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.)
Use the search bar to search by name or title of paper/session. Note that this search bar does not search by keyword.
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, 02:58:02am EDT
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Daily Overview |
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Disability Aesthetics Session Chair: Jessica Grimmer | |
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Crip-time, Repetition, and Autistic Listening Brown University “Crip time,” understood as the centering of the temporality of disabled bodies and minds and the possibilities conjured by doing so, has been used within disability studies to analyze works within a variety of media. As Sonia Loftis notes in a crip time analysis of Shakespeare, experiencing time differently can be central to the neurodivergent experience. I argue that thinking in crip time offers opportunities for analyzing repetition in music from the positionality of the autistic listener. As an example, I offer a crip time reading of the repetitions in the final movement of Shostakovich’s Piano Trio No. 2 informed by my personal experience. Such a reading does not reject but may add an additional layer to traditional, historically-informed interpretations of the non-normative passage of time and repetitions within the piece. Musicologists have used non-normative music as a metaphor for neurodivergent experience. For example, Joseph Straus observes that modernism in music includes a celebration of the unconventional aesthetic, which is especially open to a reading through a lens of disability. Drawing on hermeneutic analysis and on research ranging from Michael Bakan’s ethnographic work to Katie Overy and Istvan Molnar-Szakacs’s work on music perception, this paper uses crip time as a means to go beyond using musical style to represent disability, focusing instead on the experience–both drastic and gnostic–of the crip listener. | |