Friday, July 29
1:00-2:00 pm — Session 1 Live Q&A
Form and Harmony in Popular Music
Chair: Megan Lavengood, George Mason University
Jenine Brown, Peabody Institute of the Johns Hopkins University
“The Double Upbeat and the Power of Expectation in a Cover Song”
Varun Chandrasekhar, Washington University in Saint Louis
*“How the 7(#9) Chord Was Won: A Study of Jimi Hendrix, Race, andMusical Modernism”
Alan Elkins, Florida State University
*“The Evolution of Formal Structure in Video Game Boss Music, 1981–1995”
Jeremy W. Smith, The Ohio State University
“Squelching, Wobbling, and Whirring: Continuous Processes and Genre in Electronic Dance Music”
2:15-3:00 pm — Session 2 Live Q&A
Jazz and the Blues
Chair: Stephen Hopkins, The Pennsylvania State University
Samuel Falotico, Hunter College, CUNY
*“Hiromi Uehara’s ‘Pachelbel’s Canon’: A Case Study of Jazz-Classical Hybridity”
David Heetderks, University of North Texas
“Marvin Crosses Over and Sly Crosses Back: Blues-srdc Hybrids in 1960sR&B and Rock”
Sean R. Smither, The Juilliard School
“Microtiming, Thematic Transformation, and Interaction in Ahmad Jamal’s Early Trio Work”
3:15-3:45 pm — Session 3 Live Q&A
Form & Analysis
Chair: Caitlin Martinkus, Virginia Tech
Desirée Johanna Mayr, Bahia State University
“Roving Harmonies in Leopoldo Miguéz’s Music”
Judith Ofcarcik, James Madison University
“The Role of Context in Middle Material”
4:00-5:15 pm — Keynote Address
Chair: Philip Duker, University of Delaware
Robert Hasegawa, McGill University
“Demystifying Contemporary Music”
Saturday, July 30
8:30-9:30 am — Executive Board Meeting
10:00-10:45 am — Session 4 Live Q&A
Meaning in Popular Music
Chair: Kevin Holm-Hudson, University of Kentucky
Matthew Horrigan, Simon Fraser University
*“Paralyzed from the Inside? Nostalgia in Dreampop”
Lukas Perry, Eastman School of Music
*“Worshipping Everything and Valuing Nothing: Authenticity Versus‘Selling Out’ in the Soundtrack, Story, and Status of La La Land”
Jong Song, CUNY Graduate Center
*“Stereo Mixing in the Beatles: Positionality as an Instrument of Expression”(Abstract, Bio, Handout)
11:00-12:00 pm — Session 5 Live Q&A
Meaning in Vocal Music
Chair: Christopher Doll, Rutgers University
Edward Klorman, McGill University
“Analyzing Deception in Opera and Lieder”
Coby Schoolman, Peabody Conservatory University
*“Cosmopolitan Grand Opera: Examining French, Italian, and GermanInfluences in Verdi’s Don Carlos, Act II, Scene I”
Alexander Shannon, Indiana University
*“Examining the Portrayal of the Human Experience in Richard Strauss’sDeutsche Motette, Op. 62”
Gabrielle Choma, University of Oregon
*“Kaija Saariaho’s L’amour de Lion: Sketches, Harmonic Fields, and Text-Painting”
1:00-1:30 pm — Business Meeting
1:45-3:00 pm — Professional Development Workshop
Jennifer Snodgrass, Lipscomb University
“Finding Your Purpose (and Place) in the Academic World of Music Theory”
3:15-4:15 pm — Session 6 Live Q&A
Semiotics & Hermeneutics
Chair: Anna Stephan-Robinson, West Liberty University
Kimberly Goddard Loeffert, Virginia Tech
“The Spiritual Pastoral in the Kansas Rapture for Saxophone Quartet by (Farhad) Forrest Pierce”
Scott Allen Miller, CUNY Graduate Center
*“Huh!: Gendered Resistance through Semiotic Disidentification in Kate Soper’s ‘Only the Words Themselves Mean What They Say’”
Sylvie Tran, University of Michigan
*“Constructing an Idealized American West through Folk Sources”
Yi-Cheng Daniel Wu, Soochow University School of Music
“Pitch Orthography and Musical Hermeneutics in Jia Daqun’s StringQuartet No. 3, Mvt. 2 (2018)”
* denotes eligibility for the Dorothy Payne Award for Best Student Paper