2018 Program

Location: All events are in Room 106, Stoeckel Hall (469 College Street) unless otherwise specified.

Abstracts available here (and linked from individual session titles below).

PDFs of the finalized program are available in three formats: abbreviatedfull, and with abstracts.

Friday, 2 March 2018


1:30–2:00         Registration (Stoeckel 107)

2:00–2:15       Welcome and Opening Remarks

2:15–3:15        Session 1 (Chair: Peter Selinsky)

  • Clay Downham (University of Colorado Boulder): “Conceiving the Concept: Style and Practice in Eric Dolphy’s Applications of George Russell’s Lydian Chromatic Concept
  • Nathan Smith (University of Chicago): “Formalizing the Fretboard’s Phantasmic Fingers”

3:15–3:30          Break

3:30–4:30         Session 2 (Chair: Laura Brown)

  • Dylan Hillyer (York University): “ ‘Your Tells Are So Obvious’: Vocal Range and Timbre as a Vector of Transgender Meaning in Transgender Dysphoria Blues”
  • Steven Moon (University of Pittsburgh): “Trans/Queer Epistemologies, Multivocality, and the Ethnographic Problem”

4:30–5:00          Break

5:00–6:30         Keynote Lecture: Alexander Rehding (Harvard)

  • “Transcending the final frontier: The Golden Record and Listening in Outer Space”

6:30–7:30          Reception (Stoeckel 107)

Saturday, 3 March 2018

8:45–9:15              Breakfast (Stoeckel 107)

9:15–10:45           Session 3 (Chair: Nick Curry)

  • Stefan Greenfield-Casas (Northwestern University): “ ‘Gotta catch ‘em all’: Towards a Theory of the Transmediagesamtkunstwerk
  • Erik Broess (University of Pennsylvania): “Dying to be Heard: Technology and Voice in the Modern Séance”
  • Benjamin Safran (Temple University): “ ‘A Kinder World than Ours’: Music, Narrative, and ‘Camp’ in Steven Universe”

10:45–11:00          Break

11:00–12:30         Workshop: Patrick McCreless (Yale University)

12:30–2:00          Lunch (Stoeckel 107)

2:00–3:30         Session 4 (Chair: Marissa Glynias Moore)

  • Sonja Wermager (Columbia University): “ ‘That Hart May Sing in Corde’: Translation and Transformation of the Psalms as Defense of Church Music in Matthew Parker’s The Whole Psalter Translated into English Metre (1567)”
  • Katelyn Hearfield (University of Pennsylvania): “Lip-Syncing Along to a Singing Mermaid:
    Variously Gendered Voices in Lady Gaga’s ‘Yoü and I’
  • Stefanie Bilidas (Michigan State University): “Crafting the Consonance: An Investigation of Metrical Dissonance in Tap Improvisation”

3:30–3:45          Break

3:45–5:15         Session 5 (Chair: John Klaess)

  • Woodrow Steinken (University of Pittsburgh): “Black Metal’s Transgressions, Self-Abjection, and the Horrors of Being”
  • Subash Giri (University of Alberta): “ ‘Folk-Rock’ Music-Scene of Kathmandu: The Issues of Transculturation and Youth Identity”
  • Katrice Kemble (Wesleyan University): “ ‘I Can Be Your Whore’: Maria Brink’s Performance of Post-Feminism with In This Moment”

5:15–5:30          Closing Remarks