Session I: 1:30 — 3:30 Riemannian Relations
"Pegasus Unbridled: Beethoven’s Op. 7 and Riemann’s Theory of
Rests,"
Bradley C. Hunnicutt,
"A New Approach to Voice-Leading Analysis in Chromatic Passages: Displacement
Class Analysis and Wagner’s Parsifal,"
Scott Baker, Florida State University
Session II 3:15 — 4:45 Musical Motives and Structural Unification
"Singing a New Song: Stephen Foster and American Minstrelsy,"
Matthew R. Shaftel, Florida State University
"Register Motives and Unification: Beethoven’s Piano Sonata Op. 10,
No. 1,"
Elizabeth Smith,
Session III 8:30-10:15 Linear Relations to Harmony
"A Theory of Prolongation in Diatonic Space,"
Evan Jones, Florida State University
"Unification of Harmony and Counterpoint: Dyadic Voice Leading in a Two-Dimensional
Pitch Space,"
Mitchell Turner, University of North Carolina at Greensboro
"Linear Chromaticism in the Music of Dmitri Shostakovich,"
William Hussey, Roosevelt University
Session IV 10:30-12:00 Schenkerian Concepts and Formal Structure
"The Schenkerian Interruption as Dramatic Nexus,"
Edward D. Latham, Temple University
"Amplifying the Schenkerian Sonata-Form Interruption Concept: The Case
for a Continuous 5^ with an Analytical Interpretation of Beethoven’s Piano
Sonata, Op. 101,"
Irna Priore, University of Iowa (Winner,
Best Student Paper Award)
Session V 1:30 — 4:00
Analysis and Performance
"The Choreographer as Analyst: Bodily Gesture and Motivic Design in Debussy/Nijinsky’s
L’après-midi d’un faune,"
Edward D. Latham, Temple University
"Aspects of Performance and Analysis: Three Unmeasured Preludes by Louis
Couperin,"
Philip Chang,
Parody in Music
"Tools of Resistance: The Role of Parody in Frank Zappa’s ‘Serious’
Music,’"
Ross Feller, Georgia College and State University
"Take a Sad Song and Make It Better: Parody and Competing Harmonic Agendas
in Joji Yuasa’s Subliminal Hey J. (1990),"
Ron Squibbs, Georgia State University