Sixteenth Annual Meeting
William Paterson University, Wayne, NJ

Friday and Saturday, March 23 –24, 2018

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  MTSMA 2018 Schedule
FRIDAY, March 23  
William Paterson University  
Wayne, NJ  


12:00-12:15 Welcoming Remarks
12:15-1:30 Short Paper Session 1: Jazz and Pop!
Chair: Cynthia Folio, Temple University
12:15 All the Things You Have Been:
  Avant-Textes and the Analysis of Jazz Tunes
  Sean R. Smither, Rutgers University
12:30 Capturing Schemata in Standard Jazz Repertoire
  Keith Salley, The Shenandoah Conservatory
12:45 Standard Practices: Intertextuality and Improvisation
  in Jazz Versions of Recent Popular Music
  Ben Baker, Eastman School of Music
1:00 Deconstructing the Masculine:
  Constructions of Masculine Fragility
  in Three Songs from Radiohead's A Moon Shaped Pool
  Sean Davis, Temple University
1:15 Embellishing the Verse-Chorus Paradigm:
  Max Martin and the Descant-Chorus
  Stanley Fink, Florida State University
1:30-1:45 Break/Registration
1:45-3:15 Long Paper Session 1
Chair: Robert Baker, Catholic University of America
1:45 The Making of a Hit: Formal and Dramatic Narratives in
  Max Martin's Bridge-Caesura
  Toru Momii, Columbia University
2:15 Gesture and Transformation in Joel Mandelbaum's
  Thirty-One-Tone Keyboard Miniatures
  William Ayers, University of Cininnati
2:45 Seeking the Post-Tonal Cadence
  in Alfred Schnittke's Viola Concerto
  Anabel Maler, The University of Chicago
3:15-3:30 Break/Registration
3:30-5:30 Professional Development Workshop
  Form and Formal Process in the Exposition
  of Mozart's Symphony in F, K. 43/I
  Poundie Burstein, Hunter College


7:00 Banquet
SATURDAY, March 24  
William Paterson University  
Wayne, NJ  
8:15-9:15 Executive Board Meeting
9:30-11:00 Long Paper Session 2
Chair: Jonathan Kochavi, Swarthmore College
9:30 Gabriel Fauré and Tonal Distortion:
  Centripetal and Centrifugal Tonality in Two Piano Works
  Matthew Kiple, Temple University
10:00 Relative Diatonic Modality in English Pastoral Music:
  A Dorian Case Study
  Nathan Lam, Indiana University
10:30 Tetrachord Transformation in the Vocal Works of J.S. Bach
  Owen Belcher, Eastman School of Music
11:00-11:15 Break/Registration
11:15-12:30 Short Paper Session 2
Chair: Edward Latham, Temple University
11:15 Pedagogical Potential in the Quadruple Gambits
  of Bach's Solo Clavier Preludes
  Christopher Doll, Rutgers, The State University of New Jersey
11:30 The Predominant V4/2
  Daniel B. Stevens, University of Delaware
11:45 Dissonant Triads and Two-Stage Operations
  in Neo-Riemannian Theory
  William O'Hara, Gettysburg College
12:00 Strauss and the Supertonic: Integrating Thoroughbass
  Approaches with Conventional Tonal Theory
  in Late Nineteenth-Century Harmonic Analysis
  Kyle Hutchinson, University of Toronto
12:15 Harmony in Elliott Carter's Late Music
  John Link, William Paterson University
12:30-1:45 Lunch and Business Meeting
1:45-2:45 Keynote Address
  The Sky is Not Blue,
  and Teaching Traditional Harmony and Counterpoint
  Poundie Burstein, Hunter College
2:45-3:00 Break
3:00-4:00 Long Paper Session 3: J. S. Bach
Chair: Daniel B. Stevens, University of Delaware
3:00 Bach, Rotational Form, and the Galant
  John Paul Ito, Carnegie Mellon University
3:30 Quasi-Sequences in Bach: A Case Study in the Relation
  Between Technique and Expression
  Mark Anson-Cartwright
  Queens College: The Graduate Center, CUNY
4:00-5:00 Long Paper Session 4
Chair: Christopher Doll, Rutgers, State University of New Jersey
4:00 A Tale of Three Alexanders:
  Who Wrote Alexander Malcolm's Chapter 13?
  Paula Telesco, University of Massachusetts Lowell
4:30 But We're Not in Zombie Mode: Meter and Selected
  Attention in Greek Orthodox Movement and Music
  Rosa Abrahams, Ursinus College


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