Twelfth Annual Meeting

Shenandoah University, Winchester, Virginia

Friday and Saturday, March 21–22, 2014

Download as .pdf file.

Provisional Schedule
Note: Unless otherwise specified, all events are in the Goodson Chapel/Recital Hall.


11:00–12:00 Registration
12:00–  1:15 Short Paper Session 1 (Chair: Vincent Benitez, Penn State University)

On Duration and Developing Variation: The Intersection of Bergson’s Time and Free Will with Schoenberg’s Sechs kleine Klavierstücke Op. 19
Keith Salley, Shenandoah University

  12:15 Ebb and Flow: Rhythm and Temporality in Unmetered Music by George Crumb
Kristina Knowles, Northwestern University
  12:30 The Hunt for Form in Wolfgang Rihm’s String Quartet no. 9 “Quartettsatz”
Robert Baker, Catholic University of America
  12:45 Pathways to Compositional Autonomy: The Emancipation of the “Triad” in Howard Hanson’s Symphony no. 6
Mark Parker, Bob Jones University
    1:00 Crossing One’s Fingers: Gestural, Textural, and Rhetorical Chiasmi in Works for Violoncello
Daniel Stevens, University of Delaware
  1:15– 1:30


  1:30– 1:45

Welcoming Remarks

  1:45– 3:15 Schema and Prototype (Chair: TBA)
    1:45 The Second-Reprise Medial PAC and the Form of Bach’s Binary Dance Movements
Christopher Brody, Indiana University
    2:15 Chord Types as Metric Determinants, Syncopation as Surprise
Christopher White, University of North Carolina – Greensboro
    2:45 Playing With Schemata
Janet Bourne, Northwestern University
  3:15– 3:30 Break/Registration
  3:30– 5:30 Workshop (open to all registrants):
“Approaches to Musical Narrative”
Michael Klein, Professor of Music Studies, Temple University
  5:30– 6:00 Reception

Brewbaker’s Restaurant, 168 N. Loudoun Street, Winchester, VA 22601 (540) 535-0111

  8:00–  9:00 Executive Board Meeting

Analytical Approaches for Twentieth-Century Music
(Chair: Diane Luchese, Towson State University)

    9:00 Compositional Spaces in Mario Davidovsky’s Quaretto (1987)
Inés Thiebaut, CUNY Graduate Center
    9:30 Transformational Variation as Music Analysis: John Rea’s Las Meninas
Anton Vishio, New York City
  10:00 Concurrent Cycles, Shifting Pulse Options, and Metric States: Periodicities in Ann Southam’s Noisy River
Antares Boyle, University of British Columbia
10:30–10:45 Break/Registration
10:45–12:30 Short Paper Session 2 (Chair: Anthony Kosar, Rider University)
  10:45 Unshackling The Period: A Hybrid Form in the Viennese Classics
Benjamin Wadsworth, Kennesaw State University
  11:00 Mahler’s Veil: Todtenmarsch, Topoi, and the Jewish Question
Rosa Abrahams, Northwestern University
  11:15 Climax Structure in Wagner’s Operas
Ji Yeon Lee, CUNY Graduate Center
  11:30 Meter and Motion in Pop/Rock Backbeats
Robin Attas, Elon University
  11:45 The Renaissance of an Old Notation: Schenker’s Ausfaltung Symbol, Past and Present
Rodney Garrison, SUNY – Fredonia
  12:00 Dynamic Attending, Free Rhythm, and Soloistic Autonomy in the Classical Cadenza
Mitchell Ohriner, Shenandoah University
12:30– 1:45

Lunch and Business Meeting

  1:45– 2:45

Keynote Address
“What We Mean By Musical Meaning”
Michael Klein, Professor of Music Studies, Temple University

  2:45– 3:00 Break
  3:00–4:00 Scales and Collections (Chair: Jon Kochavi, Swarthmore College)
  3:00 Pitch Centricity Without Pitch Centers
Stanley Kleppinger, University of Nebraska
  3:30 Exploring Polyscalarity in the Music of Igor Stravinsky: Discerning Surface- and Deeper-Level Scalar Collections
Aaron Grant, Eastman School of Music

Time and Mode in Nineteenth-Century Music
(Chair: Eugene Montague, George Washington University)

  4:00 Modal Mixture as a Dynamic Process in Brahms’s Es träumte mir, Op. 57 no. 3
Loretta Terrigno, CUNY Graduate Center
  4:30 Expressive Performance and Interpretation: Lussyian Analysis of Chopin’s Etude in E Major, Op. 10 no. 3
Timothy Saeed, Louisiana State University
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