Sunday, September 15, 2019

Fall 2019 Chapter Meeting (Saturday, September 28th - Amherst College)

LOCATION at Amherst College

Center for Humanistic Inquiry (CHI)
Robert Frost Library, 2nd floor
61 Quadrangle
Amherst, MA 01002 

The entrance to the Library is from Quadrangle Drive (south end of the building). 
More info regarding parking HERE

Details as to specifics (hall/rooms, parking) will be posted as they become available.
Bios, photos, and abstracts are posted as available.


9:45-10:15 Refreshments and Registration

Morning Session

10:15 Welcome

10:20 From Poem to Dance via Music: Departures and Convergences in Jonathan Taylor’s
Transfigured Night
Nona Monahin (Mount Holyoke College)

Richard Dehmel’s 1896 “Verklärte Nacht” (Transfigured Night), a poem centered on a crisis of
confidence in a couple’s relationship, inspired composer Arnold Schoenberg’s string sextet of
the same title (1899; arranged for string orchestra in 1917 and revised in 1943), which in turn
inspired numerous choreographic versions. In this paper I focus on an unjustly neglected
masterpiece: the neo-classical ballet, Transfigured Night, choreographed by the late Jonathan
Taylor (1941 – 2019) and first performed by the Australian Dance Theatre in 1980. Drawing on
music theorist Kofi Agawu’s concept of the “structural highpoint,” my paper shows how the
concept can be fruitfully applied to an intermedial analysis to underscore the shared structural
qualities and divergent tensions inherent in the five stanzas of Dehmel’s poem, Schoenberg’s
thirty-minute composition, and Taylor’s ballet for twelve dancers. I examine ways in which the
hierarchical qualities of a work’s multiple “highpoints” play themselves out in the different
media. Whereas Dehmel’s short poem features only two characters and moves fairly
straightforwardly from conflict to resolution, Taylor utilizes the breadth and harmonic richness
of Schoenberg’s score to create a longer trajectory that involves the collaboration of all twelve
dancers — the couple at the center of the conflict, and ten dancers in ostensibly abstract but
implicitly supportive roles. The turning point in Taylor’s ballet occurs earlier than in Dehmel’s
poem, and later than in Schoenberg’s composition, and coincides with the musical portrayal of
the actual “transfiguration” of the night, as suggested by all three works’ common title.

Nona Monahin teaches Renaissance and Baroque dance in the Five College Early Music Program at Mount Holyoke College. A scholar-practitioner, she has presented workshops on music and dance in Australia, Europe, and North America, choreographed for many Shakespeare and other theater productions, and has a chapter in the recently published Oxford Handbook of Shakespeare and Dance (2019). Nona holds a PhD in Musicology from Monash University,
Melbourne, Australia. Her current research focuses on the relationship of music and dance in contemporary choreography.

10:50 Africa, Guitar Dance-Songs, and the (Early) Modernization of European Music
Brian Barone (Boston University)

Scholarly attention in several areas of historical and cultural research has increasingly alighted on the African presence in early modern Europe. From the time of the Portuguese opening of the Atlantic slave trade in the 1440s, increasing numbers of Africans—typically enslaved people—became resident in Europe, especially in urban centers. By the mid-sixteenth century, one observer of Seville described the city through the metaphor of a chess board: peopled equally in white and black. In truth, the Afro-Sevillian population was probably only ten or eleven percent of the whole, but the over-estimate may testify to the size of the social role played by this group in the life of the city.
One domain in which early modern Afro-Europeans appear to have been particularly prominent was music. This paper engages a hitherto underutilized set of sources for studying this historical moment: sixteenth- and early-seventeenth century guitar tablatures (mostly Italian) that notate Iberian dance-song genres making topical reference to Africa or an emerging Afro-America. A few such genres, particularly chacona and zarabanda, have been previously recognized for their role in the emergence of tonality. This study re-opens such lines of inquiry, but analyzes a larger network of “African” genres—guineos, canarios, zarambeques, moriscos, and so on—as well as the ideological freight they carried. I argue that African musics and European ideas about them were key to precipitating European musical “modernization” around 1600, not only along technical axes such as tonality, but in conceptual terms as well. In this way I add a musical dimension to the critical consensus—long emerging but still insufficiently absorbed at large—that exploitation of Africa and Africans has been at the heart of the construction and maintenance of global modernity.

Brian Barone is a PhD candidate in musicology and ethnomusicology at Boston University. His dissertation project historicizes and theorizes the role of African and Afro-diasporic musics in the making of a long and continuing musical modernity around the Atlantic basin. Brian holds bachelor’s and master’s degrees in guitar from the Peabody Institute of the Johns Hopkins University and remains active as a performer on plucked string instruments in a range of historical and contemporary styles.

11:20 Theinred of Dover as a Key to Understanding the State of Music Theory in the [?]
Solomon Guhl-Miller (Rutgers University) and Elina Hamilton (Boston Conservatory at Berklee)

The dating of Theinred of Dover's treatise De legitimis has been debated for over a century because its teachings do not seem to be consistent with a single period: on the one hand his arguments on how to notate non-diatonic notes seem to stem from a time before the staff, on the other, his teachings regarding the acceptance of thirds and sixths in polyphony seem to be more consistent with treatises written around 1300. In this session, Elina Hamilton and Solomon Guhl-Miller will examine the main arguments presented by Reaney, Katayama, and Snyder by contextualizing De legitimis with both treatises from the eleventh century and those from the late thirteenth and early fourteenth centuries.

This session will be in three parts. First, building on Snyder’s work, a case for an early date will be made by connecting De legitimis to a group of Germanic chant treatises from the eleventh century, particularly those by Aribo and William of Hirsau. The authors of these treatises present similar ways of labeling non-diatonic tones, through their discussions of monochord tunings and species of hexachords, that were rarely used after the twelfth century. Second, the case will be made for dating Theinred to the turn of the fourteenth century, examining the discourse of thirds and sixths by Walter of Evesham Abbey and Anonymous IV, while assessing the placement of the Euclidean algorithm and the applied use of Aristotelian logic within De legitimis to reveal late medieval aspects yet to be examined. These will ultimately show that De legitimis is more consistent with a date closer to the fourteenth century than with earlier teachings. Finally, the speakers will enter into a jeu parti in which they will offer a point-counterpoint exchange on each of their arguments in an attempt to settle the date of the treatise.

Solomon Guhl-Miller teaches Music History and Theory at Rutgers University, Temple University, and Westminster Choir College.  He has presented and published on an array of topics ranging from the music and writings of Richard Wagner and Ars Antiqua polyphony in journals including Theoria, Musica Disciplina, Forum for Modern Language Studies, and Context. He is currently co-editing a collection of essays for Brepols gathered from selected papers presented at the third Ars Antiqua conference in Lucca.
Elina G. Hamilton is an Assistant Professor at Boston Conservatory at Berklee where she has been a Music History faculty member since 2014. She received her doctorate from Bangor University in North Wales and specializes in the history of English music theory in transition between the Ars antiqua and Ars nova periods. Additional research interests include women's work in music and Western music in Japan. Her research has been published in Studi Musicali, Musica Disciplina, Notes, and in the edited volume Music, Myth, and Story.

12:15-2:15 Lunch Break
2:15-2:40 Business Meeting

Afternoon Session

2:40 “The Landscape Is Empty”: The Lateness of Pastoral Conventions in the Music of
Frank Bridge and Ralph Vaughan Williams
Philip Bixby (Yale University)

English pastoral music of the early twentieth century tends to conjure sentiments that appear antithetical to modernism. Indeed, pastoralism’s associations with tranquility, the countryside, and uncritical nostalgia make it an unlikely locus for an investigation into modernist aesthetics, aesthetics that tend to favor a critical response to inherited traditions. Dismissals of pastoral music often fixate upon the musical surface – its harmonic consonance and dynamic quietude. However, if one ventures further into the relationship between pastoral conventions and musico-formal expectations in early twentieth-century English music, a different picture begins to emerge. After the First World War, composers such as Frank Bridge and Ralph Vaughan Williams began to reformulate their approaches to pastoralism in many of their works. Rather than incorporating pastoral signifiers into goal-oriented formal designs, these composers subvert formal expectations by fragmenting and isolating pastoral conventions.
Building upon the ideas of Theodor Adorno and J. P. E. Harper-Scott, I argue that Adorno’s concept of lateness and Harper-Scott’s “reactive modernism” provide a fruitful interpretive framework for understanding the kind of critical function that pastoralism exercises upon and within musical forms in these compositions by Bridge and Vaughan Williams. These composers fracture the conventions of the pastoral topic, divorcing them from their traditional relationships with teleological formal structures. This post-war pastoralism, rather than resting comfortably in the well-established associations of the pastoral, instead expresses the fragmentation and alienation of the subject in modernity. This reveals a surprisingly modernist sensibility where one might not have been originally suspected. After briefly delineating musical pastoralism and the lateness discourse, I analyze a handful of pieces by these two composers. I conclude that the subtle subversion of formal processes via pastoral conventions is an intelligible signifier of the modernist attitudes embodied in these works, attitudes that disclose a distrust towards the pastoral’s previous meanings.

Philip Bixby is a first-year PhD student in musicology at Yale University, previously attending the University of Texas at Austin and the University of California, Irvine. His research is broadly focused on interdisciplinary investigations of musical modernism. Specific interests include the Surrealist movement, György Ligeti, twentieth-century musical form, and the imperfect analogizing between music and the visual arts.

3:10 Sinophonic Discords: Musical Hatred and the Negotiation of Sonic Difference
Samuel Chan (New York University)

Adopting Shih Shu-mei’s (2011) concept of the “Sinophone” for music studies, Tan Sooi Beng and Nancy Rao (2016) proposed “Sino-soundscape” for rethinking musical circulations across Sinitic spheres. While their unsettling of the homologies between nationality, ethnicity, language, and culture has inspired productive theorizations of trans-local sonic hybridities and heterogeneities, one can also observe the sustained prominence of sonic and musical discords within the Sinophone, where listening is increasingly mobilized to reinforce existing aesthetic, social, and political antagonisms.
In this paper, I foreground Sino-soundscape as a contested space for negotiating sonic difference by examining musical hatred in contemporary Hong Kong. Specifically, I focus on damas, middle-aged female Chinese immigrants who, since the 2000s, have been singing and dancing every night on the streets of urban Hong Kong. Their joyful performances not only led to numerous noise complaints from local residents, but spiraled into violent conflicts between anti-China and pro-China protesters, the former of which saw the phenomenon as a sonic manifestation of the aggravating trans-border cultural and political infiltrations by the Chinese government since Hong Kong’s handover in 1997.
By analyzing governmental policies, documentaries, and news reports on this incident, I ask: Why is it that these performances, perceived by these different listeners as sound, music, and/or noise, lend themselves particularly well to the polarization of the listening public? How do the persistent aversion, ridicule, and criticism of these gendered and aged bodies intersect with the political labor of negotiating sonic territorialization, cultural incompatibility, and economic exclusion? How do the interactions between the ephemerality of sound and the enduring existence of urban spaces produce meanings, limitations, solidarities, and traumas within the Sinophone? I argue that, to address the polyphonic richness of Sino-soundscapes, we need to listen not only to their concordant harmonies, but, equally importantly, to their discordant cacophonies.

Samuel Chan is a PhD student and Henry MacCracken Fellow in Music at New York University. He received his MA in Music/Integrative Studies at UC San Diego, and his BA in Music with First Class Honors at the Chinese University of Hong Kong. He has presented his work on musical aversion, vocal failures, and digital circulation in conferences in Finland, Hong Kong, and the US. His current research focuses on musical cosmopolitanism, Sinophone studies, and media anthropology.

3:40 Resonating Intimacy: Small Sounds Amplification in Contemporary Music and
Giulia Accornero (Harvard University)

Take your hand to your ear, and gently brush a finger from the earlobe up to the ear cartilage,
spiraling down towards the canal. What do you hear? Michel Chion (2015) would call these
examples of “small sounds”: besides an extreme sense of closeness and relative loudness, the
sounds you experience conjure up small sources. To even complicate Chion’s definition, small
sounds can be taken as an index of what E.T. Hall defined in his theory of proxemics, the study
of how humans use space as a non-verbal elaboration of culture, as the “intimate zone”. But how
could intimacy resonate with us outside of a contained, private sphere—in a concert hall, for
example? Or what is intimacy when sounded out for millions of people? Taking two recent works
of contemporary music—Intent on Resurrection (2014) by Clara Iannotta, and Hearth Chamber
(2019) by Chaya Czernowin—and the recent YouTube phenomenon of ASMR (Autonomous
Sensory Meridian Response) as case studies, I explore how different assemblages of mediators
could bring small sounds to public settings and thus rearticulate intimacy. If small sounds are to
be understood at the intersection of verberation and auditum (Chion, 2015), i.e. materiality and
immateriality, I argue that a distributive understanding of agency is necessary. By positing small
sounds as an actor network, it will be possible not only to understand them as relational entities
but also to offer an alternative to the mind-body dualism that often underlies our theorizations of
the listening experience. Finally, given these methodological premises, small sounds will provide
us with an acoustemology of contemporary intimacy.

Giulia Accornero is a fourth year PhD student in Music Theory at Harvard University. Her dissertation looks from a media-theoretical perspective at the emergence of 13th and 14th centuries measured notations in France, Italy, and the Iberian peninsula, asking which role
Islamicate mathematical sources might have played. Her secondary research area focuses on the technology and aesthetics of sound amplification in ASMR and recent musical objects. In Spring
2020 she will be a Graduate Fellow at I Tatti, the Harvard University Center for Italian Renaissance Studies. Before coming to Harvard, she graduated in Economics (BA), and Musicology (BA, MA).

4:10 Virtuous Virtuosity: The Concerto and the Topic of Quiet Transcendence
David Schneider (Amherst College)

What happens when the first or last movement of a concerto ends softly? The present paper
attempts to answer this question by examining the endings to the first and/or last movements
of four works relevant to the topic: Berg’s Violin Concerto, Dohnányi’s Piano Concerto No. 1 in E
minor, Busoni’s Piano Concerto, and Prokofiev’s Violin Concerto No. 1.
At issue in these concerti is a tension between virtuosity—at once a sine qua non of the
concerto genre and a quality that has left it open to criticism as empty—and a desire to evoke
meaning through gestures of transcendence, which would seem the perfect antidote to such
criticism. Such endings replace the dazzle of technical display with depth of feeling. Yet denying
a soloist of finger-busting fireworks at these points in the form has been a step few composers
were willing to take in the “golden age” of the concerto (ca. 1800–1945). Exploring such
transcendent moments in a handful of exceptional works provides a useful perspective for
engaging critically with fundamental aspects of the dramaturgy of the concerto—the nature of
virtuosity, the relationship of soloist and orchestra, and the expressive capabilities of the solo
In the spirit of Joseph Kerman’s concept of virtú, I read select passages of the works in question
as moments that allow us to unpack the original meaning of the word virtuoso as virtuous (from
the late Latin: virtuosus). In these high, soft concluding passages, I hear a reflection of this
etymology: virtuous virtuosity, a subjective aesthetic category that for me constitutes one of
the concerto’s highest aspirations.

David Schneider is professor of music at Amherst College. A recipient of an AMS 50 Fellowship from the AMS, his work focuses on the relationship of nationalism and musical modernism in the work of the Hungarian composer Béla Bartók, nineteenth-century Hungarian opera, and critical approaches to concertos. His work has been published in the Journal of the American Musicological Society, Studia musicologica, Bartók and his World, and the Cambridge Companion to the Concerto among others. With Klára Móricz he has co-edited volumes two and three of the anthologies to accompany The Oxford History of Western Music. His book Bartók, Hungary, and the Renewal of Tradition was published by the University of California Press in 2006.

4:40 Refreshments

Monday, August 12, 2019

CFP: AMS-NE Fall Chapter Meeting (Amherst College, September 28)

Call for Papers
AMS-NE Fall 2019
The Fall 2019 meeting of the New England Chapter of the American Musicological Society will be held on Saturday, September 28, 2019 at Amherst College in Amherst, MA.
The Program Committee invites proposals of up to 300 words for 20-minute papers and for roundtable sessions or workshops (pedagogical, performative, and/or scholarly). All abstracts are subject to blind review, and submissions from faculty, independent scholars, and graduate students are all encouraged and welcome. Abstracts should be submitted by Sunday, September 1, 2019 via email to kacook -at- hartford dot edu.
Please refer to the AMS abstract guidelines: “Proposals should represent the presentation as fully as possible. A successful proposal typically articulates the main aspects of the argument or research findings clearly, positions the author’s contribution with respect to previous scholarship, and suggests the paper’s significance for the musicological community, in language that is accessible to scholars with a variety of specializations.” Applicants may submit only one proposal per meeting; bibliographies, figures, and examples should not be included with your submission. If submitting for a roundtable or workshop, the same guidelines apply, and we would kindly ask for a proposal for the session as a whole, including information for all participants, rather than individual proposals.
Presenters must be members of the American Musicological Society. Those who are not currently dues-paying members of the New England Chapter will be asked to kindly remit the modest Chapter dues ($10).
Program Committee Members:
Karen M. Cook, University of Hartford, chair
Kate Galloway, Rensselaer Polytechnic Institute
Timothy Mangin, Boston College
Emiliano Ricciardi, University of Massachusetts, Amherst
Gail Woldu, Trinity College

Monday, April 15, 2019

Spring 2019 Chapter Meeting (Saturday, April 27 College of the Holy Cross)

Bios and abstracts are posted as they become available and will be edited for length. Exact location and parking information will be posted soon.

Location: Brooks Music Center Concert Hall, second floor (No. 2 opposite St. Joseph Memorial Chapel on this map).
Parking: Visitors may park in the Loyola Lot (closest) or above the Hogan Center (Gate 7)

NOTE! At the meeting we will be holding elections for Secretary/Treasurer and for one of our two student representative positions. Please send nominations to Jacqueline Sholes at jsholes at not later than 5 PM on Thursday, 4/25. Self-nominations welcome. Thank you!
9:45-10:15       Refreshments and Registration in Brooks 133 (first floor)

Morning Session

10:15  Welcome

10:20  Antonio Cesti and Musical Convention: The Uses and Limits of Voice-Leading
Schemas in His Operas – Kyle Masson (Princeton University)

10:50  Cantopop and Speech-Melody Complex – Edwin K. C. Li (Harvard University)

It is generally accepted that speech and melody are distinctive perceptual categories (Deutsch 2003), and that we are able to overcome perceptual ambiguity to categorize acoustic stimuli as either of the two. This paper investigates the experiential hybridity of speech and melody through the lens of a relatively uncharted territory in musicological studies, Cantonese popular songs (henceforth Cantopop songs). It proposes a speech-complex that embraces (complex, from the Latin complectere: to embrace) the different melody perceptions (or listening practices) of Cantopop songs by native Cantonese speakers.⁠ Speech-melody complex, I argue, does not stably contain the categories of speech or melody in their full-blown, asserted form, but describes their potentialities before they come into being (what they are). The foregrounding of category depends on how much contextual information listeners take into account (or value) in shaping and parsing out the complex, and making a categorial assertion implies breaking through the complex. I then complicate speech-melody complex with the concept of “anamorphosis” borrowed from the visual arts, a concept that calls into question the signification of the perceived object by perspectival distortion. When reconfigured in the sonic dimension, anamorphosis is less about at which point one listens to the distorted sonic object but more about the processual experience of distortion and recalibration within a speech-melody complex. That is, listeners experience a shifting illusion of speech and melody when listening to a distorted sound object that is neither speech-like nor melody-like, at the same time speech-like and melody-like. They engage, then, in the process of molding and remolding the two enigmatic categories, creating new sonic objects along the way. Through my analysis of Don Li’s ‘Silly Woman’ (2015) and ethnographic interviews with native Cantonese speakers, I suggest that Cantopop songs may invite an anamorphic listening, and, in the other way around, some listen to Cantopop songs anamorphically. 

Edwin Li is a Ph.D. student in music theory at Harvard University. He received his B.A. from the University of Hong Kong as Jockey Club Scholar, and was a visiting Pembroke-King’s Scholar at the University of Cambridge in 2016. His research interests include Chinese-Western comparative music theory and philosophy, concepts of nature, topic theory and its relation to affect, and the music of Gustav Mahler.

11:20  Multileveled Conflict in Mahler’s First Symphony: A New Formal-Hermeneutical Analysis – Eric Elder (Brandeis University)

One reading of the opening movement of Gustav Mahler’s Symphony No. 1 in D major, the “Titan,” has remained virtually unchanged from Henry-Louis de la Grange (1979) to Seth Monahan (2015). This reading places the movement in dialog with earlier conventions of sonata form by invoking an expansive, recurring slow introduction and a continuous, monothematic exposition that fails even to establish tonic. This interpretation serves Theodor Adorno well when he claims that Mahler’s music cannot be understood in terms of schematic forms or external programs. Instead, Adorno tells us, the fusion of form and program is Mahler’s response to the demands of art. Thus, the symphony becomes autobiography: “Animated by dissatisfaction with the world, [Mahler’s] art omits to satisfy its norms” (Adorno 1992, 3–5). By virtue of the distance between the consensus reading and the conventions that would govern the movement, we come to view the twenty-eight-year-old Mahler as a troubled revolutionary driven to shatter accepted norms in his first symphonic outing. While this may suit Adorno, it is not entirely consonant with the position of a struggling young professional desperate to make good in a competitive field.

In this paper, I propose an alternative formal reading of the movement. Eschewing the slow introduction, I present the ethereal opening as an evolving primary-theme zone rife with internal conflict. Opposed to this, the “Ging heut‘ Morgen” theme—traditionally viewed as the symphony’s exposition—becomes a decidedly normative secondary-theme zone. Suddenly, we find the movement aligning with the characteristic balance of nineteenth-century theories of sonata form. Additionally, I identify the so-called Durchbruch, which Adorno saw as necessarily originating “beyond the music’s intrinsic movements” (5), as the teleological resolution of the primary-theme zone’s internal conflict and a relatively traditional moment of recapitulation. Throughout, I demonstrate how this analysis supports a programmatic narrative sympathetic to the mythopoetic reading of Almén (2006). Thus, if we continue to take symphony as autobiography, we then develop a view of the young Mahler as more eager for synthesis of influence than for open rebellion.

Eric Elder is currently in his third year of the PhD program in Musicology at Brandeis University, where he works under the guidance of Allan Keiler. Eric is primarily active in music theory, analysis, and the history of theory, and he has taught courses in music theory, analysis, music appreciation, and klezmer, and delivered invited lectures on the Creole roots of jazz and the music of the Harlem Renaissance at Rutgers, the Manhattan School of Music, and Brandeis. Outside of teaching and scholarly pursuits, Eric serves as webmaster and Executive Committee member of the New England Conference of Music Theorists.

Eric was awarded the 2016–2017 Hollace Anne Schafer Award for his work linking Rudolph Reti’s thematic process with Alfred North Whitehead’s process philosophy, work which he presented in a more developed form at last year’s joint AMS-SMT meeting in San Antonio.

 11:50  ‘Die Feder ist zur Hand’: The ‘Scriptorial’ Unfinishedness of Mahler’s Tenth
Symphony – Angelo Pinto (The Open University)

In the literature on Gustav Mahler it is a commonplace to discuss his music in narratological terms. However, the writings in this field, given are focused only on the work’s final version, do not give attention to the authorial dimension of how the composer constructs his musical ‘novel’ through the compositional process. Instead, in literary theory there is an established trend of studies that combine narratology with manuscript analysis to explain the hermeneutic enigmas of modernist literary works whose fragmentation suggest their nature of ‘works in progress.’ This kind of approach seems particularly suitable for Mahler’s Tenth Symphony whose manuscript includes perhaps the highest number of sketches and drafts existing for any of Mahler’s works. In this way, we can reconstruct possible relationships between structure, narrative, and the hermeneutic in the compositional process, from the initial sketchy musical ideas to the draft of the last compositional stage.  Indeed, this perspective seems to be fruitful given that the same Mahlerian literature suggests that Mahler’s symphonies often seem, given their constant reworkings, just ‘works in progress’. 

Given this context, my research question is how Mahler’s Tenth, in its compositional process, can be regarded as a novel, both from structural and hermeneutic points of view.  To answer this question, first I will define the key-concepts of ‘music narrativity’ and ‘music narrativisation’ theoretically. Then I will apply to some key passages of the symphony my three staged ‘genetic’ approach of sketches and drafts to detect in them textual supports for these concepts. As a result, this analysis, also by the help of composer’s letters, will reveal original the pieces of evidence of his intention to represent in the symphony, in a meta-referential play, the ‘work in progress’ of its compositional process.

Angelo Pinto graduated from the Alma Mater Studiorum at the University of Bologna and is at present a Ph.D. candidate in Music at The Open University, Milton Keynes (UK). His dissertation is titled 'The Symphony as a Novel: Mahler's Tenth'. He has been a DAAD fellow at the University of Tübingen, has published articles in academic journals and has taught at the University of Bologna.  His research interests include: the music of Gustav Mahler; modernism in music; music and literature; and music of the late twentieth-century, investigating all of these fields through the perspectives of the creative process, authorialism and musical analysis.

12:20p-2:10p     Lunch Break

2:10p-2:40p        Business Meeting (ELECTIONS)

Afternoon Session    

2:45p Dueling Concerts at Richard Nixon’s Second Inauguration – Andrea Olmstead
(Independent Scholar)

Eugene Ormandy, Charlton Heston, Robert Wagner, Vincent Persichetti, and Leonard Bernstein were all involved in two performances the evening before Richard Nixon’s second inauguration in January 1973. The official concert program was chosen by a White House committee to be performed at the Kennedy Center by the Philadelphia Orchestra, while a rival, unofficial concert was hastily set up by Leonard Bernstein with a pick-up orchestra. By consulting archival material as well as contemporary newspapers and musical journals, the author shows how politics surrounding the war in Vietnam came to overwhelm what was to have been a single celebratory concert. Outlining these events, this paper concentrates on Persichetti’s narrator and orchestra piece requested for the official concert, A Lincoln Address, set to Abraham Lincoln’s Second Inaugural Address and to have been narrated by Charlton Heston. 
The Persichetti piece fell victim to the immediate events of the Vietnam War because the Nixon White House had tied the Lincoln text to promoting the president and his policies. Soon after the commission, the White House considered Lincoln’s famous words no longer appropriate. Their clumsy handling of this decision, revealed in national newspapers and on television, outraged both protesters of the war and Classical musicians. These passions ultimately resulted in the spectacle of competing concerts performed on the same evening, one at the Kennedy Center by the Philadelphia Orchestra with Ormandy (minus the Persichetti piece), the other at the Washington Cathedral conducted by Leonard Bernstein performing Haydn’s Mass in the Time of War.

Andrea Olmstead taught Music History at The Juilliard School (1972–1980), was Chair of the Music History Department of The Boston Conservatory (1980–2004), and taught graduate seminars at the University of Massachusetts–Amherst. From 2006–2018, she was on the Preparatory Music History faculty of the New England Conservatory. She currently works as a book editor and as a writing advisor for Boston University’s doctoral program in Music Education.
She was awarded the Christopher Hogwood Research Fellowship from the Handel & Haydn Society from 2005 until 2007. Olmstead has also held three fellowships from the National Endowment for the Humanities, five writing fellowships from the Virginia Center for the Creative Arts, and ten visiting scholar residencies at the American Academy in Rome. 
Olmstead has published several book chapters and seven books: Vincent Persichetti: Grazioso, Grit, and Gold (Rowman & Littlefield, 2018); Who Was F. Scott Fitzgerald’s Daisy? (eBook:, 2012); Roger Sessions: A Biography (Routledge, 2008); Juilliard: A History (University of Illinois Press, 1999); The Correspondence of Roger Sessions (Northeastern University Press, 1992), Conversations with Roger Sessions (Northeastern, 1987); and Roger Sessions and His Music (UMI Research Press, 1985). 
Olmstead's has contributed articles in The Musical Quarterly, The Journal of Musicology, The Juilliard Journal, American Music, MLA Notes, The Journal of the Arnold Schoenberg Institute, and Tempo, as well as numerous program notes and liner notes. She has delivered pre-concert lectures for the Orpheus Chamber Orchestra, Handel & Haydn Society, and the Boston Symphony in Jordan Hall, Symphony Hall, and Carnegie Hall.

3:15p Vibrational Musicology, Sonic Subhumanisms, and the Promise of Solidarity in the Anthropocene – Andrew Chung (Yale University)

This paper examines some political, ethical stances of recent music towards planetary solidarity in the Anthropocene. Ashley Fure’s ecological installation-opera, The Force of Things (2016/18), with its animate assemblages of vibrating materials, aims to stimulate listeners to recognize the vital animacy of the vibrational events of global warming. Fure emphasizes fundamental commonalities between humans and ecological entities, citing philosopher Jane Bennett’s Vibrant Matter to advance the radically flat ontology that grounds her opera’s rhetoric. In this framework, also explored by musicologist Nina Eidsheim, material vibration and its animacy stand as properties that ontologically unite all peoples, lifeforms, and matter.

Critical race theorists like Zakkiyah Jackson and Fred Moten, however, have pointed out that such radically universal ontologies occlude the human sphere’s internal rivenness. This results in race-blind, difference-blind political imaginaries, silencing injustices affecting differentially marginalized populations. Putting Jackson and Moten in conversation with philosopher Emmanuel Levinas, I argue (contra Fure and Eidsheim) that sonic vibration is better understood not as an ontological unifier, but as a figure for human and non-human entities’ recognitions of each’s singularity, alterity, and vulnerability to each other, which buttress foundational ethical injunctions to avoid harming those others.

I clarify with Pamela Z’s Syrinx (2003), which slows down recorded birdsong until a singer can imitate it. The voice is recorded and gradually manipulated to match the birdsong’s original register and speed. Syrinx frames human and non-human lifeforms not as ontologically same, but as reciprocally open to one another, yet sonically irreducible to each other. Its transformations of bird and human vocalizations point to each’s opening towards becoming sonically other than themselves—hence towards becoming vulnerable. This reading of Syrinx reconfigures The Force of Things to hear both as occasions for ecological solidarity, while avoiding the colorblindness of grounding solidarity in violently occluding the other’s difference.

Andrew Chung is a music theorist who specializes in topics of musical meaning, the philosophy of language, and performativity, with applications in 21st century musical works and social/sonic life. His work centers upon recent music in European festivals of new music, but also includes a focus on the use of music as violence. He is especially interested in the ethics of musical practices, with their entanglements in ecological, semiotic, and feminist thought. Other work of his includes explorations in mathematical music theory and the writings of David Lewin. Andrew is active as a pianist, teacher, and speaker at conferences across the United States and Europe, and he will be joining the faculty of the University of North Texas College of Music.

3:45p   An exploration of Tuvan music through the traditional string instruments of Tuva
– Ceren Turkmenoglu (Independent Scholar)

A bowed string instrument, rebab, has roots that can be traced back to the ninth century and is said to be the first bowed string instrument that emerged from Central Asia, which spread widely over time, evolving into different shapes and forms. As a violinist, my way of exploring different cultures’ music has been through the study of their traditional string instruments. Studying the Turkish rebab and its roots, I expanded my study to the interconnections between different cultures’ string instruments, and conducted a research in Tuva, Central Asia, a culture which possesses an instrument also related to rebab, the igil.
An autonomous republic in the heart of Asia, Tuva, is home to Turkic Tuvan people with a unique musical tradition that was shaped by their nomadic lifestyle and nature. According to Tuvans, nature is their conservatory, where they learn their craft and find their inspiration, and as Tuvan music derives from nature, it is also ‘for’ nature. Moreover, their sensitivity to the sounds of nature is not only for musical reasons, but also survival. 
This paper studies Tuvan music and how it was shaped by their nomadic lifestyle and nature. The aim of this paper is to do the study through the lens of their traditional string instrument igil; discussing the history and making of the instrument and focusing on the concepts of tuning and harmony within their music. The information is collected through field research, participation in music sessions and interviews with musicologists, musicians

Ceren Turkmenoglu is a classically trained violinist who seeks to expand her musical language through the study of other cultural traditions, especially her own, Turkish Traditional Music.
 She began her violin studies with Prof. Cengiz Ozkok in Hacettepe University Ankara State Conservatory, Turkey. In Germany, Hochschule fur Musik und Theater Leipzig, she studied with Carolin Widmann and Henryk Hochschild.
​​In 2011, she received her position in Ankara State Opera and Ballet Orchestra, and in 2015, she became a member of Istanbul State Symphony Orchestra. In 2017 January, she moved to Boston and received a master’s degree from Longy School of Music Bard College. She is an active musician performing recitals, chamber music and in orchestras such as Boston Philharmonic Orchestra. 
Apart from her classical music career, she is also a performer of traditional Turkish music and performs on traditional instruments besides violin. Her aim in her music is to preserve the traditional roots and to bring out the interconnections cultures carry. Her project 'Music from Where the Sun Rises' was awarded by a LAB grant from The Boston Foundation.
Her latest project ‘Strings Around the World’, explores the music of different cultures through their string instruments. Being a string player herself, she aims to study the interconnections of different cultures through their traditional string instruments. Her recent trip to Tuva, Central Asia, to research about Tuvan music and string instruments, was funded by a grant from Women’s Travel Club, Boston.

4:15p    Symphonic Metal: A New Frame of Listening – Greg Eckhardt (Southern Methodist

4:45                 Refreshments