Ninth Annual Meeting

George Washington University
Washington, D.C.

Friday and Saturday, March 18-19, 2011

Download as .pdf file.




All Sessions and Keynote are in Phillips Hall, room B-120
The Graduate Students Workshop TBA (Seminar Room)?

12:00–2:00 Graduate Student Workshop: Data Mining in the Bach Chorales
Ian Quinn, Yale University
  1:30–2:15 Registration — Lobby
  2:00–2:15 BREAK
  2:15–3:45 Organizational Hierarchy in 20th-century Music
Vincent Benitez, Penn State University, Chair

“Neither Tonal or Atonal”?: A Statistical Root-Motion Analysis of Ligeti’s Late Triadic Works
Kris Shaffer, Yale University

    2:45–3:15 A Voicing-Centered Approach to Additive Harmony in the French Impressionist Repertoire Damian
Blättler, Yale University
    3:15–3:45 Organizational Strategies in Selected Large-Scale Works of Claude Debussy
Gregory J. Marion, University of Saskatchewan
  3:45–4:00 Registration — Lobby
  3:45–4:00 BREAK
  4:00–5:00 Schenkerian Disjunction and Linkage
Rachel Bergman, George Mason University, Chair
    4:00–4:30 Potential Energy and Melodic Disjunction in a Brahms Intermezzo
Melissa Hoag, Oakland University
    4:30–5:00 A Framework for Describing Linkage Technique in Tonal Music
Michael Baker, University of Kentucky
  5:30 RECEPTION — Tonic Restaurant at Quigley's Pharmacy
  6:30 MTSMA BANQUET — Tonic Restaurant at Quigley's Pharmacy
  8:30–  9:00 Registration — Lobby
  9:00–10:30 Pathways Though Pitch and Pitch-class Space in 20th-Century Music
Jonathan Kochavi, Swarthmore College, Chair
    9:00–  9:30 Nonatonic Collections, Intersections, Systems, and Towers: the Pitch Structure of Vaughan Williams's Fourth Symphony
Cameron Logan, University of Connecticut
    9:30–10:00 Modeling Melody and Harmony: Cyclic Unfolding in Ginastera’s String Quartets Nos. 1 and 2
David Sommerville, Nazareth College of Rochester
  10:00–10:30 Gauges of Tonality and Pitch Space Paradox in Elliott Smith’s “Everything Means Nothing to Me”
Rob Schultz, University of Massachusetts Amherst
10:30–10:45 BREAK
10:45–11:45 Pedagogy—Old and New
Mark Janello, Peabody Conservatory (of the Johns Hopkins University), Chair
  10:45–11:15 Toward a First-Semester Curriculum in Figured Bass Theory at the Keyboard
Dan Prindle, University of Massachusetts Amherst
  11:15–11:45 Shapey's Worksheet as a Pedagogical Resource
Christian Carey, Westminster Choir College of Rider University
11:45–1:15 LUNCH; BUSINESS MEETING — Classroom 102, Smith Hall of Art
  1:15–2:45 Keynote, Prof. Ian Quinn, Yale University
What Counts When You’re Counting Notes?
  2:45–3:00 BREAK
  3:00–4:00 Compositional Process in C.P.E. Bach, Haydn, Beethoven
Suhnne Ahn, Peabody Conservatory (of the Johns Hopkins University), Chair
    3:00–3:30 Innovation and Improvisation: Beethoven's Sketches for the first movement of Op. 31, No. 1
Brian Moseley, Furman University and the CUNY Graduate Center
    3:30–4:00 Storm and Stress, Form and Process: Compositional Strategies in Haydn’s and C.P.E. Bach’s Symphonies of the Early 1770’s
Jason D. Yust, University of Alabama
  4:00–5:00 Upbeat and DownBeat
Fernando Benadon, American University, Chair
    4:00–4:30 Hypermeter, Metrical Dissonance, and Metrical Ambiguity in the Waltzes of Joseph Lanner
Jeffrey Schaeffer, University of Cincinnati College-Conservatory of Music
    4:30–5:00 Functional Ambivalence of Dave Brubeck’s “Chorale”
Vasil A. Cvetkov, Louisiana State University
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