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.
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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: Sunday, 09/Nov/2025 | ||||
| 9:00am - 10:30am |
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 Pulsing in a Hall of Mirrors: Musical Borrowing in John Adams’s Absolute Jest “Silence is the Canvas behind the Sound”: From Gesture to Timbre in Rebecca Saunders’s Works for Strings |
Analysis of Popular Music III Location: Mirage Chair: Brett Clement, Ball State University Sus in the Sixties “Sometimes a Fantasy”: Billy Joel and the Concealed Lament in his “Soliloquy” for Solo Piano Songs without a chorus and other metal deviations, The riff integration and double rise in extreme metal music |
Dance Location: Lake Minnetonka Chair: Stefanie Bilidas, University of Texas at Austin A Phenomenological Perspective on Choreomusical Space-Time Beyond Rhythm and Steps: Interrogating Epistemologies of Academic Rhythm Tap Dance Transcription Revealing the Habanera and Síncopa Rhythms in the Melodic, Harmonic, and Dance Patterns of “El choclo” and “La cumparsita” |
Disney and Musical Representations of American Identity Location: Greenway Ballroom B-I Chair: Jeremy J. Peters, Wayne State University Screening Innocence, Sounding Home - Singing Children in Disney's "Silver Age" (1950-1967) “At the End of the Street”: The Marching Band as a Sonic Marker of U.S. American Identity Disney, Copland, and Lincoln |
| Jazz Instrumentalities Location: Lake Bemidji 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 Glocalization in Polish Jazz Violin: Manifestations of Folk and Freedom Patrice Rushen and the Fender Rhodes as Facilitator in Negotiations of Positionality |
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 Medieval Women Copying Chant: A Hitherto Unknown Scriptorium in Stary Sącz (Poland) Matrona Musica: Didactic Presence in the Material Culture of Noble Women’s Lives c. 1500 |
Musicking Fans Location: Regency Chair: J. Daniel Jenkins, University of South Carolina Analyzing Fan Authorship in Vocaloid Music First Time Hearing: YouTube Reaction Videos and the Commodification of the Inexpert Listener Participatory Covers, Audience Choirs, and Jacob Collier's Public Music Theory |
Opera and Disability Studies Location: Lakeshore C Chair: Anita Hardeman, Western Illinois Univeristy Silent Sirens, Singing Signs: Music’s Gestures in Unsuk Chin’s Le Silence des Sirènes and Christine Sun Kim’s Face Opera II Shadows and Schmerzenskind: In/Fertility in Strauss and Hofmannsthal's Die Frau ohne Schatten |
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| 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 Ailton Krenak’s Performance Theory and Opera’s Ancestral Future: Subverting Carlos Gomes’s Il Guarany Postcolonial Music Institutions and the Environment: The Teatro Amazonas |
Beyond the Specter of “AI”: Algorithmic Bias, Systems of Power, and the Impact of Machine Learning on Contemporary Soundscapes Location: Lakeshore B Presentations of the Symposium I’ll Be Bach: On Compositional Identity, Machine Learning Algorithms, and the Claims of Computational Composition What Madonna and Kraftwerk Can Teach Us about Music Copyright after The "AI Turn" What is a Voice Worth? Voice Actors and AI Voice Labor under Techno-Capitalism |
Cinematic Sound, Identity, and Memory: Theorizing the Audience in Film Music Analysis Location: Greenway Ballroom E-F Presentations of the Symposium Rebooting a Film, Rebooting its Music, and the Nostalgia Factor Who is Scored to Save the World? Topics, Tropes, and Musical Representations of Superheroes in the Marvel Cinematic Universe (2018-2024) When a Song Becomes an Anthem, a Person Becomes a Crowd |
Fou Ts'ong's Creative Worlds Location: Lake Superior B Presentations of the Symposium Performing Transcultural Aesthetics Fou Ts’ong’s Haydn The “Chinese” Debussy |
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| Queen Bey: Perception, Reception, and Audience Location: Greenway Ballroom D-G Presentations of the Symposium “Let Me Upgrade U:” Beyoncé as a Captive Maternal “Hear ‘em swarming, right? Bees is known to bite”: The Beyhive, Anti-Criticism, and Fan Mythology Praise for the Alien Underground: Beyoncé, Sampling, and Identity in Renaissance |
Sonic Worlds of Race and Ecology Location: Greenway Ballroom C-H Presentations of the Symposium “All Green Plants Swing”: Sonic Porosity in the Improvised Garden “Please Hold Me in the Green”: Blackness, Planthood, and Critical Botanical Listening |
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| 9:00am - 11:00am |
Musical Publications in the 18th and 19th Centuries Location: Lakeshore A Chair: Paul Corneilson The Swiss Museum: A Source Overview “As Played By …”: Inscribing Ephemera in Nineteenth-Century Performer-Centric Music Editions The Giulianiad, the Autodidact, and Mauro Giuliani’s Posthumous Reception in London, 1833–1843 The Death and Afterlife of the Multi-Work Opus |
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| 9:00am - 12:00pm |
Charles Ives in 2025 (and Beyond): New Perspectives, Interpretations, and Predictions Location: Northstar Ballroom A Presentations of the Symposium The Works of Ives in 2025: Preserving, Editing, Publishing, and Engaging “Ives, ‘Thoreau,’ and the Problematic Sublime: Resonances for the Twenty-First Century” Ives in the Post-Genre Navigating Ives's Legacy: Elliott Carter’s Brass Quintet, The Ives Centennial, and Multiple Musical Identities Reconsidering Charles Ives’s Problematic Language Does Sexuality Play any Role in Charles Ives’s Music? Reflections on Two Versions of "The Housatonic At Stockbridge" |
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| 10:45am - 12:15pm |
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 Playing with the Net Down: Formalism and Dialectics in Helmut Lachenmann’s Music and Thought Ferneyhough's Modernist Fragments |
Choreography Location: Regency Chair: Rebecca Simpson-Litke, University of Manitoba Blooming in Gesture: The Embodied Choreography in Yao Chen’s Lotus Aloft (2014) Upping the Ante: Balanchine’s Choreography of Stravinsky’s Symphony in Three Movements Choreopictography: the hermeneutic implications projective symmetry and rhythmic formulae have in Prokofiev’s The Stone Flower |
Intertextuality and Interpretation Location: Mirage Chair: Ben Baker, Eastman School of Music Genre topics, intertextuality, and narrative in Yoasobi’s “Idol” Spiritual Transformations in Two Songs by Sunn O))) Thelonious Monk’s Wrong (…but Right) Notes |
Making Music and Meaning on the Internet Location: Lakeshore B Chair: Mark Samples Fakes, Grifts, Hallucinations, Hoaxes: Hearing Musical Misinformation Online “I Choose Violence”: Reverberant Feminist Rage in a Man v. Bear Digital World #soundscape: Virtual Spatiality, Online Sonic Atmospheres, and Soundscaping Platforms |
| 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 "Loud and Unnecessary": Drum Circles in Miami Beach as a Space of Socio-Political Dissensus Affective Economies, Excitation Transfers, and Sonic Atmospheres in Argentine Soccer Stadiums |
Still Here: Protest, Survival and Queer Worldbuilding Location: Boundary Waters Ballroom C-D Chair: Lee K. Tyson, Ithaca College 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 “Give me sodomy or give me death:” Deciphering the Embodied Political Persuasion and Deconstruction in Diamanda Galás’s Plague Mass Nixon’s Big Gay Wedding: The Cockettes Crash the White House Fantasy |
Operatic Echoes in the Global Francophone World Location: Greenway Ballroom D-G Presentations of the Symposium Singing Subjugation: Ursuline Nuns and Opera Airs in Colonial Nouvelle-Orléans Democratizing French Opéra-Comique: Circus Show in Eighteenth-Century Montréal Reflections on the So-Called Enlightenment: Staging Science and Superstition in Post-Revolutionary Haiti |
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