Conference Agenda
The Online Program of events for the 2026 AMS 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 have been organized by one of the regional associations of IMS (ARLAC or IMSEA). (Sessions which are both IMS sessions and performances are only colored orange.)
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Click on the session name for a detailed view (with participant names and abstracts).
Please note that all times are shown in the time zone of the conference. The current conference time is: 1st Sept 2026, 02:34:27am EDT
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Daily Overview |
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Sonic and Visual Excess Session Chair: Polina Dimova | |
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Anxiety, Spirituality, and Class Subversion in Rosalía’s Berghain University College Dublin In the music video for “Berghain,” the first single from her 2025 album Lux, Catalonian singer and producer Rosalía goes through her daily life accompanied by musicians from the London Symphony Orchestra performing as she does chores, goes to the doctor, and rides the bus. The excess of the spectacle gestures toward the grandiose drama and complexity of the everyday, toward the heaviness of common or equalizing affective realities and lived experiences (Kellner 2005, Debord 2021). The words to the song—sung in German, Spanish, and English—signal the artist’s cosmopolitan creative circulation and use metaphor to detail the emotional labor of quenching one’s desires for those of a significant other. More than a love song, the instability and discomfort of the song’s dynamic is further articulated through the divergent timbral contributions of Icelandic avant-garde performer and creative Björk and American experimental performer Yves Tumor. I argue that metaphor is also present as a meaningful visual tool, shaping semiotic gestures to evoke anxiety, isolation, and spiritual conflict while drawing attention to a sonically driven class divide that Rosalía’s evolving sound continues to challenge through remixing. “Berghain” contributes to an existing canon of Rosalía employing visual metaphors to produce a cross-cultural visual imaginary inspired by her Spanish upbringing and global pop culture influences. I will demonstrate this by engaging in a comparative analysis of her music videos for “Malamente (Cap. 1: Augurio)” from El mal querer (2018), “Saoko” from Motomami (2022) and “Berghain,” additionally identifying a liberatory trajectory challenging the stratification of popular/vernacular genres and separation of classical and traditional styles. | |