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).
9:00am 20th-Century Ideas II Location: Boundary Waters Ballroom A-B Chair: Benjamin Levy , University of California, Santa Barbara
The Dialectic of Instrumental Synthesis and the Mimetic Afterlives of Musique Spectrale
Calum Jensen
Pulsing in a Hall of Mirrors: Musical Borrowing in John Adams’s Absolute Jest
Hei-Yeung {John} Lai
“Silence is the Canvas behind the Sound”: From Gesture to Timbre in Rebecca Saunders’s Works for Strings
Morgan Rich
Analysis of Popular Music III Location: Mirage Chair: Brett Clement
Sus in the Sixties
Fernando Benadon
“Sometimes a Fantasy”: Billy Joel and the Concealed Lament in his “Soliloquy” for Solo Piano
John Charles Koslovsky
Songs without a chorus and other metal deviations, The riff integration and double rise in extreme metal music
Avinoam Foonberg
Dance Location: Lake Minnetonka Chair: Stefanie Bilidas , University of Texas at Austin
A Phenomenological Perspective on Choreomusical Space-Time
Amy Ming Wai Tai
Beyond Rhythm and Steps: Interrogating Epistemologies of Academic Rhythm Tap Dance Transcription
Rachel Gain
Revealing the Habanera and Síncopa Rhythms in the Melodic, Harmonic, and Dance Patterns of “El choclo” and “La cumparsita”
Rebecca Simpson-Litke
Musicking Fans Location: Regency Chair: J. Daniel Jenkins , University of South Carolina
Analyzing Fan Authorship in Vocaloid Music
Brandon Qi
First Time Hearing: YouTube Reaction Videos and the Commodification of the Inexpert Listener
Lauren Rose Irschick
Participatory Covers, Audience Choirs, and Jacob Collier's Public Music Theory
Ben Baker
Beyond the Specter of “AI”: Algorithmic Bias, Systems of Power, and the Impact of Machine Learning on Contemporary Soundscapes Location: Lakeshore B
Chair(s): Eric Drott
Presentations of the Symposium
I’ll Be Bach: On Compositional Identity, Machine Learning Algorithms, and the Claims of Computational Composition
Eric Whitmer
What Madonna and Kraftwerk Can Teach Us about Music Copyright after The "AI Turn"
Matthew Blackmar
What is a Voice Worth? Voice Actors and AI Voice Labor under Techno-Capitalism
Kelly Hoppenjans
Cinematic Sound, Identity, and Memory: Theorizing the Audience in Film Music Analysis Location: Greenway Ballroom E-F
Organizer(s): Táhirih Motazedian
Chair(s): Frank Lehman
Presentations of the Symposium
Rebooting a Film, Rebooting its Music, and the Nostalgia Factor
Táhirih Motazedian
Who is Scored to Save the World? Topics, Tropes, and Musical Representations of Superheroes in the Marvel Cinematic Universe (2018-2024)
Janet Bourne
When a Song Becomes an Anthem, a Person Becomes a Crowd
Juan Chattah
Fou Ts'ong's Creative Worlds Location: Lake Superior B
Chair(s): Keri Hui
Presentations of the Symposium
Performing Transcultural Aesthetics
Roe-Min Kok
Fou Ts’ong’s Haydn
Keri Hui
The “Chinese” Debussy
Guangchen Chen
From the Garden to the Sea: Sonic Worlds of Race and Ecology Location: Greenway Ballroom C-H
Chair(s): Rachel Mundy
Presentations of the Symposium
“All Green Plants Swing”: Sonic Porosity in the Improvised Garden
Elizabeth Frickey
“Please Hold Me in the Green”: Blackness, Planthood, and Critical Botanical Listening
Cana F. McGhee
The Mermaid and the Whale: The Ecological Memory and Knowledge of Haitian Vodou Songs
Christelle Jasmin
Disney and Musical Representations of American Identity Location: Greenway Ballroom B-I Chair: Jeremy J. Peters , Wayne State University
Disney, Copland, and Lincoln
David Miller
“At the End of the Street”: The Marching Band as a Sonic Marker of U.S. American Identity
Anna Marinela Lopez
Screening Innocence, Sounding Home - Singing Children in Disney's "Silver Age" (1950-1967)
Hannah Neuhuaser
Jazz Instrumentalities Location: Greenway Ballroom D-G Chair: David Ake , Frost School of Music/Univ. of Miami
Reproducing Jazz through Machines : The Forgotten Master of Player Piano in Jazz History—J. Lawrence Cook (1899–1976) and His Thousands of Piano Rolls
ching-nam Hippocrates Cheng
Glocalization in Polish Jazz Violin: Manifestations of Folk and Freedom
Alexa Torres Skillicorn
Patrice Rushen and the Fender Rhodes as Facilitator in Negotiations of Positionality
Glen Bourgeois
Music and the Lives of Medieval Women Location: Boundary Waters Ballroom C-D Chair: Kirsten Yri Discussant: Lynette Bowring
The Strong Voice of Gandersheim: Music Theory in Hrotsvit’s Tenth-Century Dramas
Flannery E. McIntyre
Medieval Women Copying Chant: A Hitherto Unknown Scriptorium in Stary Sącz (Poland)
Katarzyna Grochowska
Matrona Musica: Didactic Presence in the Material Culture of Noble Women’s Lives c. 1500
Jane Hatter
Opera and Disability Studies Location: Lakeshore C
Silent Sirens, Singing Signs: Music’s Gestures in Unsuk Chin’s Le Silence des Sirènes and Christine Sun Kim’s Face Opera II
Samantha Kim Heinle
Shadows and Schmerzenskind: In/Fertility in Strauss and Hofmannsthal's Die Frau ohne Schatten
Madison Schindele
Disability as Narrative Prosthesis in Seventeenth-Century Venetian Opera
Júlia Coelho
Re-Sounding the Postcolonial City Location: Lake Superior A Chair: John Gabriel , University of Melbourne
Playlisting the City: Japanese City Pop, Alienated Listening, and the Aural Politics of Urban Belonging in Postcolonial South Korea
Cody Black
Ailton Krenak’s Performance Theory and Opera’s Ancestral Future: Subverting Carlos Gomes’s Il Guarany
Eduardo Sato
Postcolonial Music Institutions and the Environment: The Teatro Amazonas
Philipp Lojak
9:00am Musical Publications in the 18th and 19th Centuries Location: Lakeshore A Chair: Paul Corneilson
The Swiss Museum: A Source Overview
Emily Loeffler
“As Played By …”: Inscribing Ephemera in Nineteenth-Century Performer-Centric Music Editions
Jonathan Kregor
The Giulianiad, the Autodidact, and Mauro Giuliani’s Posthumous Reception in London, 1833–1843
Lindsay Jones
The Death and Afterlife of the Multi-Work Opus
M. Lucy Turner
9:00am Charles Ives in 2025 (and Beyond): New Perspectives, Interpretations, and Predictions Location: Northstar Ballroom A
Chair(s): David Thurmaier
Discussant(s): J. Peter Burkholder
Presentations of the Symposium
The Works of Ives in 2025: Preserving, Editing, Publishing, and Engaging
Donald Berman
“Ives, ‘Thoreau,’ and the Problematic Sublime: Resonances for the Twenty-First Century”
Denise Von Glahn
Ives in the Post-Genre
Derek Myler
Navigating Ives's Legacy: Elliott Carter’s Brass Quintet, The Ives Centennial, and Multiple Musical Identities
David Thurmaier
Reconsidering Charles Ives’s Problematic Language
Chelsey Hamm
Does Sexuality Play any Role in Charles Ives’s Music? Reflections on Two Versions of "The Housatonic At Stockbridge"
Judith Tick
10:45am 20th Century Compositional Poetics Location: Greenway Ballroom E-F Chair: Antares Boyle , Portland State University
Space, Time, and Harmony in Max Reger’s ‘Morgen,’ op. 66/10
David Hier
Playing with the Net Down: Formalism and Dialectics in Helmut Lachenmann’s Music and Thought
Zachary Bernstein
Ferneyhough's Modernist Fragments
Anna Rose Nelson
Choreography Location: Regency Chair: Maeve Sterbenz
Blooming in Gesture: The Embodied Choreography in Yao Chen’s Lotus Aloft (2014)
Yi-Cheng Daniel Wu
Upping the Ante: Balanchine’s Choreography of Stravinsky’s Symphony in Three Movements
Lynne Rogers, Kara Yoo Leaman
Choreopictography: the hermeneutic implications projective symmetry and rhythmic formulae have in Prokofiev’s The Stone Flower
Elwyn Helen Rowlands
Intertextuality and Interpretation Location: Mirage Chair: Ben Baker , Eastman School of Music
Genre topics, intertextuality, and narrative in Yoasobi’s “Idol”
Noriko Manabe
Spiritual Transformations in Two Songs by Sunn O)))
Guy Capuzzo
Thelonious Monk’s Wrong (…but Right) Notes
Anna Peloso
Operatic Echoes in the Global Francophone World Location: Greenway Ballroom D-G
Chair(s): Erica Levenson
Presentations of the Symposium
Singing Subjugation: Ursuline Nuns and Opera Airs in Colonial Nouvelle-Orléans
John Romey
Democratizing French Opéra-Comique: Circus Show in Eighteenth-Century Montréal
Elizabeth Rouget
Reflections on the So-Called Enlightenment: Staging Science and Superstition in Post-Revolutionary Haiti
Henry Stoll
Queen Bey: Perception, Reception, and Audience Location: Greenway Ballroom C-H
Chair(s): Jasmine Henry
Presentations of the Symposium
“Let Me Upgrade U:” Beyoncé as a Captive Maternal
Lydia Bangura
“Hear ‘em swarming, right? Bees is known to bite”: The Beyhive, Anti-Criticism, and Fan Mythology
Lee Thomas Richardson
Praise for the Alien Underground: Beyoncé, Sampling, and Identity in Renaissance
Jordan Brown
Making Music and Meaning on the Internet Location: Lakeshore B Chair: Mark Samples
Fakes, Grifts, Hallucinations, Hoaxes: Hearing Musical Misinformation Online
Paula Clare Harper
“I Choose Violence”: Reverberant Feminist Rage in a Man v. Bear Digital World
Teresa Marie Turnage
#soundscape: Virtual Spatiality, Online Sonic Atmospheres, and Soundscaping Platforms
Kate Galloway
Sounding Excitement and Resistance in Latin American Communities Location: Lake Superior A Chair: Eduardo Sato
Somos Mexicanos, No Somos Criminales: Sounding Resistance Through Chican@ Ska
Andrew Vogel
"Loud and Unnecessary": Drum Circles in Miami Beach as a Space of Socio-Political Dissensus
Hannah Marie Junco
Affective Economies, Excitation Transfers, and Sonic Atmospheres in Argentine Soccer Stadiums
Eduardo Herrera
Still Here: Protest, Survival and Queer Worldbuilding Location: Boundary Waters Ballroom C-D Discussant: Kristin Marie Franseen
“I’m Gonna Keep on Dancing”: Chappell Roan’s “Pink Pony Club,” Dance Floor Utopias, and the Queer Art of Survival
Erin Anne Fitzpatrick
“Give me sodomy or give me death:” Deciphering the Embodied Political Persuasion and Deconstruction in Diamanda Galás’s Plague Mass
Yan Gao
Nixon’s Big Gay Wedding: The Cockettes Crash the White House Fantasy
Eloy Ramirez
