2018 Rocky Mountain Music Scholars Conference

Transcription

1 2018 Rocky Moutai Music Scholars Coferece Hosted by the Uiversity of Arizoa Fred Fox School of Music Tucso, Arizoa, March Featurig Joh Roeder (Uiversity of British Columbia) Presetatios by scholars from America Musicological Society - Rocky Moutai Chapter Rocky Moutai Society for Music Theory Society for Ethomusicology Southwest Chapter COLLEGE OF FINE ARTS Fred Fox School of Music

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3 2018 Rocky Moutai Music Scholars Coferece The Uiversity of Arizoa Fred Fox School of Music Tucso, Arizoa, March America Musicological Society - Rocky Moutai Chapter (AMS-RMC) Joh T. Brobeck (Uiversity of Arizoa), Presidet Rocky Moutai Society for Music Theory (RMSMT) Boyd Pomeroy (Uiversity of Arizoa), Presidet Program Committee David Bashwier, Chair (Uiversity of New Mexico) Sara Bakker (Utah State Uiversity) Jim Bugert (Rocky Moutai College) Dickie Lee (Colorado State Uiversity) Joh Muiz (Uiversity of Arizoa) Carissa Reddick (Uiversity of Norther Colorado) Dale Tovar (Uiversity of Orego) Kriste Walletise (Uiversity of Norther Colorado) Society for Ethomusicology Southwest Chapter (SEMSW) Regioal Chapter Officers Daw Corso (Uiversity of Arizoa), Presidet Aaro Paige (ArtsWestchester), Vice-Presidet Kelsey Fuller (Uiversity of Colorado, Boulder), Secretary/Commuicatios Bejami Cefki, (Uiversity of Colorado, Boulder), Studet Represetative Orgaizig Committee Kathy Acosta Zavala, Coferece Orgaizer Joh T. Brobeck, AMS-RMC Boyd Pomeroy, RMSMT Daw T. Corso, SEMSW Edward Reid, Director, The Uiversity of Arizoa Fred Fox School of Music T A B L E O F C ON T E N T S Coferece Program...4 Keyote Abstract...11 AMS-RMC Abstracts...12 RMSMT Abstracts...20 SEMSW Abstracts...29

4 2018 Rocky Moutai Music Scholars Coferece The Uiversity of Arizoa Fred Fox School of Music Tucso, Arizoa, March America Musicological Society - Rocky Moutai Chapter (AMS-RMC) Rocky Moutai Society for Music Theory (RMSMT) Society for Ethomusicology Southwest Regio (SEMSW) P R O G R A M Friday, March 23, :00-10:30 a.m. AMS-RMC Sessio I, Room 162: Critical Receptios durig the 20th Cetury Chair: Julie Hedges Brow (Norther Arizoa Uiversity) War, Istitutios ad Commissios: A Study of the 1943 League of Composers War-Themed Commissios Kathy Acosta Zavala (Uiversity of Arizoa) Challegig Berstei s Impact o the Perceptio of Mahler s Music i America from 1911 to 1968 Jessica Berg (Uiversity of Arizoa) The Twety-First Cetury Secular Church Orga: A Precedet at the Twetieth-Cetury Cathedral of Notre-Dame Alexader Meszler (Arizoa State Uiversity) RMSMT Sessio I, Room 146: Serialism ad Set Theory Chair: Stephe Brow (Norther Arizoa Uiversity) Death Metal Dodecaphoy: Partitio Schemes i Ro Jarzombek s Twelve-Toe Music Michael Dekovich (Uiversity of Orego) Somethig Freakish : Broke Bodies i Ligeti s Strig Quartet No. 2 Demi Nicks (Florida State Uiversity) Fatasia as Form: Logic ad Freedom i Schoeberg s Phatasy for Violi ad Piao Accompaimet, Op. 47 Ria Sugawara (Uiversity of Miesota) - 4 -

5 10:45 a.m. - 12:45 p.m. AMS-RMC Sessio II, Room 162: Sacred Music Before 1750 Chair: Joh T. Brobeck (Uiversity of Arizoa) The Good Thief i Byrd ad Tallis s Catioes quae ab argumeto sacrae vocatur: A Study i Musical Aagorisis Jeremy L. Smith (Uiversity of Colorado, Boulder) Hidde Prayers: Re-Iterpretig William Byrd s Catioes Sacrae (1589) Alexadra Siso (Uiversity of Colorado, Boulder) The Pseaumes de Mr de Noailles : Catiques spirituels ad the Court of Louis XIV Deborah Kauffma (Uiversity of Norther Colorado) For What Purpose? J. Pachelbel s Was Gott thut, das ist Wohlgeta ad Middle-Class Patroage Shau Stubblefield (Norther Arizoa Uiversity) RMSMT Sessio II, Room 146: 20th-Cetury -Isms Chair: Mitchell Ohrier (Uiversity of Dever) A Gestural Basis for New-Music Aalysis Sara Everso (Florida State Uiversity) A Computatioal Approach to the Aalysis of Olivier Messiae s Preludes ( ) Jeifer Hardig (Florida State Uiversity) Makig the Spectral, Corporeal: Embodied Cogitio ad Expressive Performace i Grisey s Prologue Joseph R. Jakubowski (Washigto Uiversity i St. Louis) 12:30-2:00 p.m. SEMSW Sessio I, Room 137: Soudscapes ad Eviromets Chair: Daw T. Corso (Uiversity of Arizoa) Seeig is Believig: Sámi Political ad Evirometal Activism i Popular Music Videos Kelsey Fuller (Uiversity of Colorado at Boulder) Soudig the Nile: Hamza El Di as Ethographic Ear Rega Homeyer (Uiversity of New Mexico, Albuquerque) Soudscape: The UA s Remarkable Chimes ad Echoes Da Kruse, Matthew Mugmo ad Brad Story (Uiversity of Arizoa) 2:15-4:15 p.m. AMS-RMC Sessio III, Room 162: 19th-Cetury Ideologies ad Receptios Chair: Deborah Kauffma (Uiversity of Norther Colorado) Schuma s Chamber Music ad His Lodo Receptio Julie Hedges-Brow (Norther Arizoa Uiversity) - 5 -

6 Liszt, Wager, ad Judaism i Music Jay Roseblatt (Uiversity of Arizoa) Ossiaism, the Bardic Style, ad Nieteeth-Cetury America Aesthetics i Dvořák s New World Symphoy Jaice Dickesheets (Uiversity of Norther Colorado) Above All Other Natios : Frech Orga Ecouters at the 1893 Chicago World s Fair Gle Hicks (Arizoa State Uiversity) RMSMT Sessio III, Room 146: Rock Theory Chair: David Bashwier (Uiversity of New Mexico) Sigle-Toic ad Sigle-Scale Systems i Rock Music Brett Clemet (Ball State Uiversity) Setetial Structures i Rock Music Do Traut (Uiversity of Arizoa) The Space Betwee: Coectig Narrative ad Toal-Ceter Relatioships i the Music of Dave Matthews Bad Micheal Sebulsky (Uiversity of Orego) Terary Forms i Rock Matthew E. Ferradio (Uiversity of Kasas) SEMSW Sessio II, Room 137: Regioal Studies of the Southwest U.S. ad Mexico Chair: Kristia Jacobse (Uiversity of New Mexico) Todos me mira : Drag Performace i Udocumeted LGBTQ Migrat Spaces Adriee Alto-Gust (Uiversity of Chicago) Sogs of Immortality: Explorig the Role of Death i Music Salvador Heradez, Jr. (Uiversity of Florida) The Holy Coyote: Ghost Smugglig Corridos ad the Udocumeted Migrat Experiece Teresita Lozao (Uiversity of Colorado, Boulder) Idigeizig Art Music: A Aalysis of Coor Chee s Navajo Vocables for Piao Reata Yazzie (Uiversity of New Mexico) 4:30-6:30 p.m. AMS-RMC Sessio IV, Room 162: Baroque ad Neo-Baroque (eds at 6:00 p.m.) Chair: Jeremy L. Smith (Uiversity of Colorado) Why Striggio Was Not o Moteverdi s Side: Orfeo (1607), Academy Culture, ad the Stagig of the Artusi Cotroversy Joel Schwidt (Bosto Coservatory) Eric Chafe s Method of Seveteeth-Cetury Harmoic Aalysis: Perspectives from Cotiuo Treatises Clémece Destribois (Brigham Youg Uiversity) Hybridity, Virtuosity, ad the Forgotte Chamber Music of the Frech Violi School Michael Ward (Uiversity of Colorado, Boulder) - 6 -

7 RMSMT Sessio IV, Room 146: Meter ad Temporality Chair: Jim Bugert (Rocky Moutai College) Metric Complexity, Lyric, ad Groove i Selected Verses ad Tracks of Emiem Mitchell Ohrier (Uiversity of Dever) Toward Metric Stability: The Iterplay of Meter, Sycopatio, ad Hemiola as Formal Process i Brahms s Violi Soata No. 1 i G Major, Op. 78 Matthew Staley (Uiversity of New Mexico) Temporality ad Disembodimet i Alvi Lucier s I am sittig i a room Aa Fulto (St. Olaf College ad Eastma School of Music) Old, Weird America : Metric Irregularities i Harry Smith s Athology of America Folk Music Nacy Murphy (Uiversity of Housto) SEMSW Sessio III, Room 137: Trasmissio, Chage, ad Diffusio Chair: Aaro Paige (ArtsWestchester) Pleg Diaw: Teachig Virtuosity ad Cultural Value Through Thai Music s Solo Repertoire Bejami Cefki (Uiversity of Colorado, Boulder) Trascribig the Now or Trascribig the History? Uderstadig the 1928 Mizoku Geijutsu Debate Richard Miller (Uiversity of Nevada, Las Vegas) Orgaology i the Icoography of the Ramayaa Epic ad Istrumets at the Courts of Southeast Asia Tachiee Patarateerao (Uiversity of Norther Colorado) No Oe Wats to Liste to Us: The Challeges of Female Iraia Musicias Performig Wester Classical Music Golriz Shayai (Uiversity of Norther Colorado) - 7 -

8 Saturday, March 24, :45-8:45 a.m. AMS-RMC Busiess Meetig, Achor Room (Architecture Buildig) SEMSW Busiess Meetig, Room 137 (Music Buildig) 9:00-11:00 a.m. AMS-RMC Sessio V, Room 162: New Aalytic Perspectives o 20th-Cetury Music Chair: Lidsey Macchiarella (Uiversity of Texas El Paso) Music ad Architecture i the Persoal Performace Spaces of Frak ad Olgivaa Lloyd Wright Maxie Fawcett-Yeske (Uited States Air Force Academy) Neo-Riemaia Aalysis: A Bridge Likig Topic Theory ad Film Music Scholarship Daiel Obluda (Uiversity of Colorado) Deep Ecology i Music: The Reductio i Hierarchical Structures i the Music of Paulie Oliveros Ae-Marie Houy-Shaver (Arizoa State Uiversity) Six Litaies for Heliogabalus: Joh Zor ad the Theatre of Cruelty Morga Block (Uiversity of Arizoa) RMSMT Sessio V, Room 146: The Medelssohs (eds at 10:00 a.m.) Chair: Dickie Lee (Colorado State Uiversity) Chromatic Evolutio: V-of-iii as a Domiat Substitute i Felix Medelssoh s Sogs without Words Faez Abdalla Abarca (Uiversity of Arizoa) Why Are The Roses So Pale? Closure i Fay Medelssoh Hesel s Op. 1, No. 3. Emily Barbosa (Idiaa Uiversity) RMSMT Sessio VI, Room 106: Is it Film, or Is it Impressioism? Chair: Kristia Kowles (Arizoa State Uiversity) A Love(-Theme) Triagle i Berard Herma s Score to Vertigo Steve Reale (Yougstow State Uiversity) A Trasformative Evet i Max Steier s Fafare for Warer Brothers Bret Yorgaso (Brigham Youg Uiversity) Seveth ad Nith Chord Regios i Debussy ad Ravel: The Trista Geus ad Other Spaces Keith Waters (Uiversity of Colorado, Boulder) The Games of Debussy s Jeux Mark McFarlad (Georgia State Uiversity) - 8 -

9 SEMSW Sessio IV, Room 137: Orgaizatio, Productio, ad Disruptio i Cotemporary Musics Chair: Daw Corso (Uiversity of Arizoa) I Kow You Wat It : How the Blurred Lies Copyright Case Impacts the Sample-Based Traditio of Hip-Hop Josh Barbre (Uiversity of Arizoa) Iterdepedece i Cuba Batá Drummig: Romá Díaz ad L ó dá fú Bàtá Zae Cupec (Uiversity of Colorado at Boulder) Safe Space, Commuity, ad Commualism i the Dever D.I.Y. Puk Scee Kare Mize (Uiversity of Dever) Nemzeti Rockers Message of Uity for Szekeler Hugarias o the Festival Stage Jessica Vasteeburg (Uiversity of Colorado, Boulder) 11:15 a.m. - 12:15 p.m. Keyote, Crowder Hall: Comparig Musical Cycles Across the World Joh Roeder (Uiversity of British Columbia) Coferece Lucheo, Studet Uio Gallery 12:30-1:30 p.m. 2:15-3:45 p.m. AMS-RMC Sessio VI, Room 162: Music o the Border (eds at 3:15 p.m.) Chair: Matthew Mugmo (Uiversity of Arizoa) Wome, War, ad the Piao i Nieteeth-Cetury Mexico: Mexica Musical Life i the Newberry Library s Collectio of Piao Pieces Adriaa Martiez-Figueroa (Arizoa State Uiversity) Feces as Soic Bridges: Gle Weyat s Musical Activism at the U.S.-Mexico Border Sabie Feisst (Arizoa State Uiversity) RMSMT Sessio VII, Room 146: Form ad Closure Chair: Kriste Walletise (Uiversity of Norther Colorado) Coceptualism, Miimalism, ad Steve Reich s Istrumetal Music George Adams (Uiversity of Chicago) A Theory of Closure i the Late Works of Sergei Prokofiev Jacy Pederse (Texas Christia Uiversity) Theorizig Silece Kristia Kowles (Arizoa State Uiversity) - 9 -

10 RMSMT Sessio VIII, Room 106: History of Theory Chair: Jim Bugert (Rocky Moutai College) Computatioally Re-Imagiig Mode Defiitios i Glarea s Dodecachordo Reier Krämer (Uiversity of Norther Colorado) Fifth Amedmets: Editorial Correctios of Cosecutive Fifths i the Bach Chorales Luke Dah (Uiversity of Utah) Toward a Broader Theory of Music: Charles Butler s The Priciples of Musik ad Seveteeth-Cetury Eglad Joshua Klopfestei (Uiversity of Chicago) SEMSW Sessio V, Room 137: Ivited Roudtable Ethomusicology: The Field i Flux? Chair: Daw T. Corso (Uiversity of Arizoa) 4:00-4:15 p.m. Presetatio of Studet Awards, Room 146 4:15-5:15 p.m. RMSMT Busiess Meetig, Gree Room (Music Buildig)

11 2018 Rocky Moutai Music Scholars Coferece The Uiversity of Arizoa Fred Fox School of Music Tucso, Arizoa, March America Musicological Society - Rocky Moutai Chapter (AMS-RMC) Rocky Moutai Society for Music Theory (RMSMT) Society for Ethomusicology Southwest Chapter (SEMSW) A B S T R A C T S Comparig Musical Cycles Across the World Joh Roeder (Uiversity of British Columbia) Keyote Abstract Growig iterest i world-music aalysis has highlighted the challeges, log recogized by ethomusicologists, of comparig music from differet cultures o the basis of their diverget idigeous coceptios. Yet, i today s free-for-all soic ecoomy, listeers ejoy musics of ufamiliar cultures ad histories. What are they hearig? My talk reframes this questio i music-theoretical terms: what kids of isight ca a few basic ad presumably uiversal priciples of musical listeig provide ito a ubiquitous musical procedure, cyclig (persistet repetitio)? Most scholars who study musical cycles classify them, or associate them with the geeral affects they afford, without cosiderig idividual examples i much detail. Recetly, though, Agawu ad Locke have carried out detailed aalyses of cyclic West Africa traditioal music i terms of basic percepts. Their approach seems worthwhile to refie ad apply to other repertoires. Of the may differet maifestatios of cyclicity, I restrict my iquiry to simple textures featurig costatly repeated rhythms, from isolated traditioal cultures relatively utouched by coloizig/globalizig iflueces. My approach cocetrates ot o rhythmic objects, such as fixed metric states or evets, but o the dyamic processes through which listeers acquire ad cotiuously revise their sesatios of music cotiuity, articulatio, ad evet categories. Attetio to these processes helps move beyod geeralities to describe exactly how cyclic pieces differ, ad also to recogize commo strategies for makig the repetitio lively or for weavig large-scale processes out of precisely calibrated variatios. To expose the basic cocepts I first examie some proto-musical chatig of Tibeta Buddhist us, the I preset aalyses ad compariso of cyclic music from Haida Gwaii (Caada), Gabo, Bolivia, ad Vauatu. The presetatio is iteded ot oly to appreciate the art of these examples, but to advocate for more aalytical ivestigatio ito traditioal sources as a valuable resource for music theory. About the Keyote Speaker Joh Roeder As a music theorist ad aalyst, I describe ways that people coceive of music, ad how music is heard to orgaize time coheretly, expressively, ad meaigfully. I cocetrate o music of special relevace today: recet works by cotemporary composers i the Wester art-music traditio, ad the world music that globalizatio is ow brigig to everyoe s ears. I have also directed graduate-studet research i popular music, jazz, Reaissace polyphoy, pheomeology, ad spectral music. I am especially iterested i rhythm, meter, musical trasformatios, mathematical ad computatioal approaches to music, issues of semiosis

12 ad represetatio, ad processive approaches to music. From I directed research ito strategies for preservig digitally created iformatio, icludig music, as a member of the IterPARES project. I have held grats from the Social Scieces ad Humaities Research Coucil of Caada to study Trasformatio i Cotemporary Art Music, Periodicity i Music, ad Approaches to the Aalysis of Musical Time (the latter two i collaboratio with my ethomusicologist colleague, Michael Tezer). I ve served o the editorial boards of Perspectives of New Music, Music Theory Spectrum, ad Joural of Music Theory. I ve bee active i the Society for Music Theory, chairig, for istace, the Publicatios Committee. I Jue 2003 I coducted a Workshop at the Maes Istitute for Advaced Studies i Music Theory o Trasformatioal Approaches to Cotemporary Music, ad i November 2008 I led a semiar o Aalyzig Cotemporary Music for the Graduate Studet Workshop Program of the Society for Music Theory. AMS-RMC 2018 Abstracts (by Sessio) Sessio I: Critical Receptios durig the 20 th Cetury Chair: Julie Hedges Brow (Norther Arizoa Uiversity) War, Istitutios ad Commissios: A Study of the 1943 League of Composers War-Themed Commissios Kathy Acosta Zavala (Uiversity of Arizoa) O July 13, 1943, the League of Composers issued a letter ivitig a group of composers to take part i a ew project to itegrate the music of serious composers with the aims ad feelig of these war days. These composers were to write short compositios ot exceedig five miutes i performace time to be premiered by the New York Philharmoic. Ultimately, sevetee composers icludig Bohuslav Martiu, William Grat Still, Roy Harris, ad Walter Pisto accepted the League s ivitatio. Through a careful aalysis of letters foud i the League of Composer s New York Public Library Archive, ewspapers clippigs ad cocert programs, this paper argues that these commissios galvaized the cotemporary New York symphoic scee by creatig a ripe marketig eviromet for other works by the commissioed composers. Alog with the buzz aroud a cotroversial coductor s first full seaso with the New York Philharmoic (Artur Rodziski) ad the excitemet about a ew Amrica assistat coductor (Leoard Berstei), the war-themed commissios cotributed materially to the presetatio of ew music durig times of war. Challegig Berstei s Impact o the Perceptio of Mahler s Music i America from 1911 to 1968 Jessica Berg (Uiversity of Arizoa) Leoard Berstei s promiet role i champioig the music of Gustav Mahler is well kow; as music director of the New York Philharmoic from 1959 to 1969, he itroduced Mahler s works to millios through cocerts, recordigs, ad televisio programmig. Oe key momet came i 1960, whe the New York Philharmoic celebrated Mahler s 100th birthday with a festival that icluded a televised Youg People s Cocert led by Berstei. Although Berstei is typically give the bulk of the credit for popularizig Mahler, scholars have recetly explored how figures such as Bruo Walter, Dmitri Metropolis, Serge Koussevitzky, Leopold Stokowski, ad Aaro Coplad were all egaged closely with Mahler s music; may of them worked with Berstei at some poit i his career, ad each cotributed materially to icreasig public kowledge about Mahler s music i America. I this paper, I explore the critical receptio of Mahler s music to place Berstei s champioig of Mahler i cotext, arguig that Berstei was far from the decidig factor i how Mahler s music was performed or received i America durig the 1950s ad 1960s. Although the critical eviromet was ofte hostile to Mahler New York Times critic Oli Dowes referred to a Mahler symphoy as bad art blatatly vulgar music i 1948 a close look at ewspaper reviews of performaces by the Bosto Symphoy Orchestra, New York Philharmoic, Los Ageles Philharmoic, ad Chicago Symphoy Orchestra from before, durig, ad after the Mahler festival, from a variety

13 of critics were ot oly positive, but Mahler s music was well received by audieces. Bosto Globe critic Cyprus Durgi oce wrote of Mahler s Secod Symphoy the Resurrectio Symphoy is amog the world s masterpieces i 1960 ad Chicago Tribue critic Thomas Willis wrote of Mahler s Sixth premier performace by the Chicago Symphoy Mahler s Sixth heard here- at last i New York Times critic Raymod Ericso wrote of the New York Philharmoic s performace of Mahler s Das Lied Vo Der Erde that the performace was a brilliat oe 7 i The ewspaper reviews combied with the research of other leadig musicias leadig up to Berstei demostrate that while Berstei s celebrity helped broade Mahler s popularity, he was ot the sole champio of Mahler that he made himself out to be. The Twety-First Cetury Secular Church Orga: A Precedet at the Twetieth-Cetury Cathedral of Notre-Dame Alexader Meszler (Arizoa State Uiversity) Secularism i the wester world is o the rise. Recet ceturies of musical ad cultural history costruct the orga as a Christia istrumet, so, i a secular age, the orga s livelihood is at risk. However, a case-study-aalysis of twetieth-cetury Frech orga culture at the Cathedral of Notre-Dame reveals that the view of the orga as solely a sacred istrumet is fudametally flawed. Previous scholars have remaied disturbigly silet about the effects of secularism i the twety-first cetury as well as the umerous precedets for a secular church orga. Through a study of musical-thematic material i the orga compositios of cathedral orgaist Louis Viere ( ), I demostrate that most of his works are ot liturgical ad are perhaps ot eve sacred. Followig the model of Viere, Pierre Cochereau ( ) expaded the orgaist s role well outside the walls of the cathedral; though he published almost o music, his career brought him aroud the world ad to the Uited States for o fewer tha twety-five tours. I argue that after Cochereau s sudde death i 1984, the fact that Notre-Dame appoited four orgaists to split the liturgical resposibilities at the cathedral solidified the hoorary, largely secular role of this positio. Fially, drawig o scholarship i the fields of political ad social secularism, I lik Frace s State-sactioed secularism to the orga. I argue that a cosideratio of chagig of societal demographics ad a geeral critique of secular ad religious politics is ecessary if the orga has ay hope of remaiig vibrat i a secular age. Sessio II: Sacred Music Before 1750 Chair: Joh T. Brobeck (Uiversity of Arizoa) The Good Thief i Byrd ad Tallis s Catioes quae ab argumeto sacrae vocatur: A Study i Musical Aagorisis Jeremy L. Smith (Uiversity of Colorado Boulder) Although widely cosidered a ladmark, ad well-studied for its otable musical achievemet, the joitlycomposed collectio Thomas Tallis ad William Byrd published i 1575 ad dedicated to their quee, Catioes quae ab argumeto sacrae vocatur, has ever bee properly assessed for the argumet advertised i its title, or for the sequetial method the composers meticulously followed as a meas of makig their poits to a elite audiece of moarchs egaged i cultural diplomacy. Lack of attetio to its arrative has ot oly obscured oe of the chief political purposes of the set, it has also left ustudied a umber of special dramatic techiques Tallis ad Byrd utilized i the developmet of their story. Oe of the most compellig of these techiques ivolves their meas of depictig the Good Thief, i Tallis s Absterge me. Followig the classic dramatic method of aagorisis (recogitio), famously discussed by Aristotle, i a series of iterrelated motets, Tallis ad Byrd reveal the idetity of oe of the two me crucified with Christ i a way that forces the auditor ot oly to reegage with what they had just heard but also to appreciate more deeply, through experiece, the key importace of the Thief s ow soul-preservig act of recogitio i the Passio story. The Absterge is of particular iterest as it is the oly oe of the etire set of thirty-four motets for which o biblical or liturgical source for its text has bee discovered. Furthermore, the composers used the same dramatic techique, but at differet structural levels, to expose further elemets of their sacred argumet that have bee uiquely idetified i the preset study. Hidde Prayers: Re-Iterpretig William Byrd s Catioes Sacrae (1589) Alexadra Siso (Uiversity of Colorado, Boulder) I recet years research has brought to light may differet ways i which the Catholic composer William Byrd served as a active member of his religious commuity while maitaiig oetheless a close relatioship with Quee Elizabeth I, the titular head of a Protestat atio

14 Amog Byrd s works that have sparked discussio alog these lies, the motets published i Catioes Sacrae (1589) are cosidered to be his most cotroversial ad political compositios. Yet the set as a whole has always bee viewed through the arrow iterpretive les of isolated works withi the volume, ad this selective approach has, ultimately, perpetuated a series of misuderstadigs ad miscoceptios about its overall poit ad purpose. Furthermore, by aalyzig oly a selectio of works withi the collectio, musicologists have eglected to otice the strog arrative that results from Byrd s deliberate orgaizatio of all of these motets ito a comprehesive sequetial structure. Whe read as a sequece, it emerges that Byrd s volume coveys a supplicatio for deliverace (motets 1-5), a lametatio for Jerusalem (6-7), a violet demad for justice (8-9), a demad to carry it through (10-14), ad it eds with the certaity that justice will be brought out (15-16). Thus the set works as a meta prayer, which explicates, i tur, its ultimate political purpose. This paper aims to frame the publicatio i the cotext of Byrd s challegig role as a activist i the Catholic commuity, ad as a loyalist i the court of Elizabeth I. The Pseaumes de Mr de Noailles : Catiques spirituels ad the court of Louis XIV Deborah Kauffma (Uiversity of Norther Colorado) The seveteeth-cetury catique spirituel is a religious text i Frech set to a borrowed or ewly-composed melody. The simplest didactic catiques spirituels were ofte strophic texts sug to well-kow melodies ad were used by Catholic religious orders for the educatio of the faithful i the catechism ad for the recoversio of Protestats. Twety-three catiques titled Pseaumes de Mr de Noailles i mauscripts from the Maiso royale de Sait-Louis at Sait- Cyr depart from typical didactic catiques i both usage ad style. Eleve have headigs idicatig their use durig the Little Hours of the Divie Office, while thirtee are composed as plai-chat musical, a style of moophoic music used durig the seveteeth cetury for ew compositios i the Catholic liturgy, featurig melodies that resemble traditioal Gregoria chat. Mr de Noailles may be Ae-Jules duc de Noailles, ad the texts the result of his reported 1699 commissio to Jea-Baptiste Rousseau; five of the texts are certaily by Rousseau. Ae-Jules s so, Adrie-Maurice duc d Aye, may have cotributed to the music. The duc, who married Madame de Maiteo s iece i 1698, composed a motet that was sug for Maiteo i It is ulikely that the duc wrote the plai-chat musical catiques, sice such music typically lay withi the purview of church musicias. A plausible cadidate is Guillaume-Gabriel Nivers, who was well kow for his plai-chat musical compositios, ad was maître de musique at Sait-Cyr, where the commuity observed the Little Hours. These modest works reflect close coectios betwee the powerful Noailles family ad Maiteo. For What Purpose? J. Pachelbel s Was Gott thut, das ist Wohlgeta ad Middle-Class Patroage Shau Stubblefield (Norther Arizoa Uiversity) Joha Pachelbel s vocal works occupy a small space withi his overall compositioal output less tha 100 works of the 500 attributed. Ragig from idividual arias, sacred cocertos (or catatas), masses, ad other liturgical compositios, may of these vocal works were composed durig his teure as head orgaist of the St. Sebald church i Nuremberg. But the remais the questio of purpose, as his orgaist positio either required vocal compositios, or did the St. Sebald s church liturgy allow for such compositios outside Saturday ad feast day Vespers. Pachelbel s catata Was Gott thut, das ist Wohlgeta P. 487, based o the chorale by Samuel Rodigast ( ), thus presets a opportuity to reevaluate its possible performace cotext ad purpose of compositio. This paper will closely examie Pachelbel s catata, cosiderig its text, musical structure, ad possible performace veues i cotext of this 18th- cetury imperial city. More specifically, I will examie the catata i the cotext of fuerals, church services, ad weddigs, cosiderig Pachelbel s work withi the framework of extat liturgical rubrics to ascertai the work s origial purpose. Ultimately, I argue that the oly soud iterpretatio is oe that posits the work as a commissioed weddig piece. As such, this catata thus uderscores the importat role that middle-class patroage, see especially with icidetal music commissios, played i Nuremberg s musical life. Such examiatio will establish a clearer picture of the musical eviromet fostered i early 18th-cetury Nuremberg, while also sheddig ew light o the multifaceted composer Joha Pachelbel s catata Was Gott thut, das ist Wohlgeta

15 Sessio III: 19 th -Cetury Ideologies ad Receptios Chair: Deborah Kaufma (Uiversity of Norther Colorado) Robert Schuma s Chamber Music ad His Lodo Receptio Julie Hedges Brow (Norther Arizoa Uiversity) I mid-ieteeth-cetury Lodo, performaces of Robert Schuma s music exposed ideological, geographical, ad class divides. I Germa regios by the 1850s, Schuma oce a symbol for progressivism had become redraw by Wagerias as a coservative aliged with Medelssoh. I mid-cetury Eglad, however, critics polarized Schuma-the-eccetric- moderist agaist Medelssoh-the-classicist. Schuma s chamber music provides a sigificat, as-yet-uexplored les for uderstadig these perceptios. The first istitutioal performace of Schuma occurred i 1848 at the exclusive Musical Uio: there the Op. 47 Piao Quartet struck critics as devoid of merit while a Medelssoh strig quartet was masterly a cotrast that reverberated i reviews for years. I 1853, oe critic asserted that the chamber works betrayed Schuma s superficial kowledge of music, udermiig ay claim that he ad Brother Wager could extiguish Medelssoh. As more affordable cocert veues developed, Schuma s music foud a wider audiece, which geerated a growig divide betwee critical ad public opiio. Especially importat were the Popular Cocerts (fouded 1859), which like the Musical Uio prioritized high- quality chamber-music performaces, but attracted huge audieces (c.2000) through affordable pricig. The first Schuma work performed was the Op. 44 Piao Quitet, i 1862: critics claimed it left a ufavourable impressio, yet it proved successful eough to warrat aother performace. Durig her 1865 tour, Clara Schuma recosidered her veues i light of growig popular ethusiasm for her husbad s music. Leavig the Musical Uio, she joied the Pops, participatig i 100+ cocerts ad witessig the rise of Robert as the most-performed composer after Beethove the positio log held by Medelssoh. Liszt, Wager, ad Judaism i Music Jay Roseblatt (Uiversity of Arizoa) Richard Wager s most otorious essay is, without questio, Das Judethum i der Musik. It was first published uder a pseudoym i the Neue Zeitschrift für Musik i 1850 ad reprited i expaded form uder Wager s ow ame as a small book i His pricipal thesis is that musical creativity is ot possible for a Jewish composer, ad his examples are Medelssoh by ame ad Meyerbeer by implicatio. Although ati- Semitism was commo throughout this period, Jacob Katz observes, Judaism i Music was almost without parallels (The Darker Side of Geius). Fraz Liszt was Wager s greatest supporter ad close fried. Nevertheless, he was shocked by the iitial publicatio of Wager s virulet essay, to the poit where he felt it ecessary to ask Wager if he was the author. There is o evidece that Liszt ever addressed Wager o this subject, but he did fid public ways to respod to Wager s ideas. Most promietly, Liszt programmed the music of Medelssoh ad Meyerbeer i a series of cocerts desiged to display the artistic developmet from Beethove to Wager i oe cycle of outstadig artistic momets. He also wrote articles that discussed music by Medelssoh ad Meyerbeer, part of his series of Dramaturgische Blätter that cosidered the most importat musical ad dramatic works of the past ad preset, ad which were published i the same joural as Wager s essay. Thus without cofrotig Wager directly, Liszt defeded the cotributios of Medelssoh ad Meyerbeer ad supported their place i cotemporary music. Ossiaism, the Bardic Style, ad Nieteeth-Cetury America Aesthetics i Dvořák s New World Symphoy Jaice Dickesheets (Uiversity of Norther Colorado) Fueled by Elightemet fasciatio with kowledge derived from aciet cultures, James Macpherso s Ossiaic poetry exploded upo the wester world. Though plagued by cotiual cotroversy surroudig their autheticity, these poems ispired Romatic-period works of literature, theatre, ad music throughout Europe ad America, ad helped give birth to the bardic style i music a style that cojures the aciet realms of epic poetry through arrative techiques that mirror those of Macpherso

16 Cetral to Ossiaism is the evocatio of the cultured primitive, which strogly resembles Jea-Jacques Rousseau s oble savage. While impossible to coect Macpherso ad Rousseau, Fioa Stafford, i The Sublime Savage, states that Macpherso s view of Celtic society aliged well with Rousseau s philosophies, thus creatig a fasciatio with exiled heroes ad loss of paradise. I America, a growig movemet toward primitivism emphasized the orgaic uity betwee ma ad ature, a idea that aliged with Trascedetalist values, suggestig that Ossia s appearace i the New World may very well have impacted ieteeth-cetury America artistic aesthetics. Dvořák s ith symphoy embraces a particularly America-style Ossiaism. As a whole, the work epitomizes the bardic style, redered with Idiaist sesibilities. It is framed by melacholic other-worldly chords sigifyig the voice of the bard, heroic characters fight valiatly ad die i battle, ad it features a story withi the story: a story of lost or forbidde love. The cultured primitive is set amid the tempest of battle or storm, surrouded by melacholy, ad death Ossiaic imagery redered i a Idiaist maer, a commo voice i ieteethcetury America artistic aesthetics. Above All Other Natios : Frech Orga Ecouters at the 1893 Chicago World s Fair Gle Hicks (Arizoa State Uiversity) Followig the Civil War the relatioship betwee Americas ad pipe orgas became icreasigly secularized. As orgaists moved from churches to ewly-built cocert halls i cities such as New York ad Bosto, performers ad composers looked to Europea orga masters for guidace ad ispiratio. Amog these masters was the iteratioally reowed Frech orgaist, Félix Alexadre Guilmat ( ). Guilmat ispired a atio of America orgaists i their search for a atioal style. The forty recitals he performed at the 1893 Chicago World s Fair itroduced a geeratio of Americas to a ew world of possibilities i repertoire, registratio, ad compositio, a world ruled by Frace at that time. His repertoire for these recitals emphasizes the cosmopolitaism fostered i Parisias salos ad opera houses, alog with the hybridizatio of Frech, Germa, Eglish, ad Italia iflueces which became syoymous with ieteeth-cetury Frace. Guilmat s performaces offered ew programmig ad ew musical laguages for America orgaists ad composers to emulate. The evets surroudig Guilmat s presece i the Uited States i 1893 provide importat perspectives o the complex struggle for idetity that plagued may America composers ad musicias throughout the ieteeth cetury. I this paper, I aalyze the cosmopolita qualities of the repertoire Guilmat played for his first two recitals at the 1893 Chicago World s Fair. I bled archival iformatio with curret scholarship o musical cosmopolitaism ad atioalism to defie the qualities that simultaeously globalized the Frech Orga School as the ideal ad igited debates o America idetity. Sessio IV: Baroque ad Neo-Baroque (eds at 6:30 p.m.) Chair: Jeremy L. Smith (Uiversity of Colorado) Why Striggio was Not o Moteverdi s Side: Orfeo (1607), Academy Culture, ad the Stagig of the Artusi Cotroversy Joel Schwidt (Bosto Coservatory) Musicologists have addressed the Moteverdi-Artusi Cotroversy o various topics, icludig compositioal philosophy (Palisca 1985, Carter 1992, Ossi 2003), court politics (Siegele 1994), geder (Cusick 1993), ad religious philosophy (Carter 2012). This paper demostrates how the polemic was staged i the first productios of Orfeo, which was hosted by the Matua Accademia degli Ivaghiti (of which librettist Alessadro Striggio was a member). The academy members writigs o music icludig Muzio Mafredi s poem praisig Artusi from the first cotributio to the debate (L Artusi, 1600), ad a dichiarazioe o music by Stefao Guazzo resoate with the Bologese theorist s views, ot oly i the echo of Plato s warig agaist musical ovelties that violate the ratioality of the old order (Republic IV.424), but also the umbrage take by members of the rulig classes (i.e., aristocracy ad clergy) whe their authority was challeged by mere practitioers. This philosophical coflict is maifested most vividly i Orfeo through the cotrast betwee the older ad ewer musical styles of La Musica s Prologue ad Orpheus s Possete spirto : while the former features the modest, balaced lies ad ordered structures of the prima pratica, the latter s ubalaced lies ad empty virtuosity illustrate what Artusi ad the Ivaghiti viewed as the irratioal corruptios of moder music. These two selectios also demostrate

17 Moteverdi s respose i pratica, sice they clearly satisfied the ear of Duke Vicezo who frequetly embraced moder styles i a effort to icrease the city s civic prestige leadig to commissios for multiple musico-theatrical works the followig year (icludig the rightly celebrated Ariaa). Eric Chafe s Method of Seveteeth-Cetury Harmoic Aalysis: Perspectives from Cotiuo Treatises Clémece Destribois (Brigham Youg Uiversity) If may scholars have ackowledged the relevace of Eric Chafe s model for the aalysis of seveteethcetury music, Chafe has also bee criticized for his lack of egagemet with cotemporaeous treatises to support his ideas. Paul Walker, for istace, suggests that writigs o music from Zarlio to Berhard should be systematically scrutiized for clues that would stregthe Chafe s poits. Followig Walker s suggestio, this paper proposes to examie if such clues are preset i priciples of cotiuo accompaimet as foud i seveteeth-cetury treatises. Some scholars such as Hery Burett have partly addressed that issue from the stadpoit of modal theory, but o oe has specifically examied Chafe s model i the light of treatises discussig cotiuo accompaimet. Because Chafe s model is strogly vertically orieted, cotiuo treatises are a ivaluable resource as they reveal aspects of seveteeth-cetury harmoic thikig from a practical stadpoit. The paper summarizes my fidigs i the treatises of Fracesco Biaciardi, Agostio Agazzari, Adriao Bachieri, Galeazzo Sabbatii, Lorezo Pea, ad Bartolomeo Bismatova with a emphasis o guidelies for chord successios ad alteratios allowed i catus durus ad catus mollis. It explores the implicatios of these guidelies i relatio to the scalar systems of the period (catus durus ad catus mollis) ad compare them to Chafe s ideas. This paper argues that a close aalysis of these treatises partly corroborates ad provides some historical groudig for Chafe s model of aalysis. Hybridity, Virtuosity, ad the Forgotte Chamber Music of the Frech Violi School Michael Ward (Uiversity of Colorado, Boulder) The chamber music of the Frech Violi School has log bee igored. Pierre Baillot ( ), Pierre Rode ( ), ad Rodolphe Kreutzer ( ) were violi virtuosos who either studied or followed the great Italia violiist Giovai Battista Viotti. Although they were ot oly composers, but chamber musicias, professors at the Coservatoire, ad leaders of major Parisia musical istitutios (icludig the Opéra), their chamber music has bee igored because moder scholars ted to assume that the music is a attempt to recko with Vieese classicism. My paper will discuss aspects of some of the strig quartets of Rode, Kreutzer, ad their teacher, Viotti ad re-evaluate their relatioship with Vieese classicism. I argue that these works are part of a hybrid traditio, oe that historias have forgotte because they have missed its geeric markers. I will aalyze formal ad textural aspects of the three composers virtuosic chamber music, showig that elemets of the cocerto, which also relates to vocal music, frequetly appear i examples of this chamber music. This music thus relates more to the cocerto traditio of Corelli ad Viotti rather tha to Mozart ad Beethove s chamber music. The virtuosic chamber music of the Frech Violi School is a rich ad importat area of musical research. A product of some of the most promiet musicias of the era, this repertoire offers a opportuity to better uderstad ieteeth-cetury Europea chamber music i geeral, especially music that does ot eatly fit the Vieese traditio, ad it has ot yet bee adequately examied. Sessio V: New Aalytic Perspectives o 20th-Cetury Music Chair: Lidsey Macchiarella (Uiversity of Texas El Paso) Music ad Architecture i the Persoal Performace Spaces of Frak ad Olgivaa Lloyd Wright Maxie Fawcett-Yeske (Uited States Air Force Academy) America architect Frak Lloyd Wright ( ) desiged ad realized some remarkable cultural veues from the Solomo Guggeheim Art Museum to the Crescet Opera House, part of Wright s Pla for

18 Greater Baghdad preseted to Kig Faisal ad Crow Price Abdul Ila ad later redesiged as the Grady Gammage Auditorium for Arizoa State Uiversity. Amog Wright s most itriguig, but less studied, cultural spaces are the gatherig places he created closest to home, for the musical ad dramatic performaces that eriched his persoal life ad that were shared with family, frieds, ad a itimate circle of acquaitaces. This iterdiscipliary study explores the history ad desig of the Hillside Theater at Taliesi i Sprig Gree, Wiscosi, ad the Cabaret Theater ad the Pavilio both at Taliesi West i Scottsdale, Arizoa, ad examies the uique syergy betwee the veues ad the music ad dace performed withi them. Recet scholarship ad publicatios have brought to light the creative impulses of Wright s wife of 35 years, Olgivaa Lloyd Wright. A ative of Moteegro, Olgivaa Milijaov Lazovich Hizeberg Lloyd Wright (ca ) was well-traveled ad widely-educated. Germae to this study are Mrs. Wright s over 40 eclectic musical compositios, which foud voice i the Wright s persoal performaces spaces. Ehaced by architectural drawigs, audio recordigs, ad rare video footage, this paper sheds light o both the form ad the fuctio of the performace spaces that Frak ad Olgivaa Lloyd Wright persoally cherished ad provides a fasciatig perspective from which this couple s lives have rarely bee cosidered. Neo-Riemaia Aalysis: A Bridge Likig Topic Theory ad Film Music Scholarship Daiel Obluda (Uiversity of Colorado, Boulder) Released i 2014, the Oxford Hadbook of Topic Theory (OHTT) gathers ad sythesizes topical scholarship produced sice Leoard Rater s semial work, Classical Music: Expressio, Form, ad Style (1980). While may of the volume s cotributors promote the beefits of applyig topic theory to postclassical repertories, the articles i the OHTT focus exclusively o eighteeth-cetury music. I additio to his systematic study of topics, Raymod Moelle sought to expad topical aalysis beyod music of the Classical period. Joatha Bellma, Byro Almé, Jaice Dickesheets, ad others have all used this framework to reveal ew topics i art music from the ieteeth ad twetieth ceturies, but surprisigly few scholars have attempted to apply topical aalysis to film music. I believe topic theory is a ivaluable framework for film music scholarship, because it eables oe to idetify semiotic relatioships i diverse ad highly dyamic repertories. Ufortuately, harmoic aalysis has historically bee a obstacle i the applicatio of topic theory to film music, largely because it ca cotai short thematic ideas that are ofte combied with a harmoic laguage that produces emotive eergy through abrupt, chromatic chord chages. I the last decade, theorists Frak Lehma, Scott Murphy, ad Matthew Youg have demostrated how Neo-Riemaia aalysis ca recocile these issues of ecoomy ad o-diatoicism. I this paper, I will examie this recet scholarship ad through musical examples take from a wide variety of Hollywood films, I will demostrate how Neo-Riemaia aalysis ca overcome aalytical issues that have complicated the use of topic theory i film music scholarship. Deep Ecology i Music: The Reductio of Hierarchical Structures i the Music of Paulie Oliveros Ae-Marie Houy Shaver (Arizoa State Uiversity) Hierarchical philosophies pervade Wester culture ad ratioalize the divide betwee humas ad the ohuma eviromet. As a extesio, this midset of divisio presets itself i much of Wester classical music. While persistet, these philosophies have faced cosiderable oppositio sice the 1960s by a variety of ecologically-fouded staces ad left a mark o post-world War II music. This paper examies how the philosophy of deep ecology, pioeered by Are Næss ad George Sessios, is reflected i the music of Paulie Oliveros a perspective that music scholars have ot yet explored. As a composer Oliveros ofte used o-wester ideas, ecologically-motivated listeig, foud evirometal soud, electroics, ad improvisatio, challegig established Wester compositioal paradigms. Her method of Deep Listeig, ivolvig listeig to all souds at all times, reduces composerperformer-audiece hierarchies, effectively illustratig key priciples of deep ecology. I will illustrate her creative practice, wherei hierarchies are questioed ad miimized, with close readigs of selected examples from her Soic Meditatios. I argue that Oliveros s Deep Listeig practice ca be used as a tool to ecourage commuity egagemet ad merits more exploratio i the domai of listeig pedagogies ad practices

19 This project draws o Oliveros s ow writigs ad research about her work, as by Feisst, Juett, Kipperma, Mockus, Setar, Schloss, Sordahl, Vo Glah, ad Youg. It takes ito accout related work by such cotemporaries of hers as Cage ad Schafer ad cosiders the lieage of Oliveros s Deep Listeig Istitute. Viewig Oliveros s work through deep ecology offers ew perspectives to both ecomusicological studies ad Oliveros scholarship. Six Litaies for Heliogabalus: Joh Zor ad the Theatre of Cruelty Morga Block (Uiversity of Arizoa) The experimetal music of Joh Zor (b. 1953) presets a array of theoretical ad hermeeutic obstacles. Stadard criteria for aalyzig Wester art music specifically the ucoverig of deep, orgaizig structures are ot a fittig meas for approachig Zor s music, which is orieted toward the surface level. Joh Brackett otes that- sectios of oise, etc. might be traslated i a aalytical settig as this happes the this happes the ad auseum. Though it may seem we are ot equipped with the proper set of tools to uderstad Zor s compositioal processes or expose coheret meaig i his music, this paper exteds cocepts itroduced by Michael Klei ad Robert Hatte specifically: itertextuality, gestures, topics, ad tropes as a aalytic basis for my iterpretatio of Zor s Six Litaies for Heliogabalus (2007). I iterpret Six Litaies for Heliogabalus as a itertextual coectio betwee the composer Joh Zor; Frech dramatist, philosopher, ad fouder of the Theatre of Cruelty, Atoi Artaud; ad the 25th Emperor of Rome, Marcus Aurelius Augustus, posthumously called Heliogabalus. This aalysis reders each of these idividuals as a text that is fudametal to my iterpretatio, ad dissects the musical surface to demostrate that Six Litaies for Heliogabalus is Zor s rebellio agaist Wester music. Zor is musically rederig the ideologies of Artaud s Theatre of Cruelty a movemet decryig Wester theater, as described i his book, The Theater ad its Double (1938) ad usurpig the Wester music traditio by establishig chaos as the musical orm. Sessio VI: Music o the Border Chair: Matthew Mugmo (Uiversity of Arizoa) Wome, War, ad the Piao i Nieteeth-Cetury Mexico: Mexica Musical Life i the Newberry Library s Collectio of piao pieces Adriaa Martiez Figueroa (Arizoa State Uiversity) Durig the ieteeth cetury, the piao became the ceter of private ad public musical life, leadig to the rise of professioal virtuosos ad the mass productio of salo music for the amateur. Scholars characterize these amateurs as primarily middle- ad upper-class wome whose piao playig was carefully regulated. May amateurs collected their music ad boud it i volumes that, util recetly, had received little scholarly attetio. This paper examies oe such volume, held at the Newberry Library i Chicago, ad idetified simply as [Collectio of piao pieces ad some vocal music published for the most part i Mexico]. The volume cotais eightee pieces mostly for piao, icludig variatios ad fatasies o opera themes, waltzes, polkas ad marches. Amog these are a march by a previously ukow female composer, apparetly about the U.S.-Mexica War; ad a fragmet of a piao battle with o title or author attributio, o the subject of Mexico s Idepedece War. The latter piece turs out to be a previously ukow copy of Jua Atoio Gómez s Gra pieza histórica de los últimos gloriosos sucesos de la guerra de la idepedecia (1844). The Newberry Collectio cotributes to a icreasigly clearer image of 19th-cetury Mexica musical life, i which we fid a salo repertoire that was ot oly a midless hobby for bourgeois señoritas ad their admirers, but which was also a territory i which importat aesthetic ad political battles were fought, icludig the growig schism betwee the classical ad the popular, ad the discourse of Mexico s ascet atioalism

20 Feces as Soic Bridges: Gle Weyat s Musical Activism at the U.S.-Mexico Border Sabie Feisst (Arizoa State Uiversity) I the Uited States, cocers over security alog the US-Mexica border have received much attetio for more tha two decades. Migrats ad huma drug traffickers traversig this border have bee blamed for ecoomic ad safety problems i the U.S. ad propelled the George W. Bush admiistratio i the early 2000s to fortify ad militarize it through heavy fecig ad surveillace. I 2017 Presidet Doald Trump ordered the replacemet of existig fecig through costructio of a cotiuous border wall made of cocrete. This project s backers have had little cocer about its dramatic cosequeces for the borderlad s ihabitats, least about its effect o the lad s delicate soic ecologies marked by the souds of migratory ad edagered aimals ad the maifold multicultural practices urtured by frequet border crossigs. This paper first examies the border s rich aural space ad surveys musical ati- border wall activism by Ofelia Rivas, Richard Lerma ad others. The it focuses o composer Gle Weyat s musical documetatio of the chagig US-Mexico borderlad soudscape. Begiig i 2006 he has performed music o walls that divide the Soora Desert more ofte tha other musical ati-fece activists. I will examie ad cotextualize his Ata Project which started i 2006 ad show how it evolved ito other edeavors such as Mauerkrakheit (2015). Buildig o research by such scholars as Adreas, Fox, Price, Rivera Servera/Youg, Smith ad persoal iterviews with Weyat, I will illumiate his philosophies ad thoughts o art activism ad plaed resposes to Trumpia border politics alog with those of other politically egaged artists. RMSMT 2018 Abstracts (by Sessio) Sessio I: Serialism ad Set Theory Chair: Stephe Brow (Norther Arizoa Uiversity) Death Metal Dodecaphoy: Partitio Schemes i Ro Jarzombek s Twelve-Toe Music Michael Dekovich (Uiversity of Orego) Studies of twelve-toe music rarely have occasio to itersect with popular music studies because twelve-toe techique rarely occurs outside of classical music. A body of examples from the death metal subgere bridges this stylistic gap. Sice 2005, guitarist Ro Jarzombek has cosistetly applied a versio of twelve-toe techique to his compositios for the bad Blotted Sciece. This paper discusses the formal ad harmoic laguage behid Jarzombek s twelve-toe compositios. These pieces ofte use a sigle row form (due to maer i which the toe row is visualized) yet cotai diverse harmoic materials as a result of partitioig. Jarzombek s row costructio ad mosaic partitios reveal a strog preferece for symmetrical set classes icludig the whole toe scale (6-35), hexatoic scale (6-20), octatoic scale (8-28) ad dimiished seveth chord (4-28), as well as triadic material ad added-member chords. Partitio schemes are used as leitmotives, parallelig Arold Schoeberg s use of partitio schemes i Moses ud Aro as observed by David Lewi (1967), Michael Cherli (1983), Jack Boss (2014) ad others. Somethig Freakish : Broke Bodies i Ligeti s Strig Quartet No. 2 Demi Nicks (Florida State Uiversity) The secod movemet of Ligeti s Strig Quartet No. 2 shows a reliace o iversioal symmetry as a orgaizig priciple, a ormative trait i a cosiderable amout of atoal music. Straus has argued that iversioal symmetry (its assertio, its disruptio, its possible reestablishmet) ca be uderstood to egeder musical arratives of disability of bodies that move through time ad space i atypical ways. Ligeti himself has expressed a related aesthetic affiity with mechaisms that are broke

21 My aalysis, iformed by Ligeti s iterests ad aesthetic values, offers a ew perspective of his work through the les of disability studies. I argue that the secod movemet of Ligeti s Strig Quartet No. 2 cotais a perceptible disability arrative of chaos (the breakdow of balace ad symmetry, the threat of ever reachig closure) tured acceptace (a affective shift i the fial measures allowig cotetmet ad closure). If a fuctioig musical machie is oe whose processes ufold i regular, ormal ways, Ligeti s musical machies are defiitely broke. This musical body is impaired, but there is o impetus to overcome the impairmet. Rather, its potetially problematic or abormal features are claimed ad reframed as positive, desirable aesthetic assets. Fatasia as Form: Logic ad Freedom i Schoeberg s Phatasy for Violi ad Piao Accompaimet, Op. 47 Ria Sugawara (Uiversity of Miesota) Form i Schoeberg s mature works exhibit a uity ad coherece that is based upo the relatioal aspects of his twelve-toe system as well as the workig out ad expressio of the musical idea, or Gedake, that those implicit toal relatioships comprise. Fatasia is developed further to deviate from this logic, described by Schoeberg (1964) as similar to a rhapsody i its improvisatory costructio but cotaiig effective passage work. Carl Dahlhaus (1987) speculates that a tur to aleatory techiques ad improvisatio is a atural cosequece to couter the extreme ratioalism of serialism. I Schoeberg s Phatasy for Violi ad Piao Accompaimet, Op.47, the composer seems to toy with recocilig these two extremes. It exhibits the logic of ordered hexachords ad their orgaizatio ito harmoic areas (Lewi, 1967), while also temporarily deviatig from them for harmoic ad melodic possibilities liberated from the rigid system. Give the psychoaalytic sese of the term phatasy, it seems curiously appropriate that his fatasia attempts to orgaize subcoscious impulses, like those that drive improvisatios, uder the coscious ratioality of mature serial techique ad form. Thus, Schoeberg s fatasia exhibits two opposig compositioal priorities at work: the logic of mature form ad the freedom of expressio urestricted by the twelvetoe system. It is either perfectly orgaized or purely improvisatory because oe caot exist without hiderig the other. Yet, their co-existece through fatasia as form is a sort of equilibrium. Sessio II: 20th-Cetury -Isms Chair: Mitchell Ohrier (Uiversity of Dever) A Gestural Basis for New-Music Aalysis Sara Everso (Florida State Uiversity) The music of the post-serial avat-garde is uderserved by may aalytical methodologies. This paper exteds Hatte s theory of musical gesture, as well as elemets of pheomeology, to demostrate gesture-based aalyses of works by Gubaidulia ad Sciarrio. Aalysis at this level hoours the audible soic complexity of these works despite their thi appearace o the score. I show how gestures are the expressive agets that brig about the chage the music experieces. By prioritizig the expressive elemets, extedig Hatte s theory of gesture, ad drawig from pheomeology ad associative aalysis, I show how these works are shaped by their costituet gestures. A Computatioal Approach to the Aalysis of Olivier Messiae s Preludes ( ) Jeifer Hardig (Florida State Uiversity) Whe Oliver Messiae compared his Préludes ( ) for solo piao to those of Debussy, he stated that, the music differs from that of Debussy by its use of my modes of limited traspositios, which are already very marked ad eve combied (Samuel, 1976). My ivestigatio begis with Messiae s claim that his modes are marked i this piece. I use a computatioal approach to determie how Messiae s modes of limited traspositio ad the diatoic collectio are used i each prelude, ad compare my results to the aalysis by piaist Madeleie Hsu (1996). I demostrate how this computer-aided approach cofirms, clarifies, ad problematizes Hsu s aalysis. By comparig the computer s output to a pre-existig aalysis, I demostrate how the program is reliable i situatios where the pitch material strictly adheres to a particular collectio, ad ca idetify passages where the limitatios of the program demad the musical ituitios of the aalyst. I give special attetio to preludes 2 ad 4. Hsu claims that prelude 2 is largely i F# Mior, colored with the first traspositio of Mode 2 [Oct01] (Hsu, 1996). The computer-geerated aalysis cofirms the strog presece of the Octatoic 01 collectio i four distict areas of the movemet. I her aalysis of the fourth prelude, Hsu says that,

22 Mode 7 is the oe basically utilized i several traspositios (Hsu, 1996). The computer program clarifies which traspositios of mode 7 are preset throughout the movemet, ad suggests that Messiae s mode 6 cotrols portios of the movemet. Makig the Spectral, Corporeal: Embodied Cogitio ad Expressive Performace i Grisey s Prologue Joseph R. Jakubowski (Washigto Uiversity i St. Louis) May studies of Spectralism prioritize compositioal structures over perceptual cocers. Yet it is the perceptual aspects of the music that Spectral composers emphasize most i their writigs. Further, may aalyses of Spectralism elide the role of performers, eve though the presece of live musicias distiguishes Spectralism from electroacoustic music, a earlier style that shares may of Spectralism s techiques ad cocepts. By cotrast, this paper develops a perceptual ad gestural aalysis of Grisey s solo viola piece, Prologue (1976). I draw o recet work o embodied cogitio, which has show that cogitive reasoig origiates i physical experiece (Lakoff ad Johso 1999), ad that metal imagery etails cogitive simulatios of actios (Mimetic Motor Imagery, Cox 2016; proprioceptio, Acitores 2011). Cosequetly, gestural uderstadigs shape our perceptios of timbre, rhythm, ad form, ad support cogitive processes icludig segmetatio, categorizatio, ad hierarchizatio. Moreover, as performers iterpret music, they alter their gestures ad move i o-soud producig ways (expressive gestures), subtly affectig our perceptios ad ispirig agetial readigs of form. The paper ufolds i two parts. First, I explore implicit gestural uderstadigs of Prologue the simulated, imagied gestures through which we reaso about its timbre, rhythm, ad form. Secod, I scrutiize oe musicia s actual gestures i a aalysis of a live recordig, focusig o the role of expressive gestures i commuicatig form ad expressive cotet. My aalysis recasts Prologue s form as a series of actios geerated by a performer ad perceived i gestural terms, thereby escapig Spectralism s acoustic origis to cosider its status as expressive artistic activity. Sessio III: Rock Theory Chair: David Bashwier (Uiversity of New Mexico) Sigle-Toic ad Sigle-Scale Systems i Rock Music Brett Clemet (Ball State Uiversity) Although there is a large body of scholarship o rock s harmoic progressios, relatively little work has bee doe to coceptualize log-rage toal relatioships i sogs. Oe woders, for example, whether rock music exhibits aythig comparable to Scheker s mootoality. This presetatio addresses this issue by defiig two cotrastig toal systems: (1) sigle-toic, which utilize toal processes that maitai a sigle toic, ad (2) sigle-scale, which are uified by adherece to a sigle diatoic scale. I geeral, sigle-toic systems feature parallel modes, chromaticism, ad toal stability, while sigle-scale systems exploit relative modes, diatoicism, ad toal ambiguity. My presetatio offers a methodology for iterpretig the pitch structures that support each system. Sigle-toic systems are divided accordig to whether they feature a major toic chord or a mior toic chord, each permittig characteristic chromatic chords. I cotrast, sigle-scale systems are less likely to remai beholde to a sigle toic, ad therefore ofte highlight ambiguity. While much aalytical attetio has bee to Ioia ad Aeolia toic ambiguity, I outlie some of the aalytical optios for sigle-scale systems by discussig sogs that exploit the less commo modal toics. The fial portio of my talk aalyzes sogs that do ot clearly belog to either of the two systems, exhibitig istead a combiatio of techiques associated with them. I sum, the approach itroduced i this presetatio establishes a foudatio for uderstadig the relatioship betwee surface harmoy ad global toality i rock. Setetial Structures i Rock Music Do Traut (Uiversity of Arizoa) This paper explores the extet to which setece structure fuctios i pop-rock music. While o oe doubts the presece of this formal fuctio i popular music i geeral, o oe has udertake a serious study of setece structure i rock. Give rock music s uique harmoic tedecies, it might seem that istaces of setece structure

23 could be a rarity. However, recet writigs that problematize strict defiitios of the form suggest that setece structure ca be more iclusive tha some would have us believe. With these poits i mid, the paper presets phrase aalyses from dozes of rock sogs that exhibit aspects of setetial structure. I some cases, the phrases exhibit truly well-formed setece structures, as i Every Breath You Take by The Police or Billy Joel s The Logest Time. I other cases, the short-short-log (SSL) proportioal groupig structure of a setece is preset, but other aspects of the phrase weake its setetial effect. What emerges is a spectrum of setetial practice i rock music, makig thisstudy a early step toward deeper uderstadig of the role this importat formal fuctio plays i rock repertoire. The Space Betwee: Coectig Narrative ad Toal-Ceter Relatioships i the Music of Dave Matthews Bad Micheal Sebulsky (Uiversity of Orego) Modulatio, a commo aspect of rock music harmoy, is implicitly coected to arrative. Shifts i arrative, ofte by dramatic ad/or maic meas, are frequetly paired with toal-ceter modulatio to o-closely related keys. This case study focuses o the music of Dave Matthews Bad. The group s catalogue cotais may sogs that possess the modulatio-arrative paradigm. The study explores ew systematic relatioships through aalyses of three represetative sogs: Patala Naga Pampa, Rapuzel, ad Whe The World Eds. Furthermore, the employmet of Neo-Riemaia trasformatios showcases aalytical coectios betwee o-closely related toal-ceter modulatios, while also highlightig parsimoious voice leadig withi sog sectios. The mai character portrayed i bad s Patala Naga Pampa ad Rapuzel (regularly performed as a sigle uit) grows icreasig maic after the loss of his love iterest. His love trasmogrifies ito obsessio ad maia, accompaied by vacillatig toal ceters, aalyzed as paired Neo-Riemaia PL ad LP trasformatios. A similar maic love story is ucovered i the bad s Whe The World Eds. Apocalyptic realizatios of the mai character s immiet demise are paired agaist his isatiable lust. The mai character s iability to recocile his soo-to-be edig existece with his caral desire is maifest i the sog s toal-ceter shifts. These modulatios are aalyzed as pole-to-pole motios withi Richard Coh s hyper-octatoic cycles. Modulatio is a foreruer of improvisatio. Further study establishes the importace of modulatio for jam sectios, the additio of purely improvisatioal forms to the sog s existig structure. Jams alter existig sog form, ad create a eed for ew meas to aalyze sog forms. Terary Forms i Rock Matthew E. Ferradio (Uiversity of Kasas) Formal scholarship i rock music has catalogued a umber of recurrig structural archetypes: verse/chorus, strophic, sog form (AABA), through composed, ad termially climactic. Terary forms, however, have goe without metio i this body of literature, potetially cosidered a statistical outlier. I this paper I offer several istaces of terary forms i rock music ad show that they are used i a variety of ways to both push the boudaries of rock covetios ad to structurally complemet musical meaig ad/or arrative. startig poit for cosiderig terary form i more depth i rock music as well as other geres. Rock music cotais several variatios beyod straightforward ABA Terary Form (TF). I offer five additioal types of terary form for cosideratio. Embedded Terary Forms (ETF) are examples where oe of the terary sectios (A or B) ca be described as aother form type such as verse/chorus or strophic. I Augmeted Terary Forms (ATF), the ABA structure is supplemeted with a itro ad/or outro sectio. I Precipitous Terary Forms (PTF), The retur or A material is abrupt ad uprepared. Track-Based Terary Forms (TTF), cosist of three cosecutive tracks o a album where the first ad third are related. Fially, Hegelia Terary Forms (HTF), the formal structure represets a diachroic presetatio of thesis (A), atithesis (B), ad sythesis (A) realized musically through harmoy, melody, timbre, rhythm, ad/or lyrics. These categories are either mutually exclusive or exhaustive ad are meat primarily as a startig poit for cosiderig terary form i more depth i rock music as well as other geres

24 Sessio IV: Meter ad Temporality Chair: Jim Bugert (Rocky Moutai College) Metric Complexity, Lyric, ad Groove i Selected Verses ad Tracks of Emiem Mitchell Ohrier (Uiversity of Dever) This presetatio reframes the cocept of groove i the rappig voice ad itroduces the cocept of the groove class. Followig Coh s Platoic fuky rhythms, a groove i my costrual, is a idealized, repeatig combiatio of iter-accet duratios, restricted to 2 or 3 sixteeth-otes, that sum to oe measure. Further, I itroduce a algorithmic segmeter that partitios a rapped verse ito groove sequeces. This algorithm selects from all viable grooves at a give momet, prioritizig those that are loger ad more coformat to the soudig accetual patter. These grooves differ i metric complexity, a summatio of the metric weakess of those positios withi the meter that carry accet. I three aalyses, I demostrate Emiem s use of this variable metric complexity, showig how trajectories of metric complexity mirror arratives withi his lyrics both withi ad betwee verses i a track. This costrual of groove ad the algorithmic segmetatio method has potetial for theorists of rhythm i other groove-based musics. More so, the aalyses i this presetatio form a bridge betwee approaches to aalyzig rap from the perspectives of musical rhythm ad poetry. While these approaches have much to offer each other, as yet they rarely itersect. Toward Metric Stability: The Iterplay of Meter, Sycopatio, ad Hemiola as Formal Process i Brahms s Violi Soata No. 1 i G Major, Op. 78 Matthew Staley (Uiversity of New Mexico) This aalysis focuses o the modelig of ewly revealed rhythmic ad temporal curiosities i Brahms s Violia Soata No. 1 i G Major, ad explicates their role as formal devices. These uique structures, may of which have yet to be described i the literature, cotradict ad obscure the otated meter of the musical surface i distictive ways. Their presece, alog with chages i the surface textures of each movemet, structures the large-scale form of the soata so that it treds toward metric stability over the course of its three movemets. The first goal of this aalysis is to model these curiosities ad their effects o musical meter usig Justi Lodo s cogitively-based theory of metric well-formedess. The secod goal of this aalysis is to use Pete Peterse s rhythmic compoets theory to observe which aspects of the musical surface cotribute to these pheomea. This modelig results i a rhythmic profile that offers isight ito how the meter is udermied ad disrupted. Fially, this aalysis argues that the prevalece of these meter-obscurig pheomea dimiishes over the course of the piece, aalogous to the buildig ad releasig of tesio so commo to cosoace ad dissoace i toal music. Temporality ad Disembodimet i Alvi Lucier s I am sittig i a room Aa Fulto (St. Olaf College ad Eastma School of Music) Alvi Lucier s experimetal piece for voice ad tape, I am sittig i a room, vividly imagies how time ad relisteig ca behave as disembodyig forces o the voice. The repeated cycle of speech played back ito a room ad recorded agai amplifies the resoat frequecies of the room, slowly dissolvig the speaker s voice ad allowig a aleatoric ad ethereal soudscape to emerge. Over the course of the forty-miute work, legthy segmets of repeated speech give way to short, idetermiate repetitios of pitch clusters; both log- ad short-form repetitios affect temporality through their ifluece o aticipatory attedig ad states of flow ad trace. Coupled with the literal erasure of the voice, these repetitios highlight the role time plays i our coceptio of embodimet, i cotrast to electroacoustic music s typical emphasis o physical maipulatios of the voice. Each subsequet repetitio i I am sittig i a room suggests that the room is rehearig ad i respose, reshapig the voice each time it returs. I argue that, for the listeer, it is possible to perceive the distortios i the work as the product of our ow hearig, turig the experiece of disembodimet back o ourselves through a imagiative relatioship with the music

25 Old, Weird America : Metric Irregularities i Harry Smith s Athology of America Folk Music Nacy Murphy (Uiversity of Housto) The 1952 release of Harry Smith s Athology of America Folk Music is ofte credited with ifluecig the 1950s ad 60s America folk revival. This geeral ifluece o mid-cetury sogwritig has bee established, but we ca also more specifically positio it as a precedet for the kids of metric irregularities foud i folk-iflueced 1960s siger-sogwriter music, particularly Bob Dyla s early sogs. The 84 tracks o the three-volume Athology iclude old sogs from folk, blues, old-time, coutry, Caju, ad gospel geres that were origially released betwee 1927 ad I the 1960s folk scee, versios of sogs from the Athology were performed by artists like Bob Dyla, Joa Baez, ad Dave va Rok, who referred to the collectio as a bible for sogwriters. I this study I ivestigate how metric irregularities foud i the Ballads ad Sogs volumes of the Athology result from prefereces for groupig guitar strummig, chages of harmoy, ad accetual-melodic cues at various levels of metric hierarchy ad how these irregularities are employed i text expressio. The weird meter foud i Smith s Athology situates these early twetieth-cetury recordigs as precedets for the similar use of flexible meter i folk-iflueced sogwritig of the latter half of the cetury. Sessio V: The Medelssohs Chair: Dickie Lee (Colorado State Uiversity) Chromatic Evolutio: V-of-iii as a Domiat Substitute i Felix Medelssoh s Sogs without Words Faez Abdalla Abarca (Uiversity of Arizoa) I biological evolutio, a livig populatio evolves whe it is exposed to the selectio pressures of a ew biological medium. Aalogously, i my chromatic evolutio a chord evolves whe it is exposed to a ew chromatic medium, forcig it to adapt ad harmoically modify its pitch cotet. This is a process by which a diatoic chord is progressively trasformed ito a chromatic substitute, over a spa of several similar works, without losig or modifyig the chord s resolutio tedecies, harmoic fuctio, or formal locatio. Felix Medelssoh s Sogs without Words are ideal cadidates for a evolutioary aalysis. Sice the vast majority of these pieces share the same terary form, it is possible to cosider a specific harmoic choice that cosistetly occurs i a precise locatio withi the form: the pre-recapitulatory harmoy (i.e., the chord that precedes ad prepares the retur of mai theme i the recapitulatio). A close assessmet of this repertoire reveals that all of the early pieces (1829 to 1832) possess a root-positio pre-recapitulatory domiat. However, i the late pieces (1845), this optio is replaced by a highly chromatic alterative: the domiat of the mediat. From a Schekeria perspective, I will demostrate how this itriguig harmoic tedecy ca be explaied as a process of chromatic evolutio, by which the late promiece of pre-recapitulatory V-of-iii results from the harmoic trasformatio of the early root-positio domiat, mediated by a log middle period of harmoic exploratio. Why Are The Roses So Pale? Closure i Fay Medelssoh Hesel s Op. 1, No. 3 Emily Barbosa (Idiaa Uiversity) Closure ad fiality i commo practice toal music are experieces that oe expects; whe the last ote of a piece is played or sug, the piece most ofte souds toally ad gesturally closed. I Fay Medelssoh Hesel s Op. 1, No. 3, Warum sid de die Rose so blaß?, however, this is ot the case. The poetic arrative is filled with symbolism, images, ad expressios of urequited love, ad the poem eds with a uaswered questio. Ideed, the aswer seems uattaiable. Thus, there is a tesio betwee the setimets expressed i the poem ad the traditioal goals of toal music. With Schekeria aalysis, the idea of closure is represeted by, ad achieved through, the fudametal structure. I Free Compositio, Scheker characterizes the fudametal structure as goal-directed motios, ad suggests that all tesios ad efforts i a musical work cease with the close of the fudametal structure. This is ot the case i Hesel s Op. 1, No. 3. I this paper, I will show that the presece of the fudametal structure plays a essetial role i helpig achieve the ope-ededess of this piece: whe other musical evets ad gestures (primarily a descedig third progressio, ad a ascedig lie that becomes a superimposed ier voice) have promiet goals ad goaldirected motios that couteract with the goal-directed motio of the fudametal structure, they serve to heighte the creatio ot cessatio of tesio ad efforts. The result is that gestural closure is subverted, a appropriate musical represetatio of a uaswered questio

26 Sessio VI: Is it Film, or Is it Impressioism? Chair: Kristia Kowles (Arizoa State Uiversity) A Love(-Theme) Triagle i Berard Herma s Score to Vertigo Steve Reale (Yougstow State Uiversity) Celebratig its 60th aiversary i 2018, Alfred Hitchcock s Vertigo (1958) tells the story of retired police detective Scottie, whose fear of heights reders him uable to prevet the death of the woma he loves, Madeleie, ad his obsessive desire to restyle his ew love iterest Judy i the deceased s image. Drawig from the success of recet eo- Riemaia studies to reveal sesitive hermeeutic readigs of chromatic progressios commo i Hollywood scores, this presetatio adapts Lehma s (2013) cocept of etwork modulatios, which act upo eo-riemaia etworks i a maer similar to the hyper-trasformatios that relate K-ets (Lewi 1990). I the film s climactic Scèe d Amour, Judy emerges from her washroom wearig the dress ad hairstyle oce wor by Madeleie. At the same time, the harmoy accompayig the film s love theme is chaged from a Ab+/C+ LP trasformatio to a Ab+/A- SLIDE trasformatio. A hypothetical A-/ C+ R trasformatio servig as a diatoic precursor for the chromatic harmoizatios closes a three-chord complex: Ab Major, A Mior, ad C Major. The etwork modulatios that trasform the differet harmoizatios of the film s love theme amog chords withi the complex the suggest a musical readig of harmoic trasformatio that mirrors the arrative s fatastical love triagle (Scottie, Madeleie, Judy). A Trasformative Evet i Max Steier s Fafare for Warer Brothers Bret Yorgaso (Brigham Youg Uiversity) I 1937, Max Steier created a fafare for Warer Brothers, usig bold brass arpeggiatios ad whirlig strigs to accompay the appearace of the WB shield. This fafare was used by Steier ad other Warer Brothers composers to ope early every film i the 1940s ad 50s. Although the fafare itself is rarely varied i ay sigificat way, it acts as a lauchig pad to a wide variety of themes i differet keys, meters, ad tempos, ad with quite differet characters. The trasformative evet that sets the toe for the rest of the film ofte occurs right at the momet of the fafare s resolutio. I this study, I examie 88 films scored by Steier that use the Warer Brothers fafare, with a particular focus o harmoic ad melodic resolutios at the poit of departure. Harmoically, Steier devised at least 44 differet resolutios for the ed of the fafare some of them quite surprisig ad dissoat. Melodically, the fafare sometimes resolves with a triumphat leadig toe or a heroic leap upwards, but other times with a uexpected commo toe resolutio, a deflectio dowwards, or a rather tragic fall dowwards. Each of these resolutios creates a differet emotioal effect, commuicatig to the listeer what the gere ad toe of the film might be. Seveth ad Nith Chord Regios i Debussy ad Ravel: The Trista Geus ad Other Spaces Keith Waters (Uiversity of Colorado, Boulder) The paper illustrates some Frech techiques for tertia harmoies i 4- ad 5-ote vocabularies, used i progressios that privilege efficiet (idealized) voice leadig. I begi with Richard Coh s otio of the Trista geus, the set of 12 half-dimiished ad 12 domiat seveth chords. Passages from the first movemet of Ravel s Strig Quartet ad Debussy s Fêtes (from Noctures) show that the 3 x 8 partitio of the 24 Trista geus harmoies that Coh calls Boretz regios create fertile ad versatile compositioal spaces for both composers. I the cosider a sequece of domiat ith chords i aother passage from Fêtes. All three passages form regios of seveth or domiat ith chords, uderstood through half-step displacemets of either perfectly eve dimiished-seveth chords or maximally eve petatoic collectios. The approach offers alteratives to viewig such progressios as merely coloristic or o-fuctioal. The Games of Debussy s Jeux Mark McFarlad (Georgia State Uiversity) Debussy s ballet Jeux is eigmatic. It is recogized as oe of the masterpieces of the 20th cetury, yet it, more tha ay other of the composer s works, has resisted aalysis. While previous aalysts have attempted to fid the formal

27 orgaizatio of this ballet, geerally focusig o a sigle musical elemet ad treatig the work ahistorically, this study takes a differet approach. Coherece i this work is oly foud with recourse to multiple aalytic techiques; furthermore, the placemet of Jeux i Debussy s output happes durig a period of rapid compositioal chage whe a umber of ew harmoic ad formal elemets had bee icorporated ito his style. Usig this approach, Jeux ca be divided ito 15 sectios: Leit-harmoy is used primarily, but ot exclusively, i the first two-thirds of the ballet as the three characters overcome their jealousies; the motio from harmoic ifluece to cotrol uifies passages of coflict; ad ear or complete aggregate formatio is used periodically throughout the ballet to highlight key evets ad formal divisios. Oe of these three form-defiig techiques is employed i each of the 15 sectios of the ballet, ad all three techiques are best represeted aalytically through Coe s theory of stratificatio, iterlock ad sythesis. The frequet disjuctios i the ballet, combied with Debussy s harmoic characterizatio, are easily uderstood i terms of stratificatio ad iterlock. The motio withi a sectio towards aggregate formatio reflect the third techique of sythesis as the chromatic set is fused with aother harmoic set. Sessio VII: Form ad Closure Chair: Kriste Walletise (Uiversity of Norther Colorado) Coceptualism, Miimalism, ad Steve Reich s Istrumetal Music George Adams (Uiversity of Chicago) It is odd that miimalism i music is associated rarely, if at all, with coceptualism. I this paper, I argue a recastig of musical miimalism as a brach of musical coceptualism that primarily cocers the medium of music, the objecthood of souds, ad the perceptio of geeric musical properties. For art historia Peter Osbore, miimalism i the visual arts is oly oe of several stylistic lieages through coceptualism, characterized by the egatio of medium by a geeric coceptio of objecthood. The term miimalism, however, ofte reduces the aesthetically aalogous gere of musical compositio to a loose collectio of composers with a pechat for repetitio, pulsig rhythms, ad familiar harmoies. Repetitio, psychoacoustic perceptio, ad the medium of music are deeply implicated i Steve Reich s 1968 essay Music as a Gradual Process which betrays glarig similarities to miimalist artist Sol LeWitt s 1967 essay Paragraphs o Coceptual Art. To demostrate some of these similarities, I coduct a formal aalysis of Music for 18 Musicias (1976), focusig o Reich s itervetio i his supposedly impersoal additive process to esure that his combiatio of melodic patters yields the beat-class aggregate. These processes ad rhythmic properties are audible remats of Reich s phasig techique, but they too are audible oly through repetitio. Thus I argue that repetitio is ot i itself miimalism s defiig characteristic, but rather a cocomitat techical meas of takig omusical soic objects ad perceptio of geeric musical properties as the subjects of compositio ad defiitio, all withi the wider gere of musical coceptualism. A Theory of Closure i the Late Works of Sergei Prokofiev Jacy Pederse (Texas Christia Uiversity) Cadeces are a cetral feature i music that act as puctuatio to musical phrases ad brig closure to formal structures at both large ad small scales. Theorists such as William Capli (1998, 2004, 2013) ad William Rothstei (1989, 1991, 1994) have writte i extesive detail about the stregth of toal cadeces ad how they play a pivotal role i the structure of the music before ad after their occurrece. I the music of the 20th cetury, Deborah Rifki (2006) ad Kristy A Bryde (2001) discuss elemets of closure i cotext with deviatio from local orms via motio ad chromaticism i post-toal cotexts. As oted by Rifki, chromatic alteratio at poits of closure ca obscure arrivals i toal-leaig 20th-cetury works (Rifki 2006), but i the music of Sergei Prokofiev, it is uiquely used as a key elemet i creatig closure. I Prokofiev s music, the stregth of ay give momet of closure ca be gauged o a spectrum. Most cadetial arrivals have toal-like bass movemet from domiat to toic, alog with the melodic movemet that achieves toic. This is further stregtheed by the presece of two distict features: direct chromatic motio ito the cadece, ad temporal displacemet betwee voices. The degree to which these features are preset determies the stregth of closure. This presetatio will show how chromatic alteratios ca affect the stregth of cadece-like closure by delvig ito two of Prokofiev s late works: his Piao Soata No. 9, Op. 103, ad Cello Soata i C Major, Op

28 Theorizig Silece Kristia Kowles (Arizoa State Uiversity) Music theoretic discussio has bee surprisigly mute o the topic of silece i music. With a few otable exceptios (Lissa 1964; Pearsall 2006; Margulis 2007a, 2007b), most approach silece as either a egatio of soud, aki to the egative space which demarcates the edges of a sculpture (Barry 1990), or as a ecessary coditio of soud its atithesis (Zuckerkadl 1956). Such a view igores the vast variace i our perceptual experiece of silece ad the umerous ways it is utilized withi compositios. While some scholars have used descriptive terms for sileces, such as framig sileces (Pearsall 2006), suspese devices or expectacy pauses (Lissa 1964), o uifyig theory delieatig types ad fuctios of sileces exists. This work seeks to fill that gap, proposig four differet categories of silece, each cotaiig three subtypes, with the aim of highlightig the variety of sileces which occur i music ad the value of icludig them i theoretic discourse. The proposed categories ad subtypes provide a way to idetify ad discuss specific features of sileces while usig defiitios that remai broad eough to allow for flexible applicatio. Where possible, the perceptual effects of sileces withi their musical cotexts are discussed. Sessio VIII: History of Theory Chair: Jim Bugert (Rocky Moutai College) Computatioally Re-Imagiig Mode Defiitios i Glarea s Dodecachordo Reier Krämer (Uiversity of Norther Colorado) Computatioal music aalysis tools have become widely available ad eable scholars to explore musical features i completely ew ways. Musicias i the Reaissace categorized music accordig to modes. Defiitios of mode vary widely amog Reaissace ad cotemporary scholars. The solutio lies i developig a mode-fidig system, allowig users to defie differet approaches to mode. The study begis by re-imagiig Glarea s defiitios of mode i the Dodecachordo. Features cosist of mode defiitios. Extracted features iclude coutig pitches occurrig i a give pitch space, determiig the fial pitch of a melody, coutig melodic ad horizotal itervals, ad rage iformatio. By recombig some of the extracted features, we determie whether a compositio is i a authetic, plagal, or coected mode. Additioally, the study explores what the uderlyig relatioships of the otes are to each other, or how i each piece oe ote moves to aother, i.e. melodic successio represeted i state trasitio matrices. The focus is o modal features of 100+ moophoic compositios i the Dodecachordo, ad posits how Glarea described modal features to support his argumet. Fifth Amedmets: Editorial Correctios of Cosecutive Fifths i the Bach Chorales Luke Dah (Uiversity of Utah) The four-part chorales of Joha Sebastia Bach have for ceturies served as superlative models for the study of harmoy ad couterpoit, regardless of the fact that the great Master of harmoy frequetly broke may of the basic rules of part-writig eforced i udergraduate theory classes. I the first half of this presetatio, I will revisit the treatmet of cosecutive fifths ad octaves i Bach s chorales by briefly providig a accout of the kids of cosecutives that do occur i the chorales ad by examiig some of the strategies Bach used to itetioally avoid cosecutives. I light of this, I will briefly suggest some pedagogical strategies for a more uaced approach to teachig the part-writig rules regardig cosecutives. I the secod half of the presetatio, I will also recout the curious editorial liberties take by editors ad copyists of late 18th cetury collectios of Bach chorales (i.e. C.P.E. Bach, Joha Philipp Kirberger, ad Friedrich Wilhelm Marpurg) i correctig such cosecutives, a ivestigatio that will icorporate ew fidigs from the ewly-recovered 1762 mauscript of Bach chorales i the had of Carl Friedrich Fasch. Such editorial practices have implicatios regardig the autheticity of the early 200 chorale settigs that have survived oly by way of these edited posthumous collectios ad must be accouted for i ay serious research o the Bach chorale style. Toward a Broader Theory of Music: Charles Butler s The Priciples of Musik ad Seveteeth-Cetury Eglad Joshua Klopfestei (Uiversity of Chicago) Eglish music theory aroud the tur of the seveteeth cetury is ofte oted for its practical ad itellectually isular ature (Herissoe 2000, Christese 2004). I cotrast to this isularity, Charles Butler s The Priciples of

29 Musik (1636) shows a writer deeply egaged with Cotietal music theory, theology, ad cotemporary politics. A coutry vicar probably best kow for his work o beekeepig The Femiie Moarchie (1609, 1623, 1634), his Priciples of Musik is aythig but practical ad itellectually isular. Butler s practical explaatio of the elemets of music has received some attetio (Bailey 1998, Owes 1998). But i Butler the practical musicia exists alogside deeply speculative ad theoretical discussios of the art, usually relegated to Butler s legthy ad careful otes which at times greatly exceed the body of the chapter. The theoretical portios of Butler s work have received substatially less scholarly study. My paper works to repositio Butler s treatise as a work of great eruditio (both i music ad theology) ad a work of clear practical value. The Priciples of Musik shows a socially egaged music theory that treats music writ large as its object, ot simply the fudametals of the art. What emerges i my study is a thoughtful musicia ad careful expositor of texts both aciet ad moder, a writer cocered ot simply with promotig accurate sigig but also with providig compellig argumets for the ecessity ad moral uprightess of public music at a time whe music s value was beig opely challeged. SEMSW 2018 Abstracts (by Sessio) Sessio I: Soudscapes ad Eviromets Chair: Daw Corso (Uiversity of Arizoa) Seeig is Believig: Sámi Political ad Evirometal Activism i Popular Music Videos Kelsey Fuller (Uiversity of Colorado, Boulder) Cotemporary Sámi musicias such as Sofia Jaok, A-Mari Aderse, ad Slicraze use popular music ad accompayig music videos to discuss idigeous political ad evirometal cocers. However, scholarly discourses ofte eglect popular music videos by Sámi artists i favor of commetary about Sámi films. While previous scholarship has oted the activist impact of both Sámi (ad other idigeous) popular music ad film, as well as music videos of miority groups primarily i the Uited States, there is a absece of scholarship which examies Sámi music videos as sociopolitical expressios of cotemporary idigeous activism. I aim to demostrate the rich potetial for this area of study, providig example aalyses of videos from recet Sámi artists. I these videos, Sámi artists demostrate their activist causes, physical coectios to lad, ad sese of place via music ad movig image. Through various media forms such as their icoic vocal gere of joik, selective use of Sámi, Scadiavia, or Eglish laguages, footage of historic evirometal protests i Norther Scadiavia, ad sceic imagery of their traditioal homelads, popular musicias create music videos that embody cotemporary Sámi activisms. This research aalyzes Sámi music videos through the leses of ethomusicology, film studies, ad idigeous ecocriticism, ad cocludes that their represetatioal activism strives to reder visible ad audible the years of coloial erasure, exploitatio, ad silecig that the Sámi have experieced. Furthermore, the visual compoet is essetial to artists political ad evirometal messagig, i that it asserts cocrete evideces of the issues beig described or discussed i the lyrics. Soudig the Nile: Hamza El Di as Ethographic Ear Rega Homeyer (Uiversity of New Mexico, Albuquerque) Historically, ethography has privileged the visual over the aural. As such, we see a dearth of ethographic accouts focusig o the seses, icludig soud. This is especially true i the scholarly work o Nubia peoples, a etholiguistic group idigeous to preset day orther Suda ad souther Egypt who origiate from the early ihabitats of the cetral Nile valley. I this paper, I focus o auditory perceptio, positig that Nubia istrumetalist, siger ad composer, Hamza El Di, is a ethographic ear (Clifford 1986, Erlma 2004) withi Nubia society. I defie the ethographic ear i terms of listeig practice ad develop a lie of argumet through aalysis of El Di s 1971 compositio, Escalay (The Waterwheel). I use the Nile River area as a soudscape of iterest, takig my trajectory from R. Murray Schafer s hypothesis that people liste to the eviromet ad echo it back through

30 expressive forms such as laguage ad music (Schafer 1977). The cocept of echo developed i this paper is ot oe of imitatio of souds, rather it is the retur of a material respose to the material experiece of local souds themselves. I aalyze El Di s echoig of the Nile River i Escalay, idetifyig the river s presece as idexed through compositioal framig, o-vocalized space, ad silece ad coclude by showig how the world that El Di creates i his music is iextricably liked to the daily experiece of livig i relatioship to a river ad its eviromet. Soudscape: The UA s Remarkable Chimes ad Echoes Da Kruse, Matthew Mugmo, ad Brad Story (Uiversity of Arizoa) The cocept of the soudscape, origiated by Caadia composer ad music educator R. Murray Schafer, is a way of examiig the role of souds i our lives i a variety of eviromets. O the Uiversity of Arizoa campus, a uique soudscape arises 48 times daily. With the chimig of the Westmister Quarters, the campus commuity is alerted to the time of day. It s a familiar musical experiece, as the Quarters have bee commoly heard at churches, i tow squares ad o campuses worldwide sice the mid-1700s, ad i millios of homes, as a chime sequece for doorbells ad gradfather clocks. O the UA mall, the Westmister Quarters take o a sigular acoustical quality, due to a cofiguratio of reflective surfaces. A rage of highly variable echoes ad reverberatios provides a oe-ofa-kid acoustical experiece that cotributes meaigfully to the soudscape of the campus, ad to the daily experiece of campus life. The Westmister Quarters history, ad their uique aural quality o the UA campus, were examied by musicologist Matthew Mugmo ad Speech, Laguage ad Hearig Scieces scholar Brad Story. The results of their fidigs ad their meetig to compare musicological ad acoustical otes were chroicled i a 7-miute documetary film produced by ethomusicologist Da Kruse for Arizoa Public Media s Arizoa Illustrated. The film also icludes the perspectives of faculty ad studets who poder the ubiquitous melody ad its historical ad cultural origis. This 30-miute pael will share the documetary film, as well as reflectios persoal, historical, ad acoustical of the project participats. Sessio II: Regioal Studies of the Southwest U.S. ad Mexico Chair: Kristia Jacobse (Uiversity of New Mexico) Todos me mira : Drag Performace i Udocumeted LGBTQ Migrat Spaces Adriee Alto-Gust (Uiversity of Chicago) As the eed for social justice movemets appears greater ad more evidet tha ever before, progress ad real social chage requires attetio to itersectioal idetities ad multiple levels of margializatio. Trasgeder wome of color, for example, are a populatio at extremely high risk for violece ad hate crimes i the Uited States (ad elsewhere). What could make them eve more vulerable? What if immigratio status is also a factor, ad/or beig differetly-abled? I this paper, I preset ethographic research I have coducted with a grassroots oprofit orgaizatio that advocates for the rights of LGBTQ migrats ad people of color i Phoeix, Arizoa, a borderlads regio. Composed primarily of trasgeder ad queer udocumeted (udocuqueer) migrats, this member-led orgaizatio egages i multiple social justice projects, icludig legal defese, family acceptace, ad ecoomic justice. Art ad activism come together i their Queer Artivism(o) programs ad other evets, usig the performig arts especially drag, dace, ad theater as a platform to educate the commuity about issues such as the eed for comprehesive immigratio reform ad for racial justice i LGBTQ rights movemets. This work is a case study of how people ca use performace ad art to avigate life outside systems of oppressio, while simultaeously workig to dismatle those systems. Based o participat-observatio, iterviews, ad performace ethography, I coclude that the participats experiece a eve greater beefit. As they place their multiply-margialized idetities at the ceter of artivism projects, egagig with the performace process empowers ad heals the commuity from withi. Sogs of Immortality: Explorig the Role of Death i Music Salvador Heradez, Jr. (Uiversity of Florida) As of 2010, over two-hudred empirical terror maagemet studies have supported the otio that death affects us without our coscious realizatio (Burke et al. 2010:187). Thikig about death ca impact how idividuals react to those holdig differet cultural values (Roseblatt et al. 1989), approach spirituality (Jog et al. 2012), ad

31 approach their ow cherished cultural symbols (Greeberg et al. 1995). I this paper, which costitutes part of my thesis, I suggest that terror maagemet theory (TMT) ca help with uderstadig why cultural attitudes toward certai musics exist amog differet groups of people. This theory claims that cultural worldviews each with their ow array of expressive symbols, icludig music are formed as a meas of mitigatig death axiety by deyig it, prescribig ways i which idividuals ca hope to acquire literal or symbolic immortality. I argue that idividuals place more value o symbols that directly espouse the death-deyig teets of their associated worldview, which is reflected by musics demostratig slow rates of stylistic chage. Through TMT, I explore why the villagers of Sa Pedro Xicoras, Mexico cotiue to seek strict orthodoxy with the idigeous xuravét circle dace, which is believed to uite the livig with their deceased acestors ad thus directly expresses death-deyig beliefs. The corrido sog gere popular i the regio exhibits similar characteristics ad persistece, offerig symbolic immortality by eulogizig historical figures while also demostratig a slow rate of chage. These fidigs are iformed by my field research amog the commuity durig the summers of 2016 ad The Holy Coyote: Ghost Smugglig Corridos ad the Udocumeted Migrat Experiece Teresita Lozao (Uiversity of Colorado, Boulder) Mexica immigrats to the U.S., particularly udocumeted migrats, are feelig icreasigly targeted by atiimmigrat ad xeophobic rhetoric by political commetators, media, ad most otoriously, Presidet Doald Trump. Feeligs of imposed crimial idetity have led to ew treds of corrido (ballad) performace ad compositio cetered o Cristero martyr, Sait Toribio Romo, the uofficial patro of udocumeted migrats, killed i Cristeros were post-revolutioary Catholic rebels who led the armed rebellio, La Cristiada, agaist the Mexica govermet i respose to ati-clerical laws ad military eforcemet they felt suppressed their liberties ad idetity. Cristero resistace was first ecoded i 1920s corridos depictig govermetal oppressio, religious persecutio, martyrdom, ad revolutio. A cetury later, ew Cristero corridos dedicated to Sait Toribio have become vehicles of religio-political activism ad survival, expressig themes of udocumeted Mexica migratio ad accouts of the ghost of Sait Toribio phusically guidig udocumeted migrats to safety. As portrayed i these corridos, Sait Toribio is the Holy Coyote, or the holy smuggler, ad his ghost appears to migrats i trasborder ear-death situatios that require miraculous itercessio. While some retur i thaksgivig to his shrie i Mexico, udocumeted migrats are ofte uable to retur ad have thus recreated a culture of devotio ad activism i the U.S. through corrido compositio, iformig listeers of his apparitios ad miracles i their migrat jourey. Drawig o Américo Paredes ad Maria Herrera-Sobek s aalysis of smugglig corridos i immigrat lore, ad Joshua Pilzer s discourse of survivor s music i which listeig is a political act...capable of iauguratig political movemets for social justice (2015), this paper explores how Sait Toribio corridos portray udocumeted migratio as both religious experiece ad musical activism for potetial border-crossig survivors. Additioally, this paper discusses how these corridos exemplify the importat relatioship betwee migrats ad the value of preservig Cristero memory i cotemporary struggles agaist social ijustices. Idigeizig Art Music: A Aalysis of Coor Chee s Navajo Vocables for Piao Reata Yazzie (Uiversity of New Mexico) Historical attempts by o-idigeous composers to produce Native America-ispired music have ofte resulted i stereotypical melodies, motifs ad istrumetatio that iaccurately portrayed Idigeous musical cultures. Examples iclude composers such as Edward MacDowell, Ferruccio Busoi, ad ethographers like Fraces Desmore ad Alice Fletcher who perpetuated the exoticism of Idigeous music. As the outcry for Idigeizig methodologies across the academy grows ad the eed for Idigeous research by Idigeous scholars itesifies, this paper examies how Dié (Navajo) composer ad classical piaist Coor Chee exemplifies the cocept of Idigeizatio through his album of self-composed music, The Navajo Piao. Chee s album of Navajo vocables for piao draws melodic ad rhythmic ispiratios from Dié cor-gridig sogs, Eemy Way ceremoial sogs ad the stylistic iflueces of Claude Debussy, thus mixig musical examples from two Dié geres of popular ad sacred music with that of a well-kow composer of Frech impressioistic music. Begiig with the backgroud of the Idiaist movemet withi Wester art music i the late ieteeth-cetury ad the simultaeous assimilatio attempts through music i America Idia boardig schools, this paper articulates what a cotemporary approach to idigeizig art music through compositio could resemble. By cotextualizig Wester art music for the Dié musical ear ad cotextualizig traditioal Dié music for the o-dié musical ear i a compositioal style that appropriately ackowledges the cultural ad musical sources of each sub-gere, I coclude that Chee s approach to mediatig this cotroversial musical coversatio is exactly what Idigeous-based music research eeds i this momet

32 Sessio III: Trasmissio, Chage, ad Diffusio Chair: Aaro Paige (ArtsWestchester) Pleg Diaw: Teachig Virtuosity ad Cultural Value Through Thai Music s Solo Repertoire Bejami Cefki (Uiversity of Colorado, Boulder) The repertoire of pleg diaw, or solo istrumetal pieces, defy certai orms of Thai classical music. They are specific to idividual istrumets ad pedagogical lieages, they are authored, ad they are through-composed. They also serve as markers of musical skill, ad eve Thaiess amog Thai musicias ad audieces. These distictive aspects of pleg diaw pieces allow for a deeper view ito elemets of Thai classical music that are ot usually explicitly taught by teachers to studets, i particular, style ad aesthetic value. This paper explores the pedagogy of the pleg diaw repertoire through ethographic study of Thai music teachers ad studets. Alog with their use as pedagogical tools, I will discuss the culture of the pleg diaw repertoire ad its reflectio of larger socio-ethic issues withi Thailad, i particular, the struggle for cultural hegemoy betwee cetralized Thai ad Isa populatios. Trascribig the Now or Trascribig the History? Uderstadig the 1928 Mizoku Geijutsu Debate Richard Miller (Uiversity of Nevada, Las Vegas) Ethographic trascriptio has log bee a core practice i ethomusicology ad the related disciplies of folklore ad athropology. Debate over the procedures of ethographic trascriptio have raged from the techical to the philosophical ad, i more recet years, the goals of trascriptio have bee cosidered agaist the backdrop of other debates over autheticity ad represetatio. As ethomusicologists we lear these debates withi our ow discipliary history, but rarely have the opportuity to see it take place i other spheres. A brief debate i the pages of the 1928 Japaese folklore joural Mizoku geijutsu betwee composer Fujii Kiyomi ( ) ad shakuhachi historia Nakazuka Chikuze ( ) provides a exceptioal opportuity to see our ow practices from the outside. Fujii ad Nakazuka s argumet over the goals ad procedures for the trascriptio of Japaese folksog, although iformed to a certai extet by early Wester folklore studies, takes a uusual trajectory through issues of style, sophisticatio, stadardizatio, ad form to raise the questio of temporality i trascriptio: Do we capture the ow of the musical soud, or do we follow the soud back through history to its origis? Uderstadig the aswers Fujii ad Nakazuka provide for that questio gives us a ew agle from which to thik about ethographic trascriptio ad the politics of represetatio. Orgaology i the Icoography of the Ramayaa Epic ad Istrumets at the Courts of Southeast Asia Tachiee Patarateerao (Uiversity of Norther Colorado) I the 178 paels o the gallery walls of The Emerald Buddha temple i Thailad, the world s logest paitig of the Hidu Ramayaa epic is depicted i Southeast Asia s modificatio of its mother culture, Idia. Sice the ith cetury, Ramayaa has bee the most popular epic ad is ifluetial i formig Southeast Asia politics, states, religios, laguages, literature, performig arts, ad other culture. I music ad theatrical arts performace, Ramayaa provides the mai music repertoire ad dace, alog with Idia musical heritage that creates the musical culture of Southeast Asia. This research aims to study cultural diffusio ad cultural modificatio of Idia musical istrumets ad their fuctio through the compariso of the scees i the epic ad icoography i Hidu Ramayaa ad Thai Ramakiet. The result reveals the iflueces of Idia customs ad beliefs i the royal court of Thailad, ad the similarities of musical istrumets both i their orgaology ad their fuctios. Oe example of this ca be foud i Idia coch shell, shakha, ad Thai sag. Besides similarities, Idia istrumet modificatio of the istrumets are made i Thai, Cambodia, ad Idoesia cultures. By cotrast, differeces are ucovered with Chiese ifluece i chordophoe ad idiophoe istrumets of idigeous cultures withi the Southeast Asia cotiet. Through Ramayaa icoographic study of the wall paitig at the Emerald Buddha temple i Thailad, the cultural heritages of Hidu, Chiese, ad Southeast Asia are explicated ad disclosed i what has become a part of the Southeast Asia cultures which ca be see today. No Oe Wats to Liste to Us: The Challeges of Female Iraia Musicias Performig Wester Classical Music Golriz Shayai (Uiversity of Norther Colorado) Beig a female musicia uder a Islamic govermet is already a cofrotatioal situatio because wome are geerally ot allowed to be performers. It is especially true for Wester classical istrumetalists, who are hidered by further restrictios from the curret iterpretatio of Sharia Law ad who face a dead ed i ay attempt to gai

33 acceptace from the govermet as well as the audiece i a coutry where Wester music culture has ever bee established. Nevertheless, a umber of Iraia wome, regardless of govermet iterferece, cotiue to eroll i Wester music programs at Tehra Coservatory of Music. The research aims to study the ratioalizatio ad methods of the Iraia govermet i cotrollig ad limitig Wester classical repertoire for Iraia wome studets, ad how these restrictios impact the studet s decisio-makig i studyig Wester music. A ethomusicological methodology has bee used i iterviewig faculty ad female studets at the Tehra Coservatory. The results idicate that wome are deied the opportuities to perform Wester classical repertoire uder the Islamic govermet; however, public performaces of Iraia folk music have bee allowed for some wome istrumetalists allowig them to complete their degrees. Additioally, iterviews disclose that, for most female studets, the hope of studyig Wester classical music abroad with their family s support drives wome to pursue their passio despite the obstacles. This research wats to let the voice of these female Iraia musicias be heard ad to garer more support for them. Sessio IV: Orgaizatio, Productio, ad Disruptio i Cotemporary Musics Chair: Bria Moo (Uiversity of Arizoa) I Kow You Wat It : How the Blurred Lies Copyright Case Impacts the Sample-Based Traditio of Hip-Hop Josh Barbre (Uiversity of Arizoa) Sample-based hip-hop has bee a commo target i copyright ifrigemet lawsuits sice its trasitio ito the recordig studio. These issues develop ito lawsuits o owership ad the legalities of the samplig traditio. With the curret court case, Pharrell Williams, et al v. Frakie Gaye, et al, betwee Robi Thicke ad Pharrell Williams ad the Marvi Gaye estate over copyright ifrigemet, the rulig o the sog Blurred Lies embodies a ew cotext of owership. The origial verdict is that Thicke ad Williams are liable of copyright ifrigemet o Marvi Gaye s Got to Give It Up eve though they did ot sample the recordig or use melodic or lyrical material. Based o the judge s decisio, the Gaye estate was able to claim copyright ifrigemet o soudscape rather tha music cotet. It creates a stage of ispiratio as itellectual property. Hip-hop has already bee the victim of ifrigemet cases ivolvig musical compositio copyright ad soud recordig copyright. With this curret verdict, corporatios, compaies, ad samplig trolls ca ow claim ifrigemet oly o the basis that the ew music souds the same. I will highlight a brief history of samplig i hip-hop, examie copyright law ad cases of ifrigemet i hip-hop, ad look at how the Blurred Lies verdict ca ifluece the traditio ad cotrol over sample-based hip-hop as well as the implicatios for other music geres. Iterdepedece i Cuba Batá Drummig: Romá Díaz ad L ó dá fú Bàtá Zae Cupec (Uiversity of Colorado, Boulder) This paper seeks to highlight the sigificace of the complex iterplay that is iheret to the music ad religious practice of Satería, through a examiatio of how the religious beliefs of Satería are realized i Romá Díaz s CD compilatio L ó dá fú Bàtá. By takig ito perspective aspects of album art, album structure, poetry, ad playig style, I examie the relatioships ad processes that uderlie Díaz s approach to creatig music. Díaz is uiquely posited as both a livig repository of Afro-Cuba traditios ad as beig at the forefrot of cotemporary Cuba music i New York City. I therefore argue that the ifluece ad productio of L ó dá fú Bàtá represets oe example of how cotemporary Cuba culture is both maifested ad dissemiated. I coclude that the iteractios betwee the sacralized batá drums, choir, akpwo (lead siger), ad the spiritual realm of the elemetal orishas defie the cetral cotext of stregtheig ad formig social etworks through the Satería belief system. Ulike other accouts ad aalyses of Cuba batá drummig whose eviromets focus o the ceremoial space, the public space i which Díaz s CD exists offers a ew perspective o Satería practice. This move towards public space does ot represet a secularizatio of Satería, but provides a example of how Díaz s music serves to cotest problematic stereotypes of Africa based religio, ad emphasizes Satería as a lived religio that is costatly preset i practitioers daily experiece. Safe Space, Commuity, ad Commualism i the Dever D.I.Y. Puk Scee Kare Mize (Uiversity of Dever) I the Dever D.I.Y. (do-it-yourself) puk scee, issues of commuity safety, especially for those of queer idetities, are paramout. These issues maifest themselves i a umber of ways, through the eforcemet of commuity

34 stadards of behavior, the promotio of margialized musicias, the propagatio of iformatioal material, ad i the most extreme cases, the baig of commuity members who have bee deemed usafe. I argue that i iteractig with frequet attedees of Dever s logest ruig D.I.Y. veue, the Seveth Circle Music Collective or 7C as it is colloquially kow, oe ca observe the creatio of commuity safety i real time; both i how commuity itself fuctios as a quatifiable, ethical value ad i how it maifests itself as the fulfillmet of a basic huma eed. I further argue that Dever D.I.Y. puks create a sese of commuity ad safety for the commuity s most margialized members, especially i spaces like 7C, by supportig the creatio of music that lyrically ad musically reiforces the safety of the space as it is beig performed. This commualist approach to safety is a importat facet of the Dever D.I.Y. scee ad while there are still may issues to be addressed i the treatmet of scee members who do ot fit the hegemoic masculie ideal, those issues are ot beig overlooked. It is that cotiued strivig for better that makes the D.I.Y scee so resiliet ad while progress is always slower tha oe hopes, the active egagemet by scee members cotiues to push it forward. Nemzeti Rockers Message of Uity for Szekeler Hugarias o the Festival Stage Jessica Vasteeburg (Uiversity of Colorado, Boulder) The Szekeler Lad is a majority-hugaria regio i Trasylvaia, which has bee a part of Romaia sice 1920, ad a object of ostalgic gaze from Hugary ever sice. For oe week each summer, yurts sprout from a field outside the small Romaia city of Gyergyószetmiklós/Gheorghei, as the crackig of whips ad thuder of horses hooves resoates ear a outdoor stage i preparatio for EMI Tabor (Trasylvaia-Hugaria Youth Camp). The camp aims to stregthe commuity for youg Trasylvaia Hugarias, with daily historical, cultural, ad political presetatios. Participats are local, or from other parts of Trasylvaia, Hugary, ad across the Hugaria diaspora. Eveig cocerts feature rock bads from Hugary. EMI Tabor is the oly festival of its kid to ivite Nemzeti Rock ( Natioalist Rock ) bads to its stage, whose strog atioalist ad irredetist themes have led to criticism ad cesorship. László Kürti coceptualizes reificatio of Trasylvaia as a cocrete locatio of specific cultural idetity i the Hugaria imagiatio. I coect this reificatio with rock music as a vehicle to express a more extreme form of this atioal ostalgia. Drawig upo Katherie Verdery s distictios betwee trasethoatioalism ad tras-statal atioalism, I suggest that festival grouds comprise spaces where bads from preset-day Hugary make the tras-statal jourey to Romaia to reify Greater Hugary for members of the ethoatio. Usig examples draw from evets ivolvig two Nemzeti Rock bads, Hugarica ad Romatikus Eroszak (Romatic Violece), I show how Nemzeti Rock musicias use the imagery of Hugaria atiquity as symbolic reuificatio. Sessio V: Ethomusicology: The Field i Flux? (Ivited Roudtable) Chair: Daw T. Corso (Uiversity of Arizoa) The field of ethomusicology is trasformig with regard to the job market ad chagig ature of employmet, eeded skill sets ad academic traiig, ad blurred discipliary boudaries. I fact, a roudtable at the recet 2017 SEM Aual Meetig, The Istitutioalizatio of Ethomusicology: Curret Perspectives, Challeges, ad Opportuities, (Soud Matters: The SEM Blog, ad follow-up olie forum focused o exactly these issues, ad SEM Studet News has devoted two issues to such themes Ethomusicology ad Iter/Discipliarity (Vol. 7, Fall/Witer 2013) ad Fidig Paths o the Job Market (Vol. 12, Sprig/Summer 2016). This roudtable ivites a diverse cadre of scholars to cotiue this coversatio by offerig their uique perspectives o such matters. Discussats: Kathry Alexader, kalexader@ .arizoa.edu Uiversity of Arizoa: Assistat Professor, Hoors College Aaro Paige, apaige@artswestchester.org ArtsWestchester: Director of Folk Arts Theodore Solís, Ted.Solis@asu.edu Arizoa State Uiversity: Professor, Ethomusicology Jaet Sturma, sturma@ .arizoa.edu Uiversity of Arizoa: Associate Dea, Graduate College; Professor, Music; Professor, Social/Cultural/Critical Theory Graduate Iterdiscipliary Program Additioal Discussats TBA

35 Ackowledgemets This project has bee made possible by doors to the College of Fie Arts Fud for Excellece ad support from the Fred Fox School of Music Special Thaks The followig idividuals deserve special recogitio for their role i makig this evet a success: Kathy Acosta Zavala, Dr. Joh T. Brobeck, Dr. David B. Pomeroy, Dr. Daw T. Corso, Carso G. Scott, Amy Burmeister, Edward Reid, Moisés Paiewosky, Jacquelie Shrestha ad David Boulto. Website Layout Desig Moisés Paiewosky Program Desig Igvi Kalle The Uiversity of Arizoa Compositio, Musicology, Theory ad Music Educatio Faculty Daiel Asia, compositio Joh T. Brobeck, musicology, Director, Graduate Studies Music Daw Corso, music educatio Alyssa Cossey, music educatio Pamela Decker, theory, compositio Doald Hama, music educatio Robi Hor, music i geeral studies Bria Moo, music i geeral studies Matthew Mugmo, musicology, Edowed Chair, Davee Fox Music Studies Kari Nola, music educatio Joh Muiz, theory Keith Pawlak, music i geeral studies, research collectios Boyd Pomeroy, theory Jeifer Post, ethomusicology, music i geeral studies Carol Reeves, music educatio Jay Roseblatt, musicology Jaet Sturma, ethomusicology, Associate Dea, UA Graduate College Do Traut, theory Craig Walsh, compositio Matthew Williams, music educatio

36 The Uiversity of Arizoa Fred Fox School of Music A premier uiversity experiece i a eviromet of musical excellece! The Uiversity of Arizoa offers a uique experiece as oe of the atio s top 20 public research istitutios. The Fred Fox School of Music s atioally ad iteratioally recogized 60-member faculty is dedicated to the developmet of the talets of its studets. The faculty are equally at home i the classroom, studio, or o the performace stage. Alog with oe-o-oe teachig ad metorig, our faculty members regularly perform i solo recitals or as guest artists with major opera compaies, symphoy orchestras, esembles, ad chamber groups. Udergraduate ad graduate studets are erolled i a wide variety of degree programs, ad each year they perform i hudreds of solo recitals, large esemble cocerts, opera productios, jazz ad bad cocerts, ad marchig bad shows. Our studets have opportuities to travel ad perform as ambassadors of the Uiversity of Arizoa at prestigious cofereces ad veues withi the Uited States ad abroad. I 2014 our top choirs performed i Viea s legedary Musikverei ad at Dvořák Hall i Prague, ad our jazz esemble ad studet wid quitet ejoyed successful tours i Chia. From bachelor to doctoral degrees, the Uiversity of Arizoa Fred Fox School of Music is a passport to a rewardig life i music. Degrees Offered Udergraduate Degrees B.M. Compositio, Jazz Studies, Performace, Music Educatio B.A. Music Master of Music ad Doctoral Degrees M.M. Compositio, Coductig, Musicology, Music Educatio, Music Theory, Performace D.M.A. Compositio, Coductig, Performace Ph.D. Music Educatio, Music Theory, Musicology The Uiversity of Arizoa, College of Fie Arts, Fred Fox School of Music 1017 North Olive Road - P.O. Box , Tucso, Arizoa, music.arizoa.edu