Charlotte Program

 

THE CONFERENCE SCHEDULE

Unless otherwise indicated, all sessions and events will take place at the Hilton Charlotte Center City Hotel.

 

WEDNESDAY, 14 MARCH

2:00–6:00 p.m. SAM Board of Trustees Meeting (Morehead Executive Boardroom)

2:00–6:00 p.m. Registration Open (Piedmont Crescent Promenade)

3:00–8:00 p.m. Exhibitor Set-Up (Charlotte Hall)

6:30–8:00 p.m. Committee on Governance in Committees Meeting

8:00–10:00 p.m. Opening Reception (Mecklenburg Hall)

THURSDAY, 15 MARCH

7:30–8:30 a.m. RAMH2 Meeting (Walker A)

8:00–3:00 p.m. Registration (Piedmont Crescent Promenade)

8:00–5:00 p.m. Exhibits Open (Charlotte Hall)

 

8:30–10:00 a.m. SESSION 1

Session 1a: Song in the Antebellum South (Mecklenburg Hall)

Chair: Renee Lapp Norris, Lebanon Valley College

Listless Drones and Melancholy Dependents?: William Bradbury's Lament of the Blind Orphan Girl and Perceptions of Blindness in the Mid-Nineteenth Century

Nita Karpf, Case Western Reserve University

Music Education and Performance in the Antebellum South: The Case of Southern Belle/Music Prodigy Eliza Fisk Skinner

Candace Bailey, North Carolina Central University

Gone Fishin': The Partnership of Sexuality and Music in the Antebellum South

Douglas Shadle, University of Louisville

Session 1b: Global Jazz (Carolina Hall)

Chair: Benjamin Piekut, Cornell University

Blue Bossa: Race, Jazz Mythologies, and a Brazilian Music's Popular Crossover, 1960–1964

Kariann Goldschmitt, New College of Florida

Gofio & Jass: Improvising Orthography and Canarian Jazz Subject Formation

Mark Lomanno, University of Texas at Austin

“Indian Enough”: Vijay Iyer, Rudresh Mahanthappa, and Improvised Music at the Diasporic Crossroads

Jason Robinson, Amherst College

Session 1c: Institutions and Orchestras (Graves)

Chair: John Spitzer, San Francisco Conservatory

The Boston Symphony Orchestra and Patriotic Cosmopolitanism, 1918–1930

Anne Searcy, Harvard University

Adventuring in Serious Music: The Rockefeller Foundation and Music Programming in Midcentury America

Tiffany M. Kuo, Mt. San Antonio College

Going for Broke: Brinkmanship, Bankruptcies, and the American Orchestra

Sean Twomey, University of Western Ontario

Session 1d: Panel: Children, Music and the “Mainstream” (Ardwell)

Chair: Diane Pecknold, University of Louisville

The Bubblegum Alternative and Countercultural Kids: Child Subjectivity and Popular Music Aesthetics, 1961 – 1975

Diane Pecknold, University of Louisville

The Children's Popular Music Industry and Child Counterpublics

Tyler Bickford, Columbia University

Gender, Fandom, and Musicianship among 'Tween Girls

Sarah Dougher, Portland State University

 

10:00 – 10:30 Break

10:30–12:00 SESSION 2

Session 2a: Seminar: Musicians and Disability (Graves)

Moderator: Kendra Preston Leonard, Journal of Music History Pedagogy

Respondent: Joseph Straus, CUNY Graduate Center

Disabled Bodies, Disabled Instruments: Civil War Veterans as Organ Grinders

Michael Accinno, University of California, Davis

Disability and Outsider Music: Mental Illness and the Reception of Three Austin Affiliated Singer-Songwriters: Daniel Johnston, Roky Erikson, and Townes Van Zandt

Bruce Quaglia, University of Utah

“He may get some better, but he'll never get well no more”: Locating the Disabled Body of the Rediscovered Skip James

Joshua Busman, University of North Carolina–Chapel Hill

Beethoven's Nightmare and Music Making in Deaf Culture

Jeannette Jones, Boston University

Session 2b: Old New Orleans (Carolina Hall)

Chair: Scott Deveaux, University of Virginia

Baroque and Far From Home: The Sun King in New Orleans

Kim Pineda, University of Oregon

Cultural Rivalry in the Crescent City: The Development of New Orleans' Social and Cultural Life during the Antebellum Golden Era

Gillian Rodger, University of Wisconsin–Milwaukee

Performing the “Changing Same” in Wynton Marsalis's Congo Square

J. Griffith Rollefson, University of California, Berkeley

Session 2c: Music in Wartime (Mecklenburg Hall)

Chair: Dorothea Gail, University of Michigan

“I'm Going to Raise My Boy to be a Soldier:” The Strong Mother in WWI Popular Song

Katheryn Lawson, University of Iowa

War, Intertextuality, and Pop Art: Reassessing Cumming's We Happy Few

Gabriel Alfieri, Boston University/Providence College

Music “in tempore belli”: On George Crumb's Black Angels and the Vietnam War

Will Fulton, CUNY Graduate Center

Session 2d: Commercial Country Music (Ardwell)

Chair: Jocelyn Neal, University of North Carolina–Chapel Hill

“The Hardest Part is Knowing I'll Survive:” Death and Mourning in Emmylou Harris's Duets

Marcus Desmond Harmon, University of California, Los Angeles

Remarkable Women and Ordinary Gals: Performance of Identity in Songs by Loretta Lynn and Dolly Parton

Kate Heidemann, Columbia University

Changing the Sound and Image of Commercial Country Music: The John Rich Effect

David Pruett, University of Massachusetts, Boston

12:00–12:45 Lunch

12:00–12:45 Nominating Committee Meeting (Ardwell)

12:00–1:00 Cultural Diversity Committee Meeting (Walker B)

12:00–2:00 Long Range Planning Committee Meeting (Walker A)

12:45–1:45

Student Forum Panel (Carolina Hall)

Navigating the Job Market

Moderators: Jennifer Myers (Northwestern University) and Brian Jones (University of North Carolina–Chapel Hill)

Panelists: DALE CHAPMAN (Bates College), BETH LEVY (University of California, Davis), and LAURIE MATHESON (University of Illinois Press), WILLIAM GIBBONS (Texas Christian University)

Interest Group Session: Early American Music (Graves)

Resources & Future Projects

Chair: Raoul Camus, Queensborough Community College, CUNY (Emeritus)


Interest Group Session: Gay/Lesbian/Bisexual/Transgendered (Ardwell)

“When Did Jazz Go Straight? A Queer Question for Jazz Studies”

Chair: W. Anthony Sheppard, Williams College/I.A.S., Princeton, NJ

Sherrie Tucker, University of Kansas

 

1:45 – 2:00 Break

2:00 – 4:00 SESSION 3

Session 3a: Seminar: Music in Television (Graves)

Moderator: James Deaville, Carleton University

“Did anyone last night . . . burst into song?”: When Serial Television Puts on a Musical

Christopher Culp, University at Buffalo, SUNY

Soy tu dueña : Music, Class, and Gender in Univisión's Telenovelas

Elizabeth L. Keathley, University of North Carolina–Greensboro

Treme 's Aural Verisimilitude

Zarah Ersoff, University of California, Los Angeles

Paradise Lost?: Comparing Cultural Coding in the Music for Hawaii Five-O (1968–1980) and Hawaii Five-0 (2010–2011)

David Clem, University at Buffalo, SUNY

“Contemporary Cool” as Trope: A Fourth Semiotic Space of American Television Music

Ronald Rodman, Carleton College

Session 3b: Re-Imagining Black Music (Mecklenburg Hall)

Chair: Richard Mook, Arizona State University

Beyond Nostalgia: Re-Imagining a Black Musical Past

Charles Carson, University of Texas at Austin

John Benson Brooks and Harold Courlander's Negro Folk Music, U.S.A.

Benjamin Bierman, John Jay College, CUNY

The Poetic Mingus and His String Quartet No. 1

Vilde Aaslid, University of Virginia

“Authenticity,” Anthropology, and Appropriation in Gershwin's Porgy and Bess

Kassandra Hartford, SUNY–Stony Brook

Session 3c: Music and Place (Carolina Hall)

Chair: Denise von Glahn, The Florida State University

The Case of Theodore Ward's Big White Fog : Musical Representations of the South in a Social Drama about the North?

Jennifer Myers, Northwestern University

A Francophile in America: Ned Rorem's Songs and the Significance of Place

Toni L. Casamassina, The Florida State University

Negotiating Nature and Music through Technology: Ecological Reflections in the Works of Maggi Payne and Laurie Spiegel

Sabine Feisst, Arizona State University

Session 3d: New York School (Ardwell)

Chair: David W. Patterson, Independent Scholar

John Cage's Musical Multiverse

Christopher Bruhn, Denison University

Generic Traditions and Aesthetic Principles in John Cage's Sonatas and Interludes

Byron Sartain, Stanford University

Modernist Performance, Patronage Aesthetics, and Morton Feldman's Rothko Chapel

Ryan Dohoney, Colby College

The “Feedback Condition” of Earle Brown's Calder Piece and His Collage-Paste-Up Process

Elizabeth Hoover, University of Pittsburgh

 

4:00 Break

4:15 Busses leave for Davidson College

The remaining Thursday activities will be held at Davidson College. Please check the Conference Program for location and maps.

 

5:30 –6 :30 SESSION 4

Session 4a: Hip Hop and Local Histories (Hance Auditorium, Chambers Bldg., Davidson College)

Chair: Dale Chapman, Bates College

Who Invented the Transformer Scratch?: Innovation Narratives in a Community of Musicians

Mark Katz, University of North Carolina–Chapel Hill

“Southerngospeltality for Sinners”: Sound and Identity in the Christian Hip Hop Tradition of Houston, Texas

Carrie Allen, University of Houston–Downtown

Session 4b: Sacred Tunebooks (Lilly Gallery, Chambers Bldg., Davidson College)

Chair: Stephen Shearon, Middle Tennessee State University

“Lord, Have Mercy in the Storm:” Double Consciousness and the Colored Sacred Harp

Jonathon Smith, Pellissippi State Community College

Songbook Publishing Companies of the South: Mapping the Southern Gospel Music Industry IP to 1950

Jesse Feyen, York University

Session 4c: Spirituality in Celluloid (Tyler Tallman Hall, Sloan Music Bldg., Davidson College)

Chair: Sally Bick, University of Windsor

Pastoral and Religious Dichotomies in Walter Schumann's Film Score for The Night of the Hunter

Ryan Ross, Millikin University

Scoring the “Oriental Monk”: Three Film Scores about the Dalai Lama

Eric Hung, Rider University

Session 4d: Negotiating Nationalism in the Nineteenth Century (Semans Lecture Hall, Belk Visual Arts Center, Davidson College)

Chair: Michael Broyles, Florida State University

Style and Nationality in the Search for American Opera: George Bristow's Rip van Winkle

William Gibbons, Texas Christian University

“I understand very well how to fill the hall”: Gottschalk's Tactical Maneuvers during the Civil War

Laura Moore Pruett, Merrimack College

6:45–8:15 Sacred Harp Sing (Lilly Gallery, Chambers Bldg., Davidson College)

6:30 Reception (900 Room, Campus Union, Davidson College)

8:00 Gospel SHOUT! Concert (Duke Family Performance Hall, Campus Union, Davidson College)

 

FRIDAY, 16 MARCH

7:00–8:30 a.m. JSAM Advisory Board Meeting (Waring)

7:00–8:30 a.m. First Time Attendees Breakfast (Gwynn)

7:45–8:30 a.m. Conference Site Selection Committee Meeting (Walker A)

8:00–3:00 p.m. Registration (Piedmont Crescent Promenade)

8:00–5:00 p.m. Exhibits Open (Charlotte Hall)

 

8:30–10:00 SESSION 5

Session 5a: Repositioning Babbitt (Graves)

Chair: John Brackett, University of North Carolina–Chapel Hill

Milton Babbitt and the Historiography of Postwar American Music

Joseph Straus, CUNY Graduate Center

My Fair Lady and Philomel : Ovid's Voice in 1964 America

Marcie Ray, Michigan State University

Who Cares If You Listen? (He Just Wanted You to Participate): Milton Babbitt and Popular Music

Marissa Ochsner, University of Oregon

Session 5b: Sacred Song (Ardwell)

Chair: Douglas Shadle, University of Louisville

The Five-Part Hymn Tradition of the Ephrata Cloister

Hilde Binford, Moravian College

Making Melody in your Heart to the Lord: Improvisation as Praying in the “Old Way of Singing”

Carlos Odria, The Florida State University

 

Session 5c: Film Music Pre-1950 (Mecklenburg Hall)

Chair: Neil Lerner, Davidson College

Before King Kong was King: Competing Strategies in Hollywood Symphonic Scores, 1931–33

Nathan Platte, University of Iowa

Russian or American? Aaron Copland's Music for The North Star

Peter Kupfer, Southern Methodist University

Helen van Dongen and the “Noise-Music” of Oil Drilling in Louisiana Story (1948)

Blake Howe, Louisiana State University

Session 5d: Jazz, the Avant-Garde, and Resonant Silences (Carolina Hall)

Chair: David Ake, University of Nevada–Reno

“You Can't Improvise on Nothing”: Charles Mingus and Avant-Garde Jazz Aesthetics

Eduardo Lopez-Dabdoub, CUNY Graduate Center

Politics, Theater, and Play: The Art Ensemble of Chicago's “Get in Line”

Paul Steinbeck, Syracuse University

Silence in Miles Davis's Kind of Blue

Clare Frances Robinson, Stanford University

 

10:00–11:15 SESSION 6: Poster Papers (Pre-Function Area Two)

Composing the Great American Symphony: George Antheil's Symphony #2-3 Understood through Sources and Documents

Sabra Statham, Pennsylvania State University

A Glance into the Creative Process of 1940s Broadway Musical Productions: Two Different Librettos of Kurt Weill's One Touch of Venus (1943)

Michael Baumgartner, Cleveland State University

Mobley's Musings: The Evolution of Hank Mobley's Compositional Notation

Russell M. Clark, University of Illinois at Urbana-Champaign

James-Christopher Kilbourne, University of Illinois at Urbana-Champaign

Finding His Operatic “Voices” through Collaboration: Stephen Schwartz's Séance on a Wet Afternoon

Paul Laird, University of Kansas

Music in Black and White: Music in Petersburg, Virginia, in the Late Nineteenth Century

Ethel Norris Haughton, Virginia State University

Louis Grunewald as Publisher of Minority Composers in Nineteenth-Century New Orleans

Everette Scott Smith, Louisiana State University

10:15–12:15

Event: The Black Composer Speaks: A Cross-Generational Discussion of the Advancement of the Afro-Classical Aesthetic (Mecklenburg Hall)

Moderator: Tammy Kernodle, Miami University

Roundtable Discussion (10:15-11:15)

T.J. Anderson, Adolphus Hailstork, and Anthony Kelley

Recital (11:30-12:15)

Songs My Mother Taught Me: The Art Songs of Black Composers

Louise Toppin, soprano

A luncheon reception will follow the recital. All are invited.

10:15–11:00

Lecture-Recital (Graves)

Reflections, Resonance, Reminiscence: The Just Intonation Resophonic Guitar and Lou Harrison's Scenes from Nek Chand

Giacomo Fiore, University of Californiz, Santa Cruz

11:15 – 1:15 SESSION 7

Session 7a: Seminar: Music on Television (Ardwell)

Moderator: James Deaville, Carleton University

Singing about Diversity: Sesame Street and Televised Musical Education in the Twentieth Century

Elizabeth A. Clendinning, The Florida State University

Visualizing the Classics: Debates over Classical Music Programming in Early U. S. Television

Shawn VanCour, University of South Carolina

Performing Performances: Presenting Toscanini on Television

Gaia Varon, University of Bologna

Dancing into Visibility: Asian Americans and Popular Music on TV

Mina Yang, University of Southern California

Austin City Limits and the “Live Cut”: Style, Meaning, and Music on PBS

Tracey Laird, Agnes Scott College

Session 7b: Southern Rock and Soul (Graves)

Chair: Travis Stimeling, Millikin University

“The South's Gonna Do It Again,” or How Southern Rock Brought Jimmy Carter from Peanuts to President

Dana Gorzelany-Mostak, McGill University

Groove Metal: Pantera and Southern Rock

Spencer Neil Lambright, Middle Tennessee State University

I'll Take You There: Music and Mystique in Muscle Shoals

Christopher M. Reali, University of North Carolina–Chapel Hill

Lifted By the Audience: Audience-Performer Interaction in the Live Recordings of Donny Hathaway

Aaron J. Johnson, Columbia University

Session 7c: Musical Theater (Carolina Hall)

Chair : Steve Swayne, Dartmouth College

Elizabethan Music in North Carolina: Music in Paul Green's Symphonic Drama, The Lost Colony (1937)

Lydia Hamessley, Hamilton College

Kindred Spirits: Kurt Weill and Davy Crockett

Naomi Graber, University of North Carolina–Chapel Hill

Tinkling Bells, Harems, and Gongs, Oh My!: Conflicting Representations of Siam in Rodgers and Hammerstein's The King and I

Daniel Rhode, Grand Valley State University

A Waltz in Four?: The Manipulation of Accompaniment Schemata in the Identification of Stephen Sondheim's Musical Style

Peter Purin, Oklahoma Baptist University

 

1:15–2:00 BREAK

1:15-2:15

Interest Group Session: Musical Theater (Mecklenburg Hall)

Whisper the News to Marian: The Endangered Digital Treasures of the Musical Theater Archive

Chair: Jim Lovensheimer, Vanderbilt University

Doug Reside, New York Public Library

Interest Group Council Meeting (Ardwell)

1:15–5:00 p.m. COPAM Meeting (Waring)

2:00– Tours / Free Time


4:00–5:30 p.m. Brass Band Rehearsal (Carolina Hall)


5:30 p.m. Student Forum Business Meeting (Carolina Hall)

5:30 p.m. Early Career Professionals Discussion Group (Ardwell)

6:30 p.m. Student Forum Dinner Outing

6:30 p.m. Early Career Professionals Dinner Outing

7:00 p.m. Doc Watson Award Ceremony (Mecklenburg Hall)

 

10:00 p.m. SAM JAM (Mecklenburg Hall)

Sponsored by the Folk & Traditional Music Interest Group

 

SATURDAY, 17 MARCH

7:00–8:30 a.m. Membership Committee Meeting (Walker B)

7:00–8:30 a.m. Student Breakfast (Carolina Hall, North)

7:00–8:30 a.m. Publications Council Meeting (Walker A)

8:00–4:00 p.m. Registration (Piedmont Crescent Promenade)

8:00–4:00 p.m. Exhibits Open (Charlotte Hall) (closed during the Annual Meeting)

5:30–7:00 p.m. Exhibits Open (Charlotte Hall)

 

8:30–10:00 SESSION 8

Session 8a: SAM/SHGAPE Panel I: Women Cultural Activists at the Turn of the Twentieth Century (Mecklenburg Hall)

Chair : Joseph Horowitz; Respondent: Judith Tick

A Life in Limbo: Laura Langford and Brooklyn's Seidl Society

Joseph Horowitz, Independent scholar

Singing Wagner to Navajos: Natalie Curtis's Journey from Classical Music to Native and African American Folk Songs

Michelle Wick Patterson, Mount St. Mary's University

Prima Donna, Opera Manager, and Marketing Genius: Emma Abbott and “Opera for the People”

Katherine K. Preston, College of William and Mary

Session 8b: Social Dance (Carolina Hall)

Chair: Renée Camus Bradley, Independent Scholar

Crossover Contras: Tradition and Transformation in American Contra Dance Communities

Deborah Byrd, University of Maryland, College Park

You Can't Dance to It”: Mura Dehn's The Spirit Moves and Bebop as Popular Dance Music

Christopher Wells, University of North Carolina–Chapel Hill

Polka for Profit: The Creation, Manipulation, and Monetization of an Ethnic Community in Pennsylvania Coal Country

Jessamyn Doan, University of Pennsylvania

Session 8c: Political Theater (Ardwell)

Chair : Carol Oja, Harvard University

Labor Education and Racial Equality: How Pins and Needles Changed the Lives of Black Workers during the Great Depression

Trudi Wright, Metropolitan State College of Denver

The Myth in Context: the Reception of Blitzstein's The Cradle Will Rock

Maria Cristina Fava, Eastman School of Music

“To Burn with Pride and Not with Shame”: Bernstein and Lerner's 1600 Pennsylvania Avenue and Cultural Memory

Elissa Glyn Harbert, Northwestern University

Session 8d: Postmodern Memories (Graves)

Chair: W. Anthony Sheppard, Williams College and the I.A.S., Princeton, NJ

Entering the “Memory Space”: On the Transmigration of Souls, 9/11, and the Politics of Memorialization

Matthew Toth, University of Western Ontario

“No more minutes, no more seconds!”: The Manipulation of Time in Act II of John Adams's Doctor Atomic

Robert Lintott, University of Maryland, College Park

10:00 – 10:30 Break

10:30 – 12:00 SESSION 9

Session 9a: SAM/SHGAPE Panel II: Music in Urban Settings and City Life, 1870–1914 (Mecklenburg Hall)

Chair: Joseph Horowitz, New York City; Respondent: Alan Lessoff, Illinois State University

Cultural Utopia: Real Estate Mogul Ferdinand Peck and the Development of Chicago as City and Citizenry

Mark Clague, University of Michigan

Blood on Fire: Prostitution, Music, and Dance in Victorian America

Dale Cockrell, Center for Popular Music (MTSU)/Vanderbilt University

Double Voiced: Musical Freaks of the Variety Stage, 1860–1910

David Monod, Wilfrid Laurier University, Waterloo, Canada

Session 9b: Seminar: Autism and the Musical Representation of Disability (Graves)

Moderator: Kendra Preston Leonard, Journal of Music History Pedagogy

Respondent: Joseph Straus

Victims, Prodigies, Savants: Music in the Discourses of Autism

Andrew Dell'Antonio, University of Texas at Austin

Disability as Postmodernism: Christopher Knowles and Einstein on the Beach

Stephanie Jensen-Moulton, Brooklyn College, CUNY

The Sound of Disability: Music, the Obsessive Avenger, and Eugenics in America

Meghan Schrader, University of New Hampshire

Session 9c: “Folk” Music in the 1960s (Carolina Hall)

Chair: Ronald Cohen, Indiana University–Northwest

Transforming the Black “Folk”: Odetta and the Redefining of Black Folk Traditions

Tammy Kernodle, Miami University

“Seeger Sings Anti-American Song in Moscow”: Pete Seeger and The New York Times, 1965

Summer Benton Nickerson, Arizona Western College

Doc Watson and Ralph Rinzler: (Re)Presenting the Folk

Kip Lornell, George Washington University

Session 9d: Russians in America (Ardwell)

Chair: Kevin Bartig, Michigan State University

Stravinsky and Ingolf Dahl: Portrait of a Collaboration

Craig B. Parker, Kansas State University

Reassessing a Legacy: Rachmaninoff in America

Robin Gehl, University of Cincinnati, College-Conservatory of Music

Advising Koussevitzky: Copland, Mahler, and the BSO Canon

Matthew Mugmon, Harvard University

 

12:00 – 12:45 Lunch

12:00– 1:00 Committee on the Conference (Walker B)

12:30 – 1:30 Honors and Awards Committee Meeting (Walker A)

12:45 – 1:45

Lecture - Recital (Ardwell)

Early Country Guitar Styles of Maybelle Carter, Roy Harvey, Alfred Karnes, and Alton Delmore

Greg Reish, Roosevelt University

 

Lecture-Recital (Carolina Hall)

Visiting the Nickelodeon: An Illustrated Song Experience

Esther Morgan-Ellis, Yale University

 

Interest Group: American Band History Research/Dance, joint meeting

Play Something We Can Dance To: Band Music and the Dance (Graves)

Chairs: Craig B. Parker, Kansas State University and Renée Camus Bradley, Independent Scholar

Raoul Camus, Queensborough Community College, CUNY (Emeritus)

Renée Camus Bradley, Independent Scholar

Alex Bradley, Independent Scholar

 

Interest Group: Twentieth-Century Music (Mecklenburg Hall)

Chair: Sara Heimbecker Haefeli, Ithaca College

Performing Indeterminacy in the Music of John Cage

Louis Goldstein, Wake Forest University

 

2:00 – 3:30 SESSION 10

Session 10a: Rethinking the “Field” in Fieldwork (Graves)

Chair: Ray Allen, Brooklyn College, CUNY

Sailors' Journals and Nineteenth-Century Popular Music: Ethnohistorical Musicology in the Archival “Field”

James Revell Carr, University of North Carolina Greensboro

Hillbilly Recordings as Fieldwork, 1920–1940

Anne Dhu McLucas, University of Oregon

Insider/Outsider Perspectives and Performative Ethnography in Jazz Research

Yoko Suzuki, University of Pittsburgh

Session 10b: Writing for Dance (Carolina Hall)

Chair: James Lovensheimer, Vanderbilt University

Blowzy Women and Spineless Men?: Doris Humphrey and Vivian Fine's The Race of Life

Rachel Lumsden, CUNY Graduate Center

Dancing through Dogpatch: A Dance Arranger's Workshop

Jane Riegel Ferencz, University of Wisconsin–Whitewater

Teiji Ito's Watermill : Controversy over the Use of World Music at the Ballet

Jessica Payette, Oakland University

Session 10c: Music and Media Technology (Mecklenburg Hall)

Chair: S. Andrew Granade, University of Missouri, Kansas City

Recalling Koyaanisqatsi : Television and Minimalism's Cultural Reception

Rebecca M. Doran Eaton, Texas State University–San Marcos

A Song at the End of the World

William Cheng, Harvard University

i Want My i-MTV: YouTube and the Potentials and Pitfalls of the New Media Music Broadcast Universe

Philip A. Stauffer Todd, University of Oklahoma

Session 10d: Twelve-Tone or Not Twelve-Tone (Ardwell)

Chair: Michael Boyd, Chatham University

Serial Anomalies in Milton Babbitt's Music: Some Analytical Strategies

Zachary Bernstein, CUNY Graduate Center

Writing with “Twelve Tones:” Elliott Carter's Identity Construction

Daniel Guberman, University of North Carolina–Chapel Hill

Twelve Tone Tonality?: Leonard Bernstein and Serialism

Jonathan Blumhofer, Independent Scholar

 

3:30–4:00 Break

4:00–5:30 Annual Meeting (Carolina Hall)

6:00–7:30 Reception, SAM Brass Band Performance, and Silent Auction Close (Piedmont Crescent Promenade)

7:30– Banquet (Mecklenburg Hall)

 

SUNDAY, 18 MARCH

7:00 – 8:30 a.m. SAM Board of Trustees Meeting (Dunn)

9:00 – 10:00 SESSION 11

Session 11a: Uplift and the Power of Black Music (Mecklenburg Hall)

Chair : Felicia Miyakawa, Middle Tennessee State University

Uplift and Beyond: The Songwriting Team of Cole and Johnson Brothers and the Ladies' Home Journal

Bonny H. Miller, Independent Scholar, Bethesda MD

A Movement Divided: Uplift, Black Power, and the Carawans

Kristen Turner, University of North Carolina–Chapel Hill

Session 11b: The Steel Guitar (Graves)

Chair: Gary Boye, Appalachian State University

Country Authenticity and the Shifting Semiotics of the Steel Guitar

Samuel Parler, Harvard University

A Technological Call-and-Response: The Development of the Pedal Steel Guitar, 1950–1975

Timothy D. Miller, University of North Carolina–Chapel Hill

Session 11c: Music and Public Radio (Ardwell)

Chair: Steven Baur, Dalhousie University

American and Syrian state sponsored radio and the integration of American pop music into Syrian musical genres.

Beau Bothwell, Columbia University

Charting Musical Experimentalism for Public Radio: Curran's Maritime Rites (1984)

Louise Chernosky, Columbia University

Session 11d: Transcending Minimalism (Carolina Hall)

Chair: Cecilia Sun, University of California, Irvine

“Emotion we have no words for”: Meredith Monk's Education of the Girlchild and Human Emotion

Jessica A Holmes, McGill University

Reconsidering Philip Glass: Space, “Presence,” and Downtown Loft Culture in the Early 1970s

David Chapman, Washington University in St. Louis

 

10:00 – 10:30 Break

10:30 – 11:30 SESSION 12

Session 12a: The Banjo (Mecklenburg Hall)

Chair: Stephanie Vander Wel, University at Buffalo, SUNY

The Contested Terrain of Creations and Continuities: The Banjo in Diaspora

Barbara L. Taylor, University of California, Santa Barbara

“Songs of Dixie”: Buell Kazee and the Reinvention of the Mountain Ballad

Eric Hermann, University of Maryland–College Park

Session 12b: Sentimentality and Melodrama (Graves)

Chair: Melissa de Graaf, University of Miami

A “Phrenzy of Accomplishments”; or, the Power of Sentimental Songs

Glenda Goodman, Harvard University

Jane Manner's “Readings with Music” and the Creation of Melodramatic Performance, ca. 1890–1935

Marian Wilson Kimber, University of Iowa

Session 12c: Contested Spaces (Ardwell)

Chair : Robert W. Fry, Vanderbilt University

Music and Queer Culture: Negotiating Power and Identity at Pride Festivals

Todd Rosendahl, The Florida State University

Celebration and the City: Two Hare Krishna Rath Yatra Processions and the Transformation of Urban Space in New York City and Los Angeles

Sara Black Brown, The Florida State University

Session 12d: Frank Zappa (Carolina Hall)

Chair : Steve Waksman, Smith College

Zappa and the Heavenly Bank Account: The Business of Religion

Sarah Schmalenberger, University of St. Thomas

“Freaking Out” and the Photographic Image

Christopher Phillpott, The Florida State University

 

12:30 – 2:00 Development Committee Meeting (Coastal Kitchen)