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, 02:58:01am EDT
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Daily Overview |
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Virtuosic Pianism and Performance Practices Session Chair: Dana Gooley | |
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Music-Induced Tourism and Pianistic Nationalism: The Aesthetic Work of Rapsodia Nusantara by Ananda Sukarlan Ohio University Ananda Sukarlan is among the most prominent contemporary Indonesian pianist-composers to engage art music as a medium of national musical representation. Born in Jakarta in 1968, Sukarlan has spent some of his professional life in Spain and now lives in Jakarta, Indonesia, a transnational trajectory that has shaped his compositional voice. Sukarlan’s oeuvre encompasses a wide range of genres, including opera, vocal music, and chamber works, among other compositions. Scholars have analyzed Sukarlan’s work, such as the integration of Indonesian folk materials into Western pianistic idioms (Kristianto 2012); an in-depth analytical interpretation of Rapsodia Nusantara No. 4 (Panjaitan 2020); and examined the archipelagic musical elements across Sukarlan’s piano and vocal works (Manalu et al. 2021). Drawing on folk songs from all 38 provinces of Indonesia, Sukarlan’s compositions transform local musical identities into a unified yet diverse concert repertoire. During the COVID-19 pandemic, Sukarlan presented Rapsodia Nusantara through livestreamed and recorded online performances that reached audiences across Indonesia and worldwide. Uniquely paired with cinematic imagery of landscapes, heritage sites, and regional cultures, these performances offered virtual encounters with place at a moment when physical travel was impossible. I argue that Sukarlan’s works on a digital circulation reframed the piano performance as a cultural conduit, showcasing Indonesia’s musical richness while functioning simultaneously as a work of pianistic nationalism and as a form of music-induced tourism. By analyzing the selected works from Rapsodia Nusantara in streamed performances and audience reception documented by the Ministry of Culture and Education during the pandemic. I demonstrate how Sukarlan’s compositional strategies—folk-song transformation, stylistic composition, and virtuosic pianism—produce a coherent aesthetic framework that guides listeners sonically across the Indonesian archipelago. This paper reveals how contemporary art music can participate in broader cultural and economic ecosystems, particularly in relation to tourism and national representation. By situating Rapsodia Nusantara within conversations on music, media, cultural, and tourism economic values, this study reframes nationalist piano repertoire as an active agent in shaping cultural visibility and mobility in the digital age. More broadly, the paper offers a model for understanding how streamed musical performance can generate value and place-based imagination beyond the concert hall. | |