shots as a call to prayer”: Sound, Ritual, and Conquest in the Austrian Habsburg–Ottoman Thirteen Years’ War (1593–1606) Hidden Resistance, Unknowing Collaboration: The Paradox of French Prisoner of War Music during World War II |
From Chunking to 8-Bit Soundworlds: Aural Skills Foundations and Musicianship Through Video Game Music (Presented by Auralia & Musition) Location: Lake Bemidji Presenter: Timothy K Chenette, Utah State University Presenter: Thomas Yee, The University of Texas at San Antonio School of Music |
| Gendering Strategies in Films Location: Greenway Ballroom D-G Chair: Brooke Okazaki Warriors for the New Right: Hearing Gender in the Sword-and-Sorcery Film Score How Do You Solve a Problem Like Evita? Mary Bryant’s Marketing Strategy “It's she who holds her tongue who gets a man”: Performativity, music, gender, and sexuality in a selection of animated Disney films |
Identity and Authenticity in Country Music Location: Lake Superior A Chair: Esther M. Morgan-Ellis, University of North Georgia Discussant: Nadine Hubbs, University of Michigan “Murder on Music Row”: Debates on Authenticity in Country Music, and the Transgression of Fundamentalist Religious Polity Examining Genre Lines Around Country Music and the Case of Cowboy Carter Examining The Euro-Centric Origin Myth as a Folklorized Narrative in Bluegrass |
In the Shadow of Mahler Location: Great Lakes A Chair: Brent Wetters Discussant: Karen Painter Mahler’s Role in Bernstein’s Jewish Identity "Abscheulich, langweilig, und obszön": Strauss's Feuersnot as Musical Secession at Mahler's Vienna Court Opera ....music's time is the time of the trees...': Schubert-Mahler-Berio and the Sound of Nature |
Musical Ownership and Value in the 19th Century Location: Lakeshore A Chair: Matthew Franke "Not Worth the Price of Engraving": Heugel's failed publication of Rossini’s late piano music Beyond Genius to Ownership in the Early 19th Century Who Owns this Song? Translating Musical Property in Nineteenth-Century London |
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| Philosophical Approaches to Composition and Public Presentation Location: Lakeshore C Chair: Jeffrey Perry, Louisiana State University For a Semi-Public Musicology (or, Hindemith in the Playground) Xenakis’s Polytope of Persepolis: An Immersive Composition Contending with Hegelian Dialectics in Sigfrid Karg-Elert’s Organ Works |
Race and Defiant Self-Definition through Jazz Location: Lake Superior B Chair: Mark Lomanno Jazz Maroonage at the 1960 Newport Rebel Festival “Sounds that Swing”: Don Cherry’s Sonic Philosophy A Rising Star Confronts His Idol: Revisiting Miles Davis and Wynton Marsalis at Expo ‘86 |
Transmission, Reception, and Aesthetic Experimentation in Russian and Turkish Music Location: Lakeshore B Chair: Inna Naroditskaya Opera Audiences in St. Petersburg, Russia (1825-1840) The Three Rachmaninoffs: Late-Romantic, Symbolist, & Post-Romantic Alaben voisen: A Turkish Song in Avignon (ca. 1630-1650) |
American Documentary Opera, Reconsidered Location: Boundary Waters Ballroom C-D Presentations of the Symposium Behind the Scenes: Documenting Opera on Early American Television Primary Sources and Aesthetic Forces in the Creation of _Satyagraha_ and _X_ Reconsidering CNN Opera: The Televisual Dimensions of Documentary Opera History |
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| Contemporary Approaches to Critical Editions in Music – Session One: Roundtable Discussion Location: Greenway Ballroom E-F |
Contemporary Musical Modernisms: Organizing Meeting Location: Minnehaha |
Hidden Histories of Production and Consumption in Electronic Musical Instruments Location: Greenway Ballroom B-I Presentations of the Symposium A Feminine Sound? the RCA Theremin and gendered musical labor The Push-Button Problem: Gendered Labor and Hi-Fi Interfaces in the U.S. Midcentury From the Sewing Machine to the Stratocaster: Rethinking Women’s Work At Fender |
Hip Hop and Politics in the Age of Trump Location: Great Lakes C Presentations of the Symposium "Will the Real Slim Shady Please Stand Up?": Eminem as Political Football “I Am a God”: Kanye West, Religion, and the Right-Wing Cultural Strategy Rapwashing America |
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| The Baccusi Files: Digital Forensics of a New Corpus of Renaissance Imitation Masses Location: Greenway Ballroom C-H |
Workshop in Research Techniques and Bibliography, led by Répertoire International de Littérature Musicale Location: Lake Minnetonka |
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| 2:45pm - 3:30pm |
SMT Business Meeting Location: Nicollet Ballroom C-D |
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| 3:30pm - 4:15pm |
SMT Awards Ceremony Location: Nicollet Ballroom C-D |
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| 4:00pm - 5:30pm |
20th Century Musical Institutions Location: Lake Bemidji Chair: Rachel Vandagriff Beyond State Support: IRCAM and the Cultivation of Elite Patronage Contested Modernisms: The Reception of the Darmstadt School in Soviet Latvia Music Patron James Loeb |
Concerts and Commerce in the 18th and 19th centuries Location: Great Lakes B Chair: Beverly Wilcox, California State University, Sacramento Music, Manners, and Money: The Bach-Abel Subscription Concerts, 1773-1780 Virtuosity and Economics: Johann Christian Bach’s Symphonies Concertantes in Eighteenth-Century Public Concerts Visualizing Women’s Roles and Networks in the Concert Life of 1820s Vienna |
Italian Opera and Exoticism Location: Lake Superior A Chair: Laura Vasilyeva Counter-Reversal of Puccini’s Madama Butterfly as Operatic Critique in Huang Ruo’s M. Butterfly (2022) (New) Realism in Puccini’s Madama Butterfly Verdi’s Aida: A Case of Western Colonial Organology |
Musical Landscapes Across the Americas Location: Northstar Ballroom A |
| Popular Music and the Global Caribbean Location: Greenway Ballroom D-G Chair: Maria Ryan Lukewarm Liminality: A Reggae Band Challenges Switzerland’s Sense of Self Transcultural Identity Construction in Caribbean Popular Music: A Comparative Analysis of Shenseea and Stefflon Don Contradictions of U.S. Imperialism and Rebel Soundscapes: Julio Cueva, Tito Enríquez, Bebo Valdés, and Jazz in the Caribbean |
Practices of Memory and Resistance Location: Greenway Ballroom C-H Chair: Lesley Hughes Memorializing (and Manipulating?) 9/11 Musical Memory "Y2K Turned Out All Right": Vaporwave Livestreams as Therapuetic Memory Practice A New Collective Memory: The Sonic Battle Between Chiang Kai-shek Memorial Hall and Liberty Plaza |
Seeing and Depicting Queerness Location: Lake Superior B Chair: Joseph Ortiz, University of Texas at El Paso “He’s Become a Part of Me”: Queering the Levi-Brahms Artistic Relationship Alienness, Queerness, and the Sacred in Clones of Dr. Funkenstein (1976) Gay Panic: Sonic Intensifiers of Queer Tragedy in Horrific Video Games |
Challenges and Opportunities Presented By Artificial Intelligence in Music Location: Greenway Ballroom B-I Presentations of the Symposium “Here It Goes Again:” The Copyright Challenges of A.I.-Generated Music Composing Capital and the Commodification of Copyright in Generative AI Models Music Patterns, Artificial Intelligence & Copyright |
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| Contemporary Approaches to Critical Editions in Music – Session Two: Workshop Location: Greenway Ballroom E-F |
Mastering the Art of the Abstract Location: Boundary Waters Ballroom A-B |
Music, Sound, and Medicalized Trauma in Global and Historical Contexts Location: Great Lakes A Presentations of the Symposium The Socio-Cultural and Liturgical Response to the English Sweats or Sudor Anglicus, 1485-1551 Sonic Healing and Resistance: Music and Sound in Asian Healthcare Contexts Charting Trauma’s Embodied Imprints: The Endemic Era and its Sonic Cartographies of Medicalization A Match Made in Medical Doubt: WWI Musico-Therapy and Shell Shock Collective Isolation and the Sonic Environment: Headphones at Waverly Tuberculosis Sanatorium |
Preserving Composers’ Work in the Digital Age Location: Lake Minnetonka |
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| Sound, Image, and Gesture in Composition and Performance (ca. 1425–1725) Location: Lakeshore A Presentations of the Symposium Visual and Sounding Symmetries in the Chansons of Gilles Binchois (ca. 1400–60) Didactics Beyond Depiction: Ratio, Sensus, and Jesuit Dialectic in Heinrich Biber’s Rosary Sonatas (ca. 1680) “Figures” in Marin Marais’s Pièces de Caractère: A Musical Vocabulary of Characters and Actions |
Sounds of the Contemporary City: Music and Musicking in Urban Spaces at the Turn of the Twenty-First Century Location: Lakeshore B Presentations of the Symposium NEW GENRE PUBLIC OPERA: CRITICISM AND AESTHETICS IN "ANOTHER CITY." HEAR MỊ OUT: REMIXING ETHNICITY/CIVILIZATION IN V-POP MEDELLINIFICACIÓN: GENTRIFICATION, TOURISTIFICATION, AND THE URBAN AURAL SPHERE |
Women’s Music Networks in the United States: Illuminating Unseen Labor Location: Great Lakes C Presentations of the Symposium Women’s Clubs’ Nationalistic Promotion of American Women Composers The Power of Women Mentoring Women: Agnes Woodward’s Whistling School and the Propagation of Whistling as an Art Henry Cowell, the National Federation of Music Clubs, and Musical Internationalism in the 1930s |
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| 4:00pm - 6:00pm |
K-Pop: Inside, Outside, New and Old Location: Mirage Chair: Jeong-In Lee, University of Southern California “You make it feel me good": K-pop English and Gestalt Listening Across Borders Korean Wind: A Trend Toward Tradition in Modern K-Pop? “You can call me SUGA, or Agust D, or Yoongi”: An Examination of K-pop Artist Min Yoongi's Vocal Personas "Narratives of Modernization in Korean Pop Ballads from the 1990s and Early 2000s" |
Music and the Fight for Civil Rights Location: Boundary Waters Ballroom C-D Chair: Stephen Andrew Stacks, North Carolina Central University “Together We Sing”: Ulysses Kay’s Cantatas and the Interracial Music Council Henry Ford, Marian Anderson, and the Political Stakes of Performance Chasing Ghosts in Princeton, New Jersey: Paul Robeson, Dorothy Maynor, and Westminster Choir College in the 1930s The Lynching at Peekskill: Paul Robeson and Early Cold War Black Radical Politics |
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| 4:45pm - 6:00pm |
SMT Plenary: Queering the Pitch—Thirty Years On Location: Nicollet Ballroom C-D Chair: Stephan Pennington, Tufts University Presenter: James Currie, University at Buffalo Presenter: Nadine Hubbs, University of Michigan Presenter: Vivian Luong, University of Oklahoma |
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| 6:00pm - 7:00pm |
AMS Business Meeting Location: Nicollet Ballroom A-B |
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| 6:00pm - 8:00pm |
University of Oregon Reception Location: Lake Nokomis |
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| 6:45pm - 8:45pm |
University of Michigan Reception (Musicology and Music Theory) Location: Lake Superior B |
University of Pennsylvania Music Department Reception Location: Lake Superior A |
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| 7:00pm - 7:30pm |
AMS Awards Ceremony Location: Nicollet Ballroom A-B |
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| 7:30pm - 8:30pm |
Joint Awards Reception Location: Lakeshore A-B-C |
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| 7:30pm - 9:30pm |
AMS-SMT Trivia Night Location: Great Lakes C |
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| 7:45pm - 9:45pm |
Closing the Gap Between Musical and Philosophical Hermeneutics Location: Greenway Ballroom C-H |
Popular Music and/as Resistance Location: Greenway Ballroom B-I Presentations of the Symposium The Rhetorics of Rhymes & Revolutions Algorithmic Resistance: Playlisting, Protest Music, and the Politics of Visibility Embodying Resistance, Constructing Authenticity, Inciting Agency: The Queer Genius of Doechii’s Grammy Performance Raminten Caberet Show: An Indonesian Drag Venue as a Concrete Utopia Monetochka and IC3PEAK: Delicate Voices of Russian Subversion |
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| 8:00pm - 10:00pm |
Stanford University Party Location: St. Croix |
The University of Texas at Austin Reception Location: Lake Harriet |
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| 9:30pm - 11:30pm |
Cornell Reception Location: Lake Bemidji |
Indiana University Jacobs School of Music Reception Location: Boundary Waters Ballroom C-D |
McGill University Reception Location: Lake Superior A |
Princeton University Alumni and Friends Party Location: Skyway A-B |
| UCLA Musicology Reception Location: Greenway Ballroom D-G |
University of California, Berkeley Alumni Reception Location: Lake Superior B |
Yale Party Location: Boundary Waters Ballroom A-B |
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| 10:00pm - 11:59pm |
AMS LGBTQ Study Group Party Location: Lakeshore A-B-C |
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