Conference Program

Complete Program Booklet available at this link

SATURDAY, APRIL 5

8:00–9:00 am: Registration, coffee
9:00–10:30 am: Omar Special Session

• Andrew Pau (Oberlin College & Conservatory), “‘Here We Have Our Place’: The Musical Construction of Omar’s African Identity”

• Sylvie Tran (Oberlin College & Conservatory), “Musical Representations of Assimilation and the Antebellum South in Omar (2022)”

• Christa Cole (Oberlin College & Conservatory), “The Role of the Chorus in Omar”

9:00–10:00am: Chappell Roan and Joni Mitchell

• Ash Mach (Eastman School of Music), “A Contextual Queering of Chappell Roan’s ‘Pink Pony Club’”

• Rebecca Moranis (CUNY Graduate Center), “An Analysis of Joni Mitchell’s Vocal Evolution”

10:45–11:15 am: Poster session

• Richard Ashley (Northwestern University), “Cognitive Processes in Music Analysis: An Investigation through Protocol Analysis and Eye Tracking”

• Sarah Case (Mannes School of Music), “Leitmotif and Structure in the Prelude to Act III of Wagner’s Siegfried”

• Jonathan Lindhorst (Schulich School of Music, McGill University), “Tone-Clock Theory’s Expansion: An Analysis of Jenny McLeod’s Tone Clock Piece VIII”

• Bai Xue (CUNY Graduate Center), “Form and Structure in Ewe Music”

11:15 am–12:15 pm: Musicals

• Hunter Hoyle (Northwestern University), “Theorizing the Broadway Overture: A Formal and Cognitive Investigation”

• John Lawrence (University of Chicago), “A Funny Thing Happened on the Way to the Form: Sondheim’s Early

• Deviations from the Sentence-Period Paradigm”

12:15–1:45 pm: Lunch Break

1:45–3:15 pm: AAWM

• Stephen Guerra (University at Buffalo, SUNY), “Harmonic Speciation in Brazil”

• Lina Tabak (Indiana University), “‘Rhythmic Venom’ or Comfortable Groove? On Microtiming in Colombian Currulao’s Isochronous Dosillo”

• Ruixue Hu (Eastman School of Music), “Understanding Non-Lexical Vocables in Music”

1:45–3:15 pm: Meanings

• Ryan Krell, “Transformation, Narrative, and Cyclical Form in The Arcadian Wild’s Principium”

• Ryan Galik (Eastman School of Music), “A Framework for Tangled Diegetic Hierarchies Beyond Cinematic Music”

• Cheng Wei Lim (Columbia University), “Pokémon, Interculturality, and Topic Theory”

3:15–3:30 pm Break
3:30–5:15 pm: Plenary Events
3:30 pm–4:00 pm: Business meeting
4:15 pm–5:15 pm: Keynote Presentation, Clifton Boyd (New York University), “Black Barbershop and Music Theory in the Age of Jim Crow”
6:00–7:30 pm: Dinner break
7:30–9:30 pm: Conference Workshop, Kristi Hardman (UNC Charlotte), “Considering Ethics in the Process of Analyzing Music”

SUNDAY, APRIL 6

8:30–9:00 am: Registration, coffee
9:30–11:00 am: Twentieth-Century Composers

• Jacob R. Ludwig (University of Cincinnati College-Conservatory of Music) and Evan Martschenko (Eastman School of Music), “Uncovering Howard Hanson’s Proto-Set Theory Pedagogy”

• Aidan McGartland (McGill University), “Britten the Serialist: Twelve-Note Thinking in the Music of Benjamin Britten”

• Stanley Ralph Fink (Drake University), “The Doppelgänger as Musical Complement in Julia Perry’s The Cask of Amontillado”

11:00–11:15 am: Break
11:15 am–12:15 pm: Form and Formalism from Lachenmann to Metal

• Avinoam Foonberg (University of Cincinnati College-Conservatory of Music), “Screaming Forms and Formal Screaming: Timbral Transformations in Extreme Metal Verse-Choruses”

• Zachary Bernstein (Eastman School of Music, University of Rochester), “Playing with the Net Down: Formalism and the Dialectic in Helmut Lachenmann’s Music and Thought”