“Analyzing Sign Language Music: A Music Theorist’s Primer”

Workshop leader: Anabel Maler (University of British Columbia)

Closed session for participants only

• Stephanie Venturino (Yale School of Music): “Seeing (Heavenly) Harmony: Music-Theoretical Mythmaking in Mrs. F. J. Hughes’s Harmonies of Tones and Colours Developed by Evolution (1883)”
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• Jacob Ludwig (University of Cincinnati College-Conservatory of Music) and Evan Martschenko (Eastman School of Music): “Uncovering Howard Hanson’s Proto-Set Theory Pedagogy”
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• Levi Walls (University of North Texas): “Amending the Accepted Origins of Musical Organicism in the Nineteenth-Century”
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• Daniel Chang (Eastman School of Music): “Latent Imitation: Unfolding a Trichord into Canons”
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• Sarah Tobin (Michigan State University): “‘Let the Vagina Have a Monologue’: Exploring Persona in Janelle Monáe’s Music”
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• Ryan H. Jones (Eastman School of Music): “Imagining Posthumanist Musical Agency with George Crumb’s Music for a Summer Evening”
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• Austin Wilson (Michigan State University): “The BRECVEMAC Framework and Negatively Valenced Emotions in Super Mario Bros. Music”
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• Cameron Gwynn (Florida State University): “Musical Agency and Embodiment in Super Mario Maker 2”
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• Alexander Shannon (Indiana University): “Disability and Transformation in W. A. Mozart’s ‘Dissonance’ Quartet”
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• Drake Eshleman (Indiana University): “‘Silent Hearing’ in Marc Applebaum’s Darmstadt Kindergarten”
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• Jackson Faulkner (Indiana University): “Mixed Signals: Exploring the Production Mix in Hip-Hop”
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• Ram Reuven (Norwegian Academy of Music): “Challenging One-Timeness: Cadenzas Respond to Ephemeral Thematic Material”
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• Luis Matos-Tovar (Florida State University): “The Transition that Grows: Expanding Romantic Frameworks with the Anticipatory Transition”
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• Daria Michirin (University of Toronto): “Ambiguous Thematic Functions in the Scherzo of Robert Schumann’s Piano Sonata Op. 14”
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• Joshua Rosner (McGill University) and Oriana Kilbourn-Ceron (Concordia University): “Mapping Musical Structure onto Phonetic Choices: A Corpus Study of Jazz Scat Solos”
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• Tori Vilches (Indiana University): “Phonated Inhalation in Bad Bunny’s Post-Studio Production”
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• Evan Chan (University of Toronto): “Is this GenAI or Human? An Experimental Pilot Study on Distinguishing Between AI-Generated and Human-Composed Music”
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• Alexis Lowder (University of Memphis): “‘Beat the drums of tragedy and death’: Meter and Hypermeter in Songs by Florence Price”
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• Stanley Kleppinger (University of Nebraska-Lincoln): “Notation and Conception of Mixed Meter in Aaron Copland’s Music”
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• Jeremy Smith (The Ohio State University): “Teaching Rhythmic Theory Through Electronic Dance Music”
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• Mítia Ganade D’Acol (Indiana University): “The Passacaille from Lully’s Persée: Displaying Embodied Emotions with Kinetic Affect”
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• Elwyn Rowlands (University of Toronto): “Choreopictography: Projective Symmetry and Rhythmic Formulae in the Waltz from Prokofiev’s The Stone Flower”
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• Ten Zhang (CUNY Graduate Center): “Temporal Symbolism in Chen Qigang’s Reflet d’un temps disparu”
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• Brett Clement (Ball State University): “‘Loads of Random Major Chords’: Triadic Progression as Motive in the Music of Cardiacs”
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• Kyle Hutchinson (Colgate University): “‘Changed for Good’ Pathways of Motivic and Tonal Development in Stephen Schwartz’s Wicked (2003)”
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• Ellen Shaw (Michigan State University): “‘Refuge of the Roads’: Portrayals of Musical Restlessness in Joni Mitchell’s Hejira”
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• Megan Lyons (Furman University) and Peter Kaminsky (University of Connecticut): “Evolving slash harmony in Joni Mitchell’s early piano-based songs”
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• Jason Mile (Western University): “Meter as Form in Popular Music”
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• Gretta Sayers (Brandon University) and Sarah Hall (Brandon University): “Formal Functions as Poetic Subtext in Art Song”
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• Alexandrea Jonker (Crane School of Music, SUNY Potsdam): “Melodic Transformations and Levenshtein Distance in Johanna Beyer’s Early Music”
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• Ji Yeon Lee (University of Houston): “Climax Structure in Large-Scale: On the Ending of Puccini’s Turandot, Act 1”
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• Jacob Eichhorn (Eastman School of Music): “Twelve-Tone as Topic: Satire, Politics, and Postwar American Concert Music”
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• Hei-Yeung (John) Lai (University of British Columbia): “Pulsing in a Hall of Mirrors: Musical Borrowing in John Adams’s Absolute Jest”
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• Ryan Galik (Eastman School of Music): “Well-Worn Grooves: Selective Attention, Boredom, and the Musical Rewards of Excessive Familiarity”
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• James Jarrett (University of Michigan): “Attending to Song: An Analytical Paradigm Synthesizing Gestural Theory and Attention Studies”
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• Robert Hamilton (Eastman School of Music): “Scale Schemas and Howells”
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• Kevin Costello (New York, NY (Unaffiliated)): “The Major-Minor Gambit: A Compositional Schema in Jazz Standards”
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• Anna Peloso (Indiana University): “Thelonious Monk’s Wrong (…but Right) Notes”
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• Wes Khurana (University of Toronto): “Bridge Function in Recent Popular Music”
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• Guy Capuzzo (UNC Greensboro): “Spiritual Transformations in Two Songs by Sunn O)))”
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• Kaylene Chan (University of Toronto): “Analyzing Groove Embodiment in Erykah Badu’s ‘On & On’”
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• Ben Baker (Eastman School of Music): “Participatory Covers & Audience Choirs: Jacob Collier’s Public Music Theory”
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Open to all conference attendees.

“Humanizing Networks in Music Theory”

Jonathan De Souza (Western University)