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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Please note that all times are shown in the time zone of the conference. The current conference time is: 1st Sept 2026, 02:59:30am EDT
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Daily Overview |
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Women's Agency in Music Session Chair: Aimee Gonzalez | |
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“Warmización: Revisiting Communal Musicking from a Gendered Latin American Perspective” 1: Georgia State University, GA; 2: National University of the Arts, Argentina. Emerging from ethnographic and performative research conducted with women’s musical ensembles in Argentina, this paper explores warmización* (Vega 2025) as a situated feminist and decolonial analytic framework for musicological inquiry. Rather than conceptualizing gendered musical participation in terms of representation, or access to historically male-dominated repertoires, the paper theorizes warmización as the process through which musicking (Small 2006) becomes: (1) a safe homeplace (bell hook 1990) for the recognition and circulation of inequalities, and (2) a site of gendered decolonial listening. Both dimensions contribute to the reconfiguration of ensemble hierarchies and musical subjectivities within the structures of patriarchal modernity. Through a comparative analysis of Andean women’s sikuri bands and the all-women academic initiative Ensemble WARMI, the paper examines how warmización operates across distinct musical genres and performance contexts. In women’s sikuri practices, warmización processes emerge as a communal, territorially grounded mode of musicking that unsettles the masculine authority historically embedded in Andean panpipe traditions. In the case of Ensemble WARMI, warmización extends beyond critiques of gender exclusion to activate ancestrally grounded practices of communal listening. By intersecting with emotional, corporal and affective experience (Jud 2022), warmización instances result in the reconfiguration of hegemonic listening models. Grounded in memory, embodiment, and affectivity, it transforms dynamics of authorship, leadership, and voice. Situated in dialogue with performance studies, feminist musicology, Latin American sound studies, and decolonial theory, this paper advances warmización as an analytical tool for understanding how women’s interventions transform musicking from within. These transformations occur not solely through the contestation of hegemonic systems, but through the articulation of alternative listening subjectivities and epistemologies. By foregrounding performance as a site of identity negotiation, the paper contributes to broader trans-hemispheric debates on women’s artistic production, gendered ensembles, decolonial performance practices, and the politics of musical modernity. *Derived from warmi, Quechua term for woman, referring to the ancestral feminine strength and wisdom. | |