Friday, May 16
8:00 Registration: Green Room, Sweeney Hall (ground floor)
9:00–11:00 Music in Time, Sweeney Hall
Session chair, Candace Brower, Northwestern University
9:00 Finding the Beat in Metric Theory and Listener-Based Analysis
Peter A. Martens, University of Chicago
9:30 Imaging the Performance: A Preliminary Report
Steven J. Cahn, University of Cincinnati
10:00 Web-Based Tools for Integrating Performance into Theory & Ear Training
Cynthia McGregor and Susan Piagentini, Northwestern University
10:30 Two Herzgewächsen in Three Quarter-Tones:
Deconstructing Performance
(and Reconstructing Analysis) of a Schoenberg Work
Kevin Holm-Hudson, University of Kentucky
Concurrent sessions
11:15–12:15 Early Music Analysis, M340
Session chair, Miguel Roig-Francolí, University of Cincinnati
11:15 A Theory of Formal Function for Renaissance Music
James S. MacKay, Loyola University New Orleans
11:45 Costanzo Festa’s Deus venerunt gentes: A Sixteenth-Century Axial-Tenor Motet?
Tim S. Pack, Indiana University Bloomington
11:15–12:15 Post-tonal Configurations, Sweeney Hall
Session chair, Andrew Mead, The University of Michigan
11:15 Octave Partitionings, Hybrid Spaces, and
TICK Operations
in Post-Tonal Diatonic Music
José António Martins, University of Chicago
11:45 Cyclic Wedges and Convergence Points
Philip Stoecker, CUNY Graduate Center
12:15–1:45 Lunch (Meeting of MTMW Executive Board, M350)
1:45–3:45 Pedagogy: Complexity and Accessibility
Session chair, Mary Wennerstrom, Indiana University Bloomington
1:45 Teaching Generalized Interval Systems
Ramon Satyendra, The University of Michigan
2:15 Canon in the Classroom: Reframing the Puzzle
Alan Gosman, Michigan State University
2:45 Getting the Big Picture: Putting Aural Skills in Context
Nancy Rogers, Florida State University
3:15 Pedagogical Tools for a Digital Music Library
Eric Isaacson and Brent Yorgason, Indiana University Bloomington
4:00–5:30 American Composers I
Session chair, J. Peter Burkholder, Indiana University Bloomington
4:00 Charles Ives’s Rube and its Derivatives
Timothy A. Johnson, Ithaca College
4:30 Tonal Design in the First Allegro Section from Copland’s Appalachian Spring Stanley V. Kleppinger, Indiana University Bloomington
5:00 Every Love
but True Love: Unstable Relationships
in Cole Porter’s ‘Love for Sale’
Michael Buchler, Florida State University
5:30–6:30 Reception
Saturday, May 17
8:00 Registration, Green Room, Sweeny Hall
9:00–11:00 History of Theory, Sweeney Hall
Session chair, Burdette Green, Ohio State University
9:00 Historically
Informed Analysis: Interpreting Rhetorical Figures
in the Music of J.S. Bach
Karl Braunschweig, Wayne State University
9:30 Dynamics and Dissonance: The Implied Harmonic Theory of J. J. Quantz
Evan Jones, Florida State University
10:00 Chord Generation: Fétis vs. his Detractors
Jean Littlejohn, Northwestern University
10:30 Reconciling Anton Bruckner’s Harmonic Pedagogy and Compositional Practice
Jonathan Brooks, Anderson University
9:00–11:00 Follow-up Poster Presentations (See Friday 9:00, 10:00, and 3:15)
M350 Peter Martens
M340 Kevin Holm-Hudson
M149 Eric Isaacson
Concurrent sessions
11:15–12:15 Tonal and Metric Structures, M340
Session chair, Hali Fieldman, University of Missouri-Kansas City
11:15 The Melodic Bass: Submerged Urlinies and ‘Urlinie Envy’
Brent Yorgason, Indiana University Bloomington
11:45 Metric Dissonance in the Second Movement of Brahms’s Piano Trio, Op. 101 Ryan McClelland, Indiana University Bloomington
11:15–12:15 Shostakovich and Others, Sweeney Hall
Session chair, Deborah Rifkin, Oberlin Conservatory
11:15 Flat Primary Triads and the Harmonic Idiom of Shostakovich and Prokofiev
Gabe Fankhauser, Appalachian State University
11:45 An Aspect of Pitch Structure in Late Shostakovich
Stephen Brown, Oberlin Conservatory
12:15-2:15 Lunch
Concurrent sessions
2:15–3:45 American Composers II, M340
Session chair, Marianne Kielian-Gilbert, Indiana University Bloomington
2:15 Motivic and Transformational
Relationships as Unifying Devices
in Music for the Magic Theater
Catherine Losada, City University of New York Graduate Center
2:45 Arrays and K-Nets: Transformational Relationships
within Perle’s Twelve-Tone Tonality
Gretchen C. Foley, University of Nebraska-Lincoln
3:15 Twelve-Tone Chords and Register: Spatial Processes
in Elliot Carter’s Remembrance
Tiina Koivisto, Sibelius Academy, Helsinki
2:15–3:45 Late Romantic Languages, Sweeney Hall
Session chair, Joseph Kraus, University of Nebraska-Lincoln
2:15 Associative Tonality, Tonal Pairs and Psychological Space:
Wagner’s Tristan und Isolde Set
Against the Backdrop of Romantic Psychology
Katherine R. Syer, University of Illinois at Urbana-Champaign
2:45 Melodic Motive and the Narrative Path in Edvard Grieg’s Haugtussa, Op. 67
Cheryl Ann Christensen, The University of Texas at Austin
3:15 Post-Tonal
Diatonicism in Ralph Vaughan Williams’s Fifth Symphony:
A Reconsideration of Diatonic Set Theory
Daniel Perttu, Kent State University
4:00–4:45 Business Meeting, Sweeney Hall
5:00–6:00 Keynote Address, Sweeney Hall
Deep Learning in the Theory Classroom: Pacing, Bumping, and Waltzes ‘in Four’ John Buccheri, Northwestern University
6:30–8:30 Banquet, Indiana Memorial Union, State Rooms East and West