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THE CONFERENCE SCHEDULEUnless otherwise indicated, all sessions and events will take place at the Hilton Charlotte Center City Hotel.
WEDNESDAY, 14 MARCH2:00–6:00 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 MARCH7:30–8:30 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
Music Education and Performance in the Antebellum South: The Case of Southern Belle/Music Prodigy Eliza Fisk Skinner
Gone Fishin': The Partnership of Sexuality and Music in the Antebellum South
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
Gofio & Jass: Improvising Orthography and Canarian Jazz Subject Formation
“Indian Enough”: Vijay Iyer, Rudresh Mahanthappa, and Improvised Music at the Diasporic Crossroads
Session 1c: Institutions and Orchestras (Graves) Chair: John Spitzer, San Francisco Conservatory The Boston Symphony Orchestra and Patriotic Cosmopolitanism, 1918–1930
Adventuring in Serious Music: The Rockefeller Foundation and Music Programming in Midcentury America
Going for Broke: Brinkmanship, Bankruptcies, and the American Orchestra
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
The Children's Popular Music Industry and Child Counterpublics
Gender, Fandom, and Musicianship among 'Tween Girls
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
Disability and Outsider Music: Mental Illness and the Reception of Three Austin Affiliated Singer-Songwriters: Daniel Johnston, Roky Erikson, and Townes Van Zandt
“He may get some better, but he'll never get well no more”: Locating the Disabled Body of the Rediscovered Skip James
Beethoven's Nightmare and Music Making in Deaf Culture
Session 2b: Old New Orleans (Carolina Hall) Chair: Scott Deveaux, University of Virginia Baroque and Far From Home: The Sun King in New Orleans
Cultural Rivalry in the Crescent City: The Development of New Orleans' Social and Cultural Life during the Antebellum Golden Era
Performing the “Changing Same” in Wynton Marsalis's Congo Square
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
War, Intertextuality, and Pop Art: Reassessing Cumming's We Happy Few
Music “in tempore belli”: On George Crumb's Black Angels and the Vietnam War
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
Remarkable Women and Ordinary Gals: Performance of Identity in Songs by Loretta Lynn and Dolly Parton
Changing the Sound and Image of Commercial Country Music: The John Rich Effect
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)
“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
Soy tu dueña : Music, Class, and Gender in Univisión's Telenovelas
Treme 's Aural Verisimilitude
Paradise Lost?: Comparing Cultural Coding in the Music for Hawaii Five-O (1968–1980) and Hawaii Five-0 (2010–2011)
“Contemporary Cool” as Trope: A Fourth Semiotic Space of American Television Music
Session 3b: Re-Imagining Black Music (Mecklenburg Hall) Chair: Richard Mook, Arizona State University Beyond Nostalgia: Re-Imagining a Black Musical Past
John Benson Brooks and Harold Courlander's Negro Folk Music, U.S.A.
The Poetic Mingus and His String Quartet No. 1
“Authenticity,” Anthropology, and Appropriation in Gershwin's Porgy and Bess
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?
A Francophile in America: Ned Rorem's Songs and the Significance of Place
Negotiating Nature and Music through Technology: Ecological Reflections in the Works of Maggi Payne and Laurie Spiegel
Session 3d: New York School (Ardwell) Chair: David W. Patterson, Independent Scholar John Cage's Musical Multiverse
Generic Traditions and Aesthetic Principles in John Cage's Sonatas and Interludes
Modernist Performance, Patronage Aesthetics, and Morton Feldman's Rothko Chapel
The “Feedback Condition” of Earle Brown's Calder Piece and His Collage-Paste-Up Process
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
“Southerngospeltality for Sinners”: Sound and Identity in the Christian Hip Hop Tradition of Houston, Texas
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
Songbook Publishing Companies of the South: Mapping the Southern Gospel Music Industry IP to 1950
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
Scoring the “Oriental Monk”: Three Film Scores about the Dalai Lama
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
“I understand very well how to fill the hall”: Gottschalk's Tactical Maneuvers during the Civil War
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 MARCH7:00–8:30 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
My Fair Lady and Philomel : Ovid's Voice in 1964 America
Who Cares If You Listen? (He Just Wanted You to Participate): Milton Babbitt and Popular Music
Session 5b: Sacred Song (Ardwell) Chair: Douglas Shadle, University of Louisville The Five-Part Hymn Tradition of the Ephrata Cloister
Making Melody in your Heart to the Lord: Improvisation as Praying in the “Old Way of Singing”
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
Russian or American? Aaron Copland's Music for The North Star
Helen van Dongen and the “Noise-Music” of Oil Drilling in Louisiana Story (1948)
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
Politics, Theater, and Play: The Art Ensemble of Chicago's “Get in Line”
Silence in Miles Davis's Kind of Blue
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
A Glance into the Creative Process of 1940s Broadway Musical Productions: Two Different Librettos of Kurt Weill's One Touch of Venus (1943)
Mobley's Musings: The Evolution of Hank Mobley's Compositional Notation
Finding His Operatic “Voices” through Collaboration: Stephen Schwartz's Séance on a Wet Afternoon
Music in Black and White: Music in Petersburg, Virginia, in the Late Nineteenth Century
Louis Grunewald as Publisher of Minority Composers in Nineteenth-Century New Orleans
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)
Recital (11:30-12:15) Songs My Mother Taught Me: The Art Songs of Black Composers
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
11:15 – 1:15 SESSION 7 Session 7a: Seminar: Music on Television (Ardwell) Moderator: James Deaville, Carleton University
Visualizing the Classics: Debates over Classical Music Programming in Early U. S. Television
Performing Performances: Presenting Toscanini on Television
Dancing into Visibility: Asian Americans and Popular Music on TV
Austin City Limits and the “Live Cut”: Style, Meaning, and Music on PBS
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
Groove Metal: Pantera and Southern Rock
I'll Take You There: Music and Mystique in Muscle Shoals
Lifted By the Audience: Audience-Performer Interaction in the Live Recordings of Donny Hathaway
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)
Kindred Spirits: Kurt Weill and Davy Crockett
Tinkling Bells, Harems, and Gongs, Oh My!: Conflicting Representations of Siam in Rodgers and Hammerstein's The King and I
A Waltz in Four?: The Manipulation of Accompaniment Schemata in the Identification of Stephen Sondheim's Musical Style
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
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 MARCH7:00–8:30 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)
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
Singing Wagner to Navajos: Natalie Curtis's Journey from Classical Music to Native and African American Folk Songs
Prima Donna, Opera Manager, and Marketing Genius: Emma Abbott and “Opera for the People”
Session 8b: Social Dance (Carolina Hall) Chair: Renée Camus Bradley, Independent Scholar Crossover Contras: Tradition and Transformation in American Contra Dance Communities
“ You Can't Dance to It”: Mura Dehn's The Spirit Moves and Bebop as Popular Dance Music
Polka for Profit: The Creation, Manipulation, and Monetization of an Ethnic Community in Pennsylvania Coal Country
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
The Myth in Context: the Reception of Blitzstein's The Cradle Will Rock
“To Burn with Pride and Not with Shame”: Bernstein and Lerner's 1600 Pennsylvania Avenue and Cultural Memory
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
“No more minutes, no more seconds!”: The Manipulation of Time in Act II of John Adams's Doctor Atomic
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
Blood on Fire: Prostitution, Music, and Dance in Victorian America
Double Voiced: Musical Freaks of the Variety Stage, 1860–1910
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
Disability as Postmodernism: Christopher Knowles and Einstein on the Beach
The Sound of Disability: Music, the Obsessive Avenger, and Eugenics in America
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
“Seeger Sings Anti-American Song in Moscow”: Pete Seeger and The New York Times, 1965
Doc Watson and Ralph Rinzler: (Re)Presenting the Folk
Session 9d: Russians in America (Ardwell) Chair: Kevin Bartig, Michigan State University Stravinsky and Ingolf Dahl: Portrait of a Collaboration
Reassessing a Legacy: Rachmaninoff in America
Advising Koussevitzky: Copland, Mahler, and the BSO Canon
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
Lecture-Recital (Carolina Hall) Visiting the Nickelodeon: An Illustrated Song Experience
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
Interest Group: Twentieth-Century Music (Mecklenburg Hall) Chair: Sara Heimbecker Haefeli, Ithaca College Performing Indeterminacy in the Music of John Cage
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”
Hillbilly Recordings as Fieldwork, 1920–1940
Insider/Outsider Perspectives and Performative Ethnography in Jazz Research
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
Dancing through Dogpatch: A Dance Arranger's Workshop
Teiji Ito's Watermill : Controversy over the Use of World Music at the Ballet
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
A Song at the End of the World
i Want My i-MTV: YouTube and the Potentials and Pitfalls of the New Media Music Broadcast Universe
Session 10d: Twelve-Tone or Not Twelve-Tone (Ardwell) Chair: Michael Boyd, Chatham University Serial Anomalies in Milton Babbitt's Music: Some Analytical Strategies
Writing with “Twelve Tones:” Elliott Carter's Identity Construction
Twelve Tone Tonality?: Leonard Bernstein and Serialism
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 MARCH7:00 – 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
A Movement Divided: Uplift, Black Power, and the Carawans
Session 11b: The Steel Guitar (Graves) Chair: Gary Boye, Appalachian State University Country Authenticity and the Shifting Semiotics of the Steel Guitar
A Technological Call-and-Response: The Development of the Pedal Steel Guitar, 1950–1975
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.
Charting Musical Experimentalism for Public Radio: Curran's Maritime Rites (1984)
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
Reconsidering Philip Glass: Space, “Presence,” and Downtown Loft Culture in the Early 1970s
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
“Songs of Dixie”: Buell Kazee and the Reinvention of the Mountain Ballad
Session 12b: Sentimentality and Melodrama (Graves) Chair: Melissa de Graaf, University of Miami A “Phrenzy of Accomplishments”; or, the Power of Sentimental Songs
Jane Manner's “Readings with Music” and the Creation of Melodramatic Performance, ca. 1890–1935
Session 12c: Contested Spaces (Ardwell) Chair : Robert W. Fry, Vanderbilt University Music and Queer Culture: Negotiating Power and Identity at Pride Festivals
Celebration and the City: Two Hare Krishna Rath Yatra Processions and the Transformation of Urban Space in New York City and Los Angeles
Session 12d: Frank Zappa (Carolina Hall) Chair : Steve Waksman, Smith College Zappa and the Heavenly Bank Account: The Business of Religion
“Freaking Out” and the Photographic Image
12:30 – 2:00 Development Committee Meeting (Coastal Kitchen)
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