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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Brahms Reception Session Chair: stephen husarik, University of Arkansas - Fort Smith | |
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Brahms, Nationalism, and the Hungarian-Roma Musical Idiom Temple University, Scholars and music critics have debated how much of the so-called “Gypsy band” style from Hungary can be attributed to Roma musicians and how much is a product of a Magyar musical idiom since as far back as Liszt and Bartók’s own writings. In this paper, I unite elements of Bellman’s style hongrois, Loya’s verbunkos idiom, and Lynn Hooker’s work on Hungarian musical idioms to define a Hungarian-Roma musical idiom to acknowledge both the geographic origins in Hungary as well as the active role that Roma musicians played in shaping this style. I argue that the Hungarian-Roma musical idiom in Johannes Brahms’s chamber music serves a dual function of providing an exoticist foil to Brahms’s ideal German music while simultaneously signifying the topic of deep, nearly unrestrained, emotional passion associated with stereotypes of Romani musicians. Brahms’s chamber works, particularly Op. 34, Op. 114, and Op. 115, exemplifies the integration of exoticist trends into Brahms’s lexicon of musical topics. In addition, this idiom adds an element of contrast to material which draws more strongly on the compositional techniques of his German predecessors Bach, Handel, and Beethoven, revealing the composer’s conflicted feelings about the formation of a German state. To illuminate the cultural power dynamics inherent in this conflict, I examine how the elements of the Hungarian-Roma musical idiom are altered to conform with expectations of Brahms’s audiences within each of the selected chamber works. These changes, when taken alongside the intellectualism that characterized Brahms’s musical style and the cultural milieu in Vienna at the turn of the twentieth century, reflect the composer’s complicated relationship with nationalism and what it means to participate in the German musical tradition. In highlighting these elements of Brahms’s compositions, I open avenues for future research regarding how composers of the late nineteenth century navigated power dynamics in the midst of the political upheaval of the Austro-Prussian and Franco-Prussian wars. | |