46th Annual Meeting

31 March–2 April 2017

Hobart and William Smith Colleges
Gearan Center for the Performing Arts

Geneva, NY 14456

PROGRAM
Friday, 31 March
 

5:00–7:00 pm

Music Theory Pedagogy Workshop: Preparing Music Theory Instructors of the (Very Near) Future
Anna Gawboy (The Ohio State University)
Keyboard Technology Lab (Room 332)
NB Open to official workshop participants only
Saturday, 1 April
 

8:00–9:00 am

Registration—Melly Lobby
 
9:00 am–12:00 pm
Understanding Form
Chair: Janet Schmalfeldt (Tufts University)
Groelich Recital Hall (Room 102)
  • Towards a Predictive Theory of Theme Types
       John Y. Lawrence (University of Chicago)
  • An Enactive Approach to the Perception of Expression in Form Theory Analysis
       Bree Guerra (University of Texas at Austin)
  • Concocting Sentences
       Nathan John Martin (University of Michigan)
  • The ‘Retransitional Sequence’ in Mendelssohn’s Sonata Forms
       Justine Wong (University of Toronto)
  •  

    9:00–10:30 am

    Practical History of Music Theory
    Chair: Sarah Marlowe (New York University)
    Hilayama-Williams Hall (Room 119)
  • "Introducing Ancient Modes into Modern Harmony" the Franco-Belgian tonalité grégorienne
       Nathan Lam (Indiana University, Bloomington)
  • J.S. Bach's Chorales: Reconstructing Eighteenth-Century German Figured-Bass Pedagogy in Light of a New Source
       Derek Remeš (Eastman School of Music)
  •  

    10:30 am –12:00 pm

    Rock Harmonies
    Chair: Nicole Biamonte (McGill University)
    Hilayama-Williams Hall (Room 119)
  • Multimodality and Tonal Ambiguity in Rock’s Aeolian Progression
       Mark Richards (Florida State University)
  • Understanding Rock Harmony through the Concept of Tonicization
       Brett Clement (Ball State University)
  •  

    12:00–1:30 pm

    Lunch
     

    1:30–3:45 pm

    Romanticism
    Chair: Loretta Terrigno (The Juilliard School)
    Hilayama-Williams Hall (Room 119)
  • Meter in French and Italian Opera, 1809–1859
       Nicholas Shea (University of Massachusetts Amherst)
  • Failed Musical Memory and Intertextuality in Brahms's Op. 83 Andante
       David Keep (Eastman School of Music)
  • Integrating Tonal Transformations and Prolongations: A Case Study of Richard Strauss’s ‘September,’ from Vier Letzte Lieder (1948)
       Soo Hyun Jeong (University of Cincinnati, College-Conservatory of Music)
  •   1:30–3:45 pm Collections and Recollections
    Chair: Deborah Rifkin (Ithaca College)
    Froelich Recital Hall (Room 102)
  • Modeling Keyboard Bitonality in the Wartime Works of Karol Szymanowski
       Alan Reese (Eastman School of Music)
  • The Connective Role of the Parenthèses in Dutilleux’s Ainsi la Nuit
       Sam Reenan (Eastman School of Music)
  • Microtonality and Transformation: Analyzing Easley Blackwood’s ‘19 Notes’ with a Modified Tonal GIS
       William R. Ayers (University of Cincinnati, College Conservatory of Music)
  •  

    4:00–5:00 pm

    Keynote Address
    Froelich Recital Hall (Room 102)
    "Resonant Blunders in the History of Tonal Theory"
    Suzannah Clark (Harvard University)
     
    5:00–5:30 pm
    Business Meeting
    Froelich Recital Hall (Room 102)
      5:30–6:30 pm Reception
    Melly Lobby
      7:00 pm Conference Banquet
    Pier House Restaurant, Ramada Inn
    Sunday, 2 April
     

    8:00–9:00 am

    Registration—Melly Lobby
     
    9:00 am–12:00 pm
    Special session: New Perspectives on Organicism and Modernism
    Chair: Bryan Parkurst (University of South Florida)
    Froelich Recital Hall (Room 102)
  • On Not Letting Sounds Be Themselves
       Holly Watkins (Eastman School of Music, University of Rochester)
  • Webern’s Mystical Organicism
       Brian Moseley (SUNY Buffalo)
  • Is the Twelve-Tone System Inherently Organicist? A Reflection on Conflicting Perspectives, with Notes on Analysis
       Zachary Bernstein (Eastman School of Music, University of Rochester)
  • Berg’s Piano Sonata and Reverse Organicism
       Matthew Arndt (University of Iowa)
  • Schoenberg’s (Analytical) Gaze: The Aesthetics of Organicism
       John Covach (Eastman School of Music, University of Rochester)
  • Bloch’s Hopes and Adorno’s Thorns
       Bryan Parkhurst (University of South Florida)
  •   9:00 am–12:00 pm Form/Schema/Schenker/Keller
    Chair: Elizabeth West Marvin (The Eastman School of Music)
    Fish Screening Room (Room 111)
  • Michael Haydn, Mozart, and the Invention of Sonata-Rondo Form
       Jason Yust (Boston University)
  • Irreconcilable Differences? Diminution and Pitch Reduction between C. P. E. Bach, Schenker, and Gjerdingen
       Gilad Rabinovitch (Georgia State University)
  • The Prinner-Fonte: A Closer Look at Schematic Hierarchy
       Simon Prosser (The Graduate Center, CUNY)
  • Music Theory on the Radio: Excavating Hans Keller's Functional Analyses
       William O’Hara (Harvard University)
  • Program Committee: Julie Pedneault-Deslauriers (University of Ottawa), chair; Edward Klorman (McGill University); Judith Lochhead (Stony Brook University), William Marvin (ex officio, Eastman School of Music), and Crystal Peebles (Ithaca College).


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