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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Session Overview | |
| Location: Mirage |
| Date: Thursday, 06/Nov/2025 | |
| 2:15pm - 3:45pm |
History of Theory I Location: Mirage Chair: Deborah Burton, Boston University Reviving Politics, Ritualizing Music - The Rehabilitation of Xiong Penglai within the History of Chinese Music Theory The Silence of the Archive: Challenges in the Global History of Portuguese Music Theory, 1500–1755 Reimagining Marches Harmoniques: Maurice Ravel’s Innovative Transformation of Historical Techniques |
| 4:00pm - 5:30pm |
20th-Century Ideas I Location: Mirage Chair: Daphne Leong, University of Colorado Boulder Luciano Berio’s Multidimensional Concept of Harmony Theorizing Benjamin Britten’s “Twelve-Note Thinking” (Dis)unity of Musical Space in the Late Works of György Ligeti |
| 7:15pm - 8:45pm |
SMT Dance and Movement & Performance and Analysis Interest Groups Meeting Location: Mirage |
| Date: Friday, 07/Nov/2025 | |
| 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 |
| 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 |
| 2:15pm - 3:45pm |
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 |
| 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 |
| 7:00pm - 8:30pm |
Satie is Dead, Long Live Satie Location: Mirage |
| Date: Saturday, 08/Nov/2025 | |
| 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 |
| 10:45am - 12:15pm |
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 |
| 12:30pm - 2:00pm |
SMT Work and Family Interest Group Meeting Location: Mirage |
| 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" |
| Date: Sunday, 09/Nov/2025 | |
| 9:00am - 10:30am |
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 |
| 10:45am - 12:15pm |
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 |