Friday, March 26
Tuttleman Learning Center, Room 107
12:00–1:00 Registration
1:00–3:00 Ideas for the Classroom
The Integration of Music Theory, Music History, Performance, and Technology in the Classroom Through the Assignment of Group Projects
Cynthia Folio (Temple University)
What Are We Hearing in Music Analysis? Listening as Creative Act
Carl Wiens (Nazareth College)
Intuitive Hearing: Schoenberg’s Concepts of Gedanke and Comprehensibility
Hidetoshi Fukuchi (University of North Texas)
Schoenberg’s Gedanke Manuscripts: The Theoretical Explanation of his Twelve-Tone Method
Charlotte Marie Cross (New York City)
3:00–3:30 Refreshments & Conversation
3:30–5:00 Twentieth-Century Topics I
Aspects of Harmony in Messiaen’s Later Music: An Examination of Chords of Transposed Inversions on the Same Bass Note
Vincent Benitez (Eastern Michigan University)
Béla Bartóks Music for Stringed Instruments, Percussion, and Celeste (First Movement): Pitch Space, Structure, and Anomaly
Alexander Brinkman (Temple University)
Birdcage Flights: Relations and Transformations between Trichords and Tetrachords
Joti Rockwell (University of Chicago)
Saturday, March 27
Presser Hall, Klein Recital Hall
8:30–9:00 Continental Breakfast
9:00–10:30 Revisiting the Canon
A Systematic Approach to the Concept of Schenkerian Interruption and its Implication to the Theory of Sonata Form
Irna Priore (North Carolina School of the Arts)
Reconnecting with the Tradition of Musical Rhetoric: the Art of Invention, Ars Combinatoria, Universal Language, and the Search for Method in the Musical Writings of Athanasius Kircher
Elisabeth Kotzakidou Pace (Columbia University)
Formal Function of Non-Tonic-Key Variations in Brahms’s Variations for Four Hands on a Theme by Robert Schumann, Op. 23
Hiu-Wah Au (Elizabethtown College)
11:00–12:00 Twentieth-Century Topics II
Reconciling Tonal Conflicts: Mod-7 Transformations in Chromatic Music
Robert Kelley (Florida State University)
Delius and the Joining of French and German Orchestration
Paul Mathews (The Peabody Conservatory of Johns Hopkins University)
12:00–1:15 Luncheon
1:15–2:00 Business Meeting
Including Constitution and important announcements
2:00–3:00 New Views
Twelve Poems of Emily Dickinson Set to Music by Aaron Copland: A Timbral-Phonemic Analysis
William Bauer (The College of Staten Island/CUNY)
From Landfill Management and Wastewater Treatment to Mozart: Using Multiple Linear Regression to Model Musical Contour
Danny Beard (Florida State University)
3:00–3:30 Refreshments & Conversation
3:30–4:30 Twentieth-Century Topics III
The Process of Modulation in the Musical Collage
Catherine Losada (Texas Tech University)
The Spanish Scale Inquisition: An Application of Generative Theory in Charles Mingus’s ‘The Black Saint and the Sinner Lady’
Gus Schnable (Temple University)
5:00–6:00 Pre-Dinner Gathering
6:00–8:00 Banquet
Keynote Address
Presentation of the Dorothy Payne Award for Best Student Paper
A Few Words from Dorothy Payne