Friday March 3

8:00–8:30 Registration

Morning Paper Sessions

8:30–10:15 Scales in Theory and Practice

Robert Kelley (Lander University)

A Mathematical Model of Tonal Function (Abstract)

Jerry Ianni (LaGuardia Community College/CUNY)

Visual Algebraic Models for Sets of Synthetic Musical Scales (Abstract)

Denise Elshoff (Yale University)

Twentieth-Century Tonality and Shostakovich’s String Quartet No. 3, Movement 5 (Abstract)

10:30–11:45 Brahms Op. 119

Adam Ricci (UNC-Greensboro)

The Progress of a Motive in Brahms’s Intermezzo Op. 119, No. 3 (Abstract)

Samuel Ng (Louisiana State University)

Five-Measure Units in Brahms’s Rhapsody in Eb Major, Op. 119, No. 4: Their Necessity, Effect, and Consequences (Abstract)

11:45–1:00 Lunch

Afternoon Paper Sessions

1:15–3:00 Meaning and Metaphor

Jason Solomon (University of Georgia)

The Image-Schematic Structuring of Musical Meaning: The Basic-Level Response to Music (Abstract)

Alan Shockley (UNC-Chapel Hill)

Music in the Words: Writing Counterpoint in the Modern Novel (Abstract)

Matthew Boyer (Indiana University)

Topical Pairing as Compositional Strategy in Mozart (Abstract)

3:15–5:00 Unity and Continuity

Bruce Durazzi (Northwestern University)

Chromatic Third Relations in Beethoven’s “Spring” Sonata: Implications for Form and Analysis (Abstract)

Mark McFarland (Georgia State University)

Debussy: The Origins of a Method V(Abstract)

Carolyn Mullin (Florida State University)

Completely Incomplete: Rhythmic and Melodic Contour as a Means of Continuity in Webern’s Unfinished Cello Sonata (1914) (Abstract)

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Saturday March 4

Morning Paper Sessions

8:30–10:15 Modernism, Form, and Temporality

Irna Priore (UNC-Greensboro)

Incontri and Disincontri: Berio’s Writings and Boulez’s Arguments in the 1950s (Abstract)

Huey-Meei Chen (Columbia University)

Temporality and Process in the Music of Gérard Grisey (Abstract)

Tomoko Deguchi (Winthrop University)

Evoking Cyclic Time: Toru Takemitsu’s Requiem for Strings (Abstract)

10:30–12:15 Uncommon-Practice Tonality

Seth Coluzzi (UNC-Chapel Hill)

Illuminating the Middleground in Late-Renaissance Polyphony (Abstract)

Michael Buchler (Florida State University)

Direct Stepwise Modulation and its Dramatic and Structural Roles in Frank Loesser’s Songs (Abstract)

Rachel Mitchell (University of Texas at Austin)

Schenker Meets the Beatles: Combining Multiple Analytic Models to Explain Pop-Rock Music (Abstract)

12:15–1:15 Lunch

1:15–1:45 Business Meeting

Afternoon Paper Session

2:00–3:45 Transformational Approaches to Harmony and Rhythm

Adrian Childs (University of Georgia)

Structural and Transformational Properties of All-Interval Tetrachords (Abstract)

Michael Baker (Indiana University)

Parsimonious Voice-Leading in Debussy: the “Fêtes” Movement from the Nocturnes (Abstract)

Yayoi Uno-Everett (Emory University)

Reconfiguring Stravinsky and Minimalism: Structure of Hockets in the Music by Louis Andriessen (Abstract)

4:00 Keynote Address

William Rothstein (Queens College and Graduate Center, CUNY)

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