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, 02:57:59am EDT
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Daily Overview |
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Sounding Resistance in Global Music Session Chair: Mikkel Vad | |
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Sounding Political Impasse in a World of Authoritarian Turn: Insights from Turkey UC Berkeley The past decade has witnessed the consolidation of authoritarian forms of governance within formally democratic frameworks across multiple political contexts. Within this reconfigured political landscape, regimes stage authority through spectacle and affect, while oppositional actors craft sonic and aesthetic forms that render dissent creatively and collectively expressive. Taking Turkey as an analytic lens, I trace a repertoire of such oppositional practices that emerged with particular intensity during the 2013 Gezi protests and has persisted since, even as the protests were suppressed and political horizons narrowed under intensifying authoritarian consolidation. This paper asks what becomes of such oppositional forms when political transformation stalls yet their aesthetic force endures. I argue that their continued circulation signals a form of cruel optimism (Berlant, 2011), in which aesthetic attachment to change endures beyond its material feasibility. This reveals the contours of a broader political impasse, one in which a carnivalesque aesthetic of dissent is desperately attached to even when it can no longer promise change. Framing Turkey not as a regional exception but as a paradigmatic site, this paper advances a musicological account of political aesthetics in the twenty-first century under conditions of entrenched authoritarian consolidation increasingly recognizable well beyond Turkey. | |