Program SAM - Final - (2023)

Thirty-seventh Annual Conference of the Society for American Music

International Association for the Study of Popular Music, US Chapter Time Keeps Falling: Popular Music Stories

Hosted by College Conservatory of Music University of Cincinnati Hilton Cincinnati Netherland Plaza

March 9-13, 2011 1 Cincinnati, Ohio

Mission of the American Music Society


The mission of the Society for American Music is to promote the appreciation, performance,

Creation, the study of American music of all times and in all its diversity, including all activities and institutions associated with this music throughout the world.


Founded and first named for Oscar Sonneck (1873–1928), 1928), the first director of the music department at the Library of Congress and the

pioneering scholars of American music, the Society for American Music is a

Constituent member of the American Council of Scientific Societies. He is designated by the Internal Revenue Service as a 501(c)(3) tax-exempt organization. The conferences, held each spring, provide members with an opportunity to exchange information and ideas, listen to presentations and presentations, and enjoy the company of others with similar interests. The Society publishes three newspapers. The Journal of the Society for American Music, a quarterly magazine, is published for

the Cambridge University Press Company. Content is selected through review by a top-tier editorial team representing the many disciplines and professions in the field of American music. The Society for American Music Bulletini is published three times a year and offers a contemporary and informal medium. The directory provides a means by which members communicate with each other.

Each member lists current topics or projects that are indexed, providing a useful contact for those with common interests. Rates are $75 for individuals, $50 for retirees, $35 for students, $50 for graduates, and $30 for spouses or partners. Foreign associations charge an additional $10 for airmail. Applications for membership may be made to the Society for American Music, Stephen Foster Memorial, University of Pittsburgh, Pittsburgh, PA 15260. For more information, visit our website at



Welcome Cinci Cincinnati nnati and the 37th Conference of the Society for American Music. Wetoare We meet this year in connection with the International Association for the Study of Popular Music, US Section, and look forward to many fruitful exchanges with our fellow friends in this society. bruce mcclung has planned a full program with lectures, seminars, poster sessions and concerts. Special offers include a lindy hop dance class, a morning sousa concert and a performance by the Cincinnati Drum Band, plus our regular sing-along notes and the annual performance by the SAM marching band. At least one session of work focuses on the remarkable musical life of the 19th century in Cincinnati itself (the sixth largest city in the United States in 1840). Before embarking on one of the Friday afternoon excursions, you can participate in a special open forum on Friday morning about SAM's long-range planning process. His help to visualize the future of SAM is essential. I look forward to welcoming as many of you as possible this weekend. Enjoy the Queen City in the Ohio River Valley. It is a jewel! Tom Riis President ________________________________


Thomas Riis (University of Colorado, Boulder), President Katherine Preston (College of William & Mary), President-elect Denise von Von Glahn (Florida State University), Vice President Neil Lerner (Davidson College), Secretary E. Douglas Bomberger (Elizabethtown College ), members of the Grand Treasurer

Charles Hiroshi Garrett (University of Michigan) Sandra Graham (Davidson University) Daniel Goldmark (Case Western Reserve University) Tammy Kernodle (University of Miami) Scott (University of Pennsylvania) Virginia) Guthrie P. DeVeaux P. Ramsey (University INTERNATIONAL ASSOCIATION FOR POPULAR MUSIC STUDIO–USA




Welcome to Cincinnati and to this exciting conference together. A quick look at this impressive program shows the depth and variety of our performances this year. I would like to thank Mariana Whitmer, Gillian Rodger and Bruce McCclung from SAM for their generosity and warmth in making IASPM members feel so welcome. Special thanks also to the IASPM-USA Program Committee, which consists of President Steve Waksman, Past President Dan Cavicchi, and members Luis-Manuel Garcia, Lisa Rhodes, John Troutman, and Alan Williams. Thanks also to Caroline Polk O'Meara, IASPM-USA Treasurer, and Jason Lee Oakes, Webmaster, for all they did to make this conference a success. Once again, the Rock and Roll Hall of Fame and Museum took the lead and created an unmissable panel that is sure to be a highlight of the conference. Rock Hall's Jason Hanley will moderate a panel discussion on Thursday at 7:30 p.m. about the six-decade legacy of King Records, Cincinnati's most influential label.

pm with Bootsy Collins and Philip Paul. I wish you a wonderful conference filled with thought-provoking thought-provoking, fellowship, and fun with your fellow music lovers. I look forward to greeting each of you personally. Beverly Keel President of IASPM-USA. USA ________________________________

IASPM-USA Board of Directors President: Beverly Keel Vice President: Eric Weisbard Secretary: Karl Hagstrom Miller Treasurer: Caroline O'Meara Past Presidents: Cheryl L. Keyes

Executive Committee Editors: Gus Stadler and Karen Tongson Tongson Webmaster: Jason Lee Oakes Council Members: Rebekah Farrugia, David Garcia, Zachary Stiegler Student Council Members: Kim Kattari and Carmen Mitchell

Portia Maultsby



CCM's Corbett Auditorium reopened in 1996 after a complete redesign by Pei Cobb & Partners, design architects, and Kirkegaard Associates, specialists in acoustics.



Dear SAM and IASPM-US members:

It is a real pleasure for the University of Cincinnati College Placer Conservatory of Music (CCM) to welcome the joint conference of its two organizations. We are honored to host this prestigious event and hope you enjoy your time on our campus as much as we enjoy having you here. The University of Cincinnati dates back to 1819, and the CCM dates back to Clara Baur's founding of the Cincinnati Conservatory of Music in 1867, making it one of the oldest continuously operating music schools in the country. Country. Only a few years later, in 1878, a competing school, the Cincinnati College of Music, was founded with Theodore Thomas as its first rector. These two coexisted until 1955, when tax considerations led to the merger.

of the schools and formed the University Conservatory of Music, which in turn joined the university in 1962. In the 1990s, three buildings on campus were renovated to become the Corbett Center for the Performing Arts, the Center for Vocal Arts Dieterle Vocal and the Memorial Hall; plus the newly built Mary Emery Hall in 1999, and the four make up what we call CCM Village, surely one of the best facilities of any major music school in the world. His lecture concerts are held at the Corbett Auditorium, built in the 1960s but completely renovated to reopen in 1996, and at the Robert J. Werner Recital Hall, which opened in January 2000. In addition to our musical programming, the CCM also includes theater, dance and electronic media; A total of more than 1,200 students study here with 104 full-time and more than 60 part-time teachers. part-time Our music degrees include BM, MM, DMA and PhD, as well as an undergraduate Certificate in Performance and a postgraduate Artist Diploma.

We are the largest performing arts host in the state of Ohio with nearly 1,000 performances each year. Year. I look forward to personally greeting at least some of you, but in the meantime I wish you all a pleasant, enjoyable, stimulating and productive conference. Conservatory of Music and the University of Cincinnati and the City of Cincinnati! sincerely,

Frank Weinstock Vicedecano



GENERAL INFORMATION ABOUT THE CONGRESS Transportation to the events Events University Conservatory of Music Concerts

Two concerts are planned in the beautiful MCC performance facilities. Both shows are free, but registration is required to schedule bus transportation. collects subscribers punctually with the buses in front of the hotel at the specified times. Visits on Friday afternoons

Three optional excursions to historic Cincinnati destinations are offered; Tickets are required and bus transportation is included in the fee. Buses will pick up registered participants in front of the hotel at certain times.

Friday Night SAM JAM Join attendees for an evening of music making at SAM JAM, taking place on Friday at 9 p.m. in the hallway HI. Bring your acoustic instrument(s) and prepare to delve into ancient, bluegrass, and Celtic styles, with forays into related regions.

This event requires tickets to SAM's Saturday Banquet. They should also have a marker indicating your input preference. Additional additional cards are available at the SAM registry office until Friday at 12:00 noon.

SAM Stakeholders Stakeholders are an important part of the Society for American Music. Its programs are designed to allow members to interact, share ideas and information with others with similar interests, but are open to all conference attendees. Stakeholder meetings are entirely planned by the groups themselves. Some will have guest speakers or artists, others will have informal discussions.

Pianos Pianos for the lecture were kindly provided by Premier Pianos, Cincinnati.

Logo Design Conference logo design by Jackie Schaiper of Schaiper Design, LLC.



SAM Brass Band The SAM Brass Band will perform at the pre-conference banquet reception. Artists of all levels are welcome. Bring your instrument and come to rehearsal Thursday night at 5:45 p.m. in the room of.

Singing of Shape Notes Those who wish to participate in the singing of Shape Notes are invited to bring their voice to the session, which will take place from 5:45 p.m. m. to 7:15 p.m. m. Thursday night in the BC Room.

Books and/or sheet music will be provided, but you are welcome to bring your own copy of the Holy Harp.

Blue Dots Small blue dots on labels identify first-time applicants. Introduce yourself and welcome to the conference. If you are a beginner, please come to the

Reception on Friday morning to meet our board.

SAM Silent Auction Everyone is welcome to participate in the SAM Silent Auction. This long-standing event serves as a major fundraiser for the Society for American Music and currently helps fund student travel to our conferences. he. Conference attendees and exhibitors donate books, music, recordings, sheet music, and other materials. If you have brought materials with you, please bring them to the showroom at any time. Then take some time to review the offers and write your offers on the attached sheets. You can beat any bid on the sheet in dollar amounts. The auction ends with the reception on Saturday afternoon. You can withdraw your winnings later in the evening after dinner. Pickup on Sunday morning is also available, but not preferred. Exhibitions The Exhibition Hall is one of the liveliest venues for SAM conferences and hosts technical exhibitions, the exhibition of members' publications and the silent auction. Books, recordings, software and other materials will be displayed and offered for sale. Stop by and thank the vendors for coming to our conference while you review the materials on display. Exhibitors this year include:

A-R Editions, Inc. Boydell and Brewer, Ltd. Cambridge University Press Colonial Music Institute Oxford University Press

Routledge The Scholar's Choice University of Illinois Press University Press of Mississippi W. W. Norton & Company, Inc.



Map of hotel meeting spaces Fourth floor meeting rooms

Meeting rooms Mayor


Meeting rooms on the mezzanine


Downtown Cincinnati Map The Hilton Cincinnati Netherland Plaza is located at 5th and Race in the Carew Tower complex.



SPECIAL EVENTS Welcome Reception Sponsored by the College Conservatory of Music

Phil DeGreg, Jazz Pianist Continental Ballroom Wednesday nights, 8:00 p.m. m. to 10:00 p.m. m. Fridays

Cincinnati Percussion Group Robert J. Werner Recital Hall, CCM

Thursday nights, 8 p.m. Free (but sign up for the bus service)

Founded in 1979, Percussion Group Cincinnati consists of Allen Otte, James Culley and Rusty Burge, all faculty members and residents of the University of Cincinnati College-Conservatory of Music (CCM). Known for their knowledge and experience of the full range of John Cage's music, the Cincinnati percussion group has toured, performed at festivals and collaborated with Cage on numerous occasions throughout the United States and Europe. His SAM-IASPM conference concert will include works by John Cage, Colin McPhee, John Luther Adams and Charles Mingus in the intimate and acoustically superb 300-capacity Robert J. Werner Recital Hall. The buses leave in front of the hotel at 19:15.

Lindy Hop Dance Lesson M Hall, Conference Hotel

Friday afternoon, 2:30 p.m. Registration $5.00

The Big Band in downtown Cincinnati and the Blue Wisp Jazz Club in downtown Cincinnati will provide dinner and dance entertainment for the Saturday night banquet. In preparation, SAM member Renée Camus, founder of the professional dance group Centuries Historical Dance [], will offer a Lindy Hop class. Based in Charleston and named for Charles Charles Lindbergh's ("Lucky Lindys") crossing the Atlantic in 1927, the 1927 Lindy Hop was set in Harlem in the late 1920s and 1930s. Attendees can "hang out" at the banquet! All Sousa Matinee Concert CCM Wind Symphony Corbett Auditorium, CCM

Saturday afternoon, 12:45 p.m. Free (but sign up for bus service; box lunch available)

Commemorating the centenary of John Philip Sousa's 1910–1911 world tour which included New York, York, Great Britain, the Canary Islands, South Africa, Australia, New Zealand,

Fiji, Hawaii and Canada, the CCM Wind Symphony will present a morning concert by Sousa conducted by Rodney Winther. The program shows many facets of Sousa as a composer, both as "King of the Brand" and as a composer of songs, zarzuelas and suites. This Sousa concert for the SAM-IASPM conference will take place in the visually stunning 740-seat Corbett Auditorium, which was renovated for $5 million in 1996. Grab-and-go lunches available. The buses leave in front of the hotel at 12:10 p.m.




Cincinnati Museum of Art – Cincinnati Wing Guided Tour Cost: $10.00 Limited to 20 entries; Prior registration is required.

This curator-led tour includes fifteen galleries dedicated to permanent exhibits of art created for Cincinnati or by Cincinnati artists. The exhibition consists of five themes, each of which represents the many significant contributions that art has made to the development of the city as an urban center and the many ways in which art reflects the identities of different groups.

such as German immigrants, women, and African-Americans. Cincinnati Wingand Wing includes a selection of ornate furnishings, paintings, sculptures, handmade silver, pottery and metals, and fine art ceramics from Cincinnati's Rookwood Pottery Company of Cincinnati. National Underground Railroad Freedom Center Tour Cost: $10.00 Limited to 20 registrations; Prior registration is required.

This docent-led tour features interactive exhibits to promote understanding of slavery and resistance movements. The exhibits bring to light the importance and relevance of freedom struggles around the world and throughout history. In the 19th century, Cincinnati served as a major station for the Underground Railroad and became a major refuge for thousands of people fleeing slavery. The center's main artifact is a two-story wooden slave.

Stockyard built in Kentucky in 1830 to house slaves sent up for auction. The Freedom Center's ongoing work is also exposing modern slavery. —SOLD OUT SOLD OUT!— Union Terminal Rotunda Tour and Cincinnati History Museum Cost: $15.00 Limited to 20 entries; Prior registration is required.

Recently named one of the fifty architecturally significant buildings in America

The American Institute of Architects' Union Terminal opened in 1933 as a train station with a 180-foot rotunda decked out in Art Deco grandeur.

theater and a four-manual E. M. Skinner organ. This docent-led tour includes the Rotunda, with its massive, colorful mosaic murals depicting the growth of the nation and Cincinnati, and the Cincinnati History Museum, displaying materials and aspects related to the history of Cincinnati and the area of the Miami Valley. Buses for all tours leave outside the hotel at 2:15 PM.

If you want to ask directions, take a tour on Friday afternoon. . There may still be a limited number of tickets available.



Concert by the Cincinnati Percussion Group for

The Society for American Music Quinta-feira, 10. März 2011 20:00 Werner Recital Hall College-Conservatory of Music University of Cincinnati

all otte

james culey

Russel Burge

PROGRAM Three earth drum quartets and the great weather (1993)

Juan Lutero Adams

I. Drums of Winter (born 1953) Balinese Ceremonial Ceremonial Music (1936)

I. Pemoengkah (shadow puppet show) II Gambangan (cremation) III. Taboeh Teloe (Temple Dedication) Some of the Songs from Living Room with Imaginary Landscape No. 2 (1940/42) Four American American Tunes

Colin McPhee (1900–1964) arr.. PGC arr

John Cage (1912-1992) arreglo. Russel Burge/PGC

Summertime (1935) (George Gershwin) Monk's Dream (1963) (Thelonious Monk) Monk' Goodbye Pork Pie Hat (1959) (Charles Mingus) Boogie Stop Shufe (1959) (Charles Mingus)

Break Here It Is (2005)*

I read the news today Hoy, Oh Boy (1987)* Vier chilenische Lieder

Moiya Callahan (b. 1974) arrangement. collective. PGC

The Fiesta de la Tirana (O Festival de La Tirana) Managua that rebuilds (Wiederaufbau von Managua)

Let's dance Calaluna Woman (Caluna Dance)

*written for Group Percussion Group Cincinnati (PGC) is a resident ensemble at the University of Cincinnati College Conservatory of Music and is represented by Stanton Management of Astoria, New York <>.



A Sousa World Tour Centennial Show, 1910–1911 for

The Society for American Music Sábado, 12 de marzo de 2011 12:45 pm Corbett Auditorium University of Cincinnati College Conservatory

A CCM Wind Symphony Rodney Winther Winther, Maestro PROGRAMA

Semper Fidelis (March) Queen of the Sea Waltzes (Continued) Gliding Girl (Tango) (Tango) Swanee (Humorous) Nymphalin – Reverie (Solo)

Timothy Lees, Concertmaster Principal Violin, Cincinnati Symphony Orchestra Verleihung des Lifetime Achievement Award der Society for American Music

Nobles of the Mystic Shrine (March)

The Last Days of Pompeji (Suite) Cream of Peaches and Cream (Foxtrot) The National Game (March) With Pleasure – Hilarious Dance (Dance) Stars and Stripes Forever (March) (March)



CCM WIND SYMPHONY Rodney Winther, Teacher of Timothy Lees, Violin Soloist

For him

SOCIETY FOR AMERICAN MUSIC 37th Annual Conference 16


THE CONFERENCE PROGRAM Unless otherwise stated, all meetings and events will take place at the conference hotel.

WEDNESDAY, March 9, 2:00 p.m. - 6:00 p.m. 2:00 p.m. - 8:00 p.m. 5:00 p.m. - 8:00 p.m.

SAM Board of Directors Meeting (Board Room 4) Open Registration (4th Floor Lobby) Exhibitor Setup (Rookwood) 8:00 p.m. m. - 10:00 p.m. m. Welcome reception Reception organized by the Conservatory of Music of the Faculty (Continental Ballroom)

THURSDAY March 10 20:00 to 17:00 20:00 to 17:00

Open Registration (4th Floor Lobby) Open Exhibit (Rookwood)

8:30-10:00 SAM Session 1: Panel: Panel: Gender, Gender, Race, Musical Identity Moderator: Josh Duchan, Kalamazoo College


Melissa Cross: Crossing genres in heavy metal

ERIC HARDIMAN, Dalhousie University Cheap Thrills: Janis Joplin, Big Brother and the Holding Company e Blues

Transformação WILL FULTON, CUNY Graduate Center TheHip Hop Dalai Lamavs. An American Girl: Soundscapes, Ideology, Ideology, and American Identity in the Democratic Elementary School 2008 DANA C. GORZELANY-MOSTAK, McGill University

SAM Session 1b: Sacred Song Moderator: Sandra Graham, Davidson College

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Albert E. Brumley of Powell, Missouri: 20th century composer

KEVIN KEHRBERG, Warren Wilson College "Let's Bring Them Home Detroit Style": Place and Gender in African Americans

Rhetoric of the Gospel NINA OHMAN, University of Pennsylvania, Pennsylvania Changing the atmosphere, bridging the gap: the concordance of life

and recorded music during spiritually transcendent moments of African American charismatic worship WILL BOONE, University of North Carolina–Chapel Hill SAM Session 1c: Film 1c: Aesthetics of Film and Television Chair: Jessica Courtier, University of Wisconsin–Madison

B.C. Lounge

Charles Ives, Bernard Herrmann, and the Making of a Modern Film Music Aesthetic JONATHAN JONA THAN WAXMAN, WAXMAN, New York University Louis Siegel's Forgotten Lot CHARLES E. BREWER, The Florida State University Laughter over Tears: John Cage, Experimental Art Music , und beliebtes Fernsehen

ANDRE MOUNT, University of California, Santa Barbara




Sitzung SAM 1d: 1d: Salón DE Musikkultur en Cincinnati do século XIX e Boston Vorsitz: Katherine K. Preston, College of William and Mary The Divine, the Refined, and the Sacred Music of Nineteenth-Century Cincinnati

URSULA CROSSLIN, CROSSLIN, The Ohio State University “Permanence” Building: Orchestras and Internships in Cincinnati, 1872–95

KAREN AHLQUIST, George Washington University Gender and the Germans: "Ladies Who Love Art" in the 19th Century

Live Concert NEWMAN, NANCY NEWMAN, University of Albany Albany, SUNY 10:00-10:30.


The Different Trains of Harry Partch and Steve Reich ANDREW GRANADE, University of Missouri - Kansas City My father and I met Charles Ives: Adams, Ives, and Tribute

DAVID THURMAIER, Florida Gulf Coast University "I went to the woods to live consciously": Thoreau and the cumulative form in Ives's Concord Sonata


SAM-Sitzung 2b: Musical 2b: Difusión musical Presidenta: Joanne Swenson-Eldridge, Holy Cross College

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"Madonna "Jungfernboden" to the music of Bach' Bach: The American Reception Robert Franz's Reception

YU JUENG DAHN, University of Cincinnati, College-Conservatory of Music Beverly Sills and its Transcendence of American Class Divide NANCY GUY GUY, University of California, California, San Diego Independent Values, Values, Symphonic Spaces: High Art, Low Art, and O „novo“ öffentlich ELIZABETH K. KEENAN, Fordham University

SAM Session 2c: Music 2c: Music and Motown Mythology Moderator: Mark Clague, University of Michigan

B.C. Lounge

In Search of Motown: Berry Gordy, Jr., Jr., Detroit, and a New Music Company

ANDREW FLORY, University of Shenandoah What Happened?: The Prehistory of Motown Politics, 1961–71

MARK CLAGUE, University of Michigan Respondent:

AL ABRAMS, ABRAMS, founding publicist, Motown Records Corporation (1959–1967) 1967) SAM Session 2d: Musical 2d: Musical Appropriations Chair: Sally Sommers Smith, Boston University


Headhunters, War Canoes, and the Mutual Negotiation of Ritual Performances MARY I. INGRAHAM and MICHAEL B. MACDONALD, University of Alberta SOCIETY FOR AMERICAN MUSIC, 37TH ANNUAL CONFERENCE 18

PROGRAM: THURSDAY Ethics and decorum in the music industry Powwow: conflicting ideas about

Music property of CHRISTOPHER SCALES, Michigan State University

Echoes of Java: traces of Javanese music in popular compositions inspired by the

1893 World's Fair in Colombia HENRY HENR Y SPILLER, University of California, Davis

12:00 – 12:45 BREAK 12:15 – 13:45 SAM Student Forum

B.C. Lounge

American Music Research DEANE ROOT, University of Pittsburgh SAM Interest Group: Gospel and Church Music Caprice 2/3 Mega-Churches, MP3s, and Globalization: Exploring Sacred Music Traditions in the New Millennium Christianity's New "World Music": Globalization Lob and Anbetung Anbetung

Music and the Construction of Transnational Christian Identities MONIQUE INGALS, McMaster University Turn up the volume, but don't forget the balance: traditional and contemporary

Música em Uma Megaigreja Afro-Americana en Los Ángeles, California BIRGETTA JOHNSON, Syracuse University Of Mice und Gospel Radio: How 3G and Other Innovations Are Shaping Today's Today's

Gospel Music DEBORAH SMITH POLLARD, University of Michigan–Dearbor Michigan–Dearbornn

MAR Interest Group: Study Group for Latin America and the Caribbean


Integrating the Music of America in the University Curriculum Panelists: ALEJANDRO MADRID, University of Illinois at Chicago,

BRENDA ROMERO, University of Colorado at Boulder, G. GRAYSON WAGSTAFF, Catholic University of America. Defendant: J. PETER BURKHOLDER, Indiana University

SAM-Interessengruppe: Gender Study Group


From the Attic to the Garden and Beyond: Composing American Women, Women, Nature

DENISE VON GLAHN, Florida State University 12h45–13h45 SAM Palestra-Recital Palestra-Recital


Addicted to Waterphonics JESSE STEWART, Carleton University SAM Palestra-Recital Palestra-Recital

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14:00-16:00 IASPM Session 1a: Soft Femininities Moderator: Kendra Preston Leonard, Westminster Choir College


Bigger Than The Beatles: Vera Vera Lynn and the Historiography of Postwar Popular Music

CHRISTINA BAADE, BAADE, McMaster University The blonde who knew too much: historicizing fear in "Que Sera, Sera"

PHILIP GENTRY, University of Delaware Mid-Century Hollywood Film Musicals and Media Culture Soprano HOLLEY REPLOGIE-WONG, REPLOGIE-WONG, University of California, Berkeley

SARAH CULPEPER, University of Virginia IASPM Session 1b: Narratives of Jazz Chair: Jason Robinson, Amherst College

whim 2/3

Miles and Mtume: Reexamining the cultural politics of early fusion jazz

JEREMY SMITH, Duke University Shoot Kenny twice. . . Just to be sure: smooth jazz and standard jazz

Narrative AARON WEST, Collin College

Reconciling History: The Sound of the Homeland and the Ethics of Jazz

Standard GELSEY BELL, New York University

The other jazz: the music of John Carter and the reguration of the jazz tradition

CHARLES SHARP, California State University, Fullerton IASPM Session 1c:Alternative 1c:Alternative and Outside of Mayfower 1 Moderator: Jason Hanley, Soft/High Rock and Roll Hall of Fame and Museum: Tracing the Birth and Expansion of a Form from „alternative“ song

THEO CATEFORIS, Syracuse University Desempacando a la orquesta en The Soft Bulletin de Flaming Lips BRIAN JONES, University of North Carolina–Chapel Hill Rock en: The Smashing Pumpkins at the End of Rock

JOSHUA MOON, Ohio University The Rise and Fall of the Z Key: The Dubious Beginnings and Ends of Outside Music

Maiblume 3

African American Jazz Musicians and Racial Cosmopolitanism in Colonial India BRADLEY SHOPE, University of North Texas Burton Crane Recordings in Japan 1931–1933: The Influence of American Music

Music in Japanese Musical Tastes of the 1930s HARUMICHI YAMADA, Tokyo Keizai University

Realization of postcolonial subjectivity: memory Memory, liminality and agency in




SAM Session 3a: Seminar I: Film Adaptations Moderator: Ann Ommen van de Merwe, University of Miami


Opera Score: Porgy and Bess by André Previn (1959)

SEAN MURRA MURRAY Y, CUNY Graduate Center Sally, Irene and Ellie: The New Woman Sally Woman in MGM's MGM's Depression-Era Musicals

ALLISON ROBBINS, University of Virginia All's Fair in Love and War: War: Herrmann vs. Addison in Hitchcock's The Case of the Torn Curtain

MELISSA WONG, Cambridge University

"I'm an American Girl Now": Portrayal of Women in the Movie West Side Story (1961)

MEGAN B. WOLLER, University of Illinois, Urbana-Champaign From Stage to Screen: The Impact of the Hollywood Adaptation on Stephen Sondheim's Sweeney Todd

LISA SCOGGIN, SAM Independent Fellow Sesión 3b: Seminar Salon HI II: Music and American Cities Moderadora: Caroline Polk O'Meara, University of Texas at Austin 's Get Away Let' Away from It All: Travel in 1940s Popular Song

ANDREW BERISH, University of South Florida The Lower East Side and Favela Aesthetics in 1960s Rock PATRICK BURKE, Washington University in St.

Estrategia global KARIANN GOLDSCHMITT, Colby College

"This Is Los Angeles": Experience the urban jungle with Tom Brokaw

(und Freunde) ROBERT ROBER T FINK, University of California, Los Angeles Marking a City „Live „The Live Music Capital of the World“ ELIOT TRETTER, University of Texas at Austin

SAM Session 3c: BC Salon Dolly Parton and “Country” in country music Moderator: Paul F. Wells, Middle Tennessee State University (emeritiert) More than just a “Barbie” do sertão: Dolly Parton’s Musical Craft

MELINDA BOYD, University of Northern Iowa Arranged Time: Direct Step-by-Step Narrative and Modulation in the Songs of

Dolly Parton NEIL CRIME CRIME University of Pennsylvania Pennsylvania

Detroit Reunion: The Evolving "Country" in Country Music

JOHN STANISLAWSKI, Universidade de Illinois, Urbana-Champaign For a Life of Sin: Bloodshot Records und Insurgent Chicago Country Music

NANCY P. P. RILEY, RILEY, University of Georgia Georgia




SAM Session 3d: 20th Century 3d: 20th Century American Opera Chair: Michael Pisani, Vassar College


Creating the American Opera Libretto: Modeling, "Operesis" and Style of Speech

in Works Works of the 1910s

AARON ZIEGEL, University of Illinois, Urbana-Champaign (Re)construction of femininity in Scott Joplin's Treemonisha (1911)

RACHEL LUMSDEN, CUNY Graduate Center „Not Grown Up“: Yet“: Kognitive Beeinträchtigung en Carlisle Floyds Of Mice and Men

STEPHANIE JENSEN-MOULTON, Brooklyn College, CUNY The Publication of Four Saints in Three Three Acts DREW MASSEY, Harvard University 4:00-4:30 PM BREAK 4:30-5:30 PM SAM Session 4a: Cycles 4a: Cycles of change in Chair of Popular Song: Deane Root University of Pittsburgh


Times are changing, changes are coming: Sam Cooke and Bob Dylan in the 1960s

JACK HAMILTON, Harvard University Joni Mitchell’s Court and Spark: A Song Cycle in the Popular Idiom SUE NEIMOYER, University of Utah SAM Session 4b: Folk Revival and Collective Memory Moderation: Judy McCulloh, University of Illinois Press (absent);

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Popular Images and Popular Romanticism in the Renaissance of Twentieth Century American Music RAY ALLEN, Brooklyn College, CUNY Collective Memory and the Creation of Musical Community at Chicago's Old Town School of Folk Music TANYA LEE, University of Illinois, Urbana-Champaign SAM Session 4c: Immigrant 4c: Immigrant Musical Theater Head: Andrew Dell'Antonio, University of Texas at Austin

B.C. Lounge

The Men for the East: Joseph Rumshinsky, Yiddish-American Yiddish-American Theater and

o Opernideal DEVORA GELLER, Brooklyn College, CUNY

Italian, American or Italian-American?: The panorama of Italian immigration

Cultural transfer REBA WISSNER, Brandeis University

SAM Session 4d:Cultural 4d:Cultural Politics & Public Performance Moderation: Katherine Brucher, Depaul University


“Striking culture on the head”: Movimento Música Más, Intermediate

Performance and Widerstand in Buenos Aires, 1969–73 ANDREW RAFFO DEWAR, New College, University of Alabama „Baila en la Calle“: The Cultural Politics of Merengue and Alí-Babá in the 21st Century Dominican National Carnival JESSICA C. HAJEK, University of Illinois, Urbana-Champaig Urbana-Champaignn SOCIETY FOR AMERICAN MUSIC, 37. JAHRESKONFERENZ 22


4:30 p.m. m. - 6:00 p.m. m. IASPM Session 2: Metal 2: Metal Takes Over the World: Case Studies of Metal Music from Around the World Moderator: Jeremy Wallach, Bowling Green State University


"Metal Has No Borders": The Global Conquest of a Marginalized Genre

JEREMY WALLACH, Bowling Green State University Redacted Historiography: The Battle for the Official History of Norwegian Black Metal

ROSS HAGEN, Utah Valley University The History of Turkish Heavy Metal ILGIN AYIK, Istanbul Technical University IASPM Session 2b: Canonization 2b: Canonization Chair: Aaron West, Collin College

whim 2/3

Masquerade, Memory, and Canon-Making in New York JASON OAKES Puppet Playlist, Cooper Union Playlist Fever, and Popular Music: 3) History 2) Canon 1) Archive

LIAM YOUNG of the University of Western Ontario leaves it to Bieber: becoming Gaga, seeking substance and fearing the ephemeral in

The Pedagogical Canonization of Contemporary Popular Music MICHAEL BAKAN, The Florida State University

IASPM-Sitzung 2c:Rock 2c:Rock Historical Reflections Moderator: Maureen Mahon, New York University

Maiblume 1

We don't know much about history, and its history, and we don't care! Teaching the History of Punk Rock JOHN DOUGAN, Middle Tennessee State University The Lost History of the Rock & Roll Classroom: From Elvis to Springsteen

DAVID SHUMWAY, Carnegie Mellon University Separated: Marillion, Rock Music, and the Middle Class

JON EPSTEIN, High Point University IASPM Sitzung 2d:Digital 2d:Digital Songs, Digital Networks Presidente: Patrick Burkhart, Texas A&M University

Maiblume 3

The Music and Technique of the Political in the Obama Era: The Gregory Brothers' Autotune the News

STEPHEN SMITH, New York University Loaded Download: An Aesthetic Ideology of Lossless Audio

PETER SCHAEFER, Marymount Manhattan College Music Everywhere: Sounds in the Cloud

JEREMY MORRIS, McGill University 5:45-7:15 p.m. m. 5:45-7:15 p.m. m.

18:00 a 19:15

Rehearsal of the SAM Brass Band (Salão DE) Singing of the Sacred Harp (Salão BC) All are welcome, with or without hymnal

IASPM USA Reception (Caprice 2/3)



SCHEDULE: FRIDAY 18:15–19:45

SAM interest group: music, cinema and media


7:30 p.m. m. Joint IASPM/SAM King Records Recorded Plenary Session: A Panel Discussion on the Legacy of Cincinnati's Most Influential Record Label Moderator: Jason Hanley, Rock and Roll Hall of Fame and Museum

BOOTSY COLLINS, COLLINS, Musician, King Records Graduate, Rock and Roll Hall of Fame Inductee LAURENKEY, ONKEY, Rock and Roll Hall of Fame and Museum PHILIP PAUL, PAUL, Musician, King Records Graduate ELLIOTT V.V. RUTHER, President, Cincinnati USA Music Heritage Foundation CHRISTOPHER SHADLER, SHADLER, Community Building Associate, Xavier University University 8:00 p.m. m. Saturday Concert: Cincinnati Percussion Group

Robert J. Werner Concert Hall, MCC

The buses leave in front of the hotel at 19:15. 20:00-22:00 Screening of the documentary SAM and round table

hello salon

I'll Keep Singing: The Southern Gospel Convention Tradition

STEPHEN SEARON, Universidad Estatal del Medio Tennessee; CHARLES TOWLER, Gospel Heritage Music, Cleveland, Tennessee; Tennesse; y TRACEY PHILLIPS, Nashville, Tennessee

FRIDAY MARCH 11 7:00 – 8:30 am

JSAM Advisory Board Meeting (Room B)

7:00 - 8:30 First Time Visitor Breakfast (Mezzanine) 7:30 - 8:30 Interest Group Meeting (FG Lounge) Open (4th Floor Lobby) 8:00 - 1:00 Open Registration 8:00: 00 - 13:00 Open Exhibition (Rookwood) 08:30-10:00 IASPM Session 3a: Digital 3a: Digital Rights Moderator: Jason Oakes, The Cooper Union

Sala M

Music and cyber liberties: the Swedish pirate party as a global guide

PATRICK BURKART, Texas A&M University Svoboda Culture: "Free Culture" in Czech Translation?

DAPHNE CARR, Columbia University Can I Hear America Sing? Preservation considerations, copyright protection,




IASPM Session 3b: 3b: Caprice 2/3 The Rise of Heavy Metal Studies in Academia, Research, and Popular Culture Chair: Brian Hickam, Benedictine University of Springfeld The World World Metal Alliance: As Efforts to Improve the academic communication Communication

They help with research on the history of heavy metal.

BRIAN HICKAM, Universidad Benedictina de Springfield

The Heavy Metal T-shirt in Popular Culture and Beyond MATTHEW DONAHUE, Bowling Green State University

Rainbows Are Metal: Queer Fans, Identity Identity, and Heavy Metal Scenes

AMBER CLIFFORD, University of Central Missouri IASPM Session 3c:Rock 3c:Rock in the Seventies and Beyond Moderator: John Dougan, Middle Tennessee State University


Finding a future in the past: Understanding the shape of history in the area

Popular music LARS KAIJSER, Stockholm University

Patching a Hole: Filling the Post-Beatles Void in 1970s America

KEVIN HOLM-HUDSON, University of Kentucky See You at Oki Dog: The Resurrection of Darby Crash JAY ZOLLE, University of Virginia

IASPM Session 3d: Institutions 3d: Historic Institutions Reunion Room 758 Chair: Eric Weisbard, University of Alabama at Tuscaloosa On Instant Classics and Reunion Tours: Music Criticism and the Hype of History

DEVON POWERS, Drexel University Rock of Ages: Popular Music and Canonization at Rock and Roll Hall in

Ruhm & Museum CYNTHIA WILLIS, WILLIS, Hiram College Festival Program as Archival Material SIJA TSAI, University of York

SAM Session 5a: The Use and Reuse of Popular Songs Moderator: Theo Cateforis, Syracuse University


"They Were There" - WWI Sheet Music Quote

WILLIAM BROOKS, University of York “Watch out for sharks!”: Sharks!”: Gender, Technology Technology and Trade Trade in the

American Song and Poem Industry FRANCESCA ENGLISH, ENGLISH, Brown University

The Day the Jingle Died: How Michael Jackson's 1988 Pepsi Campaign Redefined Commercial Music

JOANNA LOVE-TULLOCH, LOVE-TULLOCH, University of California, Los Angeles SAM Session 5b: Race, 5b: Race, Place, Nation

hello salon

Vorsitz: Charles Carson, University of Texas at Austin The Rise and Fall of William Levi Dawson's Black Folk Symphony (1934)



PROGRAM: FRIDAY Up the Ocklawaha: Maud Powell and Marion Bauer at the crossroads

SARAH GRACE SHEWBERT, University of Washington Lamar Stringfields Appalachian Nationalism

MATTHEW FRANKE, University of North Carolina–Chapel Hill SAM Session 5c: Musical Identity Teaching Meeting Room 658 Vorsitz: Larry Worster, Metropolitan State College of Denver

Seeking Authenticity in Improvisation Education SIV LIE, New York University

MacDowell vs. Butler: different philosophies on university music

MICHAEL JOINER, University of California, Santa Barbara From Singing to the Middle Class: Music in the Hull House Settlement

GLENDA GOODMAN, Harvard University SAM Session 5d: Music 5d: Music in the Arena Facilitator: Mariana Whitmer, University of Pittsburgh


"Take Me to the Ballgame": The Rise and Fall of the Baseball Organist

MATTHEW MIHALKA, University of Minnesota - Twin Cities Diapason Ice: Performance Practice and Nostalgia in Hockey Organ Music

ANTONIO GIAMBERARDINO, Carleton University MyCoercion Home Sweet Home (placa): „God Baseball Bless America“, Gedenken und in Post-9/11 Professional SHERYL KASKOWITZ, Harvard University

SAM Session 5e: Black 5e: Black/White Interactions Moderator: Tammy Kernodle, University of Miami

caprice 1/4

Interracial Foundations of American Folk Music for Native Guitar: The Case of the Spanish Fandango

GREG REISH, Roosevelt University At the Crossroads: Identity, Race, Authenticity, and the Carolina Chocolate Drops

LAUREN JOINER, University of Oregon The synthesis of black face on the shores of Ohio CHRISTOPHER J. SMITH, Texas Tech University 9:30-11:30 am SAM Session 6: Trabalhos de Pôster


Miles Davis and Modal Jazz MYLES BOOTHROYD, Central Michigan University The Resonance of Dissonant Counterpoint in American Musical Culture JOHN D. SPILKER, Oklahoma State University

KEITH CLIFTON, Central Michigan University Handel for the Holidays: American Appropriation of the “Hallelujah Chorus”

LEAH HARRISON, Florida State University




10h15–11h00 Palestra-Rezital SAM

hello salon

Sousas Amerikanismus im Ausland: Sousas Bandsolisten 1910-1911 Sousa'

world travel

TODD ​​​​​​​​​CRANSON, Universidad de Illinois, Springfield / Vintage Marching Band

10:15–11:00 SAM Long-Term Planning Forum (Caprice 1/4) 10:15–11:00 SAM Site Selection Committee (DE Room) 11:15–13:15 IASPM Sitzung 4a: 4a: Capricho 1/4 Post-9/1 Politics Post-9/11 1 Music: Sound, Trauma, and the Music Industry in Times of Terror Ko-Vorsitzende: Joseph Fisher, George Washington University and Brian Flota, Oklahoma State University Country music after from the Dixie Chicks: Carrie Underwood and die Verhandlung

for Gender Authenticity MOLLY BROST, University of Southern Indiana

Of many: Jacques Rancière, Sandy Bull of particular familiarity

Political Frustration Frustration in Folk Music "New Weird Weird America" ​​RYAN RANDALL, University of Rochester

That Was It, Here's How: Recycling the '60s Into Post-9/11 Music

JEFFREY ROESSNER, Mercyhurst College In a Maddening Loop: Music from the Post-9/11 Rubble ISAAC VA VAYO, Deance College

IASPM Session 4b: Femininity, 4b: Femininity, Politics, Performance Moderation: Christina Baade, McMaster University

Sala M

Navigating 19th-Century Celebrity and Genre: Felicita Vestvali Vestvali "the Magnificent", transatlantic diva and actress (c. 1830-1880)

JEAN DICKSON, University at Buffalo, SUNY Saving "the tender young ears of this rock-porn nation": Musical

and sexual pleasure in childhood LINDSAY BERNHAGEN, The Ohio State University

All the members of the band were lesbians: gender, sexuality, sexuality and the discourse of jazz in the

Case Study Willene Barton YOKO SUZUKI, University of Pittsburgh Could God be Black? One Woman's Journey Towards Social Justice: Iola Brubeck and True Ambassadors KEITH HATSCHEK, University of the Pacific

IASPM Session 4c:Media 4c:Media/Story Chair: Rebekah Farrugia, Oakland University

whim 2/3

You Heard It First Here: Exploring the History of American Popular Music

via the radio archive

SCHNITKE SCHNITKER, University of Maryland LocationLAURA Canadian Campus R, History of Radio BRIAN FAUTEUX, Concordia University




The endless archive and the collapse of canonicity: MP3 and mainstream blogs

Historical Narratives ROBERT STRACHAN, University of Liverpool

Open Source: New Digital Files and the PTT System in Taiwan

MEREDITH SCHWEIG, Universidad de Harvard IASPM Sesión 4d: Experimental 4d: Experimental y Avantgarde Chair: Theo Cateforis, Syracuse University

Get to know room 658

Avantgardismus, Rhythmus und Aneignung in My LifeAfrican in the Bush of Ghosts by David Byrne and Brian Eno ELIZABETH LINDAU, University of Virginia 138A Multiphonic Ballad: Noise and Race in Black Australian Popular Music

Braxton für Dälek SETH MULLIKEN, North Carolina State University The Thousand Origins of China's Experimental Music Field and Sound Art ADEL JING WANG, The Ohio State University Multimusicalism: Toward an Understanding of Difference and Cultural Memory

in improvised music JASON ROBINSON, Amherst College

SAM Session 7a: Musicians 7a: Musicians Crossing Boundaries Moderator: Carol Hess, Michigan State University


The American Compositions of Teresa Carreño: Compositions: Genre, Virtuosity, Virtuosity and Musical

Interfaces in Concert Life in the 1860s LAURA PITA, University of Kentucky

Border crossings: Following in the footsteps of Mr. Casseres, a Hispanic-African

Pianistin in Nova Scotia and Massachusetts, 1852–1862 MICHELLE BOYD, University of Toronto Sentimental Imagination in the Nineteenth Century: Louis Moreau Gottschalk's Last Hope and the Commercialization of Music and Religion

LAURA MOORE PRUETT, Merrimack CollegeAngela Peralta's Music Album: Composition, Reception, and the Feminine Ideal ANNA OCHS, University of North Carolina–Chapel Hill SAM Session 7b: Hip 7b: Hip Hop and Rap Studies Moderator: Felicia Miyakawa, Middle Tennessee State University

hello salon

Dr. Dre's "Nuthin' But a G Thang": Or Isn't South America South of Los Angeles? dr. AS

LOREN KAJIKAWA, University of Oregon Queering Disability/Queerness Disability: The Carnival Politics of

R. Kellys „Global Closet“ WILLIAM CHENG, Universidad de Harvard

Where is the rhythm?: Towards a musical semiology of rap through "Where' through the public".

Enemy: "It Will Take A Nation Of Millions To Stop Us" Enemy CHRIS ROBINSON, University of Kansas

"Whose rhyme is that?" African hip-hop's challenge to imagine an American archetype WARRICK MOSES, Tufts University 28



SAM Session 7c: Ensembles and Communities Moderation Room: Jane Riegel Ferencz, University of Wisconsin–Whitewater Wisconsin–Whitewater Kritiker, Dirigent und Orchester im Chicago der 1860er: Building a City

through cultural capitalism JAMES DEAVILLE, Carleton University

Of conductors, orchestras and docile bodies: concert culture as embodiment

Experience in 19th Century America STEVEN BAUR, Dalhousie University

Rethinking Success: Longevity and the Gold Band of the Ring

SEAN TWOMEY, University of Western Ontario

BPO Lands a New Deal: The Buffalo Philharmonic and the Great Depression

JUDY BRADY, University of Wisconsin–Madison SAM Session 7d: Critics 7d: Critical Issues in Musical Theater Moderator: Jonas Westover, CUNY Graduate Center


Play While Rome Burns?: Music for Booth's Production of Julius Caesar

(1875) MICHAEL V.V. PISANI, PI SANI, Vassar College Historiographical Perspectives on “Integration” WAYNE HEISLER, Jr., The College of New Jersey

Broadway Bound: Billy Roses Trick für Prestige en The Seven Lively Arts (1944)

JAMES O'LEARY O'LEARY, Yale Yale University

Desperate Times, Desperate Measures: Sweeney Toddas as Open Text

ARREANNA ROSTOSKY, University of California, Los Angeles 1:15–2:15 p.m. Uhr PAUSE

All SAM Afternoon Tours: Buses leave outside the hotel at 2:15 PM. 2:30 pm Cincinnati Museum of Art – The Cincinnati Wing Wing 2:30 pm National Underground Railroad Freedom Center 2:30 pm Union Terminal Terminal Rotunda and Cincinnati History Museum 2:15-3:45 pm IASPM Plenary Session


The place of joy and fun: Danzón Dancing between Cuba

and Mexico ALEJANDRO MADRID, University of Illinois at Chicago Winner of the 2009 Woody Guthrie Award for his book Nor-tec Rifa! Electronic danceable music from Tijuana Tijuana to Mundo Mundo

14:30 a 16:00

Lindy Hop Tanzstunde (Halle M)




4:00-6:00 PM IASPM Session 5th: 5th: The Rock and Popular Music Institute: Panel Discussion Moderator: Robert Walser, Case Western Reserve University

hello salon

MARY DAVIS, Chair, Department of Music, Case Western Reserve University ANDY LEACH, LEACH, Director, Library and Archives, Rock and Roll Hall of Fame and Museum LAUREN ONKEY, ONKEY, Vice President, Education and Public Programs, Rock and Roll Museum Roll ROBERT and Hall of Fame ROBER T WALSER, WALSER, Director, Rock and Popular Music Music Institute, Case Western Reserve University IASPM Session 5b: 5b: Voices, Sounds, and Secret Stories of Black Women Chair: Meagan Sylvester, University of the West Indies


Lynch Photography y "Strange Fruit" MAYA GIBSON, Universidad de Washington en St.

MASHADI MATABANE, Emory University What's so sweet about brown sugar? Secret Histories of African American Women and Rock and Roll MAUREEN MAHON, New York University IASPM Session 5c: Musical 5c: Musical Cosmopolitanism Moderator: Caroline Polk O'Meara, University of Texas at Austin


The real metropolitan "things": cultural hierarchies, popular music, and the

Founding a colonial city DAVID GRAMIT, University of Alberta Tango or pop? Musical Taste, Taste, Urbanization, and National Identity Challenged in Finland in the 1960s JANNE POIKOLAINEN, University of Helsinki Sound and Dreamscapes: Transnationalism and Displacement in Abre los Ojos Ojos and Vanilla Sky RACHEL GOLDEN, University of Tennessee Hearing the “American” : music of Soviet film culture and its aural images

of America(s) RACHEL MAINE, Northwestern University

IASPM Session 5d:Body, 5d:Body, Gender Gender, Desire Moderator: Luis-Manuel García, University of Chicago

caprice 1/4

Disabled, Erotic, Miscellaneous: Missing notes from the margins

ANTHONY TUSLER, AboutDisability Procurando um Beijo: The New York Dolls and Masculine Body Subversion Subversi on SEBASTIAN BUZZALINO, University of Calgary



PROGRAM: SAT PROGRAM: SATURDAY THURSDAY “Where do I end up?”: Radiohead, hypermediated music and posthuman androgyny

MICHAEL BIELECKI, Western Illinois University Cyborgs Think They Can Dance: Academic Theory Meets the Media

JUSTIN BURTON, Equestrian University

SAMS Student Forum Business Meeting (Room M) SAM Postgraduate Members Discussion Meeting (Caprice 2/3) Oxford University Press Cocktail Party (Mezzanine) SAM Student Forum Dinner Departure 18:30 18:30 PN. Graduate Dinner SAT 9:00 p.m. SAT JAM (Room HI) 5:30 p.m. 5:30 p.m. 18:00

SATURDAY MARCH 20 7:00 a.m. m. to 8:30 a.m. m. Open for Student Breakfast (4th Floor 8:00am-4:00pm) Registration Open 8:00am-4:00pm m. to 4:00 p.m. m. Open Exhibits (Rookwood)

Lobby) Lobby)

8:30-10:00 IASPM Session Friday: Lady Friday: Lady Gaga and Riot Grrrl

caprice 1/4

Chair: Philip Gentry, University of Delaware Wanting Love and Revenge: Canon Critique on Lady Gagas „Bad“

Roman“ STEPHANIE GUNST, Tufts University

Gaga for politics: the political ways of doing politics "in character".

MICHAEL MARIO ALBRECHT, University of New Hampshire Riot Grrrl is Dead Long Live Riot Grrrl: Political Activism, Nostalgia, and

Historiography ELIZABETH KEENAN, Fordham University

IASPM Session 6b: Local 6b: Local Stories Moderator: Daniel Cavicchi, Rhode Island School of Design


King Biscuit and WEBB, the bilateral performance of an imaginary musical place ROBERT FRY II, Vanderbilt University

Wars and musical protest against mining on mountaintops in central Appalachia

1964–present BENJAMIN HARBERT, Georgetown University

IASPM Session 6c: Excavation 6c: Excavation and History Week Chair: Devon Powers, Drexel University

Sala M

Story as a Shtick: the essential reduction of Patti Smith

BARRY SHANK, The Ohio State University Music Hall and Revisionist Histories in British Rock in the 1970s BARRY FAULK, The Florida State University INTERNATIONAL ASSOC. FOR THE STUDY OF POPULAR MUSIC – USA



The Historical Consciousness of Sunshine Pop KEIR KEIGHTLEY, University of Western Ontario IASPM Session 6d: History 6d: History of Recorded Music Caprice 2/3 Moderator: Alan Williams, University of Massachusetts Lowell In Search of Eldridge Johnson: Father of the Recording Industry modern

CAREY FLEINER, University of Delaware The Saga of the Forgotten Sooys PAUL FISCHER, Middle Tennessee State University

Listening to forests and trees: sounds of nature and pop music

CRAIG ELEY, University of Iowa SAM Session 8th:Teen 8th:Tin Bread Alley and Early Recording Pavillion Chair: Sam Brylawski, University of California, Santa Barbara Minstrelsy on Record: 1890s–1920s

TIM BROOKS, Independent Scholar Just Before Scat: New Evidence for Nonsense Silable Ridges, 1901-1922

MICHAEL G. GARBER, Purchase College, SUNY Scenes from Youth: Aaron Copland and Tin Pan Alley

DANIEL MATHERS, University of Cincinnati, College-Conservatory of Music SAM Sitzung 8b: Staging Identities Moderator: Judah Cohen, Indiana University

hello salon

Introduction to Cultural Diversity in L'Ag'Y L'Ag'Ya (1938) and Little Black Sambo (1938): The Relationship Between the Chicago Negro Unit of the Federal Theater Project and the Interracial Cultural Front in Chicago of the Depression-era JENNIFER MYERS, Northwestern College Pins and Needles: A cross between Broadway and the working class

TRUDI WRIGHT, WRIGHT, Metropolitan State College of Denver "Always About Our Dreams": Martha Graham's idea of ​​the sacred, native feminine in Appalachian spring

SARA BROWN, BROWN, The Florida State University Sesión SAM 8c:Cold 8c:Cold War Musical Diplomacy Moderadora: Vivian Perlis, Yale University

Hall A

Cultural diplomacy to mitigate cultural imperialism: music in the United States

Icelandic Relations, 1954-58 EMIL EMILY AND ABRAMS ANSARI, University of Western Ontario

"Refining" the "New World": Global Harpsichord Tours and the Reconstruction of

The Image of Postwar America JESSICA WOOD, Duke University Duke Ellington, The King of Jazz, and the 1968 Mexico City Massacre LEÓN GARCIA, Smithsonian Institution




SAM Session 8d: Politics, Identity, and Experimental Music Moderator: Ken Prouty, Michigan State University


Critica Cultural Critica no Art Ensemble Ensemble of Chicago's „A Jackson in Your Your House“ PAUL STEINBECK STEINBECK, Universidad de Chicago „Sweet Land of Slavery“: Slaver y“: The Transformation of Charles Mingus’ „Fables


A Search for Musical Identity: John Zorn and the Postcolonial Condition

HANNAH LEWIS, Harvard University

10:00-10:30 BREAK 10:30-12:00 IASPM Session 7a: Engineering and technology in the digital age Chair: David Sanjek, University of Salford


Music not suitable for the ears: when participatory pop turns ugly

KARL HAGSTROM MILLER, University of Texas at Austin Virtual Music Lessons: Lessons: Fan-to-Fan Pedagogy on YouTube YouTube

KIRI MILLER, Brown University Why Music Is Easy: The Science of Hit Music

STEVE SAVAGE, San Francisco State University IASPM Session 7b: Popular Music and Cultural Heritage Moderator: Marion Leonard, University of Liverpool

Sala M

Historical cabinet: cannon, museum collections and pop music

Material Culture MARION LEONARD, University of Liverpool

Making “heritage” of popular music: how are the French approaches different?

Reflections in favor of an epistemology of “material culture” PHILIPPE LE GUERN, Université d'A d'Avignon vignon et Center Norbert Elias Music, memory and the absent absent object in the Digital Museum/Archive Museum/ROBERT KNIFTON Archive, Liverpool Session IASPM 7c: Nationale Songs and Sentimentality Chair: Barry Shank, The Ohio State University

whim 2/3

The Other War Winner: The Civil War and American Popular Music

CHRISTIAN McWHIRTER, The Papers of Abraham Lincoln Popular Ballads and Rhetorics of National Sentimentality CLARA LATHAM, LATHAM, New York Universit Universityy The Power Ballad and the „Unfinished Business“ of Sentimentality DAVID METZER, University of British Columbia

IASPM-Sitzung 7d: Caribbean Currents Meeting Rm 658 Vorsitz: Kathryn Metz, Rock and Roll Hall of Fame and Museum From Fad to Fade: A Historical View of American Popular Music Music in the 1950s

ANDREW MARTIN, Inver-Hills-College



PROGRAM: SAT PROGRAM: SATURDAY THURSDAY Beyond the bacchanalia: symphony orchestra effects and adaptations of,

Trinidad and USA Steel Bands JANINE TIFFE, Oklahoma City University Juxtaposition of old and new in the traditional music of Trinidad and Tobago Tobago MEAGAN SYLVESTER, University of the West Indies

SAM Session 9a: Seminar I: Scenario Settings Moderator: Ann Ann Ommen van der Merwe, University of Miami


To Oklahoma!: Spectacle Summary, Story Summary KATHERINE L. AXTELL, James Madison University On the Trail of Two Killers: Stephen Sondheim and John John Weidman Weidman's Reimagining of a Musical by Charles Gilbert LARA E. HOUSEZ, Eastman School of Music Everybody Gets a Photo: The Sondheim Killers in Three Contexts

DAN BLIM, University of Michigan Voice from Your Diary: Voice: Anne Frank, Musical Theater and the American Holocaust

Monument to JUDAH COHEN, Indiana University

Sesión SAM 9b: 9b:

hello salon

Seminar II: Music and American Landscapes Moderator: Caroline Polk O'Meara, University of Texas at Austin

American Pastorals and the Prairie Paradox BETH E. LEVY, University of California, Davis Giving Nature a Voice Nature in a Place You Will Hear by John Luther Adams TYLER KINNEAR, University of British Columbia Environmental Dialogues, Environmental Duos: Pauline Oliveros and Emily

Doolittle Ouça e Sintonize DENISE VON GLAHN, The Florida State University Hobo Spatial-Temporality y Harry Partchs The Wayward GRAHAM RAULERSON, University of California, Los Ángeles

A rural identity: the desert, the Canadian nation and the music of

R. Murray Schafer ERIN SCHEFFER, University of Toronto SAM Session 9c: Becoming an American Composer One Chair Room: George Boziwick, New York Public Library for the Performing Arts „May the future be kind to all composers“: Reappraisal of the music is

Reception by Johanna Beyer KELLY HISER, Universidad de Wisconsin-Madison

The Incomprehensible God: Latin American Composers in the United States SEBASTIAN ZUBIETA, Americas Society A Distinctly American Phenomenon: Recent Work Werke von Tan Dun, Bright Sheng, Chen Yi, Yi und Zhou Long

NANCY YUNHW YUNHWA A RAO, Rutgers, State University of New Jersey




SAM Session 9d: Historicizing African American Music Moderator: Jean Snyder, Independent Scholar


All roads lead to Hampton; or The Curious Case of Institutional History "Sometimes I Feel Like a Motherless Child" FELICIA M. MIY MIYAKAW AKAWA, A, Middle Tennessee State University The "Real Negro Sound": Hall Johnson Choir from Broadway to Hollywood

MELISSA J. DE GRAAF, University of Miami Musical Crossroads: African American Music History in a National Museum

DWANDAL DWANDALYN YN REECE, Smithso Smithsonian Institute, ution, National Museum of African American History and Culture SAM Session 9e: Caprice 1/4 The 1910–11 1910–11 World Tour Tour by Sousa's Band: Band: Centennial Refections Vorsitz: Craig B. Parker, Kansas State University "The Essence of Uncle Sam": Sousa' Sousa's 1911 World Tour in the Foreign Press

PATRICK WARFIELD, University of Maryland Around the World in Sousa's Songs MONA KREITNER, Rhodes College Marches of Empire: Sousa's Musical Borderlands

KA KATHERINE THERINE BRUCHER, DePaul University 12:00-12:45 BREAK 12:45-1:45 SAT Concert All-Sousa Matinee Concert

Corbett Auditorium, CCM

The CCM Wind Symphony, Rodney Winther, and Conductor buses leave the hotel at 12:10 p.m. m.

SAM Gym-Recital Gym-Recital


A woman's love is something separate from a woman's life: Libby Larsen's (Brenda Ueland) CycleMe as a modern American version of Schumann's love and women's lives

BARBARA MERGELSBERG, Rutgers, State University of New Jersey SAM Palestra-Rezital Palestra-Rezital

hello salon

Piano Dances of the Andean Region: Cuecas, Pasillon, and Joropos CESAR REYES, CUNY Graduate Center SAM Interest Group: Historiography Meeting Room 658 American Musical (Auto)biography: Various Multicultural Perspectives in US Music History.

America's Slave Narratives as Author Source of Antebellum Black Musical Biography JOSEPHINE WRIGHT, The College of Wooster An Approach to YUNHW Chinese-American Musical Musical NANCY YUNHWA A RAO, Rutgers, ThAutobiography The and State University of New INTERNATIONAL ASSOC. FÜR DAS STUDIUM DER POPULARMUSIK – USA.


PROGRAM: SAT PROGRAM: SATURDAY THURSDAY Characteristic features of the American autobiography in "The Case of Mr. Ives":

Why Your Dates Matter CAROL BARON, SUNY–Stony Brook

SAM Interest Group: Jewish Studies Chair: Erica K. Argyropoulo Argyropoulos s

caprice 1/4

Reshaping Jews and Music in American Life: A Deeper Story

JUDAH COHEN, Indiana University SAM Interest Group: Folk and Traditional Music Hall DE Moderator: Paul F. Wells, Middle Tennessee State University (Emeritus) 12:45-2:15 p.m. m. IASPM Session 8a: Graduate Student Interest Panel: Publication, Hiring Chair : Kim Kattari, University of Texas at Austin


Panelists: KARL HAGSTROM MILLER, University of Texas at Austin

KIRI MILLER, Brown University GUS STADLER, STADLER, Haverford College STEVE WAKSMAN, Smith College IASPM Session 8b: Song as History Moderator: Kevin Holm-Hudson, University of Kentucky

Sala M

Gone and forgotten with the rest: white colleagues, black barbershop and company

Origins of the "Wiffenpoof Song" JOSHUA DUCHAN, Kalamazoo College

The Now Sound from Way Back: A „Novelização“ do Passado Musical Musical

JOHN CLINE, University of Texas at Austin "Purple Haze": A Brief History of Imitations, Transgressions, and Unsolved Problems

Aesthetic Tensions ROB VAN DER BLIEK, University of York

IASPM Session 8c: Gay and Lesbian Music and Community Whimsy 2/3 Moderator: Boden Sandstrom, University of Maryland Bridging the Rainbow: Crossing Boundaries in Receiving and

Performance of a queer hymn RYAN BUNCH, University of the Holy Family

"I want, I want to give you my attention, fagot, fagot": gay pop in the post-gay-post-gay era

DANIEL DiCENSO, College of the Holy Cross Gay Play: Gay para Johnny Depp und eine Performance and Conquisition de

ambiguous sexuality


IASPM Session 8d: Historical records: the cover, the label, the study

Hall A

Chair: Paul Fischer, Middle Tennessee State University This is not a photo: I "found" snapshots as album covers



SCHEDULE: SAT SCHEDULE: SATURDAY THURSDAY Working with A&M Records Newspapers: Hits and Flops

ERIC WEISBARD, University of Alabama at Tuscaloosa Noticing the past: recording technology and its influence on the music of Frank Zappa

WILLIAM PRICE, University of Alabama at Birmingham 2:30-3:30 p.m. m. SAM Session 10a: Instrumental Experiments Moderator: Leta Miller, University of California, Santa Cruz


"The miracle of the incomprehensible": the music and the invented instruments of Lúcia

Dlugoszewski KEVIN LEWIS, University of Cincinnati, College-Conservatory College-Conservatory of Music BeforeHPSCHD: Lejaren Hiller and Early Computer Experimentation MARK E. PERRY, North George College and State University

SAM Session 10b:Architektur 10b:Architecture Salon HI Moderator: Maxine Fawcett-Yeske, United States Air Force Academy

Louis Sullivan, J. S. Dwight, and Wagnerian Wagnerian Aesthetics in the Chicago Auditorium Building STEPHEN THURSBY, University of South Carolina, Sumter Frank Lloyd Wright: Musical Intersections and the Making of the New American

Architecture DAVID DA VID PATTERSON, SAM Independent Scholar Session 10c: Building Community Through Music Moderator: J. Peter Burkholder, Indiana University

Hall A

Goldenrod Music: Negotiating lesbian identity through female music

LAURON KEHRER, Eastman School of Music From Gay Liberation to Gay Pride: Building Community with Music

TODD ​​​​ROSENDAHL, The Florida State University SAM Sesión 10d: The Blacklist Vorsitz: Charles Hiroshi Garrett, University of Michigan


Maintaining the Status Quo: The Black List Harmonica virtuoso Larry Adler's Black List

RYAN RAUL BAÑAGALE, Harvard University Black Smoke, Red Fire: The Dean Dixon Blacklist

LUCILLE MOK, Harvard University 2:30-4:30 p.m. m. IASPM Session 9a: Music, Religion and the Public Moderator: Kiri Miller, Brown University

caprice 1/4

On the Other Shore: RH Harris and the Politics of the Sacred-Secular Transition

MARK BURFORD, Reed College The Devil in Disguise: Evangelical Christian Discourse Against Rock and Music




"Folk music" and "religiously based" cultural criticism: reflections on definitions, genealogies and currents

MARK HULSETHER, University of Tennessee Is that a blessing or a curse? Side History of Christian Popular Music ANDREW MALL, University of Chicago IASPM Session 9b: Music/Theater Moderator: Barry Faulk, Florida State University


Shakespeare Pie: Popular Song and Shakespeare's New Burlesque

KENDRA PRESTON LEONARD, Westminster Choir College The American Musical and the Faustian Bargain RAYMOND KNAPP, University of California, Los Ángeles „Everything's Coming Up Kurt“: A Canção da Broadway no Pop World World of Glee

JESSICA STERNFELD, Chapman University IASPM Sesión 9c: Making Beats Moderador: Robert Strachan, University of Liverpool

Sala M

Black Music, Technology and Modernity: Appendix A, Percussion

PETER AVANTI, "Aldo Moro" University Behind the Beat: Technical and Practical Aspects of Instrumental Hip-Hop

Composition MIKE D'ERRICO, Tufts University Electroclash Producer Status and Backbeat Distribution DAVID MADDEN, Concordia University IASPM Session 9d: Race, Nation, Culture Caprice 2/3 Moderator: John Troutman, Louisiana State University at Lafayette

EUN-YOUNG JUNG, University of California, San Diego The Rough Vatos: Pachuco-Ska' Pachuco-Skas Transnational Localism

DANIEL TRABER, Texas A&M University "Chocolate City": P-Funk and the African-American City after the 1960s

BENJAMIN DOLEAC, University of Alberta Hipness ist relativ: Brooklyn x peruanische Cumbia KATHRYN METZ, Rock and Roll Hall of Fame and Museum

Society for American Music Awards and Business Awards Annual Meeting (Pavilion) 5:00 p.m. m. to 6:30 p.m. m. IASPM-US Annual Business Meeting (Room HI) 6:30 p.m. m. to 7:30 p.m. m. SAM Reception, Marching Band Concert, Silent Auction Closing (4th Floor Lobby) 8:00 p.m. m. Banquet and SAM Entertainment (ticket required) (Mirror Hall) with Blue Blue Wisp Wisp Big Band 4:30 p.m. m. - 6:00 p.m. m.




SUNDAY MARCH 21 7:00 am - 8:30 am

SAM Board Meeting (Room A)

9:00-10:00 am Session 11a: Music 11a: Music and Family: The War of 1812, An Urban Response in Song Moderator: Gillian Rodger, University of Wisconsin-Milwaukee


Music for the War of 1812: Old Songs for New Purposes

DAVID HILDEBRAND, Peabody Conservatory Ballads and Songs for Boston in the War of 1812: The Isaiah Thomas Collection

KATE VAN WINKLE-KELLER, SAM Institute of Colonial Music Sitzung 11b: Form 11b: Form and Structure in the Chair of Folk Song: Kendra Preston Leonard, Westminster Choir College

hello salon

The Image of Blue Note and Blues ALISA WHITE, Indiana University Song Forms as Rhetorical Models in Early Rock 'n' Roll: A Case Study

PAULA J. BISHOP, Boston University SAM Session 11c: Music in the Heartland Vorsitz: Renée Camus, Independent Academic


Heartland Country Music and Outreach Service LINDA POHLY, Ball State University Understanding Sound: Embedded Music Knowledge and Ballroom Dancing in

the American heart JOANNA BOSSE, Michigan State University

SAM Session 11d: Cultural Interactions Moderator: Kariann Goldschmitt, Colby College


Rasse, Nation und José Maurício Nunes Garcia MARCELO CAMPOS HAZAN, Núcleo Brasileiro de Musicologia, São Paulo

Musical Adaptation and Innovation in Franciscan Missions in Northern Alta California MARGARET CAYWARD, University of California, Davis 10:00-10:30 AM BREAK 10:30-11:30 AM SAM Session 12a: Connections in String Music, c . 1948 President: Beth Levy, University of California, Davis


Elliott Carter's Cello Sonata: mediation of Schoenberg and Stravinsky in

post war america

DANIEL GUBERMAN, University North Carolina–Chapel Carolina–Chap Quartet Construyendo un pasado relevante: Mel Powell’sofString, 1948el Hill JEFFREY PERRY, Louisiana State University




SAM Session 12b: Jazz: Live and on the radio! Chair: Scott DeVeaux, University of Virginia

hello salon

Competition Kansas City: Count Basie, Chick Webb and "One O'Clock Jump"

CHRISTOPHER WELLS, WELLS, Universidad de Carolina del Norte–Chapel Hill Cincinnati’s „Jazz Ark“: WNOP and the Rise and Decline of Radio-Free Jazz in

Kernland MARC RICE, Truman State University

SAM Session 12c: Pastoral Nostalgia Moderator: Nancy Guy, University of California, San Diego


City and Country in Illustrated Songs ESTHER MORGAN-ELLIS, Yale University Fantastic musical and literary reception from Irving of Sleepy Hollow KELLY ST. PIERRE, Case Western Reserve University SAM Session 12d: Room of Formative Influences DE Moderator: George Ferencz, University of Wisconsin–Whitewater

Edward MacDowell — ¿Compositor cuáquero? E. DOUGLAS BOMBERGER, Elizabethtown College Out is the New In: The Inversion University por Virgil Thomson en un refugio parisino y por MEREDITH JUERGENS, Cincinnati, College-Conservator College-Conservatory


CONFERENCE STAFF MAR Program Committee: Gillian M. Rodger, Chair; Theo Cateforis, Joshua

Duchan, Maxine Fawcett-Yeske, W. Anthony Sheppard, Paul Wells SAM Comité de Acuerdos Locales: Bruce d. McClung, president; jeongwon

Joe, Sandra L. Johnson, Jewel A. Smith Gerente Asociado de la Conferencia SAM: Joice Waterhouse Gibson SAM Stille Auktion: Jennifer Myers, Allison Portnow, Studentenforum

SAM Team Co-Chairs: Mariana Whitmer, Executive Director



SAM PROGRAM OVERVIEW Session 1a: Panel: Gender, Race, Musical Identity Melissa Cross: Crossing the Sexes in Heavy Metal ERIC HARDIMAN, Dalhousie University

The intersection of masculinity and femininity in heavy metal takes place behind the scenes, where women teach men how to actualize their 'masculinity'. In addition, it questions how gender influences the masculine roles built on the images of men; and whether authentic metal-woven masculinity is an achievement, an ideal, or a reality when women achieve it. My main focus is Melissa Cross, the vocal coach to hit singers like Slipknot's Corey Taylor Taylor and Lamb of God's Randy Blythe Blyter. Cross offers an exemplary case study of a woman in heavy metal who successfully disrupted a historically male-dominated arena. Cheap Thrills: Janis Joplin, Big Brother and the Holding Company, Company and the Blues


WILL FULTON, CUNY Graduate Center

When Janis Joplin joined Big Brother and the Holding Company, Company in 1966, the San Francisco music scene was experiencing a major upheaval. The acoustic folk revival was waning and a renewed interest in electric rock 'n' roll created the musical style for the bohemian counterculture revolution. The older brother's work with Joplin culminated in the transformative rock album Cheap Thrills (1968), which serves as an intricate statement about the authenticity of perceived people and the transformation of the counterculture. I'll examine two Cheap Thrills recordings and discuss how Joplin and Big Brother transformed gender roles, rock and blues in the 1960s and beyond. The Dalai Lamav of Hip Hop. An American Girl: Soundscapes, Ideology, and

American Identity in the Democratic Elementary School 2008 DANA C. GORZELANY-MOSTAK, McGill University

Existing folk songs acquired an increasingly important role in the soundscape of

American presidential campaigns. In the 2008 Democratic primary, Clinton and Obama shared a similar ideological stance but projected unique sonic identities through their respective campaign playlists. The ambiguous meaning of a musical text, circulating concurrently with the multiple media narratives that make up the political field, makes its interpretation difficult.

political meaning meaning within individual songs or playlists. However, I argue that the very fact that popular songs feature multifaceted and inherently open lyrics allows them to fit into these narratives and subsequently play an important role in the candidate's identity.


SAM 1b:Sacred 1b:Sacred AlbertSession E. Brumley of PowellSong (Missouri): Compositor do século XX KEVIN KEHRBERG, Warren Wilson College uencial

American gospel composer of the 20th century. He wrote an extraordinary number of "classics," including "I'll Fly Away Away," the most-recorded gospel song in American history. However, the racist historiography of gospel music has largely neglected Brumley's contributions. Drawing heavily on gospel songbooks from the 1930s and 1940s, his compositions influenced American religious and popular music far more than current research suggests. indicate it. In fact, they carry on a long American tradition.

popular sacred music dating back to William Billings. "Let's Bring Her Home Detroit Style": Place and Gender in African Americans

gospel rhetoric

NINA OHMAN, University of Pennsylvania

Occupying a unique place in the American music landscape, Detroit is a center of African-American gospel music and home to famous singers like Aretha Aretha Franklin and the legendary Clark Sisters. Using the intersection of place and genre as a window into gospel music, my article examines the ways in which the rhetoric and performance of gospel music relate to genre. INTERNATIONAL ASSOCIATION FOR THE STUDY OF POPULAR MUSIC - USA 41

Thursday Summaries The Thursday morning focus evokes the notion of nostalgia and geo-specific musical spaces. finally this

The article shows how the location and genre of gospel music history offer alternatives to understanding the relationship of musical imagination to the circular connections between American sacred and secular styles. Changing the Atmosphere, Closing the Gap: The Agreement of

Live and recorded music during spiritually transcendent moments of African American charismatic worship WILL BOONE, University of North Carolina–Chapel Hill

For many African-American charismatic Christians, spiritually transcendent encounters are the goal of Sunday morning praise and worship. When these transformative moments occur, they are often accompanied by the collapse of clear opposites: recorded music.

seamlessly blends live music and mass media products with local practice. Based on extensive field experience, interviews with practitioners, and analysis of

Worship Services, this article aims to better understand the relationship between music and spiritual experience in African-American charismatic worship, and argues that such an understanding begins with overcoming entrenched dichotomies such as live versus recorded and material versus spiritual. SAM Session 1c: Film and Television Aesthetics of Television

Charles Ives, Bernard Herrmann, and the Making of a Modern Film Music Aesthetic JONATHAN JONA THAN WAXMAN, College of New York University Although Charles Ives is rarely considered a major influence on film music, composer Bernard Herrmann has influenced both his soundtracks and his films. other Works based on the techniques of Ives and

its broader language; Esthetic. The result is a fusion of Ivesian modernism with Herrmann's own neo-romanticism, a musical contribution that has fallen almost entirely into oblivion. This article focuses on Herrmann's Moby Dick cantata and two film scores to explore the early composer's impact. Herrmann's application of these techniques, refined in his later and most famous scores, had a lasting influence on the development of film music.

Louis Siegel's Forgotten Lot CHARLES E. BREWER, Florida State University

The music of Watson Watson and Webber Webber's Lot in Sodom was described by Eric Knight in his 1934 review as "free and utterly modern, the musical score . . . the earliest contemporary must be named

Music produced in the United States by this more modern medium. The score, occasionally credited to Alex Wilder, was commissioned by Louis Siegel (1885–1955). With the rediscovery of the original score, it is now possible to re-examine the music of Lot in Sodom in the context of its creation and in comparison with other soundtracks from this defining period of avant-garde American cinema.

Laughing Over Tears: Tears: John Cage, música culta experimental y popular


ANDRE MOUNT, MOUNT, University of California, Santa Barbara

"These are good people, but some of them will laugh. Is that alright?" “Of course!" John Cage replied happily, creating a performance of his Water Walkon in a 1960 episode of the game show I Have a Secret. "I think laughter is better than tears!" During the decade From the 1950s, Cage became increasingly concerned with the theatrics and visual aspects of acting, while much of the discourse surrounding the early days of television concerned how the unique vitality of the new medium led to a vaudeville-renaissance. fit Cage's performance as a product of these trajectories momentarily intersecting in the 19th century.


URSULA CROSSLIN, Ohio State University

As a meeting place for urban and western identities, religious identities, diversity and homogeneity, and the earth and the common, Cincinnati offers an excellent opportunity to examine the 42nd AMERICAN MUSIC SOCIETY, 37TH ANNUAL CONFERENCE

Thursday morning summaries Outside influences that would shape sacred music in the 19th century. during the reforms

by compilers and teachers like Lowell and Timothy Mason have long recognized that what they lack is that the "flavor" they proclaim was part of a broader cultural movement of refinement.

The change in musical styles was part of the use of soft values ​​to establish or stabilize institutional identity in a rapidly changing city. City. Building “Permanence”: Orchestra and Practice in Cincinnati, 1872–95 KAREN AHLQUIST, The George Washington University

In the post-Civil War era, the musician-led Cincinnati Orchestra (sometimes "Gran") has performed in concerts, recitals, festivals, festivals, exhibitions, civic and entertainment events, and on tour. In doing so, he earned a strong regional reputation by introducing the city's civic leaders and musicians to the practicalities of financing, managing, and building an ultimately adopted audience.

the founding of the Cincinnati Symphony Orchestra. His efforts to support orchestral music within a community through experimentation with repertoire and social environment help mitigate the assumption that orchestras were created for the purpose of elitist social exclusion. Gender and Germans: "art-loving ladies" in the 19th century

concert life

NANCY NEWMAN, NEWMAN, University of Albany

“Americans are certainly music lovers. . . two or three times a week this hall is filled with more than two thousand listeners”, wrote Longfellow of Germania Musical.

Evening social concerts in Boston. The poet was accompanied by his wife and his mother, "Society", indicating that women constituted a significant part of the public sphere in Germania. The orchestra

cultivated various strategies to encourage female participation. The compositions paid homage to women, and musicians such as Sontag, Lind, and Urso made frequent appearances. often. This inclusion helped interest women in musical life at a time when professional participation was highly competitive. SAM Session 2a: Invocation 2a: Invocation of the Past

The different moves of Harry Partch and Steve Reich

ANDREW GRANADE, University of Missouri-Kansas City

While composers have produced music inspired by trains, there are perhaps no two more iconic works than those from the United States. Harry Partch's Highballland and Steve Reich's Different Trains Trains, two works whose similarities and differences illuminate the fundamental duality of the metaphorical use of machines in music. This presentation shows that USA Highball rejects the destruction of modernity, while Different Trains goes further, and that USA Highball uses voiceover to change the moral behavior of its audience while Different Trains uses voiceover to inspire hope for the future. My father and I knew Florida Charles Adams, Ives and tributes DAVID THURMAIER, GulfIves: Coast Adams, University In his memoir Hallelujah Junction, John Adams writes extensively about the influence of Charles Ives on his music. Despite some misgivings, Adams Adams clearly admires elements of Ives's style and incorporates them into his own music. Adams pays homage to Ives in several compositions, most notably his 2003 orchestral work My Father Knew Charles Ives. Analysis of the first movement, "Concord," reveals Adams' conflicting feelings toward Ives and how he struggles to express himself.

her musically. musically My article also examines whether this piece is an homage or a parody, and I argue that Adams Adam's work is more "Isian" than he might have intended. "I went to the forest to live consciously": Thoreau and the cumulative way in

Ives Concord Sonata

MELODY MARCHMAN, University at Buffalo, SUNY

While much musicological work has traced Charles Ives's relationship to transcendental philosophy in Ives's writings, this article suggests that the transcendental drive for simplification is found musically in his Piano Sonata No. 2: Concord, Mass., 1840-1860. In this article, I argue that the quest to simplify the critical principle of transcendentalist philosophy as expounded in Henry David Thoreau's Thoreau's Walden is not only phonetically obvious, but also inseparable from Ives' use of the linked cumulative form in the Concordia Sonata. . First contact with Walden Walden and



Thursday morning recaps

Ives I de Walden showed that the cumulative form of Ives de Ives sonically reflects Thoreau's simplification process.

PSALM Session 2b: Musical 2b: Popular music „Virgin „Virgin Soil“ for the music of Bach: The American reception of Robert Franz YU JUENG DAHN, University of Cincinnati, College-Conservatory of Music

Criticized in Germany for his liberal adaptation of Bach's vocal works, which is considered historically inaccurate, Robert Franz curiously found a large following in the United States. This article traces the positive reception of Franz as a publisher and composer through previously unpublished correspondence with Otto Dresel, and examines the composer's view of the United States as "uncharted territory" for the promotion of quality music and why its reception , Positive Americana, preceded its reception in Germany. . Furthermore, it examines Franz's posthumous reception in the early 20th century in the context of the political conflict between the United States and Germany.

provides a possible explanation for the deterioration of his American reputation.

Beverly Sills and her overcoming the American class divide NANCY GUY GUY, University of California, San Diego

Beverly Sills, once nicknamed "America's Queen of Opera," passed away in July 2007, nearly three decades after she sang her last note in public. Grieving fans posted their memories of Sills and the role she played in her life on various websites. These epitaphs are evidence that Sills drew people from a wide variety of socioeconomic backgrounds. Her popularity has occasionally met with hostility from critics who have assumed the role of gatekeepers to "high culture." This article examines Sills's career as a theater for public cultural debate, as her work challenged the distinction between elite and mass culture. Independent Values, Values, Symphonic Spaces: High Art, Low Art, and the 'New' Audience ELIZABETH K. KEENAN, Fordham University

From the NBC Symphony Orchestra to the London Symphony's classic rock CD, symphony orchestras have sought to reach broad audiences. Most recently, the Los Angeles Philharmonic has collaborated with indie rock bands Grizzly Bear and Dirty Projectors, whose critical acclaim exceeds their record sales. Unlike the Los Angeles Philharmonic's Hollywood bowling shows, which feature more popular acts, these collaborations were held in the symphony hall and carefully tailored for the bands. But what kind of audience does the Philharmonic hope to reach with these groups, given their limited commercial appeal? This article uses ethnography and music analysis to draw connections between indie rock and symphonic flavor cultures. SAM Session 2c: Music 2c: Music and Mythology Motown Mythology In Search of Motown: Berry Gordy, Gordy, Jr., Detroit, and a New Music Company ANDREW FLORY, Shenandoah University

Motown Records grew out of the resources, business acumen, and social standing of Detroit's black middle class, a group that has been the subject of much theorizing and debate, directly and indirectly. This talk shows the connection between early Motown music and the emerging black middle class in Detroit after World War II. Focusing on the company's recordings from 1959 to 1962, I offer examples of the diverse musical styles that emerged during this period when Motown, like millions of displaced Southerners seeking a new life in Detroit, sought a base from which to grow and grow. could thrive in 20th century American culture. What Happened: The Prehistory of Motown Politics, 1961–71 MARK CLAGUE, University of Michigan

The standard story told about Motown Records is that the black-run company's founder, Berry Gordy Jr., avoided political involvement until 1971 to protect his company from racial backlash. The historical record, however, tells a different story, as Marvin Gaye's groundbreaking album, Wha What's Goin' Go in' On, was not only heralded by the Temptations' "Ball of Confusion" and Edwin Starr's "War," but also through a surprisingly large catalog of political songs. This article examines Motown's political pitches from 1961 onwards to show that politics really could sell and that Motown used politics to its advantage. Advantage.



Thursday morning recaps

SAM-Sitzung 2d: Musical 2d: Musical Appropriations

Headhunters, War War Canoes and Mutual Negotiation Ritual Performance Negotiation MARY MARY. INGRAHAM and MICHAEL B. MACDONALD, University of Alberta

Prohibited by law. Law. For the Kwakiutl, such ritual exchange was a central regulator of social and spiritual existence, and its enactment here suggests a previously overlooked level of mutual agency. traditional "Indian" gestures, but in 1972 Bill Holm and George Quimby reconstructed the film with sound aspects of Kwakiutl ritual. The consciousness of such a "pre-colonial"

Ritual exchange can therefore form a theoretical model of postcolonial citizenship, in which agency is realized in mutual negotiations. Ethics and Decency in the Powwow Recording Industry: Conflicting Ideas

about music as property

CHRISTOPHER SCALES, Michigan State University

The practice of making commercial recordings has required domestic musicians and music industry folks to develop hybrid types of protocols governing ownership and control of songs. In this article, I will describe the protocols that govern ownership of music in the powwow track and compare them to existing copyright systems in the US. I conclude with a discussion of some of the "hybrid" strategies articulated by labels. “Indigenous-owned” powwow, and I suggest that these labels are interesting and potentially instructive models for the development of broader shared practices among indigenous peoples and convey European ideas and ownership. Echoes of Java: traces of Javanese music in popular compositions inspired by

the Universal Exposition of 1893 in Colombia

HENRY HENRY SPILLER, University of California, Davis

"Java" has been associated with coffee since the 19th century, evoking only a vague understanding of the island and its people. First contact of Americans with Javanese cultures

it was the Java Village on Midway Plaisance of the 1893 World's Columbian Exposition in Chicago that conveyed a lasting image of the Javanese as a gentle and childlike people. Thousands of visitors experienced the presentations directly. Many other images collected from java of band compositions, ns, transcription transcriptions, ns, sheet music and village inspired folk songs. This article examines these compositions to reflect the Javanese echoes that contributed to American conceptions of Javanese music and culture. SAM student forum

American Music Research DEANE ROOT, University of Pittsburgh Pittsburgh

MAR Interest Group: Gospel and Sacred Music Megachurches, MP3 and Globalization: Globalization: Exploring Sacred Music Traditions Traditions in the New Millennium Christianity's New "World Music": The Globalization of Praise and Worship

Music and the Construction of Transnational Christian Identities MONIQUE INGALS, McMaster University

One of the most significant developments in Christian music in the first decade of the 21st century was the worldwide spread of a commercial genre of congregational worship music.

The globalization of praise and worship music was made possible by the rise of a multinational English-language Christian music industry and the adaptation of the music by Christian communities around the world. Using ethnographic interviews, interviews, and case studies, this article outlines the factors that contribute to the worldwide popularity of praise and worship and examines how this enables participants to engage in Christian bargaining, venue, and music. Global identities, identities, and propositions suggest implications for the musicological, musicological, and logical study of contemporary ants.



Thursday afternoon summaries

Play the band, but don't forget the balance: Traditional Traditional and

Contemporary music in an African-American megachurch in Los Angeles, California BIRGETTA JOHNSON, Syracu Syracuse se Univers University

With the prominence of contemporary music in many African-American churches, practitioners have found that a challenge for music ministries is providing music that reaches today's congregations while also incorporating time-honoured songs from the Black Church. Megachurches have the resources to offer a variety of styles to their large congregations. However, the appeal of performing primarily contemporary music is great, in part due to the power of contemporary styles to attract members. This article describes how an African-American megachurch in Los Angeles is working to strike a balance between performing its favorite contemporary music and celebrating the traditional repertoire of the past. “On Rats and Gospel Radio: How 3G and Other Innovations Are Developing

gospel music today

DEBORAH SMITH POLLARD, University of Michigan-Dearborn

Technology has transformed the way the gospel music industry does business, including recording, promoting, and selling its latest projects. Social media is facilitating contests and keeping gospel figures in touch with fans, music is streaming via MP3, and new and seasoned artists and churches have started their own record labels. These changes brought with them several challenges. For example, there are more recordings than the radio can take. This article examines the ways in which the gospel industry is successfully using new delivery platforms and explores some of the difficulties and solutions they are having.

arose as a result.

MAR Interest Group: Latin American Group: Latin America and the Caribbean Study Group

Integrating the music of America into the university curriculum

Discussion Papers: ALEJANDRO MADRID, University of Illinois at Chicago, BRENDA ROMERO,

University of Colorado at Boulder, G. GRAYSON WAGSTAFF, Catholic University of America

Defendant: Defendant: J. PETER BURKHOLDER, Indiana University

In his foreword to the first edition of Music in the United States, H. Wiley Hitchcock explained

that "we know less about our own music and musical life than we do about Western Europe." Since then, the discipline has constantly changed; Most music programs now offer US music courses, and many include Canadian or Latin music course options. Increasingly, musicologists and ethnomusicologists are being asked to include the music of the Americas in general historical inquiry and research, and these changes are welcome but present new pedagogical challenges. The speakers for this session, chosen for their diverse perspectives, will share their experiences and suggestions for how their approaches can be used in different classroom settings. SAM Interest Group: Gender Studies Group From Garrett to Kindergarten and Beyond: American Women Women Making Up Nature DENISE VON GLAHN, The Florida State University

During the 18th and 19th centuries, American women nature writers regularly turned their gaze to the natural world seen from the windows of their homes, experienced in their gardens, or traversed within the boundaries of nearby villages. The circumscribed life of Emily Dickinson (1830-1886) is not atypical. The authors focused on the small nature; The details of flowers and birds were the focus of her attention and her prose. When Amy Beach composed her first nature pieces in the early 20th century, she did the same.

their ancestors pens in which they felt most comfortable and wrote about birds and birds

Flowers. The pieces titled "The blackbird", "With violets", "The clover", "The yellow daisy", "The bell" and "The hermit thrush" reflect the scope of nature at that time.

available and accessible to most women of her social position and class at the time. At the dawn of a new millennium, millennium, American women are composing from their own experiences of mountains and whales and big skies, skies and creating from the depths of underground cisterns. And they still look to birds and flowers for inspiration. “From the attic to the garden



Thursday afternoon summaries

Beyond Beyond Considered looks at the way a handful of American women have composed nature over a ninety-year period. It shows how greater access to education and greater diversity in the natural world have expanded women's repertoire of acceptable nature topics and, perhaps more importantly, their ability to care for the environment. Surroundings. SAM Recital Conference

Hydrophony Addict JESSE STEWART, Carleton University

In the lecture-performance proposal I will discuss the history, construction, use(s) and organological classification of a well-known experimental microtonal percussion instrument.

as a water source. willunconvention also performs original water solo compositions that use a variety of unconventional or extended playing techniques and create new tonal possibilities on the instrument. I'll also talk about some of the challenges associated with writing music with underwater headphones. SAM Recital Conference

"Alexander's Ragtime Band" de 100 BENJAMIN SEARS y BRADFORD CONNER, American American Classics, Boston

March 18, 2011 marks the 100th anniversary of the release of Irving Berlin's "Alexanders Ragtime Band". Although Berlin's "Alexander" was not Berlin's first hit, it took the music world by storm.

Sturm and its popularity has not waned. This lecture/performance will explore the history of music from its genesis, a subject of some uncertainty, through uncertainty, to the history of early performance, recorded history, and its use on film and stage in the context of its time. and I work in Berlin, Germany.

with changing approaches to performance throughout its history.

IASPM Session 1a: Soft 1a: Soft Femininities Femininities Bigger Than The Beatles: Vera Vera Lynn and the Historiography of Postwar Popular Music CHRISTINA BAADE, BAADE, McMaster University "It's official: Vera Lynn is bigger than the Beatles", proclaimed the London Times in

In September 2009, a reissue of Dame Vera's 'Very Best' topped the UK charts, surpassing the Beatles' remastered albums and making Lynn, at 92, the oldest living artist to achieve the feat. Discussion in the media described it as a revival, attributing the album's success to factors such as nostalgia, the conflict in Afghanistan, and Britain's 70th birthday.

Entry into World War II. However, she ignored the fact that despite her fourteen-year hiatus from public performance, her Lynn's repertoire and persona have maintained a constant presence in British culture. In this article, I offer two interventions into this revival narrative. First, I argue that the album's iconography and marketing reinforced Lynn's already strong connection to World War II.

World the nation's cultural memory and obscures the popular career that lasted until the 1970s, its focus on youth culture, ideologies of authenticity and authenticity, and the male-dominated field.

Rock silenced much of the popular music of the day, especially by and for older women. Second, I submit that Lynn's own acting strategies and, after her retirement, the work of tribute artists played a crucial role in maintaining her iconic status and inserting herself into the cultural memory of the war. . The tribute performances in particular engage with the understanding of authenticity and memory, deeply charged terrain in the postwar popular music revolutions. The Blonde She Knew Too Much: Historicizing Fear in "What Will Be, Will Be" PHILIP GENTRY, University of Delaware In her influential portrayal of the early Cold War, Elaine Tyler May defends a revisionist

Understanding the “legendary white middle-class family of the 1950s”. Rather, he argues, the welcoming world of Ozzie and Harriet was a radical response to what W. H. Auden called the "Age of Fear," fear, the containment of communists abroad, and extensive correspondence with the containment of life. domestic at home. One of the classic pieces of moderation is the portrayal of Cincinnati-born Doris Day in Alfred Hitchcock's 1956 film The Man Who Knew Too Much. Hitchcock presents an international espionage framework as the setting for an American espionage story.



Thursday afternoon summaries

Domesticity under attack by mysterious alien elements. Day plays a retired music star who lost her son to kidnappers and is known to have been drugged against her will by her own husband in one scene. The most memorable is the film's musical sequence, in which Day plays Day.

her missing son from the clutches of the kidnapper, who frantically performs what would become the hallmark of her career, "Que Sera, Sera," the deferred career ambitions of the character stepping in to save the day. Doris Day's performance not only criticizes the new domesticity, but also the medicalized fear discourse of the time and represents the position of contemporary dissidents of domesticity such as Rollo May, that fear can be used strategically as a source, according to May, of "creativity and courage". She also taps into traditional histories of post-war popular music, which tend to marginalize post-swing female pop singers, especially women, as insufficiently countercultural.

Mid-Century Hollywood Film Musicals and Middle Soprano HOLLEY REPLOGIE-WONG, University of California, Berkeley In the years after the advent of talkies, Hollywood studios courted and signed

young singers to their charts and vehicles created in the hope of marketable production

and profitable star. Several sopranos built careers that spanned the following decades:

Jeanette MacDonald at MGM and her rival Grace Moore at Columbia, Universal teen star Deanna Durbin and MGM's Kathryn Grayson, Shirley Jones, Jane Powell and Julie Julie Andrews. Hollywood and the recording industry capitalized on the public's apparent desire for a soft soprano sound, whether in film revivals of operettas, adaptations of stage musicals, or

in the stereophonic mid-century singles lounge with the exotic sounds of Yma Sumac' Sumac. Where do these preferences come from and how do they develop? What kind of singing was praised by the commercially successful and middle class audience? How is the letter of a star influenced by its sound and vice versa? What does an average soprano sound like? The ideal qualities of Julie Andrews' mediocre voice are also reflected in another important but "creepy" voice of mid-century film musicals: Marni Nixon. Her light yet confident timbre, her quiet vibrato and her careful vocal artistry imitate the same sweetness.

representing the voice of Andrews, and she lent her voice to some of the most important female musical characters in mid-century cinema: Maria (for Natalie Wood) in West Side Story, Anna (for Deborah Kerr) in The King and I, and Eliza (for Audrey Hepburn) ) in My Fair Lady. This article will discuss the emergence of a mid-brow crossing soprano singing style and the parallel resonance with the construction of mid-brow and mid-brow public figures. Satisfied and Wide-Eyed: The Soothing Sensuality of Mary Ford SARAH CULPEPER, University of Virginia

In this article, I argue that Mary Ford's recorded Les Paul performances were consistent with feminine ideals circulating in postwar white middle-class America. In the years after World War II, many women's magazines urged their readers to cultivate a charm associated with serenity, doing so in order to properly welcome, soothe, and soothe war-weary boyfriends and husbands. “When our men are at home,” noted one writer, “surely we should know serenity. Serenity. So let's look happy, content and wide-eyed. I listen to hit recordings that Paul and Ford made between 1951 and 1954, paying special attention to Ford's interpretations of the duo's slower songs: songs like "Vaya Con Dios" and

"Just One More Chance," Ford's vocals convey a soothing calm with its low range, "sleepy" phrasing, and impressive consistency of dynamics and timbre. These songs aren't necessarily sleepy: the close mic and occasional breaks from Ford

The more breathy timbres give the records an erotic intimacy. -technical-musical innovations and influence on rock musicians, but he said relatively little about the dozens of hits he had with

Ford: That's not surprising, given that these records come from an era that we tend to see as a low point in popular music history. When I listen to Paul/Ford recordings, I show how they articulated idealized femininity through sound, something that was enthusiastically embraced by postwar Americans.



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IASPM Sitzung 1b:Jazz 1b:Jazz Narratives Thousands and Mtume: Reexamining the Cultural Politics of Early Jazz Fusion JEREMY SMITH, Duke University

"You know, I make $500,000 a year, but I'd do it for $5 if my music reached black people." While this 1973 statement by Miles Davis may be both an exaggerated rhetorical phrase and an accurate statement of intent, its articulation is linked to Davis's original merger.

Jazz offers an opportunity for a new reading of the cultural politics of music. Davis has recently become a lightning rod for controversy among conservative jazz listeners, incorporating many sonic elements of contemporary popular culture into his music, while achieving notable commercial success with at least one album from the era. Commercialism as a corruption of earlier musical purity has since become the dominant popular discourse in this and other jazz fusions. With this article, Paper, I offer a new perspective on the cultural politics of music and draw attention to the ideological and ideological implications of Davis's inclusion of drummer James "Mtume" Heath in his band in 1971. Mtume was a supporter of of Maulana Karenga's cultural nationalist organization in the United States, and while in Davis' gang he continued to promote the organization's tenets. specifically, the idea that uniting African Americans through a common culture was a necessary condition for achieving social and political change. Through a critical reading of leading discourses on jazz fusion and cultural nationalism of the time, along with an in-depth reading of the sonic and visual aspects of Davis' recordings in the early 1970s, this article offers a Alternative perspective on the cultural politics of jazz fusion. . Shoot Kenny twice twice. . . Just to be sure: smooth jazz and standard jazz


AARON OESTE, Collin College

Historically, jazz artists and critics have struggled to balance the music's artistic ambitions with its popular influences. As a result, the mainstream jazz community has carefully developed and endorsed a standard jazz narrative that defines jazz as an art.

This narrative presents jazz not as popular or pop music, but as something worthy of the term art music, or, as it is often called, American classical music. The privileged position jazz occupies in academia and in the artistic community has undoubtedly benefited its performers, educators, historians, and archivists, but it also comes at a price: cost: the standard jazz narrative (or (or jazz canon ) does not include major folk-influenced substyles, such as

like crossover and smooth jazz. In this article, I question the prevailing rejection of smooth jazz, arguing that it has been marginalized and misrepresented in the standard jazz narrative, and challenging the assumption that smooth jazz is an unfortunate and undesirable evolutionary result of the jazz fusion era. . Instead, I present smooth jazz as an enduring musical style that deserves a multidisciplinary analysis of its origins, critical dialogue, performance practice, practice, and reception. Reception. Although many argue that the admission of popular forms of jazz served the narrative in some way. Purity of the standard canon, I hold that the history of jazz is better for being more and more complete Carrying history in a melody: the sound of the motherland and the ethics of jazz


GELSEY BELL, New York University

The dominant mode of musicological research examines the musical work through the lens of an ideal to be performed by a concert performer. By associating standard jazz performances with the performance of a song rather than embodying an ideal, this presentation will explore how certain songs weave and arrange history in a constant.

Transformation from performance to performance. Using Deleuze and Guattari's concept of the ritornello (along with the work of Nietzsche) and Susan Blackmore's cultural meme framework, the ontology of song form is seen as a transformative structure of becoming, as is particularly evident in the patron of jazz, his ideology Interpretation differs from that of classical musicians and cover bands. Finally, this alternative framing of the song's form implies an alternative framing of the song's potential political movement and, consequently, the ethics involved in its articulation.



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The Other Jazz: The Music of John Carter' Carter and the Refiguration of Tradition in Jazz Episodes in the Development of American Folk Music. the albums

it received particularly positive reviews upon its release; However, they were quickly eclipsed by the growing popularity of Wynton Marsalis and the institutionalization of a much more conservative definition of jazz. Carter's music, on the other hand, has more to offer.

Some of it was dropped from the jazz canon while developing a cult following. The recordings, with the exception of the first, are long out of print and hard to find. This article examines how both

Carter and Marsalis used different notions of tradition. While Marsalis's conservative ideas are well known, Carter's compromise traditions are often overlooked in favor of an emphasis on experimentation, but Roots With and Folklore describe the history of African-Americans and thus are explicitly and implicitly based on tradition. Following Ricouer, tradition can be characterized as the dialectic of innovation and sedimentation. Carter's music continues to inspire listeners today precisely because it offers a different picture of this dialectic than the conventional definition of jazz. Roots and folklore preserves

Connection to jazz and therefore no less traditional than Marsalis, despite all the differences. This examination of Carter's music through interviews with the musicians and producers will offer insight into a period of radical change for jazz jazz in the 1980s and 1980s, as well as an alternative understanding of the genre and its relationship to jazz. . Tradition. IASPM Session 1c:Alternative 1c:Alternative and Soft/Hard Exterior: Tracking Tracking the birth and spread of an "alternative" song form THEO CATEFORIS, CATEFORIS, Syracuse Syracuse University

From twelve bar blues to verse/chorus, the history of rock music has produced many song forms that have proven to be enduring genre types. In recent years, one of the most ubiquitous has been "soft/loud," which first rose to prominence in 1991 with Nirvana's hit single "Smells Like Teen Teen Spirit." Since then it has spread to genres as young as rap.

Metal, emo and power pop from songwriters and producers Max Martin and Luke Gottwald.

On the surface, the form is little more than a variation on the verse/chorus that reinforces this

Distinction between the two sections by a dramatic contrast in dynamics. But both the longevity and adaptability of soft/high indicate that it is more nuanced than this basic definition might suggest.

This article sheds light on the history and meaning of the soft/high form from different perspectives. I'll start by suggesting a starting point in early '80s hardcore punk from groups like Minor Threat. I submit that the soft/loud boom years of the 1990s should be viewed both in terms of the development and commercialization of guitar effects pedals and in terms of the medicalization and media attention of behavioral disorders such as eating disorder. attention deficit.

hyperactivity disorder, which provided an analog for the inherent emotional volatility of mild/high. Finally, in the 2000s, I describe how quiet/loud surprisingly thrived amid the much-documented "loudness wars" where the demand for uniformly "hot" recordings supposedly undermined the differences in dynamics so crucial to defining the way music.

Unpacking ist ein Orchester at The Flaming Lips, The Soft Bulletin BRIAN JONES, University of North Carolina–Chapel Chapel Hill

While the 1998 Billboard rd Hot 100 charts featured gorgeously orchestrated singles like Aerosmith's "I Don't Want to Miss a Thing" and Celine Dion's "My Heart Will Go On," alternative rock trio The Flaming Lips formed their own epic orchestra, The Soft Bulletin. , in a study in upstate New York. Unlike its great contemporaries, however, The Soft Bulletin's orchestrations are surprisingly built from digital samples. During the album's studio production, The Flaming Lips (with producer Dave Fridmann) overtly modified the orchestral style.

Samples via pitch bend and delay delay, emphasizing the role of technological mediation. The novelty of the soft bulletin is further emphasized by its conflict in the sampling process. Musical genre; While his orchestrations sound clearly sampled, they emulate easily heard 1970s textures and instrumentation, reminiscent of techniques heard on Carpenters' 1971 recording of "Superstar," for example.



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In this article, I examine the impact of technological mediation on the meaning of the orchestrations sampled on The Soft Bulletin, finally relating this process to the narrative and thematic elements of the album as a whole. He looks at the role of the orchestra as a cultural signifier and examines how The Flaming Lips explore this role in subversive ways.

for aesthetic legitimacy. In this double process of homage and innovative adaptation, The Soft Bulletin's orchestrations can be seen as an alt-rock appropriation of pop orchestral conventions. Rock on conventions: The Smashing Pumpkins at the end of Rock JOSHUA MOON, Ohio University. For him

Rolling Stone, Vice, etc. echo the observation that certain parts of rock culture are moving from the "mainstream" to the rest. the Smashing Pumpkins, once among the most successful acts in the genre. I submit that the band's creative struggles and temporary breakup after their 2000 album Machina and the Machines of God were the product of cultural shifts in popular music tastes, new music distribution channels, and uncertainty as to whether they could ever make it. to conventional music. . Unlike some alternative rock survivors of the 1990s, bandleader Billy Corgan seemed dissatisfied with committing to a signature sound and

he sought experimentation and innovation as a solution for the future of the group. This gesture and its failure speak to the current state of rock music as a whole. Does the genre need an aesthetic of progress to assert itself? If so, under what conditions is progress possible? If not, this is a defect that contributes to the movement of the rock, which Grossberg calls

"Residual value?" I'm not going to use Smashing Pumpkins just to highlight the insightful aspects

his own work, but, beyond the power to address questions that speak to our vision of the future of rock, as Adorno says, these are its ongoing possibilities. The Rise and Fall of the Key of Z: The Dubious Beginnings and Ends of

strange music

NICOLE MARCESSEAU, University of York

The controversial genre of outsider music is loosely derived from the more well-known outsider art movement, which had its roots in the early 20th century by the German psychiatrist and art critic Hans Prinzhorn. Eighty years later, in the introduction to Songs in the Key of Z: The Curious Universe Universe of Outsider Music, radio programmer and journalist Irwin Chusid describes the beginnings of Outsider music as possibly resulting from DNA damage, psychotic breaks , alien abductions or maybe even bad beer. Although Chusid (who originally coined the term "outside music") claims that the book was never intended to be academic, recent scholars have latched onto the concept and viewed it critically, as Mitzi Waltz and Martin James did in an October 1999 article published in the academic journal Música Popular. In this article, he examines the social issues surrounding outsider music before comparing two songs by so-called seminal and influential outsiders, Daniel Johnston and Jandek. Sound-

Attributes such as lack of rhythmic regularity, unconventional treatment of tone, and distinctive vocal delivery are explored, all of which take the listener beyond certain "horizons of expectation" (expectation, to borrow Todorov's expression from the philosopher Tzvetan Tzveta n Todorov) on gender. Finally, he discusses the dissolution of outsider music in recent years as musicians have drifted further and further from the mainstream. In addition to challenging the cultural and aesthetic values ​​of many listeners,

This essay examines the social narratives within a contested genre. IASPM Session 1d: Global People

African American Jazz Musicians and Racial Cosmopolitanism in Colonial India BRADLEY SHOP, University of North Texas

This article will point out that African American jazz musicians were living in India in the 1930s.

and the 1940s represented a racial cosmopolitanism that influenced entertainment practices.

among the British colonial establishment in South Asia. Although small in number, these jazz musicians shaped the public's taste in style and established the criteria that defined jazz.



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performanc performancee virtuosity osity in India India.

modernity and cosmopolitanism. Despite the inherent hegemonic link between African-American musicianship and modernism, racist imagery and costumes depicting these musicians as lowly farm hands or blacks from the American South were commonly seen in performances at British social clubs and other professional elites.  Locations. This

African-American musicians often performed in stereotypical plantation overalls or garb, even when playing at the most prominent venues in South Asia. Despite this racism, these images represented sophisticated knowledge of global art trends.

Finally, this article will also point out that a racial cosmopolitanism has partially reconfigured the ideas

about the sophistication and distinction in the social life of the colonial establishment. Burton Crane Recordings in Japan 1931–1933: The Impact of American Culture

Music in Japanese musical taste of the 1930s

HARUMICHI YAMADA, Tokyo Keizai University Burton Crane (1901–1963) was the first successful American singer in Japan. sing in

In Japanese, Crane recorded thirty-four thirty-four sides on 78 rpm records. While the last two sides (one CD) were recorded for Teichiku Teichiku in 1935, most of his songs were recorded for Columbia Japan between 1931 and 1933. His recordings include solos, duets with Japanese singers, and comic monologues containing song fragments. japanese. While some of his songs were Japanese tunes, whether traditional or written by Japanese composers, twenty-four composers, twenty-four tracks, or three-quarters of the songs he recorded, were obviously Western, mostly Western, mostly American, American tunes. — melodies. he. Only four of these songs pay homage to the original songwriters. composers Others give Crane's name as composer or no composer at all. So far I have credited songs, but six original songs remain a haunting mystery. English versions of Crane's fourteen Japanese misinterpretations of Crane of Western Crane songs including "The Battle Hymn of the Republic", "Li'l Liza Jane", "Hinky Dinky Parley Voo", "Show Me the Way to Go Home" and "Get Out and Get Under the Moon" were popular in North America in the 1920s and 1930s. Crane's music increased enthusiasm for American "jazz" music in Japan. when American-influenced music fell out of favor in Japan.

how the war started. Realization of Postcolonial Subjectivity: Memory, Liminality, Liminality, and Agency in

indian rock

SANGEET KUMAR, Denison University

This article analyzes the cultural formation of rock music in India with the aim of revealing the construction of a threshold of postcolonial subjectivity in it. Eschewing the dominant national cultural space and unlike the Western rock scene, rock musicians in India necessarily inhabit an interstitial space created by weaving together threads of history and contemporary global cultural currents. By inhabiting this space, they

At the same time, they defend rock's position within the historical trajectory of authentic Indian culture, while questioning their own marginality within the global rock music environment. This simultaneous marking of difference and identity makes rock music in India a place to explore the traces of history in the construction of contemporary postcolonial subjectivity. try to unravel these traces of history and thus bring to the fore the role of memory in the postcolonial cultural space. SAM Session 3a: Seminar I: Screen I: Screen Adaptations Operatic Highlight: André Previn's Porgy and and Bess (1959) SEAN MURRAY, CUNY Graduate Center discussed, academics did not discuss film music. This article uses André Previn's songwriting sketches for Porgy and Bess, recently deposited at the LOC, to explain the film's score and clarify questions about the genre. The truth is,



Thursday Afternoon Recap Previn composed a significant amount of original music for the film, but retained much of what Gershwin was. It is important to understand the structure of the film adaptation.

in its own right, but it can also enrich our understanding of opera's problematic reception and performance history. Sally, Irene and Ellie: The New Woman in the Depression MGM Musicals ALLISON ROBBINS, University of Virginia Virginia

This article is about MGM's 1930s Broadway Melody films, starring tap dancer Eleanor Powell. Powell's films seem to be a remake of the first Broadway Melody (1929), but the studio leaned heavily on Sally (1920), a Ziegfeld production starring Marilyn Miller. Through the musical's makeover, MGM adapted America. The play, written to suit Powell's own strengths as a dancer, and Powell's unique context of 1930s tap dance routines, particularly "Your Broadway and My Broadway" from the 1938 Broadway tune Delivering a deft convention negotiation, the 1930s, when women were expected to work with men without compromising their own femininity, represent an image of the New Woman found only in Depression America. America. All's fair in love and war: All' War: Herrmann vs. Addison Addison on the Hitchcock Torn Curtain Case MELISSA WONG, University of Cambridge

The two surviving scores of Alfred Hitchcock's Torn Curtain (1966), the dissonant, monochrome score originally prepared by Bernard Herrmann and the lighter, upbeat score by John Addison, a gift of Addison, offer a unique opportunity to explore the role of music in character formation. Narrative and genre in the cinema. Taking advantage of the commercial launch of the film with

Addison and my own reconstructed audio edition of Herrmann's music, I am analyzing two

key sequences from the film to demonstrate how each of the two scores proposes a different interpretation of the events, problematizes and defends the question of authorship in the film through

Expanded understanding of the composer's role. "Now I'm an American American Girl": Portrayal of Women in the Film West Side Story (1961) MEGAN B. WOLLER, University of Illinois, Urbana-Champaign

Discussions of racial differences pervade the literature on West Side Story. However, much more remains to be said about the way the characters are segregated and portrayed along gender lines. This article combines film and music analysis to examine how female characters are portrayed in the film version of the musical. Known for its fidelity to the original Broadway show, the film nonetheless involves a lot of creative acting. Therefore, my analysis approaches the film as an adaptation that is paid for

special attention to the choices and emphasis that differentiate them from the theatrical version. From Stage to Screen: Todd The Impact of the Hollywood Adaptation on Stephen Sondheim's Sweeney LISA SCOGGIN, Independent Scholars

In this article, I examine how the various musical changes in Tim Burton's version of Sweeney Todd of the original Broadway play affect the play's scope, focus, and meaning. First, I describe the role music plays in the piece and focus on its impact on the psyche.

Aspects and scope of work. Then I explain how the musical changes are made in the

Cinema is significantly changing the way the public perceives work, rather than

the usual movie Furthermore, I show that this change was indeed intentional and part of Burton's overall vision. SAM Session 3b: Seminar II: Music II: Music and American Cities The Place of Steel: Altered Pittsburgh Sounds in Orchestral Music ROBERT FALLON, Carnegie Mellon University

It examines two compositions on Pittsburgh, the last one by Paul Hindemith (1972). orchestral Pittsburgh Pittsburgh Sympho Symphony ny (1959) and the work Symphony, study Steel In Steel by Leonardo Balada (1959), I am also referring to the short film Rhapsody of Steel (1959), commissioned by United States Steel (based in Pittsburgh) with music by Dimitri Tiomkin, Tiomkin,



Thursday afternoon summaries

together with the oratorio The Good Life (2008), with music by Derek Bermel and lyrics by Wendy S. Walters. Each of these works was written for and about the people, institutions, and steel industry that have long shaped the city. Let's Get Away From It All: Ride on the Folk Song of the 1940s ANDREW BERISH, University of South Florida mobility on three World War II-era folk songs:

Let's Get Away From It All (1941), Waiting for the Train (1945) and Sentimental Journey (1945). Through lyrics and music, each song offered listeners a different abode between the promise of mobility of modern life and the

Nostalgia for a hometown with developments entrenched far from the threat of global war conflicts driven by the same modern technology in transportation and (communications).

Musical preoccupation with wartime mobility and place implicitly raised broader questions about the nation's racial and ethnic identity.

The Lower East Side and Favela Aesthetics in 1960s Rock PATRICK BURKE, Washington University in St. Ludwig

This article examines Manhattan's Lower East Side to show that 1960s rock was not the generalized expression of a Woodstock-Oodstock "W" generation, but rather was heavily influenced by specific locations. Musicians like Fugs, David Peel and the Velvet Velvet Underground

he romanticized the LES as a slum populated by hip people and pioneered a local rock aesthetic with intentionally sloppy, sloppy, and loud acting. This view of the neighborhood was unpopular with long-time residents of Puerto Rico, African-Americans, and Eastern Europe. At shared performance venues like Tompkins Square Park, rockers and audiences negotiated physical space and soundscapes with their neighbors. From Rio to São Paulo: Changes in Urban Landscapes and the Novelty of Brazilian Music

Global Strategies


Recently, the international media have praised São Paulo for its cosmopolitan music production and vibrant street arts scene. Based on ethnographic research on the music industry in São Paulo and Rio de Janeiro, this article argues that the shift in discourse from Rio de Janeiro to São Paulo after years of uncertainty and reorganization coincides with important changes in strategy among the independent record labels. This geographic shift from tourist-friendly Rio de Janeiro to the unforgiving urbanity of São Paulo also reflects changes in whether or not music companies choose to represent a “Brazilian” essence in music. "This Is Los Angeles": Experiencing the Urban Jungle with Tom Tom Brokaw (and


ROBERT ROBER T. FINK, University of California, Los Angeles

Viewers watching an NBC Nightly News special on August 15, 1989 saw anchor Tom Brokaw gesture to the deceptively bright horizon behind him and announce, "This

It's Los Angeles. . . The gang capital of the nation." This catchphrase has become one of the hallmarks of the local hip-hop scene, often used in a deliberately tongue-in-cheek manner as a gesture of solidarity with the city's urban underclass. I'll put this Brokaw sampler in its original context, the geography of crime and gangs in Los Angeles, and then discuss the semiotics of its use on three tracks, all titled simply "This Is Los Angeles," "Angels." parties (DJ Irene, 1998) to subaltern travelogues (WC, 2002) and long-distance space fantasies (Lemon D, 1997).

Marking a City as “Live Music Capital of the World” ELIOT TRETTER, University of Texas at Austin

This article examines the relationship between the city of Austin, Austin, which has proclaimed itself the capital of live music, and the importance of live performance to the economic stability of the American music industry. industrial trial. In 1991, Austin, Texas, declared itself the "Live Music Capital of the World," a designation that impacted the city's urban development and transformed its musical sound.

and space Meanwhile, the commercial viability of live music has become more important.

for the music industry in the last decade. The city is adept at capitalizing on this trend, particularly by capitalizing on the value of its local live music infrastructure. 54 AMERICAN MUSIC SOCIETY, 37TH ANNUAL CONFERENCE

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SAM Sesión 3c:Dolly 3c:Dolly Parton und das „Country“ in Country Country Music Más que solo un país „Barbie“: Dolly Parton's Parton's Musical Craft MELINDA BOYD, University of Northern Iowa

Even with countless Grammy Awards, Gold Records, Country Music Hall of Fame and Songwriters Hall of Fame inductions, Dolly Parton's musical genius is still dwarfed by her great life. Image. In this article, I examine two examples from her extensive catalog of five songs: "Coat of Many Colors" and "Backwoods Barbie." "Three Chords and the Truth"

They may be the only ingredients necessary for a country song, but detailed musical and lyrical analysis reveals that Parton's formal structures, phrasing, harmonic palette, expressive delivery, and gifted impact are far more sophisticated. Beneath the Barbie pool hides an extraordinary artist. Arranged Time: Time: Direct Step-by-Step Narration and Modulation in Dolly Parton Songs NEIL CRIMES, University University of Pennsylvania

This article discusses the occurrence of "truck driver modulation" (a direct modulation by a rising or whole semitone) in Dolly Parton's songs. Far from being a "banal cliché", this article shows how modulation functions as a musical signifier for the passage of

The time in the unfolding of the narration of a song. Detroit Gathering: The Evolving "Country" in Country Music JOHN STANISLAWSKI, STANISLAWSKI, University of Illinois, Urbana-Champaign

Country music regularly creates an antagonistic relationship between the country and the city. sDetroit Bares "DetroitDown" City (2009) (1963) denigrates Detroit in terms of urban alienation. Through lyrics and music, these songs show that while he maintains the country's core idealizations of rural and urban, Rich 'Richs updates the rural versus urban theme to reflect the reality of today's socio-cultural climate.

For a Life of Sin: Bloodshot Records and Insurgent Chicago Country Music NANCY P.P. RILEY, RILEY, University of Georgia Chicago's Bloodshot Records helped define the '90s alt-country sound with a series

of CD compilations featuring most of Chicago's local artists. Seen as a contrast to Nashville's mainstream "Hot New Country", the label catered to artists who had philosophical connections to the punk pun, as well as direct direct connections to punk bands. S. By examining Bloo Bloodsho dshott Records and the artists, songs and musical style of their first compilation CD, this work

illuminates how the artists and the label used and manipulated punk values ​​and a punk aesthetic to define themselves as an alternative to mainstream Nashville country. Country.

SAM 3d Session: American Opera of the 20th Century Creation of the American Opera Script: Modeling, “Operesis” and Language

Style in 1910s works

AARON ZIEGEL, University of Illinois, Urbana-Champaign Urbana-Champaign

In the 1910s, the first decade that new American operas found regular performances.

Media, composers, and librettists faced the greatest challenge of shaping the linguistic style of colloquial libretti.

from the European tradition to the archaic style of regularly sung English. While a generally negative critical reception revealed fundamental weaknesses in her lyrics, this article acknowledges how these stylistic choices form an archetypal indigenous libretto for the nascent American National Opera.

(Re)constructing Femininity in Scott Joplin's Treemonisha (1911) RACHEL LUMSDEN, CUNY Graduate Center Treemonisha (1911) - Scott Joplin's only surviving opera by Joplin - Chronicle Opera - chronicles the struggles of a young man,

educated African-American woman (Treemonisha) to enlighten her rural community, community, whom she elects as leader at the end of the opera. Using writings from the beginning of the century of the INTERNATIONAL ASSOCIATION. FOR THE STUDY OF POPULAR MUSIC – US 55

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Anna Julia Cooper, Ida B. Wells and W.E.B. Du Bois, along with the modern research of Carby (1987) and Gillman and Weinbaum (2007), this article examines how Joplin's depiction of Treemonisha intersects with contemporary debates about African Americans. American. american femininity. "I Didn't Grow Up": Cognitive Decline in Carlisle Floyd's Of Mice and Men STEPHANIE JENSEN-MOULTON, JENSEN-MOULTON, Brooklyn College, CUNY

Carlisle Floyd's 1971 operatic setting of John Steinbeck's quintessential American Of Mice and Men fundamentally alters the nature of fiction, particularly when viewed through the lens of disability. Neither literary nor musical sources have examined Of Mice & Men in terms of its cognitively impaired main character, Lennie Small. Through musical analysis and exploration of recently published philosophical works on cognitive decline, this article sheds light on disability, illuminating the ways in which Floyd's contrasting musical language reflects American society's ongoing difficulties in dealing with its members with cognitive impairment.

the actual person Lennie's character was based on.

The publication of Four Saints in Three Three Acts DREW MASSEY, Harvard University

Since its premiere in 1934, the opera Quatro Santos em Três Actos has been considered a great work of modernism. A poorly researched question about opera,

In this way, however, the story of its publication contributes to our understanding today.

In this lecture I argue that the path to the first 1948 edition reveals a variety of agents

and motivations that, together, invite us to reflect on how the concept of print culture can also offer a new point of view for the study of modern music of the 20th century. SAM Session 4a: Cycles of Change in Popular Music Times are changing, times are coming: Sam Cooke and Bob Dylan in the 1960s JACK HAMILTON, Harvard University Self-Defined Communities Self-Defined Communities as staunchly traditionalists; Traditionalist; your polemic polemic

defections from these communities; and their constant challenges of becoming pop stars and being too gender-bordered, with a particular focus on Cooke's Cooke's protest song, the song "A Change Is Gonna Gonna Come", which was partially inspired by "Blowin' in Dylan's. the wind.” Examining these artists side by side underscores the complex and contradictory role of traditionalist communities in the creation of modern popular musical forms, and the prevalence of racist constructions of genius and authenticity in popular music ideology. Joni Mitchell's Mitchell's Court and Spark: A Song Cycle in Folk Language SUE NEIMOYER, University of Utah

Lloyd Whitesell's recent book on songwriter Joni Mitchell's songwriting style suggests that some of her albums could be called song cycles. Although this argument is not new, Mitchell's Court and Sparkof 1974 provide some of the most compelling evidence for this argument. This article focuses on the musical qualities that make this album a unified whole, in the sense of how unity is found in the essential 19th century song cycle:

close and even symbolic key relationships, cyclical melodic feedback, motivic unity, unity, and musical transitions important to the overall message of the album. SAM Session 4b: Folklore revival and collective memory

Popular Images and Popular Romanticism in the American Music Revival of the Twentieth Century RAY ALLEN, Brooklyn College, CUNY

This article examines how images of rural popular culture serve as key texts in the construction of popular romantic ideologies associated with the American popular music revival of the 20th century, beginning with the Appalachian folk song collections of the late 1980s. from 1910 to the influential popular music and audio collections of the 1940s. recordings produced by the Lomaxes, and ends with an in-depth look at post-war New Lost City recording and writing.



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Walker. The latter channeled their own brand of existential romance into their broader mission of providing what they saw as "authentic folklore" alternatives to the mass-produced culture of postwar America.

Collective Memory and the Making of Musical Community at Chicago's Old Town School of Folk TANYA LEE, University of Illinois, Urbana-Champaign The Chicago Old Town School of Folk has been sustained by the core for nearly fifty years

Principle that everyone can and should make music and share it with others. Community boundaries are fluid, with membership determined by willingness and ability to participate

musically musically and in a common story. draw story. Archival Research and Ethnographic Archival Research, I focus on Old Town School anniversaries as a setting to rehearse shared memories created through song and story, and explore how a musical community envisions itself through the creation and manipulation of immortalized collective memory. Storage. SAM Session 4c:Immigrant 4c:Immigrant Musical Musical Theater Two Mensch fun der Osten: Joseph Rumshinsky, Rumshinsky, Yiddish-American Yiddish-American Theater, and

das opernideal

DEVORA GELLER, Brooklyn University, CUNY

The early 20th century composer Joseph Rumshinsky (1881-1956) attempted to elevate American Yiddish theater from kitsch to something akin to European light opera. Despite his success, he is unknown outside the circle of Yiddish theater connoisseurs. This anomaly is best understood as an amalgamation of his childhood experiences, the extenuating circumstances of Jewish immigrants in early 20th century New York City, and Yiddish theater. This article uses original archival research to examine Rumshinsky's operetta Tsubrokhene Fidele in terms of its place in Yiddish theatre, its incorporation into American music, and his aspirations for an operatic ideal. Italian, American, American, or Italian-American?: Italian Italy and the Immigrant Scene

culture transfer

REBA WISSNER, Brandeis University

During the rise of Italian immigration to the United States in the early 20th century, musical and spoken theater of the 20th century began to be adopted in predominantly Italian neighborhoods in the United States. Among them, one of the few types of entertainment was the sceneggiata, a musical theater genre from southern Italy adapted to the situation of immigrants.

available to Italian immigrants in their new homeland. This article suggests that insceneggiata elements of Italian immigrant identity enabled immigrants to preserve their culture in their new country while struggling to construct new identities as Americans. SAM Politics and Public Action Session "Hit Culture4d: on Cultural the Head": Música Más Movement, Intermediate

Performance and Resistance in Buenos Aires, 1969-73

ANDREW RAFFO DEWAR, DEWAR, New College, University of Alabama

Two years after the 1967 military coup in Argentina, three composers/musicians founded the mediation collective Movimiento Música Más (MMM). Combination of music, acting.

Art and political action, they performed in concert halls, squares and urban buses during one of the most brutal juntas in Argentina. Examining this vanguard of the 'Other', this article focuses on a piece in which the group held a bird-song competition in a plaza while performing in a cage, embodying MMM's approach to the experimental; bringing art and people to the public space in an era of rigid control of these spaces and bodies and the political symbolism of their actions. "Dance on the Street": The cultural policy of Merengu Merenguee and Ali-Baba in the year 21

Dominican National Carnival in the first century

JESSICA C. HAJEK, University of Illinois, Urbana-Champaign

Just as one cannot imagine a Rio Carnival without samba, the “national music/dance of Brazil,” one would expect merengue to take center stage at the Santo Domingo Carnival. In direct imitation of the success of the Rio Carnival, the Dominican state created one



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Carnival parade, ordering a meringue for each year's celebrations. However, the popular merengue performance is minimal and the popular samba school groups called Ali-Babá are more prominent. Why does the state consistently promote Merengue instead of Ali Baba? This presentation examines the convergence of black musical practices and racist cultural politics in the Dominican Republic. IASPM Session 2a: Metal 2a: Metal Rules the World: Globe: Metal Music Case Studies Around the World “Metal Has No Borders”: The Global Conquest of a Marginalized Genre JEREMY WALLACH, Bowling Green State University

While heavy metal is no stranger to mainstream commercial success, for the better part of its four decades of existence it has served a niche market long dismissed in the United States as consisting of unintelligent, lazy, uneducated, and uneducated youth. alienated . The idea of ​​people in other countries being able to hear or appreciate this music, especially after metal's popularity plummeted in the '90s and '90s, would probably seem ludicrous to most non-fans. After all, the Americans themselves had rejected such Neanderthal groans and growls, right? Yet they listened. Beginnings Beginning with the dawn of metal, accelerating dramatically in the late 1980s and 1990s, and fully exploding with the advent of webzines, MP3s, and MySpace, metal has gained legions of fans in both the developed and developing world, and to Often, it attracts the best and brightest. over these countries, though it remained a minority taste everywhere. This article argues that the globalization of metal as a major cultural phenomenon over the last quarter-century reveals much about contemporary conditions around the world and also about metal itself, and how early the false and misguided stereotypes about music really were. music and its fans. Fortoif Slovenia Metal is relevant to die-hard fans, from Easter Island to Indonesia, Botswana, Maltatotomillions, Nepal and Brazil, maybe it was always more than Neanderthal grunts and those original fans, never just men, no younger now and many still listen to those bands. Maybe he wasn't so unintelligent after all. Black Historiography: The Battle for the Official Norwegian Black Metal


ROSS HAGEN, Utah Valley University Black metal has become one of the most prolific and flexible subgenres of heavy metal.

Metal music, but its origins remain controversial in today's black metal scene. The genesis of the genre is often attributed to a small group of Norwegian bands in the early 1990s, many of which promoted nihilistic, anti-Christian, and sometimes nationalist and racist worldviews. Members of the scene have been involved in several church arsons and several murders, including a deadly dispute at the scene where Euronymous was killed by Burzum's Varg Vikernes' Mayhem gang. This violence attracted global media coverage while transforming the small Norwegian black metal scene into a band with a global presence and mythologizing the actions of its members. . Hundreds, not thousands, around the world have adopted and evolved the musical style, but many question the enduring relevance of these older members of the scene and their ideals. This article traces the tensions between the growing diversity of black metal and the value that many participants place on stylistic and ideological orthodoxy, and examines the various revisions of its genesis. In particular, I focus on recent attempts by Vikernes Vikernes to rebrand these actions as exercises in political dissent against social conformity and Americanization. I argue that these repeated criticisms by Vikernes and others can be seen as an attempt to assert authority over the black metal genre, as it is inexorably less symbolically linked to their militant worldviews.

The history of Turkish heavy metal ILGIN AYIK, Istanbul Technical University

Although Turkey's westernization process dates back to the late 19th century, heavy metal's origins date back to the years after World War II, when the US fleet was based at Mersin. Because of this, the first rock and roll bands were formed in the Turkish Army. the motto of

The 1961 constitution, "You can't be global without being local," gave rise to a new Anadolupop, a mix of local and popular music elements, a genre he named Anatolian pop (Anadolupop).



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ruled the entire 1960s. Psychedelic rock and world music currents changed this genre to Anatolian rock (Anadolu Anadolurock) and its golden years were the 1970s, but at the end of the decade the government stopped supporting this genre with the excuse of degenerating the traditional values ​​of the Turco-Turk. music. The 1980 military coup brought two dimensions of separation: first, it built a wall separating the 1970s from the 1980s; second place

the country from the rest of the world for a considerable period of time. The result of this environment was anger. Many new bands formed during this period; They were much noisier than their rocky Anatolian ancestors. This genre was later called Turkish heavy metal. Based on research and personal experience, this article examines the history of heavy metal in Turkey, considering its dialogue with other genres and themes in the country and the rest of the world. This presentation will also show how a government culture transformation strategy has unexpectedly created a colorful genre of music. IASPM Session 2b: Canonization

Mask, Memory and Canon Formation in JASON OAKES Puppet Playlist New York, The Cooper Union

From minstrels to mashups, the history of American popular music is a history of masks. Genres as diverse as country, rock, and hip-hop have been shaped by a complex mix of homage and satire, grotesque and sentimentality, and an expectation to "keep it real" while blatantly "faking it." Such a masque works in accordance with what the American social historian Neil Harris has called an operative aesthetic: "an approach to reality and pleasure that draws attention to its own structures and operations . . . accepts cunning because it is more complicated than frankness" (1981:57). In the field of music, canonization and masquerade seem initially to be directly linked

in contradiction. Canons have traditionally been built on notions of natural and unilinear artistic development, objective aesthetic standards, and authoritative top-down critical authority. even the subversion of established hierarchies. In the Puppet Playlist, on the other hand, masquerade and canonization go hand in hand. A specific artist or theme is chosen for each show. The puppeteers then perform individual songs through puppet mini-dramas that reflect or rephrase the lyrics, text, and mood of the original recording.

alternating with stripped-down acoustic renditions of singer-songwriter tribute songs. Despite frequent silliness and absurdities, many of the performances seem sincere (pun intended), aware of music critical music discourse, and invested in "authenticity." Based on ethnographic observations and interviews, in Puppet List I will analyze the interactions between masking and canonization and between history and creativity. Popular Music Fever and Chart: 3) History 2) Canon 1) LIAM YOUNG Archives, University of Western Ontario

We are surrounded by lists everywhere: online, offline; at work, at leisure; in high culture

low culture; in conversation, in print. This mass of countdowns, rankings, and "best" collections of political, social, and cultural information has steadily expanded over the past fifteen years, and the list has become not only the most basic, but perhaps the most basic means of communication. important. pervasive aspect of our culture. Culture. The pervasiveness of charts in contemporary music discourse has increased exponentially in recent years as charts and chart approaches emerged that are much more expansive than traditional charts or critical top 10 charts. Top 10. In fact, most of these lists take on a certain historical tenor, trying to archive, compare and classify different urban "scenes", genres, fashions and even real historical moments. Consequently, in the organization of this material more openly subjective value judgments are introduced, apparently even "authorized". In fact, it could be said that the attribution of such historical importance has surpassed the traditional criteria for comparing music, such as aesthetics or empirical ones. In the process, several emerge: What historical narratives do these lists write, and to what extent does the mediation of such lists function as a new canonization process? How do these newly constructed historical narratives and canons affect the conventions by which consumers form judgments of taste and value? AND

how such conventions ultimately affect the articulation of a music fan's narrative of identity



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or himself, either through a denial of the authority of the list (possibly leading to subcultural activity) or an affirmation of it (endorsement of dominant cultural values)?

This article will address these questions in order to adequately locate the role of the list in the discourse of contemporary popular music. He leaves for Bieber: become Gaga, seek substance and fear the ephemeral

in the Pedagogical Canonization of Contemporary Popular Music MICHAEL BAKAN, The Florida State University

I think art and music should be just as powerful when you drink shallow as when you drink deep. -Lady-Lady Gaga

"It is easy," writes John Storey, "to criticize the popular culture approach of the 'culture and civilization' tradition" from the perspective of contemporary cultural theory. However, we must recognize that the ideological remnants of this tradition are very much alive today and constitute what Storey characterizes as "a kind of repressed 'common sense'" in certain areas of British and American academic and non-academic life. academic life”, essentially committed to the worldviews of Arnold and Leavis (Storey, (Storey, 4-5). This article takes Storey's perspective within a critical examination of the pedagogical canonizations of popular music. a small minority of the on which the keen appreciation of art and literature depends... is here rather than there" (Leavis, 13). I argue that in our time teachers in music research courses are popular studios offered by universities and colleges inevitably seen as members representative of Leavis's "very small minority" of discerning cultivators of appreciation for the mandates of their institutional hierarchies, who consciously or unconsciously become canonizers Epistemological framework of popular music pedagogy, particularly in relation to works and characters of recent artists such as Lady Gaga and Justin Bieber, who problematize the dialectical game of the substantial and the ephemeral in the canonical formulations of popular musical culture. IASPM Session 2c:Rock 2c:Rock Historical reflections Reflections

We don't know much about history, and we don't care! Teaching Teaching the history of punk rock JOHN DOUGAN, Middle Tennessee State University

"Incredible." That was the word I heard the most from students when it meant "Amazing." in the spring of 2010 he would be offering a course called "History" History of Punk Rock. I was also surprised by the students' reaction, which was only tempered by the fact that "Punk Rock History" sounds more like historical fun than work. Over the course of development, I created a three-part conference/seminar that explored the advancement of the "springboard" genre into debates on cultural geography, race, gender, and class, with parallel journeys into the worlds of generational conflict,

Youth subcultures, the business of punk rock, and the role authenticity plays in the creation and marketing of music. What I didn't consider was how

Much of the canonical (still evolving) history of punk rock would directly clash with students' perceived knowledge of the subject. One that lacked a sense of historical perspective and reduced the idea of ​​punk to a clichéd collection of sonorous, political, and fashion gestures whose authenticity rested almost entirely on inveterate amateurism, working-class resentment, and knee-jerk nihilism. More pedagogical than theoretical, this presentation explores the horrors and joys of teaching a part of rock music history that is sincere but for the most part misunderstood, and misunderstood, not only by students but by faculty as well. Where notions of consensus history, history, and canonicity of canonicity are shattered by the reality that what is definitively “punk” depends on when and where it was entered.

The discussion. More importantly, it is about reversing the postmodern impulse to value a cultural diversity cited in a popular, if uncomfortable, saying that punk arrangement rock was ultimately "all we mean by punk." by D. Benefit



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A Lost History of Rock & Roll Class: From Elvis to Springsteen DAVID DA VID SHUMW SHUMWA AY, Carnegie Carnegie Mellon University ity

Many argued that rock and roll in general, and Elvis in particular, threatened the racial hierarchy. What went largely unnoticed is that Elvis' threat of segregation was exacerbated by his class breakdown. Along with racial and gender hierarchies, traditional class divisions were challenged in the 1950s. The apparent breakdown of traditional class hierarchies made Elvis all the more threatening because, unlike previous generations of working-class artists, he showed no inclination, or perhaps no ability, to hide the class origins of he. Origin. But while Elvis's class affiliation was initially very clear, the youthful audience became a symbol of youthful identity, and though this soon began to obscure his class. During the British invasion, Elvis class reared its head again, and Americans often had a hard time discerning the class origins of British rockers. In general, however, class remained a relatively unnoticed identity in rock music until Bruce Springsteen began to make a city out of it. Like Elvis, Springsteen was a son of the generation that began with Darkness on the Edge of Town, the working class, but initially presented himself as representing the youth. he started first

singing about working class life and later began acting as a member of that class

his appearance in public and in video roles. Unlike Elvis, however, Springsteen's identification of Springsteen

with the working class was a deliberate statement. Separately: Marillion, Rock Music, and the Middle Class JON EPSTEIN, High Point University

This article examines the 25+ year career of British progressive rock band Marillion in relation to their middle class fan base. Borrowing from the work of Chris McDonald (2009), this article will address the question of the 'invisible' middle-class rock fan and theorize the privileged position progressives play in the context of social class. Comparisons are made between the rock attitudes, values, and ideals of the progressive rock fan and more traditional working-class musical subcultures such as heavy metal and punk. Finally, further research among bourgeois rock fans is argued in view of their underrepresentation in academic work and their overrepresentation as music consumers. The data for this project will consist of information collected from a survey that will be made available to Marillion fans through the band's official website ( and interviews with fans. Besides

The information is collected through in-depth interviews with the band members after collecting the survey data. IASPM Session 2d:Digital 2d:Digital Songs, Digital Music on Digital Networks, and the Techniques of the Political in the Obama Era: Autotune the News by the Gregory Brothers

STEPHEN SMITH, New York University Over the past two years, Gregory Gregory Brothers Autotune the News viral video series has enjoyed tremendous popularity and media attention, including millions of views on YouTube and media coverage such as CNN, MSNBC, Washington Post, New York Post and many others. Beginning with their coverage of the 2008 vice presidential debate between Joe Biden and Sarah Palin, the Gregory brothers used Autotune software and painstaking video editing to produce videos interviewing politicians, journalists and political commentators, as well as other public figures. and people in the news. programs, all

Sing along to newly composed songs with the Gregory Brothers singing along. Through a combination of historical and theoretical discussion, including interviews with the Gregory Brothers themselves, this article attempts to explain the challenge their work poses for thinking about music, technology, and politics in the first decades of the 21st century. Century. Its main theoretical methodology will be based on Peter Szendy's recent Listen: A History of Our Ears, which adapts Walter Benjamin's theories of translation and mechanics.

Playback to create auditory theory and musical arrangement. And it will be particularly about how these videos oscillate between a carnivalesque space in which political differences seem suspended in favor of an experience of collective pleasure projected through music, and a critical moment in which inequalities are presented with vitality. which also derives its power from music.



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Download Rates: An Aesthetic Ideology of Lossless Audio PETER SCHAEFER, Marymount Manhattan College

Recent reference books create a narrative of consumer empowerment made possible by online forms of music distribution. The story goes something like this: The executives of the big record companies lived at the top.

the pig in CD sales in the 1990s; They saw online sales as a threat to their monopoly and therefore did not take advantage of the inevitable shift away from stationary retail. In the words of Greg Kot, this major failure for the label ushered in "a new generation of bands and fans, powered by personal computers and high-bandwidth Internet connections." This article offers a hermeneutical counter-suspicion to the most hopeful announcements of a reshuffled relationship between music companies and consumers, apparently made possible by music downloads. The current format of choice for online callsAAC. However, the music is a lossy audio file, such as Apple's proprietary lossless MP3 codec.

Formats that compress sound files without discarding data are becoming more widely available. This article looks at the marketing strategies used to sell digital music files without loss. i drive one

rhetorical analysis of websites for online marketers using an interpretive framework based on popular musicological and theoretical traditions of discourse analysis. My analysis reveals a rhetoric that favors certain notions of loyalty to justify higher prices. this aesthetic

The ideology is based on historical and metaphysical prejudices about what constitutes a quality sound recording. Music Everywhere: Sounds in the Cloud JEREMY MORRIS, McGill University

While sales of recorded music on CD continue to decline, sales of various digital formats are experiencing encouraging growth. In fact, in 2009, total music sales in the United States exceeded $1.5 billion for the second consecutive year, driven by growth in digital downloads (Martens 2010). Until now, the "a la carte" model (i.e., 99 cents per song) introduced by iTunes' iTunes Music Store has dominated the digital music retail landscape, but streaming and subscription services provide credible competition (particularly a service called Spotify Spotify). , which exploded in Europe by offering free streaming music with ads). Instead of encouraging users to download their music to their hard drives, these services give users access to a huge database of songs on the Internet. They store music in the “cloud”. The decoupling of music content and its packaging has led to a variety of new ways to make music merchandise available. For this reason, this article analyzes the implications of the different ways of accessing the music in our collections. Rather than alternative business models for selling music, streaming and "cloud" services create a fundamentally different relationship with our music. The cloud metaphor implies a ubiquity where music is always available; it also suggests a temporal space, freely composed, where the music we 'own' is always an ethereal distance from us. Using critical literature on the development of new digital music services (for example, Burkart and McCourt 2006), I analyze some of them.

Characteristics of music in the cloud, the commodity tells us what notions of value, ownership, price and our relationship with a musical commodity. . I also examine the various materialities of music, that is, how we collect and archive music. Streaming is not a simple transition from music as a commodity to music as a service, but rather represents a specific cultural model of music distribution, involving users in a web of technology and a process of continuous commercialization of the music experience. .

Gemeinsame IASPM/SAM-Plenarsitzung King Records Remembered: A Panel Discussion on Cincinnati's Legacy' Cincinnati's Most Influential Record Label Moderator: Jason Hanley, Rock and Roll Hall of Fame and Museum Podiumsteilnehmer: Bootsy Collins, Musiker, Musiker , King Records Alumni, Rock and Aufnahme in the Roll Hall of Fame

Lauren Onkey Onkey, Museu e Hall da Fama do Rock and Roll Philip Paul, Músico, Ex Aluno de King Records Elliott V. Ruther, Ruther, Presidente, Cincinnati USA Music Heritage Heritage Foundation Christopher Schadler, Community Building Associate, Xavier University

Between 1943 and 1971, 1540 Brewster Avenue, Cincinnati was home to some of America's most vibrant and eclectic music. King Records, founded by



Thursday Night, Friday Morning Digests Syd Nathan has brought together a variety of American voices that reflect Cincinnati's unique geographic location at the crossroads of American culture: rhythm and blues, country, country, bluegrass,

Rockabilly, pop and blues records all came out of Kings Studios. Rockabilly, this panel will explore various ongoing projects dedicated to preserving the history of King Records, from the dedication of a physical landmark at 1540 Brewster Ave by the Rock and Roll Hall of Fame and Museum to the collection of historical artifacts and the recording stories, oral presentations and publications. about the history and business of the label. We will focus on several recent collaborations to educate the public and students about King's music and history through courses, public programs, and the establishment of a King Records Museum. This panel includes a diverse group of academics, Cincinnati community activists, and musicians who will discuss the challenges and accomplishments in preserving King Records' history and legacy. Screening and discussion of the documentary SAM I'll Sing On: The Tradition of the Southern Gospel Convention STEPHEN SEARON, Middle Tennessee State University; CHARLES TOWLER, Gospel Heritage Music, Cleveland, Tennessee; Tennessee; and TRACEY PHILLIPS, Nashville, Tenn. I'll Keep Singing Sin Walked documents the contemporary tradition of the Southern Gospel Convention, a

Amateur Christian music and educational tradition that developed in rural America after the Civil War. It was a continuation of the four-note sacred music tradition that flourished (and is familiar to many) before the Civil War and was eventually supplanted in popularity.

as the tradition of the Sacred Harp). Written in a popular musical style, gospel convention music uses seven-way notation and instrumental accompaniment, particularly piano. Traditional songwriters produced many excellent songs, and the professional Southern gospel tradition emerged in the mid-20th century as amateur activity declined. IASPM Session 3a:Digital 3a:Digital Rights Music and Cyber ​​Freedoms: The Swedish Pirate Party as a World Leader PATRICK BURKART BURKART, Texas A&M University University ty

This document will trace the political grievances of the Pirate Party to the far-reaching regulation of Internet communications laws and policies covering the areas of telecommunications policy, politics,

International communication and theory of new social movements. The political goals, political values, resource mobilization, and identity politics of the Pirate Party are explained and assessed to assess its suitability as an umbrella movement for cyber liberties. cyber freedoms. The Pirate Party's priorities are to improve privacy, privacy, access to culture and knowledge, and freedom of expression on the Internet. The article will delve into the subject of group political agency.

Cyberlibertarian sensibility, through resource mobilization and identity-based approaches to research new social movements. While topics of cyber liberties are increasingly prevalent in cultural studies, popular musicology, and legal studies critical of intellectual rights, there is not and is not a contemporary telecommunication volume that addresses the subject of the field from the proprietary perspective. of the studies of cybernetic freedoms. media policy. In addition, there is currently no academic work on the new European political parties that prioritize communication policy reforms and cyber liberties. This article examines comparative case studies of international cyber freedom activism. relatively. At that time, the first Swedish representative of the Pirate Party in the European Parliament,

Christian Engström, joined the Group of the Greens/European Free Alliance. The Pirate Party learns to operate in a minority coalition, balancing ideological purity with pragmatism. Pragmatism. The article analyzes the most outstanding characteristics of their final coalition and coalition strategies and their conflicts, ts,

Using a 'resource mobilization' approach to study emerging political movements (Tilly 2002) and an identity-based approach (Melucci 1989). The article examines how and why the Pirate Party establishes greater online privacy, privacy, free speech, and access to its political targets.

She relates these objectives to the existing political platforms of the Greens/European Free Alliance, national pirate parties and their allies, and transnational NGOs. Svoboda culture: “Free culture” in Czech translation? Daphne Carr, Columbia University

In March 2010, I was working on an alternative copyright exhibition for the Dox Center for Contemporary Art in Prague and I was faced with a simple but profound problem:



The Friday morning summaries wanted to call the exhibition “Free Culture”, but there are two funny words in Czech: “zdarma”

(free) and “svoboda” (freedom). "Free culture" is the central idea behind the work of Creative Commons founder Lawrence Lessig. His rise to fame was based in part on increased public awareness and debate about the value of creative output as "intellectual property" in the wake of digital production and distribution systems in the 2000s, which encouraged authors to apply for creative jobs. This system has been "ported", adapted to local regulations and recognized as legally binding by more than 52 countries worldwide. EITHER

The ease of licensing has contributed to its rapid adoption, but with that, some important things may get lost in translation. This article examines the public discourse on copyright in the Czech Republic in the 2000s, which led to the introduction of Creative Commons licenses in 2009, and includes an analysis of text translation. I will also present a study on the first musical success

Copyright infringement case that occurred during the Czech Creative Commons translation phase. By tracing the history of local copyright discourse, I will show that alternative copyright advocacy can empower musicians to control access to their work while disciplining creators and listeners in existing legal relationships involving copyright. intellectual property and property, and address the role of Creative Commons as a transnational economic and political actor. Can I hear America sing? Conservation considerations, copyright

protection and public order

DAVID SANJEK, University of Salford This article discusses the importance of whether or not its citizens are present in a nation.

possession of the patrimony of the acoustic society of this society. Research by the Library Congress shows that only 11% of domestically produced recordings published before 1972, the year copyright protection for sound recordings was introduced nationwide, are currently directly accessible. copyright owners in the United States. The question of how many of these recordings, other than those released after 1972, are properly preserved is even more dire and possibly inexplicable, given that there is currently no national discography available. Efforts like the Library of Congress's National Records Preservation Board have attempted to raise public awareness of this issue, but have so far failed to activate the necessary level of national enforcement. In addition to these circumstances, there are currently efforts to extend copyright to individual sound carriers and generalize this term worldwide. The date by which they could be made public would have gotten even more out of control. What are the implications of these phenomena for civil society and how do we suffer when our sound heritage is trapped in inaccessible vaults, protectionist laws and a simple but inexcusable lack of vigilance? IASPM Session 3b: The Rise of Heavy Metal Studies in Academia, Research, and Popular Popular Culture

fans. This global fanbase displayed a reverence for the history of the genre. Most fans are still trying to understand Black Sabbath, Iron Maiden, and other pioneers. Similarly, headbanging enthusiasts have shown a high level of interest in critiquing music and sharing information with others through a plethora of print zines, magazines, tape/CD/file swaps, webzines, festivals, and concerts. . In recent years, scientists from different disciplines have offered their theories and discoveries

about perhaps the world's most enduring, best-loved, beloved, yet eternally marginalized genre of music. Over the past decade, there has been an impressive increase in the number of dissertations, theses, journal articles, monographs, and conference presentations on the subject of heavy metal and the subculture. Archive Archival projects are successful in preserving primary sources and documenting oral traditions. Researchers have often misunderstood who the culture is. are themselves The three lifetime article followers on this panel will provide scholarly discussions on global aspects of: (1) Efforts to improve scholarly communication, research, and collaboration

related to heavy metal through online directories, bibliographies, and a scholarly society; (2) the importance of heavy metal T-shirts to fan identities and interactions; interactions; and (3) metal as



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queer subcultural space. Each document will include a discussion of future plans to expand the international reach of these projects. The World World Metal Alliance: how efforts to improve scientific communication

Research Assistance on Heavy Metal Histories BRIAN HICKAM, Benedictine University, Springfield

Heavy metal studies received significant media attention and a huge surge of interest with its first academic conference in Austria in 2008. Since then the world has witnessed it.

half a dozen academic conferences and symposia on heavy metal music and culture. Academics from different regions and disciplines came together to share theories and ideas and discuss ways to preserve the rich history of the metal and advance future research. The result of these academic meetings is an International Academic Society that helps promote research and events and encourage collaboration through the publication of an online bibliography of monographs, dissertations and theses, articles, documentaries, articles and book chapters; publish an online directory of heavy metal scholars; and sponsorship of special collections of primary sources in academic archives. This article discusses how these freely available resources facilitate the investigation of histories and approaches to heavy metal studies.

The Heavy Metal T-shirt in Popular Culture and Beyond MATTHEW MA TTHEW DONAHUE, Bowling Green State University

Rock 'n' roll memories play a key role in the lives of fans of popular music. The tradition of memorabilia associated with popular music spans five decades, from

From rockabilly to metal, from Elvis to Metallica. Support and appreciation for musical artists goes beyond sound recordings and live performances to include lunch boxes, clocks, posters, video games, baby clothes, tumblers, hats, and t-shirts. Many heavyweight artists are enjoying increasing or renewed popularity around the world because their music has been featured prominently in video games like Guitar Hero or Rock Band. Longtime bands like Iron Maiden and Ozzy Osbourne, Osbourne are enjoying some of their biggest tours yet. Globally, heavy metal fans make up a large percentage of popular music consumers, with albums and DVDs selling comparatively well. The identification of heavy metal by fans is mainly through heavy metal.

t-shirt Metal fans arguably covet and flaunt their t-shirts more than any other subculture today, more than fans of country music, rap, or pop music. In fact, for enthusiasts, the heavy metal t-shirt is an instant symbol of support for their favorite groups, allows for communication with other fans, and serves as a badge of honor for concert-goers and beloved bands. This article examines some of the diverse views of heavy metal T-shirt in popular culture and qualitative research from heavy metal concert and festival-goers in the US and UK, T-shirt sellers and beyond. . Rainbows Are Metal: Queer Fans, Identity, and Heavy Metal Scenes AMBER CLIFFORD, University of Central Missouri

Metal Metal derives its homophobic reputation from an obviously hyper-heteronormative image, which scholars continue to uphold. The male portrayal of the metal musician with his deep guitars, sexualized lyrics, and supposed female fans is well known. Images of women in metal also fall into a familiar cliché: sexual.

available groupies, video vixens or leather clad performers. But what about queer fans and their consumption of these gender performances? Does the gay fan worship the hypermasculine singer or does this fan lust for this singer? Are queer fans hoping to be the video bitch or to attract the video bitch? What about the transmetal fans, the gender queer fans, the bisexual fans, and those who still question their identity? How do queers consume metal performances, perform in metal spaces, and identify in and with the metal scene? Rainbows Are Metal explores the intersection between heavy metal studies, homophobia, and queer fandom. This article examines the subject position of queer heavy metal fans and the ways in which these fans categorize, consume, and represent the heavy metal subculture as a genre production. Gender. To discuss this gap, the article focuses on two areas: a critical examination of gender and heteronormativity in heavy metal academy and the

Findings from the author's international ethnographic study of queer heavy metal fans.



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IASPM Session 3c: Rock 3c: Rock in the 70s and beyond Finding a future in the past: understanding the shape of history on the sphere

musica Popular

Lars Kaijser, Stockholm University

The Swedish pop music scene of the 1970s consisted of a mix of musical influences and agendas ranging from American and British pop music to

Swedish folk music, from its more commercial beginnings to counterculture and political activism. The song was consumed in Scandinavia. In the 1990s, interest in progressive/psychedelic music took a new turn when progressive music researchers from Japan and the US became interested in Swedish progressive music of the 1970s. This presentation is based on a Ongoing research project focusing on how the history of Swedish popular music is used, represented and understood in the present. Day. Starting Point is an ethnographic research project dealing with how music with roots in the Swedish 1970s is understood on different social networks in Sweden, the United States and Japan. I will show how musicians, record retailers, critics, and business people use different and mutual points of view to define, understand, comprehend, and evaluate music. The goal is to discuss

how these networks produce, manage and organize the past. The “seventies” can then be understood here as a continuously established historical space that contains different types of knowledge. One of the purposes here was to outline a way in which the history of popular music is being shaped. Starting from different theoretical sources, the study develops a model of popular popular historiography that distinguishes four analytical levels of the level of analysis – fra s – fragments, ts, affective affective alliances, alliances, nces, networks and retrologies. Mending a Hole: Filling the Post-Beatles Void in 1970s America USA KEVIN HOLM-HUDSON, University of Kentucky

Critical wisdom holds that the Beatles' triumphant arrival in the United States in February 1964, just eleven weeks after Kennedy's assassination, helped fill the void for a grieving nation. EITHER

The dissolution of The Beatles in 1970 cast a long shadow over American popular culture for much of the 1970s, as the American music industry and media desperately tried to fill the void. In

Just as the trauma of the Kennedy assassination led American youth to seek new heroes, so too did the American "malaise" of the 1970s (Watergate, Nixon's resignation,

stagnation and energy crisis) led again to a longing for the Beatles - or, again - or, if that doesn't work, to a

suitable replacement.

America's confrontation with the end of the Beatles' dream took the form of three great waves: reconciliation, simulation, and a reassessment of America. The time of reconciliation took shape

of rumors and reunion offers (such as Lorne Michaels' on-air offer for the Beatles to appear on Saturday Night Live). Simulation can be found on the bass drum, given a similar "mop" style

Bands like the Bay City Rollers album, The Rollers, the muBeatles' phenomenal musical Beatlemania, and the rumored Canadian band Klaatu really were long-lost chart hits. With recording. With the reassessment came several imaginative reinterpretations of Beatles history and mythos, including the parody of The Rutles, the films All This and World War II and Sgt. Pepper's Lonely Hearts Club Band, and Mark Schipper's documentary novel Paperback Writer. Only with the assassination of John Lennon in December 1980 did this "false Beatlemania" disappear. See you at Oki Dog: The Resurrection of Darby Crash JAY ZOLLE, University of Virginia

A study of punk historiography reveals a strong antagonism between the American and London punk scenes in the 1970s: although London punk is typically understood as a youth-oriented, politically rebellious working-class G class, it is sometimes associated with a cartoonish comparison portrayed in relation to the artistic and avant-garde character of American punk that preceded it in New York and Detroit. The battle for authenticity continues. But the Los Angeles scene is largely ignored in the canonical history of 1970s punk, not Legs McNeil/Gillian McCain's seminal lyric Please Kill Me, which is often seen as a corrective in American English. to UK-focused punk stories like Jon Savage's England Dreaming. Don't even mention LA Punk! (Savage only has one page on L.A. punk.)



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Yet '70s punk Los Angeles has garnered increasing attention over the past decade, with numerous books and films from music journalists and nostalgic fans alike. These projects construct a narrative centered on Darby Crash, the lead singer of the Los Angeles punk band The Germs, whose suicide by heroin overdose in 1980 often marks the "death" of the first wave of Los Angeles punk.

But given that Sex Pistols bassist Sid Vicious had already created a punk template for the self-destructive trope of live, die fast, die young: his own heroin overdose a year before Darby's was "the final nail in the coffin" for London punk. - very punky - much of the talk about Darby makes him one

an "LA version" of Sid. However, by separating Darby's story from Sid's, I show that his death is not just the unfortunate result of a self-destructive impulse; Instead, it is the culmination of Darby's visionary, almost ontological philosophy. 1980s IASPM Session 3d: Institutions 3d: Institutions of History History in Instant Classics and Reunion Tours: Tours: Music Criticism and the Hype of


DEVON POWERS, Drexel University York Times, "Pavement... started off slow and indistinct," Ben Ratliff wrote for the New York, but after half an hour the band "became" a good approximation of what they used to be.

Ratliff identified Pavement as a band occupying its 'post-history' or, in other words, 'a group

who stopped wearing clothes a long time ago but still likes to wear them.” A reunion tour is, of course, an opportunity to explore a band's relationship to history; In that sense, Ratliff's work "Ratliff" and the dozens more dedicated to the reunion tour are nothing. Music criticism is necessary, continue with the background. Criticism is, first of all, the style and method of writing the story; not only tells, but also helps to determine

The contours of music history. Second, especially since the late 1960s, when the newly created genre of pop music criticism began to grapple with its own past, history has

it served as a barometer of musical value. Finally, finally, if music can offer listeners "an experience of the passage of time", what does that mean for music critics who try to reflect and even emulate what it is like to witness a musical event? Starting from the premises exposed above, this article examines the complex and central role of history in music criticism. With a particular interest in "instant classics" and "reunion tours," stereotypes of three common characterizations of music production, I will argue that the use of history in music criticism is often promotional and not just central to features. music marketing itself. , but also to consolidate the authority and insight of the critic. My research will focus on reflecting on the effects and consequences of said consumption. Is it possible, I ask, to conceive of a "hype" of history where the sense of historicity has been completely exhausted?

Rock of Ages: Pop Music and Canonization at the Rock and Roll Hall of

fame and museum


While the Cleveland Rock and Roll Hall of Fame and Museum claims its mission is to educate people about "the history and enduring importance of rock and roll music," that's just one of the roles it serves. serves the hall. Its position as a museum and

The fame positions him as a key player in the creation of not just a popular music canon, but a "canonization" of sorts. In this sense, the room is conceived as a sanctuary of popular music, in which visitors make pilgrimages, which in the end confirm political-cultural decisions

exhibitions and awards. The task of classifying certain types and specimens of music, and the artists who create them, as sacred becomes even more difficult when viewed in terms of intersections of genre, cultural hierarchy, gender, and race/ethnicity. This article looks at the mainstream history created through this canonization process and what visitors actually honor when they worship at the altar of popular music erected by the Rock and Roll Hall of Fame. Furthermore, this study will shed light on how presence and absence coincide to suppress or make alternative histories invisible.



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Festival programs as archival material SIJA TSAI, University of York

The program books supplement the bibliographies for many studies of historical musical events and historical movements; Recent examples include work at the New Orleans Jazz and Heritage Festival (Regis 2008) and the North American Folk Revival (Mitchell 2007). These documents can contain information on everything from event managers to government grants and food vendors. However, when a large cross-section of long-term event programs is compared across decades, they may reveal deeper tensions, patterns, or disjunctions related to the social perspective and/or organizational philosophy of the host organization.

The use of programming books was the focus of my research at two Canadian events: the

Winnipeg Folk Festival and Mariposa Folk Festival. While their names allude to the Winnipeg music communities associated with Anglo-American heritage acoustic repertoire, their current lineup now reflects a globalized and technologically dependent grassroots music scene.

actively interacts with the popular music industry. As archival documents, the programs of these festivals have been invaluable in pointing to the various moments when scheduling considerations began to shift within the parent organizations, whether in response to economic difficulties, the interests of their participants, or the increasing accessibility of non-participants. -Western artist. Combined with years of press coverage, they also show how the paying public has responded to these changes. Building on this research, my article will explore the potential of curriculum books as archival tools for studying popular music from a historical perspective, highlighting issues such as gender, ethnicity, and public policy. 'They Were There' Folk Song Reused: Quotation in World War I Score WILLIAM BROOKS, York University

The Charles Ives song "He Is There" is a famous and extreme example of a musical quote. But Ives was not alone. Among the thousands of releases during World War I are many hundreds released by unknown musicians, usually in small towns or cities, often self-released. A surprising number of them use musical quotes to get their point across; The Tin Pan Alley songwriters, on the other hand, used quotations much more sparingly. This article presents statistical and demographic information on this phenomenon, based on an ongoing inventory of several large collections in the Midwest, and provides a detailed reading of three typical cases. "Watch out for sharks!": gender, technology and trade in

American song and poetry industry


Since the early 1900s, poetic music impresarios have been producing music to accompany the poetry of those with a little money and dreams of musical fame. Despite accusations of exploitation by its mostly female clientele, this vain counterpart to press music has survived for more than a century. Century. In this article, I draw on advertisements, sheet music, and personal interviews to piece together the history of the songwriting industry. I focus on changing the gender dimensions of song-poem practice in practice, the role of technology in the production process, and the diversity of personal meanings embedded in the song-poem. The Day the Jingle Died: How Michael Jackson's 1988 Pepsi Campaign Redefined Commercial Music JOANNA LOVE-TULLOCH, University of California, Los Angeles

Michael Jackson challenged ideologies about "selling" by allowing Pepsi to feature a remastered version of his then-hit "Billie Jean" in its 1984 campaign. Three years later, he licensed his latest single "Bad" for another series of commercial. These campaigns demonstrated the financial location of popular music commercials and demonstrated that advertising is an untapped reward for spreading new music. This work will focus

in Jackson's 1988 campaign, which captured the moment when pre-existing popular music replaced the jingle. Explore how the combination of astute business practices, visual spectacle, and musical ingenuity inspired future performance-based recommendations. endorsements



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SAM Session 5b: Race, 5b: Race, Location, Nation

The Rise and Fall of William Levi Dawson's Black Folk Symphony (1934) GWYNNE KUHNER BROWN, University of Puget Sound

William Levi Dawson (1899–1990) is best known for his choral arrangements of African-American spirituals and his skills as a choral conductor. In 1934, however, when the Philadelphia Orchestra's Negro Folk Symphony Leopold Stokowski scheduled Dawson's Negr concerto, which was widely broadcast on the radio, his career seemed to take a very different turn. This article draws on material from the Dawson Collection at Emory University to examine the debut of the Black Folk Symphony, the reactions it elicited among African-Americans who heard it, and its provocatively lesser impact on the composer's career. Up the Ocklawaha: Maud Powell and Marion Bauer at the intersection SARAH GRACE SHEWBERT, University of Washington

In 1912, Maud Powell (1867–1920) was a renowned American violinist and her friend Marion Bauer (1882–1955) was a little-known composer of simple art songs. This year she brought a notable collaboration, Up the Ocklawaha, a tone poem for violin and piano composed by Bauer and based on Powell's description of a murky, murky Florida river. This offbeat, unconventional, impressionistic work captures the exotic and "fascinatingly strange" landscape portrayed in the poem, and stands at a crossroads, not only in Bauer's compositional development, but also geographically, when two musicians from West -West meet with search and interpretation. swamps Appalachian Nationalism by Lamar Stringfield by Stringfield MATTHEW MA TTHEW FRANKE, University of North Carolina-Chapel Hill Lamar Stringfield (1897-1959) actively promoted the use of Appalachian music as an edifice

Material for American-American nationalist music. While his work veers very close to a white supremacist aesthetic, his story offers a new perspective on the racist undertones of American musical nationalism. This presentation outlines his efforts to shape a white national music, efforts that included composing a popular Appalachian folk opera and musical, collecting folk songs, writing a controversial book on the nature of American musical nationalism and the founding of the North Carolina Symphony Orchestra. SAM Session 5c: Teaching musical identities

In Search of Authenticity Authenticity in Improvisation I Training in Improvisation SIV LIE, New York University

This article examines the concept of authenticity in relation to the artistic principles of students and faculty in the New England Conservatory's Contemporary Improvisation (CI) department, as I discovered it during my field research in that department. I maintain that authenticity is valued.

compels members to regard the true and masterful expression of individual identity as equal to their artistic success. CI includes undergraduate and graduate programs designed to cultivate each student's "personal musical style" through intensive ear training and immersion in a variety of musical languages. The importance of authenticity lies primarily in this elevation of 'personal style', with an understanding of musical traditions another area where authenticity is highly valued. Due to its subjective nature in this context, authenticity is difficult to assess; However, the criteria for evaluating student performance are established jointly.

faithful representation of his own musical identity. Most students resist hasty categorization into specific genres, as they perceive their musical identity as a continuous process rather than a final object. Through the development of personal identity and technical skills, students and teachers seek legitimacy in different contexts, including social and professional circles, the conservatory, the music industry, and in terms of the musician's own sense of responsibility and artistic achievement. Building on Lindholm's work on authenticity, which portrays it as a powerful and highly influential form of cultural capital, this article will demonstrate this

to what extent the importance of authenticity shapes the artistic goals and self-image of musicians.



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MacDowell vs. Butler: Divergent Philosophies of Music and the University of MICHAEL JOINER, University of California, Santa Barbara

Edward MacDowell's abrupt resignation as Columbia University's director of music in 1904 sparked a public dispute with President Nicholas Murray Butler. Server. The sticking point was MacDowell's proposal for an interdisciplinary Department of Fine Arts. By examining the public positions published by MacDowell and Butler, I show that their rhetoric and ideals reflect current trends in higher education reform. I submit that Butler's college idea of ​​music was radically different from MacDowell's and led to what became known as the "Columbian Wars." From singing to the middle class: music in the Hull House settlement GLENDA GOODMAN, Harvard University

Progressive activist Jane Addams opened the School of Music at Chicago's Hull House in 1895, believing that uplifting cultural activities like music lessons would make immigrant children more successful American citizens. This article examines the ideas that fueled the belief that music and citizenship are linked, examining trends in Victorian morality, Christian socialism, progressive reforms, and Dewey educational innovations that are permeating the school curriculum. of music. In an era of virulent nativism and widespread, pervasive immigrant discourse, music was believed to provide a neutral space in which progressive activists could present new ideas about what makes an American citizen American. . SAM Session 5d: Music 5d: Music in the Arena "Take Me to the Ballgame": The Rise and Fall of Baseball Organist MATTHEW MIHALKA, University of Minnesota - Twin Cities

The organist takes advantage of this. The use of organ music in baseball games, the first implemented boom and eventual decline of the role in live baseball, shows why the follow-up organ was in ballparks and highlights the various factors that led to its decline. I submit that advances in sound reproduction technology, the evolving nature of popular culture, the increasing commercialization of music and sports, and historical trends in listening behavior have influenced the use and importance of music and the sound in baseball games.

daher die Rolle des Baseball-Organisten. Diapason Ice: Interpretation Practice Practice and Nostalgia in Hockey Orgel Music ANTONIO GIAMBERARDINO, Carleton University

Organ music is as iconic a tradition as it is in American professional sports. It all started in hockey when the Blackhawks Chicago Chicago Blackhawks organization was formed.

he used an organ in 1929. This landmark investigation looks at the development of the organ in the National Hockey League from the 1930s to its recent revival in the last decade. Using the sociological concept of "nostalgia studies", one gains explanatory power in understanding the organ's ability to resist modernity and remain a relevant and important modernist musical artifact in the North American soundscape. My Home Sweet Home (Record): "God Bless America", "America", Celebration and

Forced into professional baseball after 9/11 SHRYL KASKOWITZ, Harvard University

"God Bless America" ​​was added to professional baseball games after 9/11 as a result of a corporate decree and a sincere desire for public mourning. But because it has become a staple in many stadiums, some fans have resisted its coercive power. drawing

As the result of an online survey and ethnographic research among fans and team officials, I examine how God Bless America functions as a powerful vehicle for celebration and fulfillment. Framing the music as an "invented tradition," she further analyzed how local adaptations of a national corporate mission complicate the very notion of American nationalism. SAM Session 5e: Black 5e: Black/White and White Interactions Cross-Cultural Foundations of American Folk Music for Native Guitar: The Case of the Spanish Fandango GREG REISH, Roosevelt University

This article traverses the stylistic history of Henry's Spanish fandango as a work for guitar.



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Worrall's innovative 1866 sheet music arrangement through the rise of the guitar in American folk music in the early 20th century. blues and singing traditions and served as the main channel for the migration of the guitar from black to white folk musicians. A close examination of transcribed performances by various players reveals the surprising longevity and adaptability of the piece, as well as its widespread presence as a marker of interracial influences in Native American guitar music.

At a Crossroads: Identity, Identity, Race, Authenticity, Authenticity and Carolina Chocolate


University of Oregon TheLAUREN CarolinaJOINER, Chocolate Drops, commonly known as "folk" but specializing in early music/black string band/minstrel, occupies a musical crossroads created by a racist understanding of race, culture, and authenticity, making make the group unique. it is not his choice of diverse repertoire, but his method of negotiating problematic musical spaces created by a paradigm of racializing music and how this affects performance practice and public reception. This article is an attempt to understand how the Carolina Chocolate Drops address issues of authenticity and race by examining their new album Genuine Negro Jig.

Blackface synthesis off the Ohio coast CHRISTOPHER J. SMITH, Texas Tech Tech University

In 1876, Lafcadio Hearn described the "negro" singers on the Cincinnati docks who "could imitate the Irish accent with a degree of perfection that an American, Englishman, or German could not reach." In the antebellum period, Cincinnati was a center of musical exchange: future blackface stars Dan Emmett and Thomas "Daddy" Rice played the city as Appalachian fatigue joined African dance performances , the violin from the Highlands to the Caribbean.

The banjos and the slave states found themselves free, all on the banks of the Ohio. Ohio. This article traces the roots of blackface synthesis back to the river cultures of Mississippi and Ohio. SAM Session 6: Poster 6: Poster documents

Miles Davis and modal jazz

MYLES BOOTHROYD, Central Michigan University Kind of Blue is the best-selling jazz album of

of all time, but few listeners understand what the album is about, along with Miles Davis' vision of modal jazz. This presentation focuses on the key characteristics of Kind of Blue that define modal jazz and recognizes that the style is based on a principle of melodic freedom. Additionally, the project pays tribute to George Russell, whose pioneering form of jazz theory laid the foundation for a new approach to improvisation. It was this approach that offered the melodic freedom that Davis had sought since he began his musical journey.

The Resonance of Dissonant Counterpoint in American Musical Culture JOHN D. SPILKER, Oklahoma State University

Dissonant counterpoint is often obscured in historical reviews of 20th-century music by proprietary techniques that are better known or briefly mentioned as an isolated 1920s phenomenon.

However, my archival research at the New York Public Library uncovered composers from different geographic locations with different compositional aesthetics who were associated with the ultramodern grid that used dissonant counterpoint in their compositions from the 1910s to the 1990s, and Also by name. As composers used the method in their own unique way, they participated in its development, and their works brought the technique to life. Thus, dissonant counterpoint was an essential tool for American composers of the 20th century. "Yeah, yeah, that's a brilliant tune" - Quote in a Contemporary American Art Song KEITH CLIFTON, Central Michigan University

The American underwent major changes in Francis Hopkinson's "My Days Have Beenart So song Wondrous Wondrous Free" (1759), often cited as the first published example. The example. The growing acceptance of the song as a legitimate outlet for concert music led to widespread musical eclecticism, particularly after the 1980s.



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One overlooked trend is the rise of popular music. Unlike earlier composers such as Ives, who focused on vernacular and sacred melodies, more recent composers often use European classical music as source material. This poster examines the role of the quote in the musical production of three composers: William Bolcom, Ben Moore and Tom Cipullo.

Handel for the Holidays: American American Appropriation Apropriação do “Hallelujah Chorus” LEAH HARRISON, The Florida State University

Handel's Hallelujah Choir gained recognition in Handel's America as an icon of the Christmas season, a contradiction in terms of the composer's placement and the piece's intent. The chorus was originally conceived and performed as the final score of the second part of El Mesías, which deals with the

Comparable events Passion and Resurrection of Christ, Birth of Christ. American newspaper archives allow for different treatments of "Hallelujah" and "Hallelujah ah Chorus" as a whole, as they corresponded to changing American Christmas culture, demonstrating that the song's everlasting popularity coupled with cultural shifts fosters the appropriation of iconic music. SAM Conference-Recital Sousa's Americanism Abroad: Sousa Band Sousa Band Soloists 1910-191 1910-1911 1

world travel

TODD ​​​​​​​​​CRANSON, Universidad de Illinois, Springfield / Vintage Marching Band

The year 2011 marks the centenary of the culmination of the Banda Sousa Band world tour. The Vintage Brass Band of Springfield, Illinois under the artistic direction of R. Todd

Cranson will present a performance of music and anecdotes related to the 1910-1911 round-the-world tour of the Sousa Band' Band. The repertoire includes feature films, suites or concert works from 1910-1919 used by Davis, Jessica Sousa for violin and her label Mona Kreitner Kreitner, of Americanism, Soprano, Foreign will feature Nicoline Zedeler and Virginia Root as soloist and soloist.

4th IASPM Session: The Politics of Music Post-9/11: Sound, Trauma, and the Music Industry in Times of Terror Co-Chairs: Joseph Fisher, George Washington University and Brian Fleet, Oklahoma State


In current debates about America's war on terror, it has become commonplace for politicians and journalists to conjure up the specter of the Vietnam War in order to quantify the impact of those wars on American culture and the rest of the world. . Surprisingly, however, few have looked at these comparisons to examine the substantial differences between the popular music of the Vietnam War era and the music produced after 9/11. 9/11 Although countless musicians protested this war in the late 1960s and early 1970s, it could be argued that there were far fewer concerned contemporary musicians.

open positions in his music on the politics of post-9/11 American life. This panel seeks to open up the discussion about what constitutes protest music in the post-9/11 United States, while questioning the need to return to the idealized notions of 1960s political activism, the way in which Contemporary mainstream and avant-garde musicians combine old and new media models. —at the compositional and distribution levels—to reshape America's national identity. Molly Brost and Isaac Vayo argue that Carrie Underwood and Cassetteboy appropriate iconic constructs of Americanism—conventional Americanism—conventional femininity for the former, audio samples of Frank Sinatra songs for the latter—to undermine calls for a comeback. american values. Similarly, Ryan Randall and Jeffrey Roessner argue that contemporary acts like the Fleet Foxes and New Weird Weird America appropriated the politics (and sound) of 1960s bands like The Beach Boys and misinterpreted what they were to apply ( wrong) the "lessons". ' from that era to the present moment in American history, history, the context for which the 1960s is wholly unsuitable.

Collectively, these newspapers seek to destabilize America's musical and national identity: movement is vital. Post-9/11 political rhetoric is obsessed with securing a stable identity for the country at the expense of votes, politicians and musicians, dissent.



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Country Music After the Dixie Chicks: Carrie Underwood and the Trial

gender authenticity

MOLLY BROST, University of Southern Indiana

In 2003, when many country fans reacted with outrage to Dixie Chicks frontwoman Natalie Maines' now-infamous anti-Bush comment ("Just so you know, we're ashamed that the president of the United States is from Texas"), Texas"), in the words of scholar Claire Katz, country music "seemed to have become more than a style of music... Instead, it became a statement about politics: country music represented certain ideologies. As Lesley Pruitt went on to point out, these ideologies included traditional attitudes toward gender: “Men are expected to show

Traits considered masculine such as aggressiveness, sanity, calm, rationality and affection, protection; Women need to demonstrate the appropriate feminine attributes: emotion and vulnerability." However, after the exile of the Dixie Chicks from mainstream country music, many country singers found success with songs that challenged those gender roles. One of the most successful singers was Carrie Underwood, who after winning American Idol in 2005 won several prestigious country music awards, including the Academy of Country Music's Entertainer of the Year award, which is rarely given to a woman. Using Underwood as the primary case study, I argue that in a post-9/11, post-9/11, post-Dixie, post-Dixie Chicks rural landscape, a woman can challenge traditional "country" ideologies by embracing Tradition successfully exhibits marks of country authenticity such as home, family, and respect for tradition. The implications of these challenges are, of course, twofold, as the term country not only refers to the (heavily policed) musical genre, but also metonymically to the largest country, the United States of America, hereinafter 9/11, it is referred to. became increasingly popular guarded and inhospitable to all challenges - threats - both at home and abroad.

Of many: Jacques Rancière, Sandy Bull of particular familiarity

Political Frustration in Popular Song "New Weird Weird America" ​​RYAN RANDALL, University of Rochester

The New Weird America musicians deliberately evoke a countercultural history of music and politics, but together they reiterate one of the paradoxes that can arise when politics and music collide. In Discordance: Politics and Philosophy, Jacques Rancière clarifies that “politics is above all the conflict about the existence of a common scenario and the existence of and

Situation of those present "it" (26-27). Although "politics" is often used synonymously with public debates about politics, Rancière specifies that politics takes place when a group manages to reconfigure itself.

previously accepted designations for holdings. Political action "makes what was previously only heard as noise comprehensible as speech" (30). Historians from Greil Marcus to Josh Kun have shown how music is a platform for discourse about what counts as "American", "American" and the generic abbreviation "New Weird America" ​​itself is based on the Marcus' designation of "Old Weird America". . . . America” was referring to Bob Dylan's Basement Tapes and Harry Smith's Anthology of American Folk Music. From them, but also from lesser-known predecessors like Sandy Bull's 1969 folk-raga album E Pluribus Unum, the musicians of New Weird America sought recognition from an America different from that associated with the aggressive, conservative agenda Bush identified. Although his work aimed to expand identifiable "American" qualities, the self-marginalization of limited release, underground distribution, and obscurantist formats limited his work to a

internal counter-audience instead of a common national scenario. While these frustrations likely stem from the state of music distribution and fan bases in the 21st century

An examination of how this movement operated in the aftermath of the events of 9/11 shows how popular music sought politics through self-conscious invocations of music history, while perhaps repeating the mistakes of its countercultural ancestors who marginalized themselves. themselves. That Was Now, That Was Then: Recycling the '60s in Post-9/11 Music JEFFREY ROESSNER, Mercyhurst College

In the aftermath of the 2001 terrorist attacks, the attacks, and during the ensuing war on terror, many critics have questioned why rock music did not serve as a widespread and effective vehicle of protest, as typified by the so-called 1960s protest musicians. It is believed that contemporary artists were unable to rage against the machine, largely because



Summaries for Friday at Noon

the machine raged against them, as evidenced by corporate initiatives such as the Clear Channel blacklisting restrictions in September 2001. The present distorts the past and remains blind to contemporary context by reshaping the interpretation and reception of music. I begin my argument by uncovering the nostalgia underlying the romanticization of music critics in the 1960s. While there wasn't really much protest music on the pop charts in the 1960s, many still associate rebellion with music. of that decade for important cultural reasons. . :

the proliferation of politically charged images of the time and the legacy of rock as a staging of a

Today, the generational-cultural context is massively divided between the radically changed and oscillating "youth" and their parents, the now preferred adults. I talk more about music than about adults. When I examine the work of contemporary bands like the Fleet Foxes and Grizzly Bear, who adapt the harmonic inventiveness of the Beach Boys, I argue that their music does not convey a sense of empowerment but rather confusion and a growing sense of introversion, introversion, community. politics makes it increasingly difficult to imagine America after 9/11. America.

In a Maddening Loop: Post-9/11 Rubble Music ISAAC VA VAYO, Deance College

After September 11, 2001, debris abounded, whether it was the World Trade Center and the Pentagon or the shattered myth of America's invulnerability. This debris was quickly removed and the fragments forcibly assembled into a pseudo-unit in light of the perceived threat. Music was not immune to this process, and an examination of the tape collage artist Cassetteboy's song "Fly Me to New York" shows how this forced confluence fails in its attempts to stage public amnesia rather than produce debris. Music that emphasizes American guilt through alternative fusion. Based on samples of songs by Frank Sinatra, "Fly Me to New York "York" tells the events of September 11 from the perspective of one of the hijacking pilots and, in its reconstruction from disparate fragments, is the best example musical of the remnants of 9/11.The choice of Sinatra as centerpiece is not accidental and reflects his prominent place in American pop song, making his work an ideal starting point for a thoughtful critique of United States guilt. United in the United States.

to 11.09. Given his rise to prominence in the World War II era, Sinatra Sinatra is inextricably linked to the ideas of American-American nationalism, making the fragmentation of him in sample texts and the reconstitution of him in a particularly moving kidnapping narrator. This critique is typical of debris music, music reconstituted from the shattered fragments of a national psyche after a traumatic event. Cassetteboy's use of quotes from Sinatra samples builds on such fragmentation, establishing a new self-deprecating perspective against earlier material that was thus flawed, and expanding the listening field.

include the hijacker's voice. The neo-Sinatran narrative places the consummate American at the sequestered checkpoints and renders US guilt for the event literal, guilt previously veiled under knee-jerk reflexive victimization. IASPM Session 4b: Femininity, Femininity, Politics, Performance Navigating the 19th Century Celebrities and Gender: Congratulations Vestvali Vestvali "the Magnificent," transatlantic diva and actress (ca. 1830-1880) JEAN DICKSON, University at Buffalo, SUNY

Famous musicians as a cultural phenomenon emerged in the 19th century, along with the decline of modern aristocratic patronage of the arts, the rise of commercial spectacle, and the widespread availability of travel. This article compares and contrasts Felicita Vestvali's portrayal of her art and genre with that of contemporary music celebrities, particularly Ani Di Franco and k.d. long. Like today's stars, she earned fans who idolized her. Unlike Di Franco, Franco Vestvali Vestvali concealed an illegitimate child and projected a chaste image. i magician Like Di Franco, Vestvali Vestvali was a businessman; he spent his own money directing (and starring in) the US premiere of Gluck's Orfeo ed Euridice. She preferred to do "pants roles" and as k.d. She for a long time left the public guessing about her sexuality. Sexuality. She often traveled disguised as a man, sometimes with a false beard, and in her memoirs proudly recounted her "manly" achievements: sharp shot, achievements: sharp shot,



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fencing and horse riding. She endorsed Goethe's German ideals of classical Greek beauty and exaltation of the artist, naming her memoir Pallas Athene, but also defended women's rights to work and property in the American and German press. Years after her death, Magnus Hirschfeld's magazine on homosexuality in Germany hailed her as a "Uranian." Vestvali, like some of today's female stars, has fought valiantly to control her career and her gender image, both fragile and interdependent categories. She tried to shape and redefine

Norms for women in opera and theater. Saving "the tender young ears of this nation from this porn rock":

Musical and sexual pleasure in childhood


Concerns about the sexuality of children in the United States are often expressed through concerns about girls' activities related to popular music. Indeed, discourses of musical engagement and sexuality were used as key modalities through which childhood's relationship to pleasure and danger was understood and monitored. By focusing on the embodied aspect of musical experience, this article argues that girls' fear and celebration of musical experience as important sites of subjectivity formation have to do with both "positive" and "negative" semiotic messages. that are consumed and traded. about girls' access to pleasure and intimacy through music. A textual analysis of 20th and 21st century music censorship discourse in the United States reveals a terrifying lens

particularly on adolescence and childhood, which together with the perceived ability of the pleasurable musical experience to create potentially cross-border places of intimacy, has led to disproportionate exploitation and focuses on curbing girls' enjoyment through production and music consumption. around. Desire The desire to control access to certain musical experiences (preventing young girls from listening to "oversexualized" pop stars, for example) is fundamentally tied to discourses of race and sexuality, and not just to messages that popular music can convey, but also the implicit fear of the nature of intimate relationships that music can foster.

the willene barton case study

YOKO SUZUKI, University of Pittsburgh

Using the case study of African-American tenor saxophonist Willene Willene Barton (c. 1925–c. 2005), this article examines how discourses on gender and sexuality in jazz were constructed and influenced the careers of women instrumentalists. of jazz. Barton began her career in the 1950s with the band, which consisted of ex-International Sweethearts of Rhythm, and later she formed her own girl group, which toured extensively throughout the United States. While major jazz magazines barely reported on her, historical black newspapers often reported on her active career from 1952 to the 1960s. The black press praised Barton in 1957. Barton's musical talent was also her feminine beauty. and his heterosexual appeal. On the other hand, my interviews with male musicians have shown that she is a strong and dyke saxophonist. In fact, these contradictory accounts of Barton's are structured by the same sex-gender dualism rooted in heterosexuality that persists in the world of jazz. While the black press wanted to lock Barton into the heterosexual matrix, the musicians placed them outside of it. I suggest what Barton Bart was like

Written in publications and spoken among musicians, it is part of a complex process of construction of male and heterosexual jazz discourses that excluded female instrumentalists from the dominant discourse in jazz history. History. The association of talented jazz instrumentalists with lesbianism stabilizes gender norms based on heterosexuality. heterosexuality Could God be black? One Woman's Journey Toward Social Justice: Iola

Brubeck and the true ambassadors

KEITH HATSCHEK, University of the Pacific

African Americans' fight for equality during the civil rights era resulted in a series of artworks that attempt to illuminate the injustices inherent in segregation. Iola Brubeck, wife and musical partner of jazz pianist Dave Brubeck, conceived such a work, an ambitious jazz musical titled The Real Ambassadors, which is licensed to use.



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Broadway stage to advocate for equality. Although Dave Brubeck has been the subject of extensive study, Iola Brubeck, who was the driving force behind this work, has received little attention from academics. Over a period of five years, from 1957 to 1962, Iola and Dave Brubeck worked tirelessly

a host of musicians, including the show's star Louis Armstrong, as well as top Broadway producers and management consultants to bring the musical to the stage, only to be thwarted at every turn by a series of obstacles, including the question of who compete. Iola Brubeck, who wrote the book and lyrics for the show, grew increasingly frustrated as the pair's efforts met continued opposition; The Broadway producers politely turned the show down, and its soundtrack album was a commercial flop. Only one concert reading of the work was given at the 1962 Monterey Jazz Festival, despite the last-minute efforts of Armstrong's notoriously controlling manager Joe Glaser to cancel it. Using a variety of materials from the Brubeck collection, as well as interviews with the surviving artists, I will argue that although this ambitious musical was never staged, an analysis of Iola Brubeck's role in Brubeck as its creator and strongest advocate provides an effective lens. This allows us to better understand how social, economic, and cultural issues affected music and musicians during the early civil rights era. IASPM Session 4c: Media 4c: Media/History Heard It Here First: Exploring the History of American Popular Music

via the radio archive

LAURA SCHNITKER, SCHNITKER, University of Maryland

Longer than any other medium, radio has been the primary site for the construction of popular music narratives in the United States. Between Your Hit Parade's debut in 1935 and his syndicated On Air with Ryan Seacrest in 2010, these narratives historically took on a national character and served as a vehicle to (re)present common preferences to the public through the process of musical ranking. hits. Songs. Still, the history of popular music on American radio is not a linear trajectory built on discrete trends; Instead, it is made up of many different incarnations, often beginning as local music events, each of which has played a role in shaping and reflecting American music culture. Therefore, radio files can represent valuable primary information.

Resources for scholars interested in examining how music programming has incorporated changing ideas about performance, identity, and authenticity into popular music. The University of Maryland Broadcasting Archive houses more than 20,000 audio recordings documenting the history of music on the American airwaves. In this article, I'll give you an overview of archives and highlight some of our most exclusive music collections. I then present three audio samples from radio programs from the late 1930s to the mid-1950s and discuss how each contributed to the negotiation of musical meaning, both from a sociocultural and stylistic point of view. Finally, I outline some helpful tips for conducting radio archival research, including a brief discussion of some recent issues posed by digitization.

Finding radio stories on Canadian campuses BRIAN FAUTEUX, Concordia University Although they have official status as one of the three categories that make up Canadian broadcasting

The community broadcasting system (public, private and community) in Canada has not been extensively researched. Even less research has focused on campus radio. Building on my current PhD project, this article will illustrate the important place that college radio occupies within the broader Canadian broadcast environment. I will argue that in this particularly Canadian context, it is important to acknowledge the history of college radio, particularly as it relates to local and independent music in Canada. The intertwined histories of campus radio stations and the music scene(s) residing in a particular station's broadcast area are also considered, as my methodological strategies seek to highlight the relationship between the two, both archival research on policy documents and conducting interviews with the station. past and present attendees and musicians. It is still necessary, of course, to recognize the ways in which stories and development stories are framed and constructed, even when trying to piece together a story that has received little attention. Therefore, this article will discuss the ways in which both the broadcaster's policy and the broadcaster's volunteers/programmers/anchors/programmers/anchors can act.



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historical porters. For the latter, this includes a discussion of the cultural hierarchies that can be built on college radio when programmers decide which bands will be heard on a particular station. How do such decisions shape the history of college radio, and how does this affect the development of a sense of the music scene in a given city? The endless archive and the collapse of canonicity: MP3 and mainstream blogs

historical tales

ROBERT ROBER T. STRACHAN, University of Liverpool

This article examines the intersection of digital technologies and dominant historical narratives with a particular focus on contemporary blogging culture. The last decade has seen a proliferation of online offerings and commentary from across the spectrum of popular culture and historical music. Wblogs Within the music download blogosphere, there has been a strong archiving drive, with bloggers trying to share frequently obscure or deleted recordings with their readers. While this can on the one hand be read as a continuation of the obscurantist tendencies that have long been a facet of popular musicology, these storied blogs must also be understood in terms of the specifics of their mediation technology. .. Blogs have blurred the line between official and unofficial commentary on a wide range of topics. Comment. In fact, changes in media consumption patterns have led to

that the way consumers access information about music has become increasingly diffuse, resulting in an almost infinite variety of different historical accounts. Also, the file-sharing element of music blogs has made historical recording much easier.

accessible to a much wider audience. The article argues that the construction of this ever-expanding rhizomatic digital archive is beginning to have a double effect on the way popular music histories are constructed. First, historical MP3 blogs often explicitly challenge dominant historical narratives by offering non-canon music or tracks that are deliberately outside of the dominant alignments of the past. Second, the constant exploitation of areas of pop music's more nuanced demarcations has the effect of subverting the pure, linear periodization that has often characterized mainstream stories. Open Source: New Digital Files and the PTT System in Taiwan MEREDITH SCHWEIG, Harvard University

Online forums, sometimes referred to as Bulletin Board Systems (BBS), have been important resources for Internet-based communication throughout the Chinese-speaking world since the 1980s. Despite the recent rise of sites like Facebook and MySpace in North America and Europe, BBS is still the dominant social networking portal in China, Taiwan, Taiwan and Hong Kong. One of the largest BBS in the world called PTT is based in Taiwan and has more than 1.5 million registered users who post an average of 40,000 new articles on more than 20,000 listed topics every day. In this presentation, I introduce PTT as an archival resource of great importance to scholars conducting research on popular music in and from East Asia. With content dating back to 1995, when the system began as a student initiative of National Taiwan Taiwan University, and with little administrative interference since then, the PTT represents a rich collection of fan- and musician-created discourse about the activities. musicals that were generated in genres from Taiwan Taiwan Trip-Hop Trip-Hop to Cantopop. Drawing on my experiences conducting ethnographic research on rap music in Taiwan, I discuss how interaction with the PTT produced valuable information about the hip-hop community's historical development, discursive practices, and social organization. I also explore how rap musicians and fans interact with PTT as an archive, continually referencing online and offline historically significant events that have occurred.

narrated there for parishioners past, present and future. IASPM Session 4d: Experimental 4d: Experimental and Vanguard Vanguard

Avant-garde, African rhythm and appropriation in My Life in the Bush of Ghosts, by David Byrne and Brian Eno ELIZABETH LINDAU, University of Virginia

David Byrne and Brian Eno's 1981 collaboration My Life in the Bush of Ghosts has been hailed as a groundbreaking technological feat and a derided example of cultural imperialism. The album, whose title is taken from a 1952 novel by Nigerian author Amos Amos Tutuola, reflects Byrne and Eno's fascination with African music and art in the late 1970s.

Two rock musicians traded rare "world music" recordings and read John Chernoff's "African Rhythm" and "African Sensibility" during the making of the album.



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the recording studio as a meta-instrument combining "found voices" from geographically diverse sources with African-inspired bass and drums to produce "fake ethnography, ethnography" or imaginary "fourth world" music (a term used by the composer/Trump was coined ) to produce composer/air trumpeter Jon Hassel). Byrne's and Eno's problematic appropriation of African music bears an uncanny resemblance to the activities of avant-garde historical artists, particularly surrealist photographers like Man Ray. In fact, Eno's solo work was based on old avant-garde collages and automatic writing tricks of the time. Borrowing the concept of “ethnographic surrealism” from James Clifford, this article puts My Life in dialogue with photographs of African art objects from the 1920s and 1930s (Rhythms) captured through mechanical reproductions and recontextualized to create striking juxtapositions. . Through technologically sophisticated processes, these sounds and objects are stripped of their original meanings and functions and used to create surreal and otherworldly atmospheres. 138A Multiphonic Ballad: Noise and Race in Black Popular Music

Braxton a Dalek

SETH MULLIKEN, North Carolina State University The presence of noise in black popular music is defined along certain racial lines:

The "noise" of black music is the infantilized and inexperienced spirit that reinforces stereotypical institutional views of blacks in the arts. This article will attempt to institutionalize an attempt to subvert and reverse such readings in order to reduce noise, that is, the presence of “non-musical” sounds, to be intentionally and specifically placed in black music, a direct challenge to the notion of an identity. essentialized race.

through musical genre and expression. This alternative history of music will here explore a “polyphonic” historical approach. Listen to cutting-edge musicians like Anthony

Braxton and Cecil Taylor, as well as Public Public Enemy and the rap group Däl ek with Attention like Taylor, these expressions suggest a vision of race and current noise that creates Dälek's openness to a variety of expressions of musical identity. By way of theoretical delimitation, this article addresses two different fields of research: Research:

solid studies and critical career studies. Using an approach to race common in cultural studies from Fanon to Gilroy, race is treated as a power strategy that continues to work through the practice of creating an illusion of its attachment to the body. Second, with the theories of

Noise by Attali and Paul Hegarty, Hegarty, the article will treat Noise as a similar product of a power strategy, a fluid and shifting field that creates the illusion of permanence to subvert pluralism.

identity expressions. Getting these two theories to talk to each other is one thing.

Attention to "loud" black music reveals noise and race as fluid, plural, and open opposites

the illusion of essentialism in both.

A Thousand Origins of China's Experimental Music and Sound Art Field ADEL JING WANG, Ohio University

Both experimental music and sound art practices are still young in China. Unlike academic and mainstream music practices such as Chinese classical instrumental music, Liuxing (pop) music remains non-academic, non-academic, ic, unofficial, and grassroots practices.

The forerunner of today's experimental music and sound art practices in mainland China can be traced back to China's underground rock music culture, which emerged in the mid-1980s. Rock music culture has been subject to a strict state censorship for their public concerts and albums released since then. so. However, with its connection to international experimental music and sound art practices, including the use of cutting-edge multimedia technologies, technology and collaborations with foreign artists, experimental musicians, and sound artists in China seem to have opened up a space for repressed musical expressions. previous and redefined

the importance of Chinese underground culture. In the attitude of an ethnographer, ethnographer rather than offering a historical account of development

experimental music and sound art in China, I create a map of the field that I propose

Being rhizomatic instead of arborescent. The map consists of entries (including events, festivals, people, journals, projects) indicating different origins of the topic. Through this map, I want to capture the vitality and dynamic connections in the Chinese kingdom of China.

Experimental music and sound art.



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Multimusicalism: Towards an understanding of difference and culture

memory in improvised music

JASON ROBINSON, Amherst College “Improvised music” means a variety of practices derived from different cultural systems.

Since the 1960s, communities of improvisers have emerged using various forms of popular music, jazz, experimental music, and others. I try to analyze how these different lineages materialize in contemporary improvised music communities and how

are defined by the memory of cultural memory, regulating the studies of two musical communities – the

New York's experimental "Downtown II" music scene in the 1980s and 1990s and San Francisco's current improvised music scene, captured on the Bay Area New Music mailing list, show how diverse traditions were built entering spaces symbolic informed by notions of diversity, difference and history. . Using recent trends in multicultural theory in the United States and elsewhere, I introduce the neologism "multimusicalism" to locate the processes through which diverse musical and cultural traditions interact within communities of improvised music. David Theo Goldberg argues that multiculturalism "represents a wide range of social articulations, ideas, and practices that '-ism' reduces to a formal singularity and fixes in a cemented state." Similarly unique, Maria Koundoura also draws attention to the "progressive commodification" of culture that accompanied multiculturalism in the United States.

1980. Building on these ideas, I show how a similar "multimusicalism" in New York City's "Downtown 2" scene of the 1980s and 1990s governs racial mobility and cultural borrowing, and how "communication computer-mediated" email-based music perpetuates, revises, and challenges cultural memory by (re)coding musical practices across problematic racial and social lines in San Francisco's improvised music scene. SAM 7a: 7a:Musicians Musicians crossing borders BGenre, Orders Virtuosity and Teresa MusicalSesión Carreños Compositions:

Interfaces in Concert Life in the 1860s LAURA PITA, University of Kentucky

The compositions of the virtuoso Venezuelan pianist Teresa Carreño were an important part of her concerts. The pieces of her composed by her for her tours of America in the 1860s show the intersection of distinctive Latin American elements with specific idiomatic figurations used

by other virtuoso virtuosos on tour in America. The allusions to his brilliant style allowed comparative comparison, facilitating the recognition of his mastery, while the use of Latin American elements allowed her to establish his ethnic identity. Her status as an immigrant allowed her to challenge the prevailing societal attitude toward women's makeup. This research offers a discussion about Carreño's compositions in her cultural context. Border crossings: In the footsteps of Mr. Casseres, a Hispanic-African Hispanic-African

Pianistin in Nova Scotia and Massachusetts, 1852–1862 MICHELLE BOYD, University of Toronto Toronto

Louis Casseres, a pianist of Spanish-African descent, was one of many musicians who fluently crossed the US-Canada border in the mid-19th century. Century. Following

On his transatlantic journey, this article traces his entrepreneurial, songwriting, and concert activities, examines the social networks he participated in between 1852 and 1862 in Halifax, Nova Scotia, and Springfield, Massachusetts, and examines when and why he identified himself selectively as ed, a "colored" musician. Casseres shows how "normal" America is

Musicians could build their careers not only by working in smaller centers and persevering and persevering in business ventures, but also by forging alliances and manipulating their own identities. Sentimental Imagination in the Nineteenth Century: Louis Moreau Gottschalk's Last Hope and the Commercialization of Music and Religion LAURA MOORE PRUETT, Merrimack College The Last Hope (1854), a play

was a piano solo written by the Orleans, New York-born composer, pianist, and pianist Louis Moreau Gottschalk (1829–1869), a time when a pervasive atmosphere of sentimentality was significantly transforming the role of religion in life of many Americans. With this composition, Gottschalk took advantage of the simultaneous attention of the public

Longing for the spiritual and gradual change to the secular. Connected the demand



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for society music with the new sentimental notion of religion, thus ensuring the popularity of the piece, popularity, measurable, measurable by five major sheet music sales throughout the century and beyond. Music album by Ángela Peralta: composition, reception and the feminine


ANNA OCHS, University of North Carolina-Chapel Hill

Ángela Peralta's published compositions, the 1875 album Música musical de Ángela Peralta, highlights the delicate balance between her musical talents and gender expectations in 19th-century Mexico. The album's complex works challenged superficial views of women's music education. On the contrary, the critical reception portrays Peralta's conformity to the feminine ideal, thus downplaying her "less feminine" qualities. And compared to the women on the cover, Peralta's image on the album emphasizes her troubled relationship with femininity. The musical styles of each track, pieces, images within, and the album's critical reception illustrate both Peralta's conformity to, and fight against, genre norms. SAM Session 7b:Hip 7b:Hip Hop and Rap Studies Dr. Dre's "Nuthin' But a G Thang": The Sound of South America in the South


LOREN KAJIKAWA, University of Oregon

This article examines Dr. Dre's "Nuthin' But a 'G' Thang" (1992), arguing that the song's laid-back atmosphere owes its unrecognized influence to Brazilian music. The advent of Dr. Dre represented a new approach to beatmaking, but also a new way of imagining urban space through rap music. In the context of post-Rebellion Los Angeles, "Nuthin' But a 'G' Thang" drew on signers embedded in the image of Brazil in American popular culture to reimagine gangsta rap as the musical locus of signers of the pleasure and desire for design.

Queering Disability/Disabled Queerness: The Carnival Politics of R.

Kelly's Global Closet Kelly'

WILLIAM CHENG, Harvard University

A stuttering pimp, a blind prostitute, a puny stripper, and two dysfunctional gay lovers are just a few of the many African-American characters portrayed as social deviants in R. Kelly's work. Trapped in the closet (2007). (2007). This hip hope overthrows the discourses of marginality and conjures up the illusion of social equality in the form of indiscriminate discrimination. My project critically examines the identity politics of this Mardi Gras-style melting pot and its depiction of homosexuality not only as a form of disability, but also as a purported cause of communicable diseases, intraracial violence, and moral degradation in urban African-American populations. . communities Where's the beat? Beat?: Nation Towards a Rap Music Song Through Public Enemy's the Enemy' "It Takes Es: A Millionaire Semiology to Stop Back Use" CHRIS ROBINSON, University of Kansas

Hip hop scholarships have proliferated in academia in recent years. To gain a fuller understanding of hip hop, it is necessary to look at music that is often left out of hip hop research. It is important to understand that the academic hip hop community may not have the musicological vocabulary to find accessible analysis of rap music. This role offers

a possible methodology that combines cultural studies and musicology and combines the theories of musical semiology of Jean Jacques Nattiez with a musical analysis of Takes a Nation of Millions to Hold Us Back by Public Enemy. album needed

"Whose rhyme is that?" African hip-hop's challenge to the imagination of an American archetype WARRICK MOSES, Tufts University

In his 2008 study, Halifu Osumare discusses the "connective fringes" of global hip-hop versus its American forerunner. Acknowledging the influence of African aesthetics on the hip

Hop, however, Osumare sees as a distinctly African-American genre. So is African hip-hop simply the result of American popular culture spreading around the world?



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Cape Town hip-hop outfit Brasse Vannie Kaap challenges this idea by setting itself in the specific socio-political and geographic context of post-apartheid South Africa. Africa. Yo

propose that hip-hop, as it manifests in the United States, is a recycling of Afro-African aesthetics, while the instantiation of hip-hop in Africa is a recirculation of performative ideology. Ideology. SAM Session 7c: Ensembles 7c: Ensembles and Communities Communities Critic, Conductor, and Orchestra in the 1860s Chicago: Building a City

through cultural capitalism

JAMES DEAVILLE, Carleton University

In booming Chicago in the 1860s, the association of music critic George P. P. Upton, bandleader Hans Balatka, and the Philharmonic Society helped give "serious" music a foothold. The orchestra/conductor/conductor or critic entered into a symbiotic relationship, with Upton using his consecration power to vigorously support the orchestra's enterprise and connect it to the concept of the "Chicago Enterprise," while the conductor and Ensemble provided Upton with the cultural capital necessary to "do" Balatka Balatka and the Philharmonic Society, and shaped the flavor of Chicago. The article clarifies the importance of criticism in the development of urban cultural landscapes. Of conductors, orchestras and docile bodies: concert culture as embodiment

Experience 19th Century America 19th Century America STEVEN BAUR, Dalhousie University

Attending an orchestral concert in America in the 1850s was a radically different experience than attending one in the late 19th century. One of the most notable changes refers to the physical behavior of conductors, orchestras and listeners. I see the transformation of concert life during this period as a reflection of broader transformations in the way industrialization, urbanization, and immigration shaped the American body. Drawing on mainstreaming theory and cultural studies, I conduct a critical analysis of American concert life in the second half of the 19th century and examine how changes in American concert culture are related to the politics of the body. in the United States of the 19th century. Rethinking Success: Longevity and the Gold Band of the Ring

SEAN TWOMEY, University of Western Ontario

The Ringgold Band from Reading, Pennsylvania is not only known for being the last band to be covered by John Philip Sousa, but is also notable for having had a continuous performance schedule for over 150 years. Success is often defined by comparisons

of quantitative parameters; However, longevity offers the opportunity to examine a point of stability amid the major social and cultural changes that have taken place over three centuries.

Gang Activities, Identity Formation, and Context-Defining Effects

The structures are briefly examined to determine what was essential to a community.

where music has mattered since 1852. The BPO signs a new contract: the Buffalo Philharmonic and the Grand


JUDY BRADY, University of Wisconsin-Madison

In 1935, the Buffalo Philharmonic Orchestra (BPO) received funding from the Federal Music Project to rejuvenate the ailing group. While many watched the five years of the FMP

Committing to the BPO as a positive step, disagreements quickly arose within what I call the city's 'symphonic music culture'. According to some, the government had nothing to do with the arts, and this article examines the conflicts that arose between Buffalo's business and cultural leaders.

while negotiating - and even questioning - the presence of the FMP FMP. As local interests grappled with a national agenda that blended private culture with government support, my research reveals the very different "actors" that have contributed to BPO achievements and success.



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SAM Session 7d: Critical Issues in the Musical Theater Play While Rome Burns?: Music for Booth's Production of Julius Caesar


MICHAEL V. PISANI, Vassar College

An 1875 revival of Julius Caesarin by Edwin Booth and managers Jarrett and Palmer seems like an odd bet considering Booth's brother Booth was responsible for an assassination attempt on the president just a few years earlier. This article examines that production and specifically how the splendid music by Giuseppe Operti, leader of The Black Crookat at Niblo's Garden, served to shift the emotional emphasis, and audience sympathy, from the assassinated Caesar to the conspirators. This college reading draws on eyewitness book accounts, the surviving Operti Orchestra, Princeton parties, and the New York Public Library output.

Historiographic Perspectives on "Integration" WAYNE HEISLER, Jr., The College of New Jersey

I extend the studies of problematization of integration in musicals by examining the language of the commentators in the period 1915-1927. How many terms that define themselves

Integration reifies traditions, resulting in a model by which history is written. Previous commentators on Show Boatemploy use terms that shape later definitions of integration: "representative", "current", "balanced", "coherent", "plausible", but they are not synonymous or necessarily complementary. Musical stories can be inspired by this culture, where aspects of integration coexist in a variety of musical entertainment and need little justification for impermanence.

Broadway Bound: Billy Roses Stratagem for Prestige in the Seven Animated Arts (1944) JAMES O'LEARY O'LEARY, Yale Universidad de Yale University ty

Producer Billy Rose's 1944 revue, The Seven Lively Arts, employed the biggest names on Broadway and the great arts communities to make a prestigious impression on their contemporaries. Despite the positive critical reception, Rose was shunned by the highbrow crowd. I submit that the success of Rose Rose was limited by a contemporary cultural debate that was changing what passed for high art. Most historians have downplayed this revision as a failure, but that's down to specific criticisms.

Since then, ideologies have dominated discourse on Broadway. Broadway. Reflecting on the reception of this musical, I argue that current Broadway stories are too anachronistic and ideologically charged. Desperate Times, Desperate Measures: Sweeney Toddas as Open Text ARREANNA ROSTOSKY, University of California, Los Angeles

Two very different Sweeney Todd productions opened on Broadway in 1979 and 2005: Todd: The Demon Barber Barber of Fleet Street. Broadway. The earlier production, directed by Harold Prince, was set in London during the Industrial Revolution and portrayed Todd Todd as a victim of a self-centered capitalist society similar to American society in the late 1970s. intense fear, fear, anxiety and madness

felt by many in a post-9/11 post-9/11 era. This article examines these productions as examples of open texts and their unique relevance to contemporary American society. Company. Plenary Session of the IASPM The Place of Joy and Pleasure: DanzónDance between Cuba and


ALEJANDRO MADRID, University of Illinois at Chicago

The bodies that dance are always bodies that disappear, and the impermanence of their movement sanctions a series of cultural erasures. These absences are essential elements of the dance style. I propose that the analysis of the bodies, their dance codes, the desires that motivate the dance, sheds light on the role of these absences in the formation of discourses that validate new identification networks.

Examining Characteristics of Cuban and Mexican Danzón Dance Styles from a 82nd SOCIETY FOR AMERICAN MUSIC, 37TH ANNUAL CONFERENCE

Friday afternoon summaries

From a historical and contemporary perspective, my research examines how the dancing body provides a space for negotiating broader discourses on nationality, nationality, race, and gender. Gender. Based on ethnographic field research in Havana, Matanzas, Mexico City and Veracruz, I take music and

Analysis of dance as the basis of an extensive cultural critique that examines how local notions of race and nationality develop in response to transnational cultural currents.

The stylistic differences and similarities between Cuban and Mexican dance, and the discourses developed by the dancers about the sensuality and authenticity of these styles, configure local networks that give social meaning to ideas about masculinity and femininity, femininity, civilization and barbarism. and blackness and miscegenation. . I propose that exploring these dance styles and the nostalgic discourses that accompany them, from a transnational point of view, sheds light on the complex ways in which individual and collective notions of pleasure, possession, and desire for the body are developed throughout discourses. of difference and otherness that transcends the borders of the nation-state. National state. IASPM Session 5a: The Rock and Popular Music Institute: Panel Discussion MARY DAVIS, President, Institute of Music, Case Western Reserve University ANDY LEACH, Director, Library and Archives, Rock and Roll Hall of Fame and Museum LAUREN ONKEY, ONKEY , Vice President, Education and Public Programs, Programs, Rock and Roll Hall of Fame and Museum ROBERT ROBER T WALSER, WALSER, Director, Rock and Popular Music Institute, Case Western Reserve University

This session focuses on the Rock and Popular Music Institute at Case Western Reserve University, a new Cleveland joint venture involving Case, the University of Rock and Roll Hall of Fame Museum, ours, Davis, and the Institute. Onkey wrote the grant application and that Cuyahoga led to a notable community college. Funding Approval Two for Leach directs the soon-to-open Rock Hall Archives, located in a new facility in Tri-C, and Walser Walser serves as director of the new institute. We are interested in discussing the establishment and prospects of the Institute with members of the IASPM-US, who form one of the key components of the Institute's activities. After brief statements by each speaker, we would like to engage in a dialogue with the audience about how the Institute can best achieve its goals and, more fundamentally, what those goals might be. The institute can be seen as a branch of the ongoing institutionalization of popular music studies, which poses significant challenges for collaborations between academics, journalists, and nonprofit educational institutions like Rock Hall.

IASPM Session 5b: Black 5b: Voices, Voices, Noises and Secret Stories of Black Women

Photograph of Lynch and "Strange Fruit"

MAYA GIBSON, Washington University in St. Ludwig

This article analyzes Billie Holiday's most famous and influential song, "Strange Fruit", in

given the proliferation of academic writing on lynching and witness photography over the past decade. On the surface, Holiday's Holiday recordings of "Strange Fruit" act like a snapshot, as the lyrics describe in gruesome detail the graphic vision of a lynched man.

Body. And yet it works like a performance recorded in a sonic medium in a much more resonant body. and insidious level that takes root in the psyche with melody, metaphor, juxtaposition and embodiment. In many ways, "Strange Fruit" can be understood as a gatekeeper song to the modern era of civil rights, anticipating the excitement of African-American protest for over twenty years. In a performative sense, it marked a redefinition of the social and political position of blacks.

Ranging from a tacit acceptance of Jim Crow oppression to an open demand for New Black self-determination.

Still, "Strange Fruit" works differently than most other protest songs we're used to: it doesn't

The reunion anthem "We Shall Overcome" or "Kumbaya" encourages arm-swinging. Instead, "Strange excels only in cringe-worthy effects, overwhelming our senses with its grotesque (yet fruity) portrayal of its human brutality. . What is to be gained by trading Holiday's performances of "Strange Fruit" against the renewed academic interest in the lynching of Holiday's photo? Photography? What is the best category of "Strange Fruit"? That D? Is it art music, pop music, protest music? What difference did it make and what difference does it continue to make?



Friday afternoon summaries

Here's a strange and bitter vintage: Billie Holiday as Strange Fruit KATHERINE TURNER, Clain University

This article examines the mutual effect of Billie Holiday's 1939 song "Strange Fruit." I submit that while the song became popular with the public as a representation of her iconic image and sound, its biggest impact was that she looked herself as a "strange fruit". and her experiences as part of the "bitter harvest." While the poem laments the lynching of black people in America, the song's story is the complex intersection of Jim Crow racism, the Communist Party, drug addiction, domestic violence, and life as an African-American musician in motion. "Strange Fruit" instantly made Billboard a "pop" song, despite receiving mostly radio play and being initially dropped by major record labels. Time magazine called it the "Song of the Century" and proclaimed that through this song "History" "the greatest jazz singer in history grapples with the history of history."

itself." However, there is little scholarly literature on the meaning of music, its relation to

Billie Holiday's life experiences, her impact on the public, the civil rights movement or other artists, surprisingly artists, surprisingly few have included this song in their repertoire. Repertoire. Several live and studio recordings of the song have been released over the years, musically depicting the singer's tragic downfall during the two decades she performed it. First-hand accounts from people who knew her invariably mention where, when and how she performed the Lament, and Holiday's own words reflect that in her repertoire it was as much a "pop" song as a

Mirror for your experiences. Steely Dame: The Memphis Minnie Blues Corps on the Move MASHADI MATABANE, Emory University

Black female musicians have a long history of involvement as instrumentalists, dating back to the late 19th century. However, his musicianship has often been overshadowed by a historically masculinist bias in musicology. This is especially true for black electric guitarists like Memphis Minnie. Minnie was one of the first black guitarists to successfully sing and record, and one of the first blues players to make the transition from acoustic guitar to acoustic guitar.

electric. Like many of her early blues-era peers, such as Bessie Smith and Ma Rainey, she tapped into a blues spirit that allowed her to enjoy greater sexual autonomy, financial independence, and independence at a time when women's lives black were changing creativity was difficult. for the rest, perfectly defined. Unlike many of these peers, however, Memphis Minnie's singing relied heavily on her ability to play the guitar, an instrument culturally constructed as a symbol of masculinity and male dominance. I want to think about what can happen when the guitar, especially the electric guitar, is tied to the body of a black woman who sings. This article is a preliminary exploration of how Minnie specifically uses the instrument.

it affected her ability to negotiate meanings of racialized femininity, femininity, construct her own representations, and transform her performance practices, while (for the most part) traversing racialized and gendered landscape shifts. Guitarists join in from Minnie to their contemporary musical descendants in blues and rock.

What's so sweet about brown sugar? Secret Stories of Black Americans What Are Women and Rock and Roll MAUREEN MAHON, New York University

Black women's contributions and creativity shaped the sound, feel, and image of rock and roll, but black women's involvement in the genre is often overlooked in mainstream history. In this article, I discuss Black women as independent artists, collaborators, and romantic partners with notable rock musicians to demonstrate the many ways Black women have participated in and influenced the form. Focusing on the 1960s to mid-1970s, I highlight the important musical and interpersonal connections between African-American women and white English men: Gloria Jones, the Northern soul icon who recorded "Tainted "Tainted Love."

She recorded in 1964 and later and had a son with her partner, glam rocker Marc Bolan; Merry Clayton, Joe's past, who sang in The Hunt, Rolling Stones and "Gimme Shelter" and worked with Cocker on six of the singer's albums; Marsha, the actress and singer whose UK hit 'Walk on Gilded Splinters' led her band to perform at the 1969 Isle of Wight concert (she was the only female rocker on the bill and is the mother of the first child by Mick Jagger).

Child). Together, these vignettes demonstrate how the voices and presence of black women 84 SOCIETY FOR AMERICAN MUSIC, 37TH ANNUAL CONFERENCE

Friday afternoon summaries

shaped the sound and energy of rock 'n' roll during the classic rock era. By calling attention to rarely mentioned artists and contributions to traditional rock and roll history, I hope to move in the direction of telling a larger story that reflects the diversity of people.

that swayed and rolled.

IASPM Sitzung 5c: Musical 5c: Musical Cosmopolitanism Cosmopolitanism The real metropolitan "things": cultural hierarchies, popular songs and the

establishment of a colonial city

DAVID GRAMIT, University of Alberta The musical sounds of Metropolis as a distinct entity from the redefined world of classical music were phenomena that Derek Scott elucidates as the underlying practices of popular music.

of the main Euro-American urban centers. But the music Scott speaks of was also heard soon after his creation in very different urban and possibly urban settings: the cities that sprang up where colonial settlements "warped or reshaped" pre-existing communities.

(Lomba). Focusing on the settler colonies and using Edmonton, Alberta, one of America's youngest and most remote cities, as a primary example, this article examines the role of popular music and the cultural hierarchies in which it was enmeshed in legitimizing new centers and peripheries at the end of the 19th century and the beginning of the 20th. As well as the resources of

zone of economic influence supported by such provincial centers, distant metropolitan areas that

Cultural goods and values ​​flow in the opposite direction, including 'legitimate' music

and the varied folk music, often contrasted with it, helped confirm both the colonization process and the status of the developing centers.

While the documents separate popular from mainstream classical music and suggest that the highly visible and diverse art worlds that Scott sees springing up again and again in the metropolitan area work here as well, that distinction was in many ways illusory. Not only were both 'worlds' often involved with the same amateur and professional musicians, but their sometimes uneasy coexistence was itself evidence of an urban sophistication that distinguished the new peoples from prehistoric (aboriginal) and rural settings.

Tango or pop? Musical tastes, tastes, urbanization and the questioning of national identity in Finland in the 1960s JANNE POIKOLAINEN, University of Helsinki

In the 1960s, Finnish musical culture was marked by a clash between listeners of Finnish tango and fans of Anglo-American popular music. This confrontation manifested itself both in the speeches in music magazines and in the often antagonistic behavior of the public attending the concerts of national pop groups. In magazines, this classification was generally treated as a matter of different musical tastes. However, it seems that these tensions, and not just stemming from taste, reflect much deeper conflicts between rural and urban cultures. This was underlined by

geographical differences in the popularity of musical styles: tango had the largest number of followers

in the countryside, while pop was mostly popular with urban youth. The confrontation also included a dimension of nationality: tango was considered the music of greatness

National character, character, while pop music represented many cultural and artistic elements alien to Finnish culture. In my article, I will discuss this phenomenon by studying how the fears and hopes related to rapid urbanization and westernization have influenced so-called musical tastes. More specifically, I examine the ways in which the choice between tango and pop and the general discussion of musical styles have been used as a means to articulate these emotions in the context of ongoing sociocultural change. Sound and Dreamscape: Transnationalism and Displacement in Abre los Ojos Ojos Vanilla Sky and RACHEL GOLDEN, University of Tennessee

Schizophony by R. Murray Schafer and Steven Feld describes the reproductive disconnection of a sound from its source and its technological reproduction elsewhere. This concept summarizes



Friday afternoon recaps anilla a sky, Alejandro Amenábar's 1997 film Amenábar, Abre los Ojos, Cameron Crowe's remake of Vanill from 2001 and their interrelationship. The movies demonstrate the intertwining of reality/fantasy and

Original/copy integral part of the remake relationship. By incorporating intertextual motifs of creation and renewal, the films and their soundtracks articulate and negotiate interconnected global flows.

alternate stories and deploy music as technology, technology, time and soundscape. Spanish director and composer Amenábar Amenábar created Abr Abree los Ojosto, which received acclaim from critics and audiences alike. Combining horror, drama and science fiction, he captures Caesar in a realistic and fantastical nightmare.

Ghostly Madrid. Caesar turns out to be a rich playboy who died a century ago; Cryogenized, he now lives out his story in virtual reality. An eclectic, pan-European soundtrack featuring Spanish pop, English trip-hop and jazz emphasizes Caesar's diverse use of space and time. Crowe reworked Vanilla Sky with Tom Cruise Opens as the "cover version" of him. Vanilla is distinctly American, assimilating the Abre installations to a heady urban Manhattan. Vanilla strongly asserts locality, buoyed by mainstream North American cinema and global pop references,

while imprisoning its protagonist in an alternate past/future. Abre and Vanilla reveal dynamic transglobal translations in integrated film and sound. The films articulate schizophonic questions about origin and reality, about memory and the future, and Frith's idea of ​​pop as alienation. My plot unfolds the regenerative relationship between films,

its decontextualization of time, technology, technology and sound and its leading cyborgs living real dreams reinterpreted on the other side of the Atlantic. Listening to the "American": music of Soviet film culture and its sound images

from America(s)

RACHEL Northwestern University Faux FrenchMAINE, wine ads and women vie for attention at an American club that houses soldiers and shpionskii (spies). Wearing sunglasses, faceless, and costumed, she plays a jazz band while a bombastic blonde sings in Russian. This scene from Games Without Rules (Igra Igra bez pravil, 1965) is one of many popular post-Stalin films that use jazz.

to mark the Americans. American. The compelling sounds of movies like this provided the average Soviet citizen with important sonic characterizations of Americans. Soundscapes loaded with

Parody and wry humor found their way into late Soviet cartoons and films, and even influenced the Russian characterization of contemporary Americans. After Shelia Fitzpatrick

With an emphasis on everyday life under Stalin, this article focuses on popular musical conventions in selected examples from movies and cartoons.

Post-Soviet culture suffers from the widespread perception that once Western products became available, the entire Russian citizenry simply capitulated to the American obsession. The presence of musically tongue-in-cheek, tongue-in-cheek, parodied Americans paints a different picture. The one in which American citizens imagine the banished sounds of everyday jazz, experience the created imitation of a "cowboy" idiom, or even rock 'n' roll soundscapes with which the average citizen still fully attended movies and cartoons. animated jazz swagger and gangster rock music, the American as an unsuspecting spy and cartoon villain. This everyday music that allows you to immerse yourself in a complex and sonically alive world in which the

West sounds like another contender, more than just a hater or obsession. IASPM Session 5d:Body, 5d:Body, Gender, Gender, Disabled Desire, Erotic, Other: Missing Notes from the Margins ANTHONY TUSLER, AboutDisability

This presentation will explain how a disability narrative is expressed in "Save the Last Dance For Me," a song by Doc Pomus, an obviously disabled man. This well known and beloved song has a history that is little known or understood. It was written for his healthy wife on his wedding day. Woven into its core is a narrative about disability that anticipates cultural, identity, and civil rights movements. Pomus's outside experiences gave her the insight and perspective to create his own compelling narratives. Pomus de Pomus's song moves beyond what could have been a pessimistic and demeaning story about a gullible, always-smiling disabled person, and instead presents a blueprint for a positive, evolved view of masculinity, disability, and equality. humanity.



Friday afternoon summaries

My examination of popular songs created by artists with disabilities revealed hidden stories that resonate with mainstream culture. The songs illustrate rich narratives of people with disabilities. Looking through and beyond the extremes embodied in mainstream disability discourses—“hero,” “victim,” “villain,” “saint”—leads to an added dimension that is richly textured and provides additional capacity for nuance. . When these songs are discovered, they contribute to a deep understanding of human experiences of longing and longing. Other stories are explored using the mainstream culture's dominant disability narrative encoded in songs like "Ruby, Don't Take Your Love to Town", also written by a person with a disability, Mel Tillis. It also includes examples of disability-affected songs by people with disabilities, including the creations of Tom Tom Jones, Marilyn Manson, Frank Zappa, Zappa, and other contemporaries.

Singers and songwriters are examined. In Search of a Kiss: New York Dolls and Male Physical Subversion SEBASTIAN BUZZALINO, University of Calgary

The purpose of this article is to situate the New York Dolls, a seminal punk band of the early 1970s from New York City, within post-structuralist feminism, existential phenomenology, phenomenology, masculinism studies, and cultural studies. of popular music to understand its affectively subversive masculinity. rethink. During their heyday, from 1971 to 1975, the New York Dolls provided much of the attitude, themes, and fashions into which punk would later become institutionalized. Importantly, by adding a healthy dose of glamorous sexuality to underground music, the Dolls suggested that sexuality was not only flexible, but could be used to complicate and complicate genres.

sexual stereotypes. By incorporating gender acting into their proto-punk performance, the Dolls implied that the heterosexual male body was also a site of gender subversion. By remaining decidedly masculine and heterosexist in their self-identification,

The puppets hid the language of the phallus from within and brought out a particular form of heteromasculine fear. Along with an emerging politically active masculinist movement, the once immaculate, rigid and unmarked transcendental phallic signifier began to emerge.

open to include different “deviant” notions of masculinity. The Dolls' anarchic attitude changed even more with the birth of the Sex Pistols. ls. Yet during the Dolls philosophy's migratory migration across the ocean and half a decade later, this subversion of gender subversion was lost in a sea of ​​deviant bodies. "Where do I end up?": Radiohead, hypermediated and posthuman music


MICHAEL BIELECKI, Western Illinois University

The critical acclaim and cultural phenomenon that followed Radiohead's 1997 release of OK Computer propelled them to the forefront of the worlds of music and pop culture. Since the legendary album, critics and fans alike have been quick to dismiss Radiohead as progressive rock or art rock, regardless of culture and music. in job interviews. Radio head interview. Though the band's monumental impact on androgyny pop culture is overshadowed. Radiohead's androgynous predecessors, David Bowie, Boy George, The New York Dolls, Annie Lennox, and Montreal contemporaries have all grappled with accusations of sexual deviance, homosexuality, and moral corruption: acceptance, rejection, or indifference. Unlike these and other androgynous performers that popular culture has canonized, Radiohead continue to ignore the rules of theatrical androgyny. androgyny. The aesthetic of Kid A and Amnesiac, described by Auner as a post-human soundscape of fragmented lyrics, concrete music, and electronica, allowed Radiohead to subvert male rock star roles without having to negotiate sexuality and deviance. The post-human and electronically mediated landscapes on these albums forge an androgynous musical experience that challenges audiences to work with the music rather than consume the band as yet another cultural asset. fan shop This approach puts the music at the forefront of their image, not the physical appearance of the band, the experience, the appearance, the dancing. unnoticed.



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Cyborgs Think They Can Dance: Academic Theory Meets Mainstream Media JUSTIN BURTON, Rider University

Since Donna Haraway's "Cyborg Manifesto" (1985), posthumanity has become a useful tool for critical inquiry and a growing presence in popular culture. Theories about technology and identity distilled for the masses can be read in popular music, on television, and in the movies. Here, with a study by So You Think You Can Dance (SYTYCD), I examine the ways in which academic posthuman theory found its way into mainstream media. SYTYCD is packaged similarly to American Idol: young performers perform complex routines to a wide range of popular music and compete to become "America's Favorite Dancer", eliminating contestants until only one show remains. of the posthuman permeate the entire show, each beginning with the premise. AndSigns' manipulation of the human body is the focus of each episode, but the dancers can only address viewers through television media, and voters who "connect" with the dancers vote using cellular technology. with technological posthumanity, technological posthumanity is a common and frequent theme of choreographed routines that act as a metaphor for the experience of the dancers and spectators of the show. I'm particularly interested in a performance in Season 3 (Ep. 311 311) embodying the role of post-humanity on SYTYCD. Played to the tune of Timbaland's "Oh Timbaland," we see Anya Garnis transform from a Danny Tidwell-controlled automaton into a freelance agent. A close analysis of this performance reveals the marriage of academic theory and the media that form the backbone of the entire show. IASPM Session 6a:Lady 6a:Lady Gaga and Riot Riot Grrrl want love and revenge: Canon's critique on Lady Gaga's "Bad"


STEPHANIE GUNST, University of Tufts

In addition to being one of the most viewed videos on YouTube, Lady Gaga's music video for "Bad Romance" recently won seven awards at the 2010 Least Discussed Video Music Awards. As a current pop phenomenon, he is in an ideal position to critique not only the problems with the canon, but also the very idea of ​​canon itself. Bach is possibly the quintessential canonical figure. Based on Adorno's theory of

Subjectivity In his article "Bach Defended Against His Followers", I argue that the inclusion of Bach's music in the music video for "Bad Romance" presents the latter as a critique of the canonization of Western art music. By appropriating only the fugue theme for the B minor fugue in Book I of The Well-Tempered Clavier, Lady Gaga removes all context and signifiers and reinforces Adorno's fears that the theme is being 'sacrificed'. Through video analysis, I show how Lady Gaga aligns herself as a "sacrificial subject," only to complicate that status of hers by destroying anyone who objectifies her. hers.

Anyone or anything that is canonized is "elevated" to a state beyond the tangible, even accessible. Pop music naturally defies this process. Lady Gaga, as a pop character, is able to critique the idea of ​​canon in her favor: by removing Bach's fugue from the canon, she can be reinstated as a symbol of her fight against objectification. This presentation aims to open the discussion about this artist whose current influence lies in the present

sociocultural trends is far-reaching. G. Gaga for Politics: The Political Possibilities of Engaging in Politics "In Character" MICHAEL MARIO ALBRECHT, ALBRECHT, University of New Hampshire

The phenomenon of popular music stars' involvement in politics is not new. This political engagement has taken myriad forms, from folk music at protest rallies to benefit concerts,

to congressional hearings, to musicians running for congress. When contemporary musician Lady Gaga began speaking out against the military's ban on openly gay soldiers, she seemed at first glance to be part of that deep tradition. What is

impressive about the political activism of Lady Gaga who "stays in Germanotta". Character” through and through, she never leaves “Lady Gaga” and is just Stefani. So her performance is up there with Bowi Bowie's Davi David and she becomes a mix of politicians like Zigg Ziggy and Star Stardust or Paul Stan Stanley Ley.

heading to congress like a star child. With the possible exception of Spinal Tap, which appears in

Hear N Aid character, I maintain that this is a contemporary phenomenon. 88 AMERICAN MUSIC SOCIETY, 37TH ANNUAL CONFERENCE

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In this article, I ask what possibilities open up for a star, especially one who constantly acts like a person, acting as a political advocate while keeping up her act. Performance. Specifically, I address the speeches around Lady Gaga's message to the Senate

September 2010 working to understand a prominent figure posing as a political advocate rather than the "real person" behind the mask. To that end, I address Phillip Auslander's problematization of authentic self-expression, and ultimately propose that Gaga enhances her ability to be politically effective through the borderline position that results from her refusal to "take off her mask" and simply be "natural." ". Act. ." Riot Grrrl is dead. Long live Riot Grrrl: political activism, nostalgia and

Historiography ELIZABETH KEENAN, Fordham University Nostalgia pervades popular culture in the United States, but what does nostalgia mean for music associated with political and social activism? Signs of a nostalgic '90s revival are everywhere in recent years, with plaid-shirted teenagers jumping the pages of glossy magazines and '90s bands like Soundgarden and Pavement embarking on reunion tours. As part of this pop culture renaissance, perpetuating an ongoing nostalgic consumerism in the United States, there has also been a bit of a Riot Grrrl renaissance, circulating on feminist blogs and through the publication of books the movement deemed essential to the rise of Third Wave feminism. . Where does consumer nostalgia end and history begin? What does the memory of this music-oriented feminist movement mean at a time when its practitioners have largely turned to other activities? The process of remembering sometimes glorifies Riot Grrrl's political and musical strengths at the expense of historical accuracy.

at other times, he strives to correct the misconceptions—particularly those related to race, class, and elitism—that ushered in the action movement. This memory of the drawing was also a political appeal for some and a catalog of disappointments for others.

on the reflections of José Esteban Muñoz Muñoz on the construction of utopias through nostalgic frames

Past, this chapter questions the political nature of Riot Grrrl Grrrl memory in the present, and addresses the intersection at which the now-popular production of 1990s nostalgia intersects with the important project of third-wave feminist historiography. assent. This article examines the camp aesthetic in the performances of female pop music artists from the perspective of female sexuality. Kylie Minogue and Lady Gaga - Explore how the aesthetics of their performances can be read from a female perspective. The article suggests that the camp performances are more than just a play on alternative sexualities: their distortions and exaggerations of beauty stereotypes are a direct critique of the objectification of the musical artist as

erotic object of public desire.

IASPM Session 6b: Local 6b: Local histories

King Biscuit and the Bilateral Interpretation of an Imagined Musical Place ROBERT WEBB FRY II, Vanderbilt University

Every October, Helena, Arkansas, and its blues tradition is revived and celebrated during the King Biscuit Blues Festival. Established in 1986 as a means to revitalize downtown Helena, the festival has resulted in a presentation of Helena, Arkansas and its blues tradition, grounded in historical musical imagination and the history of the host and guest cultures. cultures At the same time, the local tourism industry adapts the city to the wishes of the host community

Visitors and their performances on the festival grounds change the city to suit the wishes of the host community. community. For tourists, locals act as actors in a performance of Helena, reinforcing notions of Delta and small-town America. For locals, it's the tourists who act as actors in a Helena performance that not only reinforces the town's current blues identity, but also reinforces memories of its vibrant and vibrant past. In this article, I make it clear that although the host cultures conceive of the performance festival city differently, Helena, as a musical venue, is embraced and fully realized only through the bilaterality of the past and present imagined by the residents. and tourists from the city. In this dialogue, the places and the city constitute a performative space for the discovery and negotiation of tourist values.

Authenticity, while the presence of tourists endows the spaces with a performative authenticity, INTERNATIONAL ASSOCIATION. FOR THE STUDY OF POPULAR MUSIC – US 89

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Space to present ideas of your imaginary city. City. Thus, during the collective performance of the King Biscuit Blues Festival, Helena, Arkansas becomes the scene of another performance: that of an imaginary place, history, history, and music.

"If the black lungs don't get you, yeah man, the hot road will" - Camphor tales, mine

wars and musical protest against mountaintop erosion in the Central Appalachian Mountains TRAVIS STIMELING, Millikin University For generations, composers in the coal mines of the Central Appalachian Mountains composed music that reflected the struggles of miners and their families, supporting policies and issues Issues that mobilized and challenged corporate control over the economies and ecologies of the region. Over the past decade, professional and amateur musicians alike have drawn on this collective musical history to raise awareness of the devastating environmental, cultural, and economic impacts of mountain mining (MTR). Several composers once evoked the region's bloody struggle to organize coal workers during the Mining Wars of the 1910s and 1920s.

new repertoire of battle songs calling for the end of the MTR and the eviction of the coal companies in the region. Reminiscent of the musical overtones of union songs from the Mine War, Appalachian and punk eras, these songs evoke a populist revolt against multinational ballad operators like Massey Energy and Arch Coal. This article questions the way anti-MTR musicians evoke the sounds and rhetoric of the mine warfare era to call for a populist rebellion against the tyranny of international mining interests. Furthermore, the article explores how these songs reproduce longstanding divisions between pro-union and anti-union forces, and explores the impact of this polarizing rhetoric on anti-union political efficacy.

MTR discussion. Ultimately, the article suggests that these songs provide insight into how coal companies have taken over Appalachia, exploiting these cultural divides to disenfranchise and disenfranchise, immobilizing heartland residents, reaping the region's bounty. natural and at the same time systematically impoverishing its inhabitants. population. Sounds from Within: Musical Stories of Inmates at the Louisiana State Penitentiary,


BENJAMIN HARBERT, Georgetown University

Beginning in the 1930s, John and Alan Lomax toured the Angola prison, recording blues plays and songs. They described a centuries-old tradition of African music preserved in prisons in the south where it has now disappeared. There. Today prisoners have more time and less work. In 1973, Louisiana passed a law making life imprisonment a life sentence; The reforms eased harsh farming practices. The song continues its effectiveness in addressing the work to be done. Louisiana inmates still work in the fields, though now there's rap and R&B.

persecute unskilled workers. Bands of various inmates now rehearse in the band rooms for the prison's annual rodeo, religious revivals, and outdoor church festivals. Extent.

Institutionally there are many changes. The urban prison population institutionally reflects decades of urbanization

although the agricultural practices of the prisons are maintained. Once "America's Bloodiest Prison," Angola is now undergoing major reforms. How did prisoners who have no control over these institutional changes experience these changes? How has music changed your experiences? Music? To answer these questions, more than a dozen musicians have life prisoners who have served at least twenty-five years.

It's sad, they give an account of their experiences, the oldest of which came in 1964. This work illustrates and updates the changes and consistencies in musical practice in Angola.

earlier folk tales. He also addresses some of the historiographical challenges: negotiation, bargaining for outsider status, the complicity of institutional surveillance and fieldwork methods, and

the sense of not belonging that prisoners suffer. These challenges are not exclusive to prison, but they are exaggerated there. There. IASPM Session 6c: Excavation 6c: Excavation and Emanation of History History History as a Trick: Patti Smith's Essential Reduction BARRY BARR Y SHANK, The Ohio State University

Horses was hailed upon publication as "a kind of definitive essay on the dark night of the American mind" and "so absolute an affirmation of life that even in graphic recognition of

Death takes your breath away." But it was also dismissed as "a celebration of the cult."



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Incompetence in Rock Music" and music "for those who like the idea of ​​rock 'n' roll more than its impeccable execution."' and asks if Smith's efforts to incorporate the style she's honed into acting would give as a result an artificial stylization.

concluded that they are “an authentic record. . . which Smith completely captures", with the band's sound being "a much louder, louder, more pointed band". But Marcus also feared that the clarity of this record could fully expose the concepts behind their work, making it " Shtick." .” What probably bothered Marcus was Smith and his band's ability to artistically reference rock 'n' roll history through performative gestures that framed their confident appropriation of their past This recording, and the single that preceded it (" Piss Factory" and "Hey Joe"), distill from that story several key factors—musical conventions and attitudes toward art, meaning, and emotion—that began to define rock music.

The combination of art and dilettantism was explicit and clearly audible in his work. Through the clarity of this reduction, the Patti Smith Group was able to visualize the genre's dependence on blackness as an increasingly distant sign of freedom, the vanishing point of origin and return in rock history.

Music Hall and Revisionist Histories in 1970s British Rock BARRY FAULK, The Florida State University My article addresses a particular moment in popular music when the past became a resource

Critical perspectives in the present. The music hall style saw a resurgence in British rock music of the 1970s. The reappearance of the Music Hall was more than a tribute: the style offered a vehicle

they frame the recent past of British rock itself, highlighting, and generally satirizing, rock music's modern association with counterculture. In the 1970s music hall groups were affected

Along the lines of the Moodies, Davidby Bowie, and Kevin Coyne, "High" mocked classic rock to highbrow art status, blurring into so-called "low" efforts in the so-called rock genre while maintaining a self-professed position of marginality. marginality Significantly, the attempt to define categories of taste, this time by artists working with the genre,

rather than being required by law by record companies or the press, including the fledgling critical rock establishment. Rock criticism of the 1960s through music hall sampling made a point that it was as political as it was musical.

first, that the supposed community of the previous era was more restrictive than the counterculture

consistent. A partial list of 1970s groups that used the music hall style to satirize the dictates of 1960s-style radicalism includes Reading Art School Band The Moodies, Glitterrock Band Slade, Sensational Alex Harvey Band, Pre-Ziggy Stardust David Bowie, Bowie, the Sex

Pistols and Sham 69. I'll limit my discussion here to pub rock band Kilburn and the High Roads featuring Ian Dury and art rocker Kevin Coyne. Coyne and the Dury group experimented with a mix of music hall and rock with the aim of fragmenting or alienating one version of English in order to reshape the national imagination. In this sense, Coyne and Dury's neo-music hallisms of Dury point to recent parallel experiments by groups like the Sex Pistols and Throbbing Gristle, which, as Dave Kennan points out, referred to forms of alternative culture that predate rock music itself. , "to hide and reconstruct a fuller version of what it means to be English."

The Historical Consciousness of Sunshine Pop KEIR KEIGHTLEY, University of Western Ontario This article addresses what is now known in retrospect as the "sunshine pop" sound.

circa 1966-1969. He discusses both the contemporary search for a "useful [pop] past" (Van (Van Wyck Wyck Brooks 1918)) and contemporary revivalist arguments about the historiography and toriography of rock (and pop). On the historicity and nostalgia of postmodernism, I will argue that there are at least two levels of historical consciousness at play when celebrating the work of Los Angeles-based artists such as Van Van Dyke Parks, Parks, Tandyn Tandyn Almer, and Brian Wilson. These and other musicians are participating in a rare renaissance of early 20th century entertainment (Tin Pan Alley Alley, Vaudeville, Circuses) lyrics from circa 1966, on pianos, harmoniums and barrel organs, circus sounds, early polka beats and history. Early out of the bombast pop music begins to emerge in L.A. Studio Rock, as well as Ray Davies, Alan Klein, the Zombies and the

The Beatles embrace the UK Music Hall. These explorations of the old simultaneously serve the opposite cultural logic of rock ("blues-folk now rules, we'll do what we want too").



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Opposite") and reaffirms continuity with mainstream long-playing pop. They are also part of the broader integration of knowledge in the area at that time. I'll start my argument with an obscure 1968 single by hit songwriter Tandyn Almer, "Poor Old Organ Grinder, Grinder," set in 1902, and trying to understand what happened to the pop artist of an earlier era, an era that is not just gone. long ago, but is now overlooked, if not completely forgotten. completely. The organ grinder had been a popular target of urban noise reformers in the 19th century and later provided a basic derogatory metaphor for pop songwriting: "crunchy tunes". This indicates a certain degree of self-reflexive historical consciousness.

Part of someone who works in the song factories of the Los Angeles studio scene. when rock begins to reshape the field of pop music production. I submit that this is one of the reasons why post-rock fans embrace Sunshine Pop and see it as a sort of "hopeful" counter-story.

to the great narratives rooted in rock culture.

IASPM Session 6d: History 6d: History of Recorded Music Music in Search of Eldridge Johnson: Father of the Modern Recording Industry CAREY FLEINER, University of Delaware

Eldridge Johnson Johnson's Original Improved Gramophone has appeared at every Grammy Award since 1958; It added the engine that standardized playback speed and revolutionized the recording industry. However, Johnson himself remains an overlooked figure.

in the history of popular music; Even with the promotion of Victor Records, which he founded in 1901 as the first record company, he deliberately kept in the background and actively promoted entertainment. When he sold Victor to RCA in 1929, he had created the first

He virtually single-handedly recorded superstars, invented music advertising and branding (he acquired the US image rights to Nipper the Dog), and most importantly, laid the groundwork for the soundtracks and effects with the first film. Oscar-winning film, Wings (1927). Theatrical audio specials from his Camden, NJ studios. My paper soundtrack will be about Johnson

and his business plan, and the main repository and archive of his life's work, the Johnson Victrola Museum in Dover, DE. The museum itself is an overlooked resource; Contains around 50,000 78rpm records, paperwork, memorabilia, and dozens of mechanical and electric record players and associated recording machines from 1877 onwards, but was closed by the state of Delaware as part of budget cuts in 2009. They were overlooked additional features in the Dover State Archives. Today There are currently over fifty primary sources on Johnson's life and achievements.

Old books, self-published or out of print, written by local historians and music enthusiasts; A modern and affordable work on his life and a catalog of resources available for this critical part of recording industry history are long overdue.

A saga of anonymous sooys PAUL FISCHER, Middle Tennessee State University

Thomas Edison Edis invented the phonograph. rap phone. Few know that it was not a record player. Disks, not cylinders, emerged as a major industry of the 20th century, but their inventors and developers have been overshadowed by Edison's public relations canon. On the Gramophone/Vittrola page of recording and playback history, an important story is missed. Your round "records"

Pop music catalyzed by professionals as American home entertainment. One story that deserves to be better known is that of Harry, Raymond, and Charles Sooy, brothers who worked for the Victor Talking Machine Company in the Acoustic Age. Harry, the eldest, did initial experimental work on recording materials and processes for the company's president, Eldridge Reeves Johnson. Johnson. He became director of the Victor Victor Recording Laboratory and Raymond succeeded him after his death. These men pioneered techniques that enabled sound to be picked up on the company's acoustic trumpets. list. In 1925, Raymond helped lobby the company to license new electrical recording technology, technology that made everything he and his brothers had accomplished obsolete overnight. Victor Talking Machine Company is proud of the wealth it has created for its owners, investors and key employees. to do this. Like Mr. More than Johnson, thirty millionaires sold shares in his company, including Johnson in 1927, all others were authorized members of his family, key executives, and factory employees. But I'm not them. The presentation then sharply and wittily jumps to the conclusion that the producers are filming

they were underpaid from day one. 92 AMERICAN MUSIC SOCIETY, 37TH ANNUAL CONFERENCE

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Listening to Forests and Trees: Nature Sounds and Popular Music CRAIG ELEY, University of Iowa

This article argues that the intersection of "nature sounds" and musical practices is an important but understudied aspect of music and recording throughout the 20th century.

History. Far from being completely ignored, the connections between sound and nature in critical historical discourse are often based on the same limited examples: the tape collages that characterized the musique concrète, the work of John Cage, and the dreaded “Era” category. new". fascination

Capturing aspects of nature on sound recordings is as old as the recording itself. Beginning in the 1890s, cylinders such as "A Morning on the Farm" and "On the Midway" evoked ambient scenes using a combination of animal imitations and Foley techniques in conjunction with music. From this, the whistle developed into a popular form of music that combined artistic virtuosity with scientifically false imitations of birds and lived on well into the 1940s.

Ornithologist recordings have been released by Folkways Records. As this brief sample demonstrates, using the lens of nature to reinterpret the history of popular music is important on two levels: first, these recordings reveal the historical malleability of some of the

Categories of sounds we use today, such as "music" and "sound effects." Therefore, while this article aims to explore previously forgotten recordings at the most basic level, it also hopes to open up new avenues for the study of popular music. Second, these recordings show that critically acclaimed avant-garde practices often existed in a larger cultural context, alongside similar techniques practiced by hobbyists, working artists, and non-musicians. SAM Session 8a: Tin Pan Alley and Early Minstrel Recordings on Disc: 1890-1920 TIM BROOKS, Independent Scholar

Much has been published about the origins of the minstrel, but relatively little about its later years, although minstrelsy was a dominant form of popular entertainment in the late 19th century. Audio evidence, even less noted, has survived. From the beginning of the recording industry in the 1890s, minstrel short replicas were extremely popular. popular. In some cases, entire half-hour minstrel shows have been recreated via disc sets designed to be played side by side. This article examines the repertoire, playing style, and players of these early recordings and how they changed from the 1890s to the 1920s.

Scat is one of the central means of jazz singing; Louis Armstrong and Cliff Edwards were hailed as his pioneers, beginning with their recordings of the mid-1920s, but Edwards recalled using his techniques in the 1910s, calling them "een'". this paper

reveals a likely source for Edwards' term, illuminated by previously little-studied studies

Materials: Sheet music, commercial scripts, and recordings of debates, also displaying various nonsense syllable conventions from the ragtime era. It addresses critical questions about the continuities between ragtime and jazz, their definitions and recording uses, and

they mentioned music as primary sources illuminating each other. Scenes from Youth: Aaron Copland and Tin Pan Alley

DANIEL MATHERS, MATHERS, University of Cincinnati, University Conservatory of Music

Although Copland was fascinated by popular music as a young man, he did not say whether popular composers, along with composers from Chopin to Scriabin, also influenced his formative development in Brooklyn. Discussion currently centers on a waltz and several related manuscripts in the Library of Congress, items he drew as a teenager and borrowed from popular songs. The waltz tune, along with his subsequent borrowing and subsequent reuse of the theme in the 1920s, provides a focused picture of Copland's burgeoning creativity in the mid-1910s and implicates popular music as central to his story in development of his appropriation in jazz. Age.



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SAM Session 8b: Staging of Identities 8b: Staging of Identities Realization of Cultural Diversity in L'Ag'Y L'Ag'Ya (1938) and Little Black Sambo (1938): The Relationship Between the Chicago Negro Unit of the Federal

Theater Project and the Interracial Cultural Front in Depression-era Chicago JENNIFER MYERS, Northwestern University

In order to promote a pan-African consciousness, as well as an awareness of the social problems facing blacks in Chicago's post-Great Depression era, the Chicago Negro Unit (1936-1939) became interested in elements of music. , dance and theater Derived from Commercial, Community, (1936–1939 Community and agitprop entertainment. Early works included classical pieces tinged with racial elements, L'Ag'Ya a and Little Black Sambo, used folk themes and later ones such as L'Ag 'Y- Rituals to enact and at the same time mask controversial policies.My article examines how the performative elements of these latest works highlighted the cultural diversity of Chicago's black immigrant community through an intriguing mix of styles, genres, Genres and Sources.Needles: A Crossroads Between Broadway and the Working Class TRUDI WRIGHT, WRIGHT, Metropolitan State College of Denver

By introducing amateurs to professionals, as well as union members to the general public, Needless has created two significant intersections between their audience, the audience, the production, the Pins and Needle cast, the creators, and the viewers. The amateur cast of seamstresses rehearsed for over a year with their professional creative team. Many critics agreed that it was the authentic atmosphere created by these amateur actors that captivated seasoned Broadway audiences for more than 1,100 performances. Through an analysis of two of the show's original songs, I will demonstrate how this revue introduced and entertained Broadway audiences to working-class culture. "Always on the Fence of Our Dreams": "Always": Martha Graham's idea of ​​the

Sacred Native American Woman in Appalachian Spring SARA BROWN, Florida State University

Appala Appalachian Chian Spring by Martha Graham Spring is widely associated with cultural identity in a wholly Anglocentric America. Graham's first correspondence with Aaron Copland features an Indian girl who was later cut from the script. Graham had a lifelong fascination with Native American dance, which greatly influenced her work. She also dealt with Jungian myths, rituals, and psychology. A study of Graham's techniques for evoking the intensity of Native American dance, as well as her interpretations of mythology and conceptions of the sacred feminine, reveals some interesting dimensions to the Indian girl Graham identifies as Pocahontas, "the [America's] Eve". America] Genesis.”

SAM Session 8c: Cold War Musical Diplomacy Cultural Diplomacy to Mitigate Cultural Imperialism: Imperialism: Music in America

Icelandic Relations, 1954-1958

EMILY ABRAMS ANSARI, University of Western Ontario

Through an examination of the US government's use of musicians to reduce anti-Americanism in Iceland, this article considers the Eisenhower administration's attitude toward the political and psychological power of music. Between 1954 and 1958, the United States faced a crisis in Iceland, during which local nationalists increasingly resented the influence.

by American soldiers stationed locally in their ancient culture. Using this example, I demonstrate the role of art in Eisenhower's Cold War strategy and consider what it can tell us about the perceived and actual power of music to effect political change. Refining the New World: World: Harpsichord's Global Tours and the Rebuilding of

The postwar image of the United States

JESSICA WOOD, Duke University

In 1956, the "sensitive" State Department began sponsoring tours by American artists in communist-influenced regions of the United States and the world. Harpsichordist Sylvia Marlowe was the first soloist to tour under the auspices of the show, making stops along the way.

in several Asian cities. Local coverage of his tour dramatized the rarity of the discovery.

a Harpsichord in Non-Western Places and the Precariousness of the Instrument at the 94TH AMERICAN MUSIC SOCIETY, 37TH ANNUAL CONFERENCE

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humid eastern conditions. I argue that the specter of the sodden, detuned harpsichord provided a venue for articulating the difference between 1950s Asia and historic Europe, and for enacting "history" and "class" as components of the international image of America. postwar. . .

Duke Ellington, The King of Jazz and the Mexico City Massacre 1968 LEÓN GARCIA, Smithsonian Institution

Between September 23 and October 2, 1968, two independent events took place in an area less than two square miles in downtown Mexico City: Duke's Ellington concerts at the Palacio

of Fine Arts and the Massacre of Protestant Students by the Mexican Army. By the time of Ellington's visit, several students had been killed and the army had taken to the streets. Greeted by Mexicans as "The King of Jazz," Ellington was sent to represent the music of the United States. In this article, I examine the political background to these events. I pay special attention to Ellington's compositions inspired by the Mexican landscape in his Latin American Suite. SAM Session 8d: Politics, 8d: Politics, Identity, Identity and Experimental Music Experimental

Kulturkritik am Chicago Art Ensemble „A Jackson in Your House“ PAUL STEINBECK, Universidad de Chicago

In this lecture I will discuss the Chicago Art Ensemble's composition “A Jackson in Your House,” an intricate, multifaceted, multifaceted text that reflects the history of jazz. My analysis shows how "A Jackson in Your House" confronts art ensemble musicians with outdated notions of how the jazz tradition should be interpreted, and also offers a sharp cultural critique of various topics in jazz history, including the history of jazz. of jazz, social and social aspects. racial politics, the relationship between artists and their audiences, and the reception of black experimental music in the United States and abroad. Sweet Land of Slavery: The Transformation of Charles Mingus' Fables of Slavery



One of Charles Mingus's most overtly political works, "Faubus's Fables," lampoons Arkansas Governor Orval Faubus for his infamous 1957 refusal to integrate the schools. This article examines the radical transformation of "Fables de Faubus" between 1959 and 1964 (the years in which Mingus performed the work most frequently). often). Using work by Gates (1988), (1988), Floyd (1995), and Monson (1996), I examine how dramatic changes in tempo, dynamics, duration, formal structure, improvisation, and the use of musical quotations ( as "America") serve as meaning for Mingus's growing bitterness and frustration as the controversy escalated.

related to the civil rights movement has increased. A Search for Musical Identity: John Zorn and the Postcolonial Condition HANNAH LEWIS, Harvard University

In the early 1990s, John Zorn was heavily criticized for his portrayal of Asian women in his film.

albums, prompting protests from the Asian-American community. Almost immediately after this controversy, Zorn seemed to completely abandon his previous influences and

Instead, he drew on his Jewish heritage and composed "radical Jewish music." I submit that these two seemingly disparate moments in Zorn's musical career may be more closely related, and

They have more in common than meets the eye. In fact, these phases are inextricably linked, and by examining his ambiguities, we can better understand Zorn's thinking.

Change in the construction of musical identity.

IASPM Session 7a: Engineering and Technology in the Digital Age Music Not Fit for Ears: When Participatory Pop Turns Ugly KARL HAGSTROM MILLER, University of Texas at Austin

There are millions of amateur musicians in America, and many of them suck. This magazine collects more than one hundred stories -from neighbors of the last century of journalism, fiction and poetry- about amateur musicians who go crazy. They are stories of longing and fear: the art of one becomes the noise pollution of another. They begin with often innocent attempts at music education before escalating into vandalism and evictions.

Court orders and municipal ordinances, throwing objects and even murder. INTERNATIONAL ASSOCIATION. FOR THE STUDY OF POPULAR MUSIC - USA.


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Complaining about bad music fans has become a national pastime in recent years. Naive warblers turn pranksters when they audition for American Idol. They are accused on YouTube. These new phenomena make public what was previously private.

Issue. There have long been complaints about talentless amateurs living next door in apartments and living rooms. These widespread and persistent complaints reveal changing attitudes toward musical aesthetics, education, and professionalism. While few expected the boy next door to wear Michael Jordan's Jordan plaid, the police were often called when their stalled studios weren't ready for the concert hall. The claims also demonstrate that commercial pop music is a participatory culture in the United States. Tished predates the widespread belief that the phonograph reduces power and creates passive listeners. Acknowledging the extent of fan participation, rather than judging its quality, necessarily alters our understanding of the history and economics of popular music. Virtual Music Lessons: Amateur-to-Amateur Pedagogy on YouTube KIRI MILLER, Brown University

Youtube outube and other online video sites have created platforms for countless online communities, many of which are focused on imparting knowledge in users' areas of interest and expertise. Some of these learning communities are gradually transforming the face-to-face and face-to-face transmission contexts that have always played a crucial role in music pedagogy. Classical and popular music and dance teachers, bedroom DJs, and traditional music teachers around the world are engaged in these new forms of music delivery, bringing together dedicated students to watch video lessons and post their own performances. online for community feedback receive . Our current formats of online media may seem totally inadequate for this purpose: two-dimensional, with a radically impoverished sensory (only vision and

sound) and often without real-time interaction. However, millions of people turn to web-based social networks in search of new physical skills, experiences, experiences and knowledge. There is no shortage of experienced teachers to help them with this. But there are many more lay people: who document their own learning process, like to exchange ideas with others and

offer tutoring despite their own limited experience and lack of formal qualifications. In this article, I discuss some key features of amateur-to-amateur (A2A) online learning, a distinct subcategory of contemporary peer-to-peer (P2P) online interactions. I will focus on two YouTube case studies: YouTube: Conga Drum Lessons created by prpapito3000 prpapi to3000 (Virginia college student) and

Classic rock piano tutorials created by pianojohn1 pianojohn113 13 (a radio producer from California). Why Music Is Easy: The Science of Hit Music STEVE SAVAGE, San Francisco State University

Perhaps the most widespread of all popular music histories was written in the form of various "hit" song lists. It is valued in our culture. Songwriting has been transformed by new skills generated by workstations and computer-based audio workstations, but certain digital tools have been developed that can serve to inhibit compositional creativity in popular music. Hit Song Science is a service offered to record labels, producers, and artists that analyzes pop songs to see if they meet predetermined criteria supposedly necessary to become a hit. The forces driving the existence of this "service" speak to how the desire for a secure trade in popular music can negatively affect and inhibit songwriting.

Practice methods exercises.

While the science of hit songs can identify hit-making patterns that can be reflected in it

Sales, you inevitably miss out on potentially successful formulations that are new and unusual. As a result, it jeopardizes the chance that truly innovative music will have a chance in the marketplace. Paul Lopes' study asserted that major label strategies "encourage innovation and, but this was 1992 and the world's default desire for success now might be diversity" undermined this writing business model. According to Song Science's findings, will it be easy to make "hits" while both the process and the thinking behind it serve to undermine the vitality of popular music?



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IASPM Session 7b: Popular and Cultural Heritage 7b: Popular Music and The panel will address current developments in the museum and archives sector, where popular music is increasingly recognized and represented as cultural heritage. Drawing on research conducted in the UK and France, speakers will highlight the growing interest of public institutions in the collection, preservation and exhibition of popular music. The works discuss how the tangible and intangible culture of popular music “works” in exhibits that offer visitors perspectives on local and national music history. Considering the collection of material culture and ongoing digitization projects, the

The panel will discuss what is being saved and the logic behind these attempts to preserve the popular past. Historical Cabinet: Cannon, Museum Collections and History of Popular Music"

material culture

MARION LEONARD, University of Liverpool

The material culture associated with popular music is extremely diverse. On the one hand, it includes spectacular objects related to the musicians and their work, such as lyrical manuscripts, stage costumes and video props. On the other hand, these tend to include everyday objects that can tell us a lot about the cultural significance of pop music; of trade

from produced items like vinyl and merchandise to fan-produced items like bootleg records, fanzines, and scrapbooks. Much of this material has historically been considered ephemeral and even disposable. Although collected by individuals, institutions have rarely consistently preserved the breadth of popular music's material culture. Based on research carried out in the United Kingdom, the article analyzes the relationship that museums have with this tangible culture. Given the experience in storage and conservation of objects, it is important to recognize their role in the preservation and making available to future generations of this material. However, the acquisition process is anything but neutral. The paper will examine the nature of the material collected and how decisions about what to preserve are made. It is argued that such decisions are influenced by existing institutional agendas and influenced by aesthetic or canonical criteria. With increasing room pressure

It seems likely that museums will impose an increasingly focused approach to their collections and discard material that does not conform to current collection policies. the article closes

Examine how these issues impact the construction of the historical narrative by this sector of the heritage industry. Industry. This article is based on research conducted for the AHRC-funded Beyond Text project, Collecting and Curating Popular Music Stories. Making “heritage” of popular music: how are the French approaches different?

Reflections in favor of an epistemology of "material culture" PHILIPPE LE GUERN, University of Avignon d'Avignon and Center Norbert Elias

This article aims to provide a clear description, for non-French researchers, of how France, popular and popular music, is increasingly seen as a "cultural heritage". Although French research is largely focused on working with theories of “culture

Mediation” – in matters of museum or gallery policy on the presentation of collections to the general public, the study of popular popular music as “heritage” has been neglected as few university researchers have dared to adopt it as the basis of their careers and consequently it became epistemologically neglected. In recent years, however, there has been a growing recognition of the interest and importance of popular music as cultural heritage, exemplified by the establishment of collection and presentation studios.

Objects and data related to popular music from associations or groups such as Fedurok (a national association of concert halls), groups representing jazz music scenes, or music industry organizations such as the Center National des Variétés. Similarly, a growing number of cities in France, such as Annecy, Laval, Montluçon and Tulle, have organized exhibitions on the early years of rock music in France, using pop music as an innovative element within existing strategies to define urban and regional identities.

and promote your region. The article will (1) discuss the emergence of the process of "inheritance" of popular music in France and show (2) that this process is less the result of a concerted policy than the result of

Product of the work of several isolated researchers working in a weak context



Legitimacy Saturday morning abstracts for the study of popular music. The article will then (3) take into account the specific characteristics

the 'heritage' of French popular music, which focuses on music production technologies and techniques and the keyword 'amplified/electronic music'; critical reading of the "mythologies" of popular music and its official periodization

To generate; the study of crossover processes between musical genres and practices traditionally considered separate and autonomous (such as rock, lounge music, variety music); the use of cinematic imagery from the early years of popular music and the emphasis

thus established in the musical technologies used and in the "working methods". Finally, the article (4) examines case studies of a series of exhibitions organized in France around pop music and the birth forms of electro-amplified music, and discusses its limitations and biases directly related to the way it is conceived. , configure and operate.

Music, Memory and the Lost Object at the ROBERT Museum/Digital Archives ROBER T KNIFTON, University of Liverpool

The idea of ​​the archive is attractive to contemporary cultures where instant access to information is guaranteed. But it still raises a lot of questions: what exactly is stored and stored

remember? Who chooses it? what is your purpose? And what place does the object occupy in the archives based on memory and narrative? For popular music, these questions can help define a 'legacy of everyday life' and ensure that essential aspects of the ephemeral rock culture are preserved. Museum and archive are complementary and contradictory: they complement each other in the collection and conservation

historical elements, but through exhibition, performance and interpretation, the museum can counteract archival functions. However, online projects based on classified user-generated and user-generated content are increasingly blurring these boundaries between archive and museum. The article examines the intangible musical heritage in the digital museum/archive. Drawing on the archival theories of Hal Foster and the memory work of critics such as the Halbwachs and Nora, questions are raised about what constitutes an archive or museum in the digital age; how the archive interacts with private collectors; and how the idea of ​​museum and archive merge when the object is absent.

With a focus on online collections and archival projects such as the Manchester District Music Archive and Home of Metal, both with only virtual representations but relating to real physical objects and developing partnerships with real museum sites, I ask if you need objects to tell narratives. of rock and pop and situate these projects within broader social archival impetuses spanning popular culture, music, and the museum. This article is based on research conducted for the AHRC-funded Beyond Text project, Collecting and Curating Popular Music Stories. IASPM Session 7c: National 7c: National Songs Songs and Sentimentalism Sentimentalism The Other War Winner: The Civil War and American Popular Music CHRISTIAN McWHIRTER, McWHIRTER, The Papers Papers of Abraham Lincoln

Music was almost ubiquitous during the Civil War. Numerous witnesses attest to its supremacy in civil and military life. The market for popular songs in America had been growing mainly since the early 19th century, but it took a war to create the spark to make writing and buying music a highly successful enterprise. Songs were released in unprecedented numbers as Americans searched for accessible and understandable ways to express and shape their feelings about the conflict. songs like

"The Battle Cry of Freedom" in the North and "The Bonnie Blue Flag" in the South became important symbols for Americans on both sides and remain ingrained in American culture to this day. The scale of this musical explosion was not the only striking aspect. Civil War songs were decidedly "popular" or "low" in character. The simple patriotic, minstrel, religious and sentimental day predominated. Many observers feared that the wartime rise of popular music spelled the music's decline.

American culture. Thus, the Civil War represented a fundamental victory for popular music.

During the four years of struggle, popular songs definitively supplanted classical pieces.



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as the main form of American music. My article will examine this process, particularly during the first two years of the Civil War.

Folk Ballads and the Rhetoric of National Sentimentalism CLARA LATHAM, New York University

This article examines the ways in which the rhetoric of national sentimentality is presented in two popular American ballads of the late 20th and early 21st centuries. "we are

the World," supergroup USA Africa's 1985 hit delivering a message of global unity, and Alan Jackson's "Where Were You (When the World Stopped Turning)."

conveys a message of American pride and quiet political devastation in the aftermath of the 9/11 attacks. These songs are associated with different identities (liberal vs. conservative), genres (new country vs. pop), and time periods (1985 vs. 2001), and yet I submit that they both use similar formal and technical devices to convey cultural intimacy to create. Drawing on Michael Herzfeld's notion of "cultural intimacy," Lauren Berlant's work on national sentimentalism and public sentiment, and Sara Ahmed and Teresa Brennan's research on cultural emotions and affect transmission in groups, I examine how Affect identification can play a role when a listener is emotionally touched by a juicy pop ballad with a rhetorical message of uniting the group. Union.

Having built a theoretical framework for understanding national sentimentalism with Herzfeld, Berlant, Ahmed, and Brennan, I imagine how self-identifications like this

based on nationality, nationality, ethnicity, race, sexuality, sex, gender or creed- intervene in affective transformation. I then examine the role of representation in this transformation and show how strong manifestations of sentimentality carry different identities within the same rhetorical framework. The Power Ballad and the "unfinished business" of sentimentality DAVID METZER, University of British Columbia

Scourge for some, support for others: the power ballad has become an integral part of pop music. He

paperr discu pape looks at how songs expand and aspects of the sentimental mindset.

Sentimentalism referred to as "unfinished business" in 20th-century popular culture

of the 19th century. Century. Power ballads pick up the business started by earlier types of ballads, such as ballroom songs, torchlight songs, and country-country songs. The sentimental aspects of the songs include a conspicuous attempt at expressiveness, emotional excess, and slippage between public and private sentiments. Power Power Ballads also changed the sentimental and sentimental business, particularly in terms of the expressive experiences the songs offer. Whereas earlier setlists ennobled certain emotions, power ballads exuded an emotional miasma that contained all kinds of emotions.

Feelings are evoked, even seemingly contradictory ones. The differences between the two setlists become clear when one compares Dolly Parton's "I Will Always Love You" to Whitney Houston's cover version. A key element on the Houston recording is a heady verve, a quality foreign to previous sentimental ballads, that thickens the emotional mix, which in this case combines the sad farewell of Parton's original with the euphoria of a power ballad. The elevation achieved through soulful music represents a new vision of the emotional transcendence that sentimental works promise. As Berlant describes it, the transcendence of sentimentality is both an emotional state and a commodity, both of which are ultimately unsatisfactory. So also with the power ballad. It gives listeners the foam that comes from displaying intense emotion, leaving them with little by the time the song ends. That

The void tempts to listen to the same song again or a new power ballad. The sentimentality business remains "unfinished" - and "unfinished" - and profitable.

IASPM Session 7d: Fashionable Caribbean Currents in Fashion: A Historical Study of American Popular Music in the 1950s ANDREW MARTIN, MARTIN, Inver Hills College

"Calypso Doom Rock 'n' Roll?" RPG? The meteoric rise of the American calypso craze in late 1956-1957 sparked critical public debate over Billboard's rise to America from then on. At its height, the calypso craze, fueled by the popularity of Harry Belafonte's album Calypso (1956), was the expected dethrone of rock 'n' roll. However,

Reality soon returned movement to orbit and the fall of the ASSOC INTERNATIONAL calypso craze. FOR THE STUDY OF POPULAR MUSIC – US 99

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American public consciousness was almost as abrupt as its meteoric rise. In the early 1950s, forays into large-scale distribution of Latin, Caribbean, and black music were profitable, however

a risky endeavor for many major labels, increasingly uncomfortable with the growing and risky civil rights movement in the United States. To further complicate matters, the fickle nature of the American public's taste for certain musical genres brought with it

The longevity of rock 'n' roll is in question, and forward-thinking record companies often examine the sustainability and risk of their investments in artists like Elvis Presley Presley. dominant musical style; However, many other genres had highlights, and the purpose of this paper is to trace the historical course and highlight the contributions of some of rock 'n' roll's main musical competitors during this period. Specifically, this article aims to discuss the historical role of calypso, mambo, rhythm and blues, and dances such as twist, ska, and limbo as challengers to rock 'n' roll in the 1950s.

Steel bands from Trinidad and the United States

JANINE TIFFE, Oklahoma City University

The standard Trinidadian steel band metanarrative focuses on the instrument's development as an Afro-Trinidadian creative outlet and its relationship to Mardi Gras. However, the importance of orchestral music in Britain coincided with the Trinidad Subjugation of Trinidad (1797– (1797–1962)), with intricate symphonic musical practices interwoven with an intricate web of indigenous, Spanish, French and African musical cultures. . Trinidad Trinidad also accompanied the formation of the Steel Band (or Steel Orchestra) as a popular and nationalist ensemble Colonization and adaptation processes The modern steel drum was made at the Festival of Great Britain in 1946. Preparation for the festival required an all-chromatic steel pan, i.e. orchestral music, which was used in Trinidad and is known as "classics". Fifty-three years later, at the 2004 World Steelband Festival, twelve steel bands performed in the orchestra category, many playing "classics" while using conductors. and orchestral percussion. Of the eleven major pan music publishers in the United States, eight sell arrangements of symphonic orchestral music. In addition, bomba tunes, a major genre of pan music, are interpretations of "classics" played at a fast tempo in calypso and soca styles. Although a highly controversial subject to some, symphonic music remains an integral part of the steel drum art form, both in Trinidad and abroad.

Juxtaposition of old and new in the traditional music of Trinidad and Tobago Tobago MEAGAN SYLVESTER, SYLVESTER, University of the West Indies

This work wants to contrast the old with the new. In general, "old" and "new" demos and iterations of calypso music are compared as the leading example of indigenous and emerging traditional music in Trinidad and Tobago. Tobago. However, in the last fifteen years

the form, sound, texture, and lyrics of today's derivatives of traditional calypso music have shifted toward soca music and its accompanying hybrids. Here's a story

The following musical genres are analyzed: (1) calypso music, (2) soca music,

(3) chutney soca music and (4) ragga soca music. The main argument of this article is that the indigenous forms of sound and music assume

of a cultural area reflect the identity of a people. This study examines popular music in Trinidad and Tobago, focusing specifically on a brief genealogy of calypso and its location.

Emphasis on how it has become an emblem of Trinidad's national identity. His subsequent manifestation of Soca has also attracted a "loyal following" and he develops a similar esteem as representative of an agonizing Trinb-Trinbagonian concept of identity. Genres that each ethnicity seeks to understand and cultivate in its diverse population in order to identify with specific parts of its trinity. trinity. Then, this work operationalizes the relationship between music and identity in two communities: Afro-Trinidadians and Indo-Trinidadian Indo-Trinidadians. Vena Rinida. the themes of

The nation, nationalism, national identity, identity, ethnicity, and ethnic identity are explored during nearly 100 SOCIETY FOR AMERICAN MUSIC, 37TH ANNUAL CONFERENCE

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degrees to see how each ethnic community sees itself as a nation and therefore as part of a larger nation-state. National state. This work was carried out using a qualitative analysis framework. In general, phenomenology has been used where the lived experiences of the respondents form the main phenomenological unit of analysis. The sampling frame included trial judgment and snowball sampling, while the survey was selected from the use of loosely structured questionnaires used to interview participants to obtain first-hand accounts. Document and Content Techniques

Analysis was used to extract second-hand data about respondents and their forays into calypso and soca music from texts, articles, and newspaper clippings. SAM Session 9a: Seminar I: Stage I: Stage Adjustments to Oklahoma!: Showboat Modernization, History Review KATHERINE KA THERINE L. AXTELL, James Madison University

This article delves into the intertwined stories of two popular musicals and sheds light on the power of a successful revival to change the entire perception of a play's (or era's) history. Scholars generally identify Hammerstein's Kern and Show Boat (1927) as a remarkably prescient work, which Rodgers and Hammerstein's Oklahoma! (1943) anticipated. This review ignores one crucial fact: the most closely related version of the Show Boat to Oklahoma! not the original 1927 production, but a 1946 revival. Hammerstein's published and unpublished statements and annotated typescripts illustrate just how far Show Boat reached Oklahoma. Whatever the impact of Show Boaton in Oklahoma! hence our perception of the history of musical theater. On the trail of two murderers: Stephen Sondheim and John Weidman

Reinventar un musical por Charles Gilbert LARA E. HOUSEZ, Eastman School of Music

Discussions of Stephen Sondheim and John Weidman's Assassins (1991) often begin with a cursory reference to Charles Gilbert's musical (1979) of the same title.

But the details of Gilbert's script and score, and the extent to which Sondheim reinvented his typeface, have yet to be explored. This article explores the relationship between the two Assassins by gaining access to previously unpublished Gilbert material and the author's interviews with the creators. I will discover similarities as striking as characters, settings, slide shows, and imitations of comparable musical styles. These connections raise questions

the tangled web of authorship and influence; musical adaptation problem; Is

Sondheim's perceived authority. They'll Shoot Everybody: The Sondheim Killers in Three Contexts DAN BLIM, University of Michigan

Assassins never returned to Broadway after its critically acclaimed debut in 1991. This article looks at assassins in three contexts. First, I expand the scholarship that positions the

along with Sondheim's 1970s production comparing it to Robert Altman's Nashville. Second, I consider the blockbuster conventions and Gulf War patriotism that surrounded its 1991 debut. After all, unlike today's black or political satire, Assassins has found an audience.

and hits the target. Her Diary Voice: Anne Frank, Musical Theater, and the American Holocaust


JUDAH COHEN, Indiana University

In this article, part of a larger project on the manifestation of Holocaust narratives in American musical theater, I examine the genesis, production, and reception of Enidfutterman and Michael Cohen's 1985 off-Broadway musical Yours, Anne. Frank from the 1970s to the 2000s, including Futterman's post-1985 modifications of Futterman's work to reflect Anne Frank's changing perspectives on American life. Yours, Anne, I submit, encapsulates the awkward and traumatic encounter with the genre's anticipation.

Memory and artistic vindication, illustrating at least a dozen attempts to recover Ana's memory. Ana's diary


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II: Music and American Landscapes SAM Session 9b: Seminar II: Musical Landscapes

American Counseling and the Prairie Paradox BETH E. LEVY LEVY, University of California, Davis

This article examines the Great Plains as the meeting place of conflicting visions of the prairie, which is at the same time a (identifiable) Arcadian pastoral landscape (identifiable by its peaceful symbiosis).

between man and nature) and the disputed territory of the pioneer (characterized by the struggle with natural and human forces). I examine a key poem (1927) by Chicago's Leo Sowerby and a cantata (1944) by the young émigré Lukas Foss, each based on Carl Sandburg's The Prairie (1918), and show how each score preserves Sandburg's tension and modifies between

Timeless agriculture. "Prairie Mother" and the contemporary workers needed for success in the Midwest

Giving nature a voice in The Place You Go To Hear, by John Luther Adams TYLER KINNEAR, University of British Columbia, Where You Go To Hear List Ten (2006), a permanent sound and light by John Luther Luther Adams, The Place Where The 'Adams' installation and light at the Museum of the North in Fairbanks, Alaska resonates strongly with the geography and ecology of the composer's home state. The audiovisual experience is generated by a computer program that translates real-time data streams from geophysical events into sound and color signals. Based on semiotics and information theory theory, this article

examines the process by which Adams transforms scientific data into an audiovisual presentation,

and the role the composer and audience play in giving meaning to this environmentally oriented work. Environmental Dialogues, Environmental Duets: Pauline Oliveros and Emily

Doolittle DENISE Listen to VON GLAHN and Tune and The Florida State University "Environmental Dialogue," the eighth of Pauline Oliveros's Sonic Meditations, instructs participants to become "aware" of surrounding sounds [and] gradually increase the pitch of the source Emily Doolit Doolittle's "Night Black Bird Song" began as an exploratory exploration of the differences between bird song and human music, but ended up making a case for it.

great resemblance. Both play on the level differences between humans and non-humans. this paper

considers, first, the extent to which these composers follow nature and are attuned to the natural world, and second, how these and other works reflect an ecofeminist understanding

of environmental issues.

Hobo Space-Temporality and The Wayward by Harry Partch' Partch GRAHAM RAULERSON, University of California, Los Angeles

Temporary analyzes and critical critiques of Harry Partch's relationship with prostitute culture remain slight blots on Partch's scholarship. Scholarship. I propose to deepen these discourses by analyzing Partch's The Wayward of Partch in the context of hobocentric temporal/spatial cognition. Geographer Doreen Massey's work on space, time, and place as containers and arrangements of social relations provides a fertile context for discussing the wanderer's sense of finite space and time, and of place as temporally specific. . Specific. My analysis shows that these ideas are very consistent with the temporal strategies used in The Wayward. My analysis also produces a structure ("sonic

Hoboism") for similar investigations. A Rural Identity: Desert, Desert, the Canadian Nation, and the Music of R.

pastor murray

ERIN SCHEFFER, University of Toronto

While Canada is not typically seen as a nationalist country, a country with a nature-focused cultural identity has been carefully constructed through the proliferation of nature images in art, music, and public announcements. Canadian composer R. Murray Schafer's multi-work Patria cycle builds on this fully constructed identity of national identity. Closing a backcountry annually draws heavily on the musical work from which Native Canadian culture is derived. Schafer's Schafer appropriation illustrates the problems of Canadian identity in the wild, as First Nations people become simply depoliticized musical characters.



saturday morning recaps

SAM Session 9c: Becoming 9c: Becoming an American Composer Composer "May the future be kind to all composers": Reassessing music and

Reception by Johanna Beyer

KELLY HISER, University of Wisconsin-Madison

The early 20th century ideologies of modernism, nationalism, creativity, creativity, and gender played an important role in Johanna Beyer's songwriting career. Her identity as a German immigrant and single woman made it impossible for him to make a living from her music, while her peers zealously promoted a school of composition that they described as American.

male. Certain aspects of Beyer' Beyer's style, including proto-minimalism and play, were particularly ludicrous in the face of modernism, complexity, and austerity. our music stories The Incomprehensible God: Latin American Composers in the United States SEBASTIAN ZUBIETA, Americas Society

The music of Latin American concert music composers is usually valued through a set of preconceived notions that reduce its musical richness and lessen its artistic merit. Over the past century, countless composers from the region have developed successful careers in the United States. Through musical analysis and examination of critical reception, this article examines the aesthetic strategies that some of them have developed when facing the challenges of their foray into the US market. Examples include works by Alberto Alberto Ginastera, Heitor Villa-Lobos, Carlos Chávez, and Osvaldo Golijov.

A Distinctly American Phenomenon: Recent Work by Tan Dun, Bright Sheng, Chen Yi and Zhou LongRutgers, The State University NANCY YUNHWA YUNHW A RAO, University of New Jersey

In this article, I examine how the American social and cultural contexts surrounding the success of Chen Yi and his group established them as émigré composers in the new form of the 21st century. With a focus on four songwriters, all of whom have moved into the newly opened

conservatories in Beijing and Shanghai after the Cultural Revolution and entered a turbulent and varied world of music as a Ph.D. at Columbia University. Certain trends emerged: how his work became

deeply imbued with the multifaceted soundscape and aesthetics of the United States, they also realized its "chineseness". SAM Session 9d: Historicizing 9d: Historicizing African-American Music

All roads lead to Hampton; or the strange case of "Sometimes I feel like a child FELICI FELICIA A" M. MIY MIYAKAW AKAWA, A, Institutional history of Middle Tennessee Tennessee State University without a mother

The well-known spiritual theme "Sometimes I Feel Like a Motherless Child" included in the 1901 edition of Cabin and Plantation Songs, sung by Hampton students, quickly entered the world of art music, in settings by Samuel Coleridge- Taylor, Harry T. Burleigh, and Clarence Cameron White. But even after the music left Hampton Institute, it remained strangely connected to what is now Hampton University. Drawing on archival work from Hampton University, this article traces the transition of "Motherless Child" from plantation song to simple chorus to art song and beyond, weaving the song's history with that of its institution. The "True Black Sound": Hall Johnson' Johnson's Choir from Broadway to Hollywood MELIS MELISSA SA J. DE GRAAF, University University of Miami

Among the most successful African-American choral groups of the 1920s and 1930s was the Hall Johnson Choir. Chorus. Acclaimed by both critics and audiences, the group gained further notoriety for their performances in the Pulitzer Prize-winning 1931 Broadway hit The Green Pastures and the 1936 film version. In this article, I examine the critical acclaim for part of anyone who increasingly criticized his performances,

Driven by a growing purist movement. He addresses issues of "authenticity" that dominated the press in the 1930s, and finally suggest that the transition from stage to screen led to it.

precisely the polished, refined sound that Johnson and his choir were trying to resist. INT INTERNA RNA ATIO IONA NAL L AS ASSO SOC. C. FOR THE STUDY OF POP PUL ULAR AR MU MUSI SIC– C–US US

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Musical Crossroads: The Story of African American Music on a National Scene


DWANDAL DWANDALYN YN REECE, Smithsonian Institution, Institution, National Museum of African American History and Culture

In 2015, the Smithsonian's newest museum, the National Museum of African American History and Culture, will open in Washington, D.C. Opened. One of the museum's largest exhibits, Musical Crossr Crossroads, tells the story of African-American music. Through its content, Musical Crossroads Crossroads will present African American African American music as a living art form and as a vehicle for artistic expression, the survival of cultural traditions, and a tool for social advancement. Crossroads presents African In Brief, Musical Crossroads uses African-American music as a lens to interpret American social and cultural identities through themes of race, class, ethnicity, geography, religion, language, gender, and sexuality. In this article, I will outline the intellectual themes of the exhibition, discuss the challenges and opportunities of presenting a subject of such complexity and breadth in an exhibition setting, and examine the significant role that music can play in fulfilling the mission and

Objectives of this new national museum.

SAM Session 9e: The 1910–1 1910–11 1 De Sousa Band World Tour: Centennial Reflections "The Essence of Uncle Sam": Sousa's 1911 World Tour in the Foreign Press PATRICK WARFIELD ARFIELD, University of Maryland Maryland En On the morning of December 24, 1910, John Philip Sousa, 53 of his musicians, and two soloists boarded the Balticsteamer on a tour that would take them to Great Britain, South Africa, Australia, New Zealand, and North America. They returned to New

York 352 days later, having traveled over 47,000 miles and played over three hundred shows. concerts The centenary of this world tour, tour, perhaps the first by a major American group,

allows us to review the international vision of America and its main artists at the beginning of the 20th century. Foreign critics, familiar with Sousa's reputation, have had relatively few opportunities to see the King of the March or hear the band's unique playing practice of him. Naturally, many reacted to the sound and visual novelty of the band. Sousa's ethnic insensitivity and his entourage. But the most interesting criticisms are those that associate Sousa with a certain brand of Americanism associated with "yankee ankee preparation and agitation." One author has even suggested that Sousa "gives in five minutes a more vivid picture of the American way of life than can be given in all the written notes of the American way of life in ten minutes."

volumes." To many, Sousa represented the "very essence of Uncle Sam." This article examines the reaction of the foreign press to Sousa's world tour and outlines three types of criticism. First, the little opportunity international audiences had to To see or hear Sousa perform live, these reviews contain some of our most detailed accounts of Sousa the Master, 20th century views on race and ethnicity artist to quantify.

Around the World with Songs by Sousa MONA KREITNER, Rhodes College

Part of Banda Sousa's role as a solo soprano was to popularize Sousa's songs. The John Church Company regularly published Sousa's songs, including those from her operettas, in sheet music for piano and voice. In 1910, on the eve of the world tour of the Sousa Band, Church published a seventeen-song album of Sousa compositions and operas. It contained seven individual songs "famously written in the 1880s and 1890s, sung and incorporated into ten concert songs from four of her operettas." Third on Sousa's list of soloists on the volume's cover was the soprano chosen to accompany Sousa on the world tour, Virginia Root.

Miss Root first sang for Sousa at Willow Grove in 1909 and she immediately established herself as a singer.



saturday morning recaps

a willing and talented interpreter of his vocal music. During his career with the Banda de Sousa, he performed more of his songs than any other singer. During the 1911 world tour, Miss Root played more than half the songs from Church's Church Collection and received praise for her singing and, more importantly, for her singing wherever she went. band. For Sousa, the World Tour was an opportunity to establish himself internationally as more than just a "king of the march." Virginia Virginia Root's success with her songs was an integral part

this larger goal. This article examines the connections between the publication of Church's Songs of Sousa in 1910, the contents of the collection, and the public reception of the Virginia Roots World Tour renditions of those songs. Marches of Empire: The Musical Frontiers of Sousa' Sousa KA KATHERINE THERINE BRUCHER, DePaul University

John Philip Sousa and his band made many musical boundaries audible at the turn of the century. Paris Fair and traveled the world in 1911. This article argues that as the United States sought to assert itself as a world power, the Sousa' Sousa Band, with its reputation for military prestige and commercial success, became a symbol of imperialist imperialism. This article explores the role of music in empire building through the metaphor of borders. The Sousa Band literally crossed the borders of nations on their international tours and represented them figuratively in cultural exhibitions. The same

At the time, the band was pushing musical boundaries, bridging a perceived distance between art music rooted in European traditions and vernacular music in the United States. Estado S. Banda de Sousa offered the public arrangements of contemporary popular music, transcriptions of symphonic and operatic works, and original compositions, all with a strong moral connotation of patriotism. A Banda de Sousa exam also provides an opportunity to explore the scholarly boundaries between ethnomusicological and historical-historical approaches to the study of music. Etnom Etnomusicolo Musicologists and historians have often neglected wind bands and their connotations of militarism, functionality, functionality, and, in the case of the Banda de Sousa, commercialism. mercantilism. A case study of the Sousa de Sousa Band in an era of US imperialism suggests that the analytical potential of the marching band for ethnomusicology lies in this intermediate position. SAM Lecture-Recital A woman's love is something apart from a woman's life: Libby Larsen's song CycleMe (Brenda Ueland) Ueland) as a modern American version of Schumann's Frauenliebe und -Leben BARBARA MERGELSBERG, Rutgers, The State University of New Jersey

When it comes to the representation of femininity, the most cited song cycle is Robert Schumann's Frauenliebe und -Leben. Musically, the love and life of Schumann's wife seem inextricably linked. This is due to the restriction to the private sector. In my talk I will argue that the expansion of the women's sphere in contemporary society is reflected in the musical representation of femininity in Libby Larsen's Larsen Me (Brenda Ueland) song cycle.

By juxtaposing thematic material from Schumann and Larsen, the lecture conveys the idea that Larsen's songs represent a woman whose love is something outside of her life. Larsen's SAM Lecture Recital

Klaviertänze aus der Andenregion – Cuecas, Pasillos und Joropos CESAR REYES, CUNY

In this evening of lectures, I present a selection of piano dances from Bolivia, Ecuador, Colombia and Venezuela, which are important examples of nationalist art music inspired by popular music forms from South America. Although the popular music of South America has gained great popularity, the art music of these countries is relatively unknown. We examine the rhythmic characteristics of these works, the characteristics of the dances, see slides of the dancers, and listen to some recordings of the traditional popular music that inspired them.


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SAM Interest Group:Historiography Group:American Musical Historiography (Auto)Biography: Different Multicultural Perspectives on

united states music history

Befragar: Gillian Rodger, University of Wisconsin-Madison

This session addresses the questions "Who is American" and "What does American musical autobiography mean?" and briefly examines three selected models that present themselves differently

methodical approaches.

US Slave Narratives as Author Source for Prewar Black Music Biography JOSEPHINE WRIGHT, The College of Wooster More than 8,000 American-origin slave narratives have survived from 1703 to 1944. This has allowed social historians to compare them with earlier narratives and identify consistent themes that run through these intergenerational documents. This article examines selected strategies for studying African-American narratives as authentic musical autobiographies.

An Approach to Chinese-American Musical Autobiography NANCY YUNHW YUNHWA A RAO, Rutgers, The State University University of New Jersey

A recent discovery of beautifully hand-copied lyrics of popular arias in the personal documents of Chinese immigrants from the 1920s and '30s brought home the idea that Chinatown opera houses were, in many ways, the closest emotional alliance and the surrogate family of Chinese immigrants. My article will analyze the lyrics of the songs found in the archives to discuss how they constituted the musical autobiography of Chinese immigrants. Characteristics of the American autobiography in 'The Case of Mr. Ive':

Why your data is important


The political and philosophical contexts underlying Charles Ives's autobiographical materials are found in the period in which he lived, the "progressive period" in American history. Musicologists invented and downplayed the so-called "Ives Legend". Then, with continued persistence, they treated Ives's autobiographical material with remarkable irreverence. Disrespect. Therefore, the proper way to examine Ives' reception paradoxes is more reflective.

to a particular branch of business in American academic culture than to Ives as an American composer. SAM Interest Group: Jewish Group: Jewish Studies on the Transformation of Jews and Music in American Life: A Deeper Story JUDAH COHEN, Indiana University

With few exceptions, contemporary scholarship on Jews and music in the United States has generally been based on a historical narrative that takes as its starting point the migration to the United States of the late 19th and early 20th centuries, a period associated with somehow with A. Z. Idelsohn's 1929 fieldwork book on the Jews. music ended in its historical development. Paradigm. In my talk, I argue that it is time to look for a broader model of American-Jewish musical practice that recognizes the United States as a place with its own rich and enduring Jewish musical discourse. This turns the idea of ​​"Jewish music" into a concept of creative activity, overcoming its heavy reliance on imported paradigms of authenticity. SAM Interest Group: Folk and Traditional Music Paul F. Wells, President

In this session, the documentary Fr From om Shor Shoree to Shor Shore: e: Irish Tradition Traditional Music will be screened in New York City. Produced in 1993, this 52-minute film consists of interviews with and

Performances by older, up-and-coming players in vibrant American Irish Irish

Community Music Community of New York City. Paul F. F. Wells Wells and Sally Sally Sommers Sommers Smith, co-editors of



Saturday afternoon summaries Saturday

a recent issue of JSAM devoted to Irish music will accompany the screening with a brief discussion of the film in relation to the current state of Irish music in the United States.

IASPM-Sitzung 8a: Graduate Student Interest Panel: Publication, Recruitment Chair: Kim Kattari, University of Texas at Austin

Panelists: KARL HAGSTROM MILLER, University of Texas at Austin

KIRI MILLER, Brown University STEVE WAKSMAN, Smith Colle College ge IASPM Sitzung 8b:Song 8b:Song as History Gone and Forgotten with the Rest: White Collegians, Black Barbershop, Barbershop, e

the origins of the “Whiffenpoof song” JOSHUA DUCHAN, DUCHAN, Kalamazoo College

Collegiate a cappella, a genre in which college singing groups arrange, perform, and record popular songs without instrumentation, has recently gained traction in the mainstream media through a trade book (Mickey Rapkins Pitch Perfect, 2008), an album released by a popular was released, it received considerable attention from singer-songwriters (Ben Folds Ben Folds Presents: University A Cappella!, 2009) and a hit television competition series (NBC's The Sing-Off!). Although more recent estimates put the number of groups at around 1,200, the genre dates back more than a century in American colleges and universities. The Whiffenp Whiffenpoofs, oofs formed in 1909 at Yale University by members of the Yale Yale Club's Varsity Quartettes, are often credited as the first such group.

Members of the 'Whiffenpoofs' group have sung a signature song since the group's inception, specifically the "Whiffenpoof Song". It has also been covered by various artists, including Rudy Valleé, Valleé, Bing Crosby, and Elvis Presley. But the song's origins are hazy and moody, involving a small group of white college kids, a British poem, and a traveling black hairdresser living in New Haven at the turn of the 20th century. Century. This article explains the story behind the "Wiffenpoof song" and reveals the musical and archival evidence to uncover unlikely interracial interactions and powerful musical symbolism. This alternate history not only sheds new light on a once-popular 20th-century work, but also reveals an alternate way to make popular American music active today. Today. The Now Sound from Way Back: The "Novelization" of the Musical Past JOHN CLINE, University of Texas at Austin

Even as previously unpopular genres of popular music, such as disco, have been elevated to legitimate topics of discourse, gaps remain in research on the notion of "novelty" and the history of "innovative music." Part of the purpose of this article is to examine American innovative music of the 20th century, specifically the transition from the general marketing notion of any non-sentimental music during Tin's heyday as Panit Alley to a restricted definition of gimmicky comic music in the postmodern era. . Time of the Second War. However, the primary

The purpose of this presentation is to challenge the idea of ​​"newness" itself. For this, I propose the need to listen to the popular music of the 20th century in a new way, with an approach to the ears of historical listeners who encounter a sound/style for the first time. One result of this approach is that it breaks with traditional 'early' examples of genres, stripped of postscripts;

"Livery Stable Blues," "Rock Around the Clock," and "Rapper's Delight" cease to be "jazz," "rock and roll," or "hip hop" and become, for a moment, stunning new examples of what Benjamin described. as "[taking] control of a memory while flashing at a moment of danger". My argument is that the value of these "first" novels is not that they establish the initial codes of a genre, but that they interrupt the flow of merchandise for that very reason.

its often extreme commercial vulgarity, a quality that may have kept "newness" out of serious discussion until now. "Purple A Brief History of Imitations, Transgressions and Unresolved Aesthetic Fog": Tensions ROB VAN DER BLIEK, University of York

Hendrix's iconic and evocative Purple Haze has spawned a number of versions over the past forty years, including recordings by Chicago's Art Ensemble, The Cure, INT INTERN RNA ATIO IONA NAL LASSO SOC. C. FOR THE STUDY OF PUL ULAR POP AIR MU MUSI SIC– C–US US 1077 10

Saturday afternoon summaries

Christy Doran, Paul Gilbert, Jim Hall, Kronos Quartet, Ozzy Osbourne, Six Feet Under, Tangerine Dream, and Frank Zappa. zappa. As with many rock recordings that were originally conceived as tracks (although admittedly, "Purple Haze" doesn't easily fit into that category), we can

paraphrasing Stephen Davies and elaborated by Theodore Gracyk, they argue that the easily reproducible and "ontologically subtle" musical theoretical components of the work (melody, harmony and text) are completely connected to its unique and unplayable "native environment". Harmony that necessarily embraces its historical-musical context. The raw, distorted sound of Hendrix with his primitive stereo mix, the ease of his rhythm guitar and his voice, all of which can be interpreted as "ontologically thick" qualities, are part of this setting and irrelevant, a manifest manifestation. of these, "Purple Haze" can be successful. Borrowing from the covers and allusive interpretations examined here, features that are neither thick nor thin are modified, rearranged, and sometimes placed into radically divergent genres, often resulting in this

Unresolved aesthetic tensions. This article will trace the reception history of the Purple Haze in terms of how these traits have been successfully or unsuccessfully manipulated. EITHER

The question is whether we can talk about one story, several stories of a certain genre or just

a fledgling group of disjointed attempts to reproduce some of the effects listeners experienced when Hendrix released his single in 1967

Performance of a queer anthem

RYAN BUNCH, University of the Holy Family

Presentations of "Over the Rainbow" from The Wizard of Ozas as an anthem for the queer community suggest that the competing strategies of queer identity and the camp's political aesthetic flair, a key expression of gay culture, play a role. play a role in the reception and performance of Over the Rainbow, which can transcend physical and spatial limits in the representation of queer identity. The meaning of the song stems in part from a connection between the Wizard of Oz star Judy Garland and queer culture. Analytical Feedback Member Feedback

from the community also suggest that much of the song's appeal lies in its vision of a world where differences are accepted. The music itself suggests spatial confinement, using lyrical and musical techniques to depict a dream world of escape. This state of being metaphorically between places is enhanced by the singers' physical transformation in performance. In the movie, Judy Garland is a young adult who acts like a child. In subsequent performances of hers, she often performed the song like a whore. Patti LaBelle, another camp icon, reinvented the song for a later generation, and gay singer Sam Harris was inspired by the female performances by both women. Rufus Wainwright Wainwright played Garland in a remake of his most famous show, but her more complex relationship with the camp suggests a change in attitude in the queer community. community. “I want to give you my gay attention”: gay pop in the post-gay era DANIEL DiCENSO, Colégio Santa Cruz

In 2005, columnist Andrew Andrew Sullivan declared the end of gay culture (New New Republic, October 24, 2005). Now that gays and lesbians enjoy greater acceptance and less adversity than in the past, Sullivan argues, "homosexuality" has lost its meaning, as the line between gay and straight has all but disappeared. Sullivan, of course, was wrong on almost every level. As long as a monolithic gay culture has existed, acceptance and adversity have never fully defined it. Until

If so, the social difficulties that gays and lesbians have faced in the past are just as real.

the gift For every victory in the fight for equality (for example, marriage in Massachusetts Massachusetts),

as well as many setbacks (for example, marriage in California). So we are not living in the moment of the end of homosexuality, but a moment of transformative transformative change. What impact are these changes having on the gay pop music space? Beginning with Adam Joseph's homo-hop hit "Faggoty Attention" and a comprehensive overview of gay pop pieces over the past decade, this article aims to show how a new generation of gay pop has been one of the driving forces key in creating the changes that have

shaped our time. Far from proclaiming the end of homosexuality, gay pop can be understood



Saturday Afternoon Summaries Saturday as one of the most important (if least recognized) forces for thinking and building a new, more nuanced.

idea of ​​what it means to be gay in America. Gay Play: Gay for Johnny Depp and the acting and consumption of

ambiguous sexuality


This work examines the queercore band Gay For Johnny Depp (GFJD) and their MySpace fandom, exploring the intersections of race, gender, and sexual performance in the context of hardcore music, a genre often characterized as white, patriarchal, and homophobic. I submit that this band creates a forum for their mostly white, straight male fan base to negotiate and actualize ambiguous queer sexualities while maintaining what one reviewer writes as "full-blooded straight" identities, an activity I term "playing." gay". As such, these zealots refine and complicate their own representations of heterosexuality, as they supposedly destabilize the discursive boundaries between "straight" and "homosexual." However, I also criticize the implicit transgression of these queer performances, which are ultimately based on an idealized heterosexual norm from which the band and their fans ambiguously deviate. Furthermore, I suggest that these may be semi-liquid sexual identities.

Options available primarily to fans already in positions of relative racial power. In addition, I examine how some of GFJD's critics and listeners draw on and critique the musical discourses of the hardcore genre, while also rewriting masculine readings of that music for subcultural genre capital. Overall, this project aims to develop the gay game as a theoretical concept by considering its specific application to GFJD and exploring how the relationship this band projects between sexuality and power can undermine some of the more utopian connotations of their performances. sexuality and gender. IASPM Session 8d: History 8d: Historical Records: The Cover Cover, Label, Study Study This Not a Photo: "Found" Snapshots "Found" Album Cover ERIC HARVEY, Indiana University

Are the covers of the records historical documents? If so, what are the implications of this statement for this crucial visual component of modern musical culture? This article aims to address two related questions about music, visual representation, and story. First, and more generally, how can we think of the album cover not just as a means of distinguishing merchandise in a crowded marketplace, but as a representation of certain historical assumptions through the negotiation of certain stylistic constraints and unique formal possibilities? Second, and more specifically, how can we address the recent trend in band consumption over the last year?

"found", Polaroid or personal family photos as record covers, and what does this reveal about the role of the record cover as a mediator between past and present? I examine these questions by examining how the rhetorical possibilities of album covers, literally and figuratively reshaped, are being reshaped in the age of digital and social media. More than a dozen often disparate records have been released in the past year, featuring covers of photographs by unidentified fans, often about childhood and family. In exploring this trend, I'll look at how artists today use "found" snapshots as album covers to evoke a sense of surrogate nostalgia (to use the term Appadurai' Appadurai). This raises interesting questions about the representativeness of album covers, but also challenges many assumptions about how musicians refer to the past when creating their artwork. Working with A&M Records Documents: Successes and Failures ERIC WEISBARD, University of Alabama at Tuscaloosa

A few years ago, UCLA acquired the A&M Records papers for its music archives, or as I have sometimes described them, the contents of Herb Alpert's garage. For one of the chapters of my dissertation, Top 40 Democracy, Democracy, I used these articles as a primary resource for tracing the label's efforts to bring a variety of different sounds into the cultural setting. EITHER

The files were certainly an accidental resource - a lot about the mechanics of Tijuana Brass

tour in the 1960s; little about the Carpenters in the 1970s; great information about

the label's relationship with some of its global subsidiaries; disappointing material on how A&M

it grew out of the recession of the late 1970s that nearly cost the company its founders. Company. Even INT INTER RNA ATIO IONA NAL L AS ASSO SOC. C. FOR THE STUDY OF PUL ULAR POP AIR MU MUSI SIC– C–US US 1099 10

Saturday afternoon recaps Saturday, so there probably wasn't anything better five years ago, and there might still be no when.

The label papers donated to the Rock Hall will be available to the public in 2011. Still, there is, I think, an intentionally relaxed tone to charting industry discourse that even a subset of sources can provide that we would do well to highlight in our stories. An example is a telegram sent from the London office to the label's president, Jerry Moss, in 1979: "Dickies incredible shrinking album industry chart is here next week at No. 22. The number [sic sic] of retail accounts tells me". that the new Bee Gees album will sell better. Of course we're all happy here, but what a strange world we live in." George Trow perfectly summed up this tone in a New York profile of Ahmet Ertegun: "Eclectic, Reminiscen Reminiscent, t, Funny, Fickle,

Wicked.” Not a bad description of the A&M Records archives, either. Noticing the past: recording technology and its influence on music Music by Frank Zappa WILLIAM PRICE, University of Alabama at Birmingham

The World's Greatest Sinner American, American Sinner In 1963, composer Frank Zappa bought a five-track recording studio in Cucamonga, California, with the money he earned filming The World and renamed it Studio Z. He then delved into the world of audio engineering, recording and sound design, experimenting with specific music techniques, including

different tape speeds, tape direction change, loop and delay techniques and different editing methods.

In addition, Zappa used the recording studio to combine new works

Instrumental tracks from independent recording sessions. This technique called "xenochrony", "xenochrony", a

A term coined by Zappa for taking a track from a pre-existing track and combining it with contribution material taken from a completely independent recording of a multitrack session prior to recording a live show or studio track. As Zappa explained in 1988, "the musical result is the result of two

Musicians who have never been in the same room at the same time, playing at two different tempos in two different modes for two different purposes, when mixed together create a third result that is musical and strangely synchronized. Away." As Zappa's personal style has evolved in parallel with advances in audio technology, his songwriting and live performances reflect his experiences in the recording studio. This article examines the influence of recording technology on music. by Frank Zappa.

addresses the composer's use of time and place as compositional constructions, and illustrates how previously documented non-musical events were transcribed and interpreted using traditional musical notation. SAM Session 10a: Instrumental 10a: Instrumental Experiments "Unintelligibility" Experiments: Music and Instruments Invented by Lucia Miracle Dlugoszewski KEVIN LEWIS, University of Cincinnati, College-Conservatory of Music

The philosophies and music of Lucia Dlugoszewski (1931-2000) make her one of America's most original composers. Her music draws comparisons to Cowell, Cage, Partch, and Varèse and encapsulates the developments for which these composers are best known.

His invention of the "piano timbre" in 1951 and over a hundred percussion instruments allowed for idiosyncratic music that relies on tonal contrasts. With choreographer Erick Hawkins, Dlugoszewski Dlugoszews ki searched for a new form of artistic expression based on Eastern concepts and the dialectical compatibility of sound, movement and theatre. This article offers a comprehensive examination of his life, music, philosophies, and invented instruments. Before HPSCHD: Lejaren Hiller and his early experiences with MARK E. PERRY Computers, North George College and State University

In 1952, the University of Illinois secured ILLIAC I, which served as the first computer in an academic institution, eventually leading to Lejaren Hiller's landmark computer-generated composition, ILLIAC Suite (1957). Musical experience in the use of computers in composition led to the String Quartet in four movements and

News of the work brought the composer unwanted national attention. Hiller, who had a Ph.D. in chemistry, constantly struggled to overcome his role as a scientist by meddling in chemistry.

Saturday afternoon summaries

musical composition. His gift for computers eventually led him to collaborate with John Cage and the composition of HPSCHD. SAM Session 10b: Architecture 10b: Architecture

Louis Sullivan, J. S. Dwight und Wagnerian Aesthetics no Chicago Auditorium Building STEPHEN THURSBY, THURSBY, Universidad de Carolina del Sur, Sumter

In his article "Music as a Medium of Culture", American critic John Sullivan Dwight observed that Americans needed music to "imperceptibly soften" our "confident and aggressive manner" and to round out our "sharp and offensive angularity of character". Richard Wagner also saw music in a utopian light; his total work of art should unite the skills of many and inspire a society dominated by greed. His ideas were manifested in American architect Louis Sullivan's designs for the Chicago Auditorium Theater (1889), particularly in the symbolic murals that alluded to multiple forms of art and the democratic ideal of opera as a social institution. Frank Lloyd Wright: Wright: Musical Intersections and the Rise of the New

american architecture

DAVID PATTERSON, independent scholar

In pursuit of distinctively "American" architecture, Frank Lloyd Wright created a particularly polished aesthetic, often calling music a "good friend." More importantly, his designs consistently show an idiosyncratic but clear translation of techniques derived from music. This presentation focuses on Wright's early days and identifies the aesthetic that justifies the inclusion of music as one of his "five influences." his Home and Threads Studiothat (1889/1898) and Unity Temple (1906–08) as examples he will later use

to document Wright's integration of music composition techniques into his own approach to design, an approach that would ultimately realize his long-cherished aspirations for a unique design


SAM Session 10c: Building Communities Through Music Goldenrod Music: Negotiating Lesbian Identity Through Women's Music for Women LAURON KEHRER, Eastman School of Music

Of the more than sixty companies that make up the WILD (Women') collective, Goldenrod Music is the only one that has endured and still specializes in women's music. New generations of queer women are producing and consuming music , leading to a diversification of female music, reflecting, for example, the rise of lesbian rap artists

a generation that grew up listening to hip-hop music, separate from the folk music that was popular among lesbian communities in the 1970s. Goldenrod's survival, then, depends on her ability to adapt to changes in lesbian communities. This article uses ethnographic examples to show the company's symbiotic relationship with the ever-changing lesbian feminist communities. company” From Gay Liberation to Gay Pride: Using Music to Build Community TODD ROSENDAHL, The Florida State University

After the Stonewall riots of 1969, gay rights activists began organizing events designed to bring people together to create a community in support of gay equality. Music was an important part of these early encounters in the form of street dances, concerts, and social gatherings in dance clubs. In this article, I examine how early gay rights activists in the United States and Canada used music as a vehicle to create an LGBT community in North America. I maintain that in the early years of the gay rights movement, music was not only used, but vital to building communities. SAM Session 10d: The Status Quo Blacklist: Harmonica Virtuoso Larry's Blacklist


RYAN RAUL BAÑAGALE, Harvard University

Larry Adler (1914–2001) (1914–2001) was an immensely popular agent of classical composition for

the general public, transportation of harmonica performances in the United States of vaudeville



Saturday afternoon summaries

for Carnegie Hall until he was blacklisted in 1949. This article considers the stated and implied reasons for his professional ostracism and the impact that ban had on the broader stratification of classical music in America. Adler's political and personal connections are

He also considered how Adler's persona and Adler's performances, making the classical canon accessible through a "popular" instrument, broke down the social hierarchies that the anti-communist movement tried so strenuously to preserve. Black Smoke, Red Fire: The Blacklist by Dean Dixon LUCILLE MOK, Harvard University

The release of Red Channels in 1950 ended the American careers of many musicians. Among them was Dean Dixon, the first African-American director to direct

New York Philharmonic and NBC Symphony Orchestra. The integration policies and outreach he implemented through the American Youth Orchestra show that Dixon's musical output was a bone of contention for conservative agitators. Examination of Dixon's orchestral support network and artistic associations provides further evidence that music and music-making need to be included in a reconsideration of the concept of exile in the context of the Red Scare. IASPM Session 9a: Music, 9a: Music, religion and the public on the other shore: R.H. Harris and the Politics of the Intersection of the Sacred and the Secular MARK BURFORD, Reed College

The Soul Stirrers gospel quartet is widely regarded as one of the seminal vocal groups in 20th-century American music. Formed in Texas in the mid-1930s, the quartet's best-known recordings date back to the 1950s, when Sam Cooke was the lead singer. However, before Cooke joined in 1950, the group's primary leader was Rebert H. Harris, whose leadership established the Soul Stirrers as one of the pre-eminent gospel quartets. Far from being a pioneer, Harris' distinctive approach as a gospel stylist had a deep and lasting impact on Cooke and many other African-American singers of his generation. In addition, Harris' activities as a concert promoter, professional organizer, and businessman have made him one of the most respected figures in Chicago's African culture.

american community.

In addition to his musical influence, the career of R.H. Harris Harris draws attention to another facet of the postwar era.

Black gospel music. Cooke shook the gospel world by turning to pop music in 1957, a move that immediately transformed his audience from almost exclusively black congregants (some of whom deeply resented his decision) to multiracial and secular. However, Harris refused to transfer despite numerous offers, in fact insisting that gospel singers should not play secular music. "Sam Cooke said the best thing I've ever said in an interview. Interview. "He killed me when he told me he'd sing rockheard, 'n' roll." Although popular musicologists have documented the influence of black gospel music on the rhythm

and blues and soul, and seeing the legions of gospel singers cross into the world of secular music, the sociocultural implications of leaving (or staying in) the gospel world have been relatively ignored. For every gospel-educated Sam Cooke who has chosen to pursue secular pop music, there are many prominent singers like Harris who have resisted, and others, others, like Sister Rosetta Tharpe, who have chosen to cross the fence. to jump. . For many black gospel singers like Harris, the idea of ​​crossover embodied a set of concrete career choices that had professional overtones.

Cultural and political implications. By emphasizing the importance of R.H. Harris as Evangelist

singer, this article will also look at his musical career as a means of shedding light on the post-war singer, the cultural politics of this gospel to popular music, the crossing of the sacred to the secular and the sacred to the secular. Crossing. The Devil in Disguise: Evangelical Christian Discourse Against Rock and NEKOLA's ANNA, Denison University Origins the Culture Wars

If Americans today remember the early fears of rock 'n' roll, they may remember the threat posed by the juvenile delinquent as portrayed in the movie Blackboard Jungleor.

Campfire Beatles record memorabilia. records. Most Scholars Explain the Moral Panic Surrounding Rock Music



Saturday afternoon summaries

'n' Roll, as it is rooted in racial angst and fears a youth culture that could evade social control. While a "generation gap" thesis explains major American fears about race, gender, and a threat to the social order, many evangelical Christians of the 1950s and '60s believed that the sounds of rock 'n' music roll were inherently dangerous and fundamentally evil. . Music scholars once viewed discourse about dangerous sounds as a "fringe" belief, a strange novelty, or a mindless "bashing on rock," while today's evangelicals rarely debate how their ancestors viewed music. rock music as a threat to frame its past as a misguided overreaction to a song that has since become a significant expression of personal spirituality. However, both perspectives fail to locate this discourse in a broader cultural context. This article argues that this forgotten evangelical anti-rock discourse illuminates the rise of contemporary political morality in the United States. Evangelicals considered rock music dangerous to people and their Christian souls, but more importantly, they believed that this music threatened the family, the church, and the nation. By focusing on rock 'n' roll music as a corrupting force of "traditional" family and religious values, these evangelicals laid the groundwork for today's culture wars. "Folk Music" and "Religion-Based" Cultural Criticism: Reflections on Definitions, Genealogies, and Trends MARK HULSETHER, University of Tennessee

Both “folk music” and “religiously based criticism” are broad and ambiguous terms; This essay uses the folk revival of the 1950s and 1960s as a starting point to examine how they interpenetrate and inform each other. It works in reverse to the precursors of roots music ("hillbilly", gospel and others going back to the minstrel), the American Popular Front. He also works in the blues, progressing towards infusing folk music with popular music and (for example, country music) and 'sideways' to many styles of world music. Defining folk' folk themes include

a relative simplicity that allows ordinary people to master and 'own' the music, implicit or overt appeals to collective 'folklore' traditions (as opposed to elites, cosmopolitans and commercial forces), and a potential for criticism cultural or social protest. protest. The music involves a strong overlap between styles (eg, gospel), values ​​(eg, community or justice), and concepts (eg, sin or heaven) that are part of traditions commonly referred to as "folk". and "religious". - some of which are well understood and others not so much. Religious music is known to have been important in the civil rights movement; This essay highlights how the religious dimensions of other types of people can play similar roles in many contexts. He places this issue in the context of broader efforts to map and clarify the complexities involved in generating genealogies from these convoluted issues.

Is that the blessing or the curse? Side History of Christian Popular Music ANDREW MALL, University of Chicago

From its humble beginnings in the Jesus People Movement in the late 1960s and early 1970s to its growth into a $500 million industry in the late 1990s, the Christian music recording industry Contemporary (MCC) has become one of the most visible (and most audible) features of evangelical Christian culture in the United States. The CCM market is larger than Latin music or jazz (among other genres) and CCM artists have achieved a significant commercial market

made a successful transition into the mainstream pop music industry. Why, then, has CCM been largely excluded from the history of rock and pop music in the United States? The breakup of the CCM has been linked by some to larger and longer tendencies of evangelical secession of the American public (Hendershot 2004, Luhr 2009), but this explains little why there remains a significant lack of scholarship on Christian popular music. The CCM case study offers scholars of popular music the opportunity to reflect on the hierarchies of

Liking and belief (or lack thereof) in the accepted history of popular music. In this article, I examine the historical forces that have shaped the MCC industry as separate and distinct from the mainstream industry, and I consider how these forces have also contributed to Christian pop music's relative lack of scholarship on the canons of music. popular music studies I draw primarily from historical and ethnographic research on the popular Christian recorded music industry that I conducted for my 2009-2010 dissertation.



Saturday afternoon summaries

9b: Music/Theater IASPM Session 9b: Music Shakespearean Pastel: Popular Song and Shakespeare's New Burlesque KENDRA PRESTON LEONARD, Westminster Choir College

In his book Not Shakespeare: Bardolatry Bardolatry and Burlesque in the Nineteenth Century, Richard Schoch shows, among other things, how Shakespeare's works were historically ridiculed in 19th century vaudeville shows, the music and dance that the heroes, the heroines and plots used to use. in having complicated However, with the decline of vaudeville and other live variety theaters in the 20th century, theatrical parodies of Shakespeare disappeared from view. However, more than 1,000 popular songs referring to the bard indicate that Shakespeare's more recent burlesque features in music. Shakespeare's recent burlesque as an individual or his works through music seems to be primarily for the purpose of creating an inside joke for those in the know, aimed primarily at the insider audience who appreciates attention to detail and clever puns and jokes also appreciated by those who use these songs while establishing the composer's or performer's credentials as literate and erudite. I will examine three recent Shakespearean musical burlesques: the invocation of Romeo and Juliet in Reefer Madness: The Movie Musical; the use of music and humor to provide a generally accessible explanation of the plot of the plays for a casual audience in Slings & Arrows; and the inclusion of Hamlet's line "What a work of art is man" in the film Coraline. In all three cases I will discuss how burlesque is achieved through lyrics.

its music; and also to what extent burlesque refers to its historical roots. RAYMOND Faustian University California, Los Angeles The AmericanKNAPP, Musical and the Bargain

Faust became high art with Goethe, but has since drifted away. In fact, Faust seems to be ready for the American musical, whose history is framed by spectacular hits fueled by Faustian elements. The Black Crook (1866), (1866), which ran for decades, is a retelling of Weber's Der Freischütz, while its late-20th-century counterpart, The Phantom of the Opera (1988), combines aspects of Faust and Gretchen in Christine, is from

Faust and Mephistopheles in the ghost. Magic offered musicals opportunities for spectacular music and staging, and their characters tended to use music, the main source of magic in musicals, to effect transformative change. But musicals based directly on Faust are rare, Damn Yankees Yankees (1955) being the only obvious example. I speak of Damn Yankees in relation to other treatments in popular culture (such as the film version of The Devil and Daniel Webster) as part of a larger discussion of Faustian elements in American musicals centered on magic, effort, profit. , idealism, temptation and sexuality. , each with their own musical language profile. In and Out describes how musicals balance effort and gain against recklessness.

The bargains and seductive lure of easy success and forbidden pleasures and how music affects that balance: I also consider the Faustian bargain of the genre itself, using the magic of music, dance, sex and spectacle to seduce audiences and achieve success Commercially, but at the same time. the obvious price of his artistic soul. "Everything's Coming Up Kurt": The Broadway Song in the Pop World "Everything" World of Glee JESSICA STERNFELD, Chapman University

Following the processes of a group of high school Glee performers and their teacher, the cast alternates, interpolates and reinterprets songs from musical and pop genres in each episode of the hit television hit Glee. Often the choice of music reflects character; Even if the

Students sing in rehearsal, the song having a personal or action-related reference, depending on the program.

contains songs in the same way as a jukebox musical - a (sometimes awkward) plot device

it carries a specific episode, reinventing the meaning context of cheesy 80s music. The vast majority of the songs are pop songs, so current or hits; and the tunes, usually the main part of the show choir's repertoire, are reserved for special occasions in the world of glee.



Saturday Recaps Saturday afternoon when the songs are from musicals (which are very often performed by diva Rachel

or gay countertenor Kurt), knowledge of the original context of the song, performers, performers, or character adds unspoken layers to the recontextualization. How much of this external meaning do the authors and performers embody? Are viewers being given these levels of meaning? I'll examine some particularly complex examples of Broadway songs reimagined on Glee, including Kurt's "Rose's Turn" and Rachel's duet "I Dreamed a Dream" with her mother (Idina Menzel). In an effort to uncover the messages Glees are sending to their vast pop-oriented fan base across Broadway, I'll also be examining some of the discussions under "Gleeks" to gauge how many pre-Gleebagage viewers are processing the process of a song. IASPM Session 9c:Making 9c:Making Beats Black Musics, Technology Technology and Modernity: Exhibit A, the Drum Kit PETER AVANTI, Università degli Studi "Aldo Moro"

The pioneering nature of African-American creativity can be seen throughout the history of modern musical technologies (performance practices, styles, techniques, instruments). Aphrological perspectives address renewed musical, social, and aesthetic-neurological conventions to shape a uniquely African-American cultural soundscape and musical approach. Musical practices of African origin, such as improvisation, call and response, emotional release, witness and use of the body, are essentially “techniques of the body” (Mauss) or “technologies of the self” (Foucault) – for the "self-transformation" – “Self-transformation” strategies – strategies to face and survive the disturbances and changes of modern life. These technologies correspond to the invention or reinvention of musical instruments and instrumental techniques, and to the innovative and interdependent relationship of black music with sound and recording technologies and techniques. Together these expressive technologies have deep listening awareness, social life, affirmation and awareness - you've made a difference.

Music is what it is for, how and where we relate physically, physically and aesthetically through sound and the way we sound. In this way, we can meaningfully (re)situate the history of African American musical culture within the broader context of the technologies, innovations, and philosophies that have shaped social and cultural forms and functions in modern life. This change in

Understanding cannot ignore the processes of commodification and commercialization of black music, on the contrary, it would position affirming and consuming aspects of life in parallel and in constant tension to suggest the intricacies, intricacies, meanings and potentialities of the afrologico.

Musical practices for society are not yet fully recognized. Within this larger context, this presentation explores the history of the Trapor drum kit and how the kit's various unique tonal capabilities (rhythmic, tonal, dynamic, harmonic, melodic) characterize a modern soundscape, musical performance, and expectations. He debuted in the 1890s with ragtime, the "kit" (kick, snare, hi-hat, ride, and crash crash).

cymbals) designed to meet the needs and expansion of Afrologic's musical styles, evolving mechanically, technically and conceptually into a complex multi-instrument that requires the coordinated independence of four members on four (or more) percussion instruments, to (play ) form and rhythmic form. temporally linked sound structures. Ubiquitous and often considered timeless, the kit is modern through and through - the sonic heart of pop music.

Songs that articulate the rhythms of modern life. Behind the Beat: Technical and Practical Aspects of Instrumental Hip-Hop


MIKE D'ERRICO, Tufts University

From DJ Premier's beat productions in the early '90s to Kanye West's live performance at the 2010 Video Music Awards, the Akai MPC has long been considered the standard sampling technology in any hip-hop production studio. hop. Expanding on the various techniques pioneered by hip-hop's pioneering DJs, including juggling, cutting, and mixing, MPC introduced a much wider range of possibilities, not only in terms of manipulating individual samples, but also for assembling them into one. musical composition. In addition, the expansion of the but machine has coincided with the musical evolution of hip hop tradition as producers have responded to changing technological trends with increasingly innovative trends in performance practice.



Summaries of Saturday Afternoon Saturday This work will occupy a large space analyzing various songs by DJ Shadow and Madlib

Gap in hip hop research that reveals the technical aspects of song construction and how these producers responded to the changing characteristics of MPC throughout its development. The dual compositional approaches presented, that of the traditional DJ and that of the producer, that of the producer, offer a complete vision of the artistic development of the

Music that recognizes the influence of the historical tradition in past and present production.

Additionally, by focusing on instrumental rather than lyrical hip-hop works, particularly important techniques are presented more clearly to the listening listener.

By revealing a broader and more diverse technical approach and the way we evolved musically, this article's analysis of hip hop hopes that music nurtures and offers culture. Lacking a fundamental understanding of the producer's songwriting process, we are presented with an immense body of knowledge that allows us to apply theoretical and analytical methods as well as aesthetics across multiple disciplines.

The State of the Electroclash Producer and the Circulation of Backbeat DAVID MADDEN, Concordia University

This article attempts to map specific transformations in electronic music culture that led to the rise of electroclash and questions what characterizes this genre and its related production and reception practices. Reception? Why rock and electro come together in this place and in this way? Why is it affectively powerful for musicians and audiences? The development of electroclash, also known as electro and/or electroklash, as one of many subgenres of electronic dance music since house music, can be traced back to changes in electronic dance music communities in the 1990s, where certain combined and new elements have been structured. Electronic dance music course. This transformation contributed significantly to the creation of

the vertically integrated electronic dance music producer: a producer able to take full advantage of the digitization of production and distribution networks. Additionally, by incorporating and propagating the backbeat, Electroclash marked a new approach to rhythm within electronic dance music culture. In this way, Electroclash is part of a continuum of practices directly linked to the rise of house music.

in Chicago in the mid-1980s and disco in the early 1970s. This article examines the aesthetics and logic of circulation that shaped this continuum, with particular attention to the four on the disco and house track. and the heavier, more mechanized groundstrokes.

equivalent to an electric shock.

IASPM Session 9d: Race, 9d: Race, Nation, Culture Culture

Situating Korean-Americans in Popular Music History, 1990er–2010er 1990er–2010er EUN-YOUNG JUNG, University of California, San Diego

Ask almost any American about a popular musician of Asian descent and the answer won't be one. Research Scholarship research in popular music and Asian America is rarely mentioned. Is this obliteration conscious ignorance or just a reflection of reality? Asian

Americans have been making popular music for over a century, but it remained out of the mainstream until recently. This article is intended as a historical correction classifying Korean-American popular music activities in popular music history over the past decade. I focus on two hip hop artists, Tiger JK and Dumbfoundead, and singer/producer/singer/producer David Choi, all of whom have musical roots in Los Angeles. A central element of this recent history is the advent of new technologies (MySpace, Facebook and, in particular, YouTube) that allow musicians to reach the public directly and directly, without bypassing the normal intermediaries of the music industry. music. Industry. With YouTube serving as a free agent and instant showcase platform, fringe artists now have a way to break into the mainstream. In fact, some of the top musicians on YouTube ouTube are now Asian-American, including Korean David Choi, who was the 18th most subscribed musician on YouTube in February 2010, and American rapper Dumbfoundead, who successfully landed on YouTube. and YouTube reached its Korean fans and producers. This article takes a brief look at the largely invisible place of Asian Americans in American pop.

The history of music as a starting point and focuses on changes in professional development strategies.

Korean-American pop musician since the late 1990s.



Saturday afternoon summaries Saturday

Los Vatos Rudos: The Transnational Localism of Pachuco-Ska DANIEL TRABER, Texas A&M University Since its birth, Ska

It was a genre shaped by the physical and cultural diaspora and an opening to borrow from outside its origins. The history of ska transcends national borders and integrates with other styles of music, making it one of the most hybrid transnational forms of the postwar era.

popular music. We'll take a journey from its origins in the Jamaican dancehalls of the late 1950s, jumping to England in the 1980s, where it morphs into the Two Tone Two Tone movement, and finally reaches the United States.

The listening phase is commonly known as third wave ska. More emphasis in this finale that focuses on Los Skarnales, a skaI band from Houston whose mestizo style blends many forms, including the local flavors of their neighborhood. Throughout the study, an auxiliary theme remains in the background: the relationship between subjectivity and

community. These musicians draw on traditional cultural elements of the past and embrace community. their identities as artists, performers, and individuals are limited, but they maintain their autonomy, creating new identities through a curious middle ground, thus bringing a sense of authority to the community even as they transcend their influence.

"Chocolate City": P-Funk and the Post-1960s African-American City BENJAMIN DOLEAC, University of Alberta

In 1975, Parliament/Funkadelic mastermind George Clinton released Chocolate City, an ode to the nation's capital's predominantly black population. Atop chart-topping JB-esque S-Style, gospel piano, snappy bassline and raw drum machine beat, Clinton envisioned an all-black White House and rapped about the rise of the African-American metropolis... The The history of Clinton's Parliament-Funkadelic collective has included at least three "Chocolate Towns": Plainfield, New Jersey, where the group began as a doo-wop quintet in 1956; Detroit, where Clinton founded the P-Funk empire in the shadow of the Motown hit factory; and Washington Washington, D.C., home to the group's most devoted fan base. Drawing on Paul Gilroy's The Black Atlantic and Henry Louis Gates's seminal work on the black rhetorical strategy of "signifying(g)," I argue that Clinton's work glorified the radical hybridization of black cultural life in Latin America in the late 19th century. twentieth century. . Through myth, parody, parody, and two-part language play, Clint Clinton described how he subverted the tropical tropes and ideological ideology of Euro-European nationalist, rationalist rationalist, and black nationalist, summarizing the deeply ambiguous identities of African-Americans who migrate. From the countryside to the city in the 20th century. and the long period of urbanization

bad that followed The "Chocolate City" trope culminated in an infamous 2006 speech by New Orleans Mayor Ray Nagin in the wake of Hurricane Katrina, though his assertiveness has been widely interpreted as separatist creed.

Hipness is Relative: Brooklyn x Peruvian Cumbia KATHRYN METZ, Rock and Roll Hall of Fame and Museum

In this article, I examine how Brooklyn, NY, NY musicians invoke modernity on their middle-class American and European fans by performing chicha, a Peruvian cumbia developed by immigrants in Lima in the 1960s and 1970s and later reinterpreted in the Amazon. urban. At the same time, many Peruvian chicha bands, such as Explosión de Iquitos, are currently struggling to gain popularity with fans in their own country; chichahas has changed significantly in the last three decades, moving away from its roots and evolving towards technocumbia, a distinctly Amazonian music with significant social and political impact. In Brooklyn, Chicha Libre creates exact recreations of songs from 1970s chicha bands like Los Mirlos,

Juaneco y su combo y otros, music decidedly low in Peru and still avidly consumed by New York hipsters. Chicha Chicha Libre invokes a certain misplaced nostalgia in its listeners by staying true to the original chicha instrumentation, while Explosión has replaced almost all instruments with synths and drum machines, signaling modernity for its own fans. My article explores how chicha libre uses class and modernity to recreate music hitherto unknown to its western consumers and invents nostalgia, while the technocumbia band Explosión amazônica bets on cosmopolitanism to preserve A

fandom on their own territory. Area.



sunday morning recaps

11a: Music and Family: SAM Session 11a: Music Family: War War of 1812, an urban response in song addressing two important bicentennials: The founding of the American Society of Antiquaries

and the Second United States War against Great Britain, 1812-1815. In commemoration, the AAS will publish the Isaiah Thomas Ballad Collection, 334 folios with 441 texts, all published in Boston 1810-1814. Through this collection, historians see the day-to-day concerns of

People on the streets of Boston. Part of this session focuses specifically on the War of 1812

Songs about sea battles, heroes and politics. Parody is central to these texts; Many of his models date from before the revolution. In context, these songs illuminate this interesting and complicated historical period. Music for the War of 1812: Old Songs Served New Purposes DAVID HILDEBRAND, Peabody Conservatory

The War of 1812 produced a multitude of texts on major naval battles, naval heroes, and political themes, all of which found their way into today's newspapers, journals, and singers. The ballads particularly conveyed the growing patriotic zeal of the wartime, drawing on well-known tunes, many of which had significant connotations at the time (although they have largely escaped listeners today). This process of parody flourished c. 1814 and early colonial times, along with many specific pre-revolutionary tunes. Many bicentennials are

already scheduled for 2012-2015 and offers excellent opportunities to teach American history through historical texts and tunes. Ballads and Songs for Boston in War The War of 1812: The Isaiah Thomas


KATE VAN WINKLE-KELLER, The Colonial Music Institute In the 1970s, the late Arthur Schrader began a study of Isaiah Thomas' collection of 1814 ballads, piecing together as many lyrics as possible from their original tunes and revealing the stories behind them. of them. I have now completed his work, telling the story of the songs and poems popular among Bostonians in 1813 and early 1814, in the midst of the American War of 1812. This illustrated presentation will review the contents of Thomas's collection, focusing on the types of ballads and their importance for the local population.

SAM Session 11b: Form and structure in popular song

The Image of the Blue Note and the Blues ALISA WHITE, Indiana University

Carefully constructed by Alfred Lion and Francis Wolff, the Blue Note image embodies the hallmarks of fashion and modernity that were prevalent in African-American culture of the 1950s and 1960s, fueled by the civil rights movement. This article analyzes several of Lee Morgan's blues to demonstrate one result of this synthesis: a plethora of blues compositions that altered the generic characteristics of traditional blues and fused them with elements of modern jazz. Song Forms as Rhetorical Models in Early Rock 'n' Roll: A Case Study PAULA J. BISHOP, Boston University

The canonical history of rock 'n' roll places an emphasis on borrowing and adapting the twelve-bar blues form while omitting or paying little attention to other styles and song structures. However, a closer look at the repertoire of this period reveals that composers used a variety of forms that represented different American manners. This work examines the singles released by the Everly Brothers between 1957 and 1960 with the aim of cataloging the types of musical structures and their origins. The interplay of song form and lyrical elements is explored to understand the rhetorical uses of song forms in rock 'n' roll. The Everly Brothers, who during this period had 22 singles on Billboard's pop, country, and R&B charts and four number-one hits, wrote about half of their own material;

Nashville songwriters Boudleaux and Felice Bryant wrote much of the rest. The Everlys' songs fall into three categories: strophic, thirty-two-bar AABA, and sectional.



sunday morning recaps

The verse form, a conventional structure in country music, is typically used to narrate brief episodes of adolescent life. AABA songs, a standard form in American popular music, are reserved for the deepest expressions of emotion. In the music section, each section describes a different time perspective of a story, but the linear narrative is broken by the organization of the sections. The Everly's early recordings demonstrate the fusion of forms and sources that created the unique sound of rock 'n' roll and influenced later artists.

like the beatles

SAM Session 11c: 1c: Music Music in Heart Heartland

The expansion of country music into the heart of LINDA POHLY, Service Ball State, and college music activities in Ohio, Illinois, Iowa, and other core states were varied, but all had the same goal. They presented choirs, operetta productions, and various types of music education opportunities. In addition to the main objective, these efforts also created opportunities for socialization and leadership development, etc. among the participants. This article highlights the types of music-related outreach activities in different states and provides an analysis of their impact. Photos and comments from the participants enrich the presentation. Sound comprehensions: incorporated musical knowledge and ballroom dances in

the american heart

JOANNA BOSSE, Michigan State University Based on the ethnography of Midwestern dance clubs, this article explores how amateur ballroom dancers make sense of their own musical experiences.

embodied dance practice. The article focuses on the concept of "listening to music" as understood by ballroom dancers, including the skills required and the social significance that such a practice has for dancers, and starts from the premise that dancers

“Hearing” music differently from musicians. “Listening to music” encompasses a broader universe of meaning that relates to the literal act of perceiving sound, but also to knowledge, community, understanding, morality, beauty, and personality. SAM Session 11d: Cultural Interactions

Rasse, Nation, and José Maurício Nunes Garcia MARCELO CAMPOS HAZAN, Núcleo Brasileiro de Musicolog Musicologia, ua, São Paulo

The life and work of José Maurício Nunes García (1767-1830), a Brazilian composer of Afro-descendant sacred music, has captured the imagination of the public and scholars for many generations. This article argues that the discourses of race and nation in Brazil exercised a mutual influence that overlapped with the posthumous reception of García García by some important politicians.

crosses Its goal is to shed light on the changing ways in which racial miscegenation has been interpreted, and how these changing interpretations have been shaped, labeled, and relabeled by nationalist ideologies of cosmopolitan conformity and national uniqueness.

Garcias Music.

Musical Adaptation and Innovation in Franciscan Missions in Northern Alta California MARGARET CAYWARD, University of California, Davis

The musical life of the mission from 1769 to 1836 in Northern California can be described as typically Franciscan. My new translations of the Scriptures, including responses to the 1813–1815 Interrogation, show that missionaries like Narciso Durán and Felipe Arroyo de la

Cuesta used older methods of teaching music, including the solmization of the hexachord illustrated by the Guidonian Hand, but he was also interested in new musical techniques and techniques from Europe. Although far from Spain, Alta, California, he showcased some of the richest musical activities of the time when missionaries attempted to influence the lives of local Indians.



sunday morning recaps

SAM Session 12a: Connections in String Music, c. 1948 Elliott Carter' Carter's Cello Sonata: Mediating Schoenberg and Stravinsky in Post-

Americano Americano Krieg

DANIEL GUBERMAN, University of North Carolina–Chapel Hill

Elliott Carter composed his cello sonata in 1948, at a time when there was a new demand for American musical leadership. Guide. While many composers debated whether this guide should be based on the Stravinsky or Schoenberg schools, Carter, a fan of both, fell somewhere in the middle. that the instruments In this work he presents new analyzes of the characteristics of the work of two composers in light of their styles. Recent statements in this regard I suggest reading the work in dialogue with the debates on the direction of postwar American music. Building a Relevant Past: Mel Powell Powell's 1948 String Quartet JEFFREY PERRY, Louisiana State University

Mel Powell (1923-1998), jazz pianist and avant-garde composer, began his studies in 1948 with Paul Hindemith. That year he composed a string quartet, Beethoven Analogues. The first movement of this work is a parodic recomposition of Op. 18, No. 1, first

Movement. Powell's Powell Quartet is not an homage to Beethoven, but rather an attempt to mix the vernacular European and classical American halves of his sensibilities, and build on what he called his relevant past. I will examine what this concept meant to Powell and present my critical edition of the quartet, currently available only in manuscript form. SAM Session 12b:Jazz: 12b:Jazz: Live and on the radio! Radio! Kansas City in Competition: Count Basie, Chick Webb, Webb and the "One O'Clock Jump" CHRISTOPHER WELLS, University of North Carolina-Chapel Hill

In the 1930s, "swing" was contested aesthetic territory in Harlem, as the local Kansas City style was seriously challenged when Count Basie's gang came to town. Basie fought Harlem favorite Chick Webb Webb in 1938, a contest that Basie "won" according to the press and much of the public. A year later, Webb began performing Basie's "One O'Clock Jump," and his version contains an incredibly dense web of references to the band's version of Basie, particularly in the final choruses. A sonic response to Basie, Webb's version denies Basie's victory and the supposed superiority of the Kansas City style. Basie's Cincinnati's "Jazz Ark": WNOP and the Rise and Decline of Radio Free Jazz in Cincinnati'

the heart

MARC RICE, Truman State University

From 1961 to 2000, radio station WNOP served Cincinnati's vibrant jazz community. Broadcast from a barge on the Ohio River and programmed by eccentric disc jockeys, the modern jazz format transcended the region's ethnic, cultural, and geographic boundaries. This article will use archival research and personal interviews with musicians, disc jockeys, and the station owner to discuss the station's glory days and final struggles. The history

it shows the importance of radio to Heartland and the problems posed by the decline of jazz radio programming. SAM Session 12c: Pastoral 12c: Nostalgia Pastoral Nostalgia

City and Country in Pictorial Song ESTHER MORGAN-ELLIS, Yale Yale University

In the United States, the late 19th century was a time of social change, fueled by accelerating rural-urban migration. City. This movement led to change social structures and values ​​and at the same time generated tendencies among city dwellers to face the modernity of city life on the one hand and on the other hand through idyllic forms - real or

imaginary - of country life in the other. My illustrated article investigates the coexistence of singing modernity and nostalgia in the music of the early 20th century, a film format that reflected and created popular sentiment during this time of change. I defend

Using various songs as an example, this illustrated music can offer a nostalgic escape from the world.



sunday morning recaps

Evoke country life, promote enthusiasm for city life and modernity, modernity or resort to cynical comments on modern times.

Literary and Musical Reception of Irving's Fantastic Sleepy Hollow KELLY ST. PIERRE, Case Western Reserve University

Although Washington Irving's Sleepy Hollow (Sketchbook, 1819-1820) helped establish him as the "patriarch of American literature", critics often criticized the fantastical element of the story. Musical settings from the 19th-century story, including an opera by Max Maretzek, similarly emphasized nostalgic depictions of rural Irving rather than the fantastical effect of it. This article will examine the apparent reluctance of the public to engage with the fantastical element of Irving's writing, despite their enthusiasm for the author. While affection was not a conscious priority for audiences, its positioning as a culturally charged backdrop to a nostalgic landscape served a larger cultural agenda aimed at celebrating an idealized New America. SAM Session 12d: Formative Influences

Edward MacDowell — ¿Compositor cuáquero?

E. DOUGLAS BOMBARDERO, Elizabethtown College

In a country rich in religious and cultural diversity, it's hard to imagine a less promising source for a future composer than the 19th-century Religious Society of Friends of America. Edward MacDowell (1860–1908) grew up in a Quaker household at a time when members were deeply divided over the traditional ban on concert attendance and encouraging their children to develop musical abilities. This article will argue that MacDowell's original musical line-up is MacDowell. The voice must be attributed, at least in part, to the Quaker home where he began his Out Is the New In: The Inversion of Virgil Virgil Thomson in a Parisian Safe Haven MEREDITH JÜRGENS, University of Cincinnati, College-Conservatory of Music

In 1925, Virgil Thomson left for France, leaving behind an America he believed was "beginning to engulf us all." This extended not only to his experience as an American songwriter, but also to his struggle with his sexual orientation. Thomson composer Thomson Thomson's lifelong concern about his sexuality was influenced by the understanding of homosexuality in the mid-20th century.

as "sexually reversed". Exploring the concept of sexual reversal in a new way, we see how France provided Thomson with an environment in which he could safely explore and reverse the country's restrictions that previously beset him both personally and musically.


1211 12

TABLE OF CONTENTS Topics are in bold. The chairs are in italics. Speakers are italicized in their main entry and in Latin when listed by session number. Post topics that are titles are in bold italics. clearly.

17-18 Siglo: SAM 11d (Hazan Fields,

Cayward) 1901–1945: IASPM 1a (Bade, Replogie-Wong); IASPM 1d (Shope, Yamada); NIMF 5b (Gibson, Turner, Staff); NIMF 6d (Fleiner, Fischer, Eley); NIMF 8b (Shower, Cline); NIMF 9a (Burford, Hulsether); NIMF 9c (Avanti); PSALM 1b (Kehrberg); SAM 1c (Brewer); SAM 2nd (grenade, walking man); SAM2d (Ingraham, MacDonald); PSALM 3a (Robbins); PSALM 3b (Berisch); SAM 3d (Brick, Lumsden, Massey); SAM

4b (Allen); SAM 4c (Geller, Wissner); SAM 5a (W. Brooks, English); SAM 5b (Braun, Shewbert, Franke); SAM 5c (Marceneiro, Goodman); SAM 5d (Mihalka, Giamberardino); SAM 6 (Spilker); SAM7c (Brady); SAM 7d (Heisler, O'Leary); SAM 8a (T. Brooks, Garber, Mathers); SAM 8b (Myers, Wright, S. Brown); SAM 9b (Abgabe, Raulerson); SAM 9c (Hiser (Hiser, Zubieta); SAM 9d (Miyakawa, De Graaf); SAM 9e (Kriegsfeld,

Kreitner, Brucher); SAM10b (Patterson); SAM Kreitner, 11c (Pohly); SAM 12b (source); SAM 12d (bomber, Juergens); Sam sex. 10:15 (speaker, concert: Cranson); SAM Sat 12:45 (Concert) 19th century: IASPM 4b (Dickson); IASPM

5c (Gramite); NIMF 6d (Eley); NIMF 7c (McWhirter); NIMF 9c (Avanti); SAM1d (Crosslin, Ahlquist, Ahlquist, Newman); SAM2b (Dahn); SAM 2d (derrames); SAM 5c (Gutmann); SAM 5e (Reish, C. J. Smith); SAM 7a (pita); SAM 7c (Deaville, Baur, Twomey); SAM 7d (Pisani); SAM 8a (T. Brooks); SAM 10b (Donnerstag, Patterson); SAM 11a (Hildebrand, van Winkle-Keller); SAM 11d (Cayward); SAM 12c (San Pedro); SAM 12d (Bomberger) 9/11:IASPM 4a (Brost, Randall, Roessner, Vayo; Fisher & (Kaskowitz); Flota, cadeiras);SAM IASPM 7c (Latham); SAM 5d 7d (Rostosky) A & M Records: IASPM 8d (Weisbard) Abrams, Al Al (Antwortant): (Antwortant): SAM 2c Adams, John Luther: SAM 9b (Kinnear) Adams, John: SAM 2a (Thurmaier) Addams , Jane: SAM 5c (Goodman) Addison, John: SAM 3a (Wong) Adler, Larry: SAM 10d (Bañagale) Adler, Richard: IASPM 9b (Knapp) Adorno, Theodor:IASPM 6a (Gunst) publicidade:SAM 5a (Love -Tulloch) Afroamerikaner: IASPM 1b (J. Smith, Sharp);

IASPM 1d (Tienda); NIMF 4b (Suzuki, Hatschek); NIMF 4d (Muliken); IASPM 5b (Gibson, Turner, Matabane, Mahon); NIMF 7c (Metzer); NIMF 7d (Martin); NIMF 8b (Duchan, der Bliek); NIMF 9a (Burford); IASPM 9cvan (Avanti, D'Errico, Madden); NIMF 9d (Doleac); SAM 1a (Gorzelany-Mos (Gorzelany-Mostak); yes); SAM 1b (Ohman, Boone); SAM 2c (Flory, Randall,

Marble); PSALM 5. (Reish, Tischler, C. Smith); PSALM 6 (Boothroyd); (Boothroyd); SAM 7a (Michelle (Michelle Boyd); SAM 7b (Kajikawa, Cheng, Robinson, Moses); SAM 8b (Myers); SAM 8d (Steinbeck, Lopez-Dabdoub); ); PSALM 11b (White); PSALM 12b (Wells, Rice); PSALM Wednesday 12:15 pm (Gospel and Sacred Music Advocacy Group: B. Johnson). :IASPM 6th Ali-Baba: PSALM 4d (Hajek) Allen, Ray: PSALM 4b Almer, Tandyn: Tandyn: IASPM 6c (Keightley) Altman, Robert: PSALM 9a (Blim) Lovers: IASPM 7a (Karl Miller, Kiri Miller) Amenabar , Alexander: IASPM 5c (Golden) American Antiquarian Society: PSALM 11a (van

Winkle-Keller) American Youth Orchestra: SAM 10d (Mok) Angola (Louisiana state penitentiary): IASPM


(Harbert) Ansari, Emily Emily Abrams Abrams: SAM 8c Appalachia: SAM 5b (Franke) Arquivos: IASPM 3d (Tsai); NIMF 4c (Schnitker,

Shut up, be silent); NIMF 7b (Knifton); IASPM 8d (Weisbard) Argentina: SAM 4d (Dewar) Argyropou Argy ropoulos, los, Erica K.SAM Jewish Studies (hip) Arlen, Harold: IASPM 8c (Bunch) Armstrong, Louis: IASPM 4b (Hatschek) Art Ensemble of Chicago: PSALM 8d (Steinbeck) Attali, Jacques: IASPM 4d (Mulliken) Austin, Texas: PSALM 3b (Tretter) Vanguard: IASPM 4d (Lindau, Mulliken, Wang, J. Robinson); PSALM 8d (H.Lewis); Louis); PSALM 10a (K. Lewis, Perry) Avanti, Avanti, Peter: IASPM 9c Axtell, Katherine Katherine L.: PSALM 9a Aik, Aik, Ilgin: IASPM 2a Baade, Christina Christina: IASPM 1a; IASPM 4b (Chair) Bach, Johann Sebastian: IASPM 6a (in favour); PSALM 2b (Dahn) Bakan, Michael Michael: IASPM 2b Ballad, Leonardo: PSALM 3b (Fallon) Bañagale, Ryan Ryan Raul: PSALM 10d band: PSALM 7c (Twomey); SAM 9e (Kriegsfeld, Kreitner, Brucher); SAM sex. 10.15 a.m. (lecturer concert: Cranson); SAM Sub. 12:45pm (Concert) Barton, Willene: IASPM 4b (Suzuki) Basie, Count: PSALM 12b (C. Wells) Bauer, Marion: PSALM 5b (Shewbert) Baur, Steven: PSALM 7c Baur Bay Area Nova music: IASPM 4d (Robinson ) . Beatles, The: IASPM 1a (Back); IASPM 3c (hol-

Hudson) Beethoven, Ludwig van: SAM 12a (J. Perry)

Klaue, Abrams); SAM3d (Lumsden); SAM 4d (Hajek); SAM 5a (Amor-Tulloch); SAM5b (G


Belafonte, Harry: IASPM 7d (Martin) Bell, Gelsey: IASPM 1b


Andrew: SAM 3b Berish, Andrew Berlin, Irving: SAM 5d (Kaskowitz); SAM fifth fair. 12:45 pm (Concert Lectures: Sears and Conner) Bermel, Derek: SAM 3b (Fallon) Bernhagen, Lindsay Lindsay: IASPM 4b Bernstein, Leonard: SAM 3a (Woller) Beyer, Johanna: SAM 9c (Hiser) Bieber, Justin: IASPM 2b (Bakan) Bielecki, Michael Michael: IASPM 5d Big Brother and a Holding Company: SAM 1a

(Fulton) Bispo. Paula Paula J.: SAM 11b Black Metal: IASPM 2a (Hagen) Blackface: SAM 5e (C. J. Smith) Schwarze Liste: SAM 10d (Bañagale, Mok) Blim, Dan: SAM 9a Blogging: IASPM 4c (Strachan) Bloodshot Records: SAM 3c (Riley) Registros Blue Hinweis: SAM 11b (Branco) Blues: IASPM 5b (Matabane); NIMF 6b (Fry); SAM

11b (Branco) Blythe, Randy: SAM 1a (Hardiman) Bolan, Marc: IASPM 5b (Mahon) Bolcom, William: SAM 6 (Clifton) Bolivia: SAM Sá. 12h45 (Concierto Palestra:

Reyes) Bomberger Bomber ger, E. Douglas: SAM 12d Boone, Will: SAM Will 1b 7d (Pisani) Booth, Edwin: SAM Boothroyd, Booth oyd, Myles: SAM 6 Bosse, Joanna: SAM 11c Boston, Mass.:SAM 11a (van Winkle-Keller) Boyd, Melinda: SAM 3c Boyd, Michelle: SAM 7a Boziwick, George George: SAM 9c (cadeira) Brady, Judy: SAM 7c Brady Brasse Vannie Kaap:SAM 7b (Moisés) Braxton, Anthony: IASPM 4d (Mulliken) Brasilien: SAM 3b (Goldschmitt); SAM 4d (Hajek);

SAM 7b (Kajikawa); SAM 11d (Campos Hazan) Brewer, Charles E.: SAM 1c Brewer, Bright Sheng: SAM 9c (Rao) Broadside Ballads: SAM 11a (Hildebrand, van


Burton, Tim: SAM 3rd (Scoggin) Butler, Nicholas Murray: SAM 5c (Cabinetmaking) Butler Buzzalino, Buzzalino, Sebastian: IASPM 5d Byrne, David: IASPM 4d (Lindau) Byron, George Gordon, Lord: SAM Sat. 12:45 p.m.(Recital lecture:: Mergelsber (Mergelsberg recital lecture) g) Cage, John: SAM 1c (Mount); PSALM 10. (M. Perry) California (Missions): PSALM 11d (Cayward) Calypso: IASPM 7d (Martin, Sylvester) Fields Hazan, Marcelo: PSALM 11d Camus, Renée: PSALM 11c (hip) Canada: IASPM 3d (Tsai); ; IASPM 4a (incorrect);

SAM7a (Michelle Boyd); SAM 9b (Scheffer)

Canons and canon formation: IASPM 2b (Oakes, Young, Bakan); ISPM 2c (Dougan); IASPM

4c (strachan); NICPM 6a (in favour); IASPM 7b (Leonard, Le Guern, Knifton) Caribbean: IASPM 7d (Martin, Tiffe, Sylvester); SAM fifth fair. 12:45 (Latin America and the Caribbean Interest Group: Group: Madrid, Rosemary, Rosemary, Wagstaff; Wagstaff;

Burkholder, Befragter) Carolina Chocolate Drops: SAM 5e (L. Joiner) Carr, Daphne: IASPM 1d (Präsident); IASPM 3. Carr Carreño, Teresa: SAM 7. (Pita) Carson, Charles: SAM 5b (Hüfte) Carter, Elliott: SAM 12. (Guberman) Carter, John: IASPM 1b (Sharp) Cash, Darby: IASPM 3c (Zolle ) Casseres, Louis: SAM 7a (Michelle Boyd) Cassette Boy: IASPM 4a (Vayo) Cateforis, Theo: IASPM 1c; IASPM 4d, SALMO 5a

(Chairman) Cavicchi, Daniel: IASPM 6b (Chairman) Cayward, Margaret: SAM 11d Censorship: IASPM 4b (Bernhagen) Charismatic Christians: SAM 1b (Boone) Chavez, Carlos: SAM 9c (Zubieta) Chen Yi: SAM 9c (Rao) . Cheng, William: PSALM 7b Chicago: PSALM 2d (actors); PSALM 3c (Riley); SAM

4b (Lee); SAM 5c (Gutman); SAM7c (Deaville); SAM 8b (Myers); SAM8d (Steinbeck); SAM 10b (jueves) Chicano: IASPM 9d (manitas)

Brokaw, Tom: SAM 3b (Fink) Brooklyn, N.Y.: IASPM 9d (Metz) Brooks, Brooks, Tim: SAM 8a Brooks, Brooks, William William: SAM 5a Brost, Molly: IASPM 4a Brost Brown, Gwynne Kuhner: SAM 5b Brown Brown, Sara: SAM 8b Brown Brubeck, Dave e Iola: IASPM 4b (Hatschek) Brucher, Katherine: SAM 9e; SAM 4d (Präsident) Brucher Brumley, Albert E.: SAM 1b (Kehrberg) Bryant, Felice e Boudreaux: SAM 11b (Obispo) Brylawski, Sam: SAM 8a (Präsident) Orquesta Filarmónica de Buffalo: SAM 7c (Brady) Buffalo, N.Y.: SAM 7c (Brady) Burford, Burford, Mark: IASPM 9a Sistemas de tablones de anuncios: IASPM 4c (Schweig) Bunch, Ryan Ryan: IASPM 8c

Chicha Libre: IASPM 9d (Metz) China: IASPM 4c (Schweig); NIMF 4d (Wang);

Burkart, Patrick Patrick: IASPM 2d (Presidente); IASPM 3a Burke, Patrick: SAM 3b Burkholder, J. Peter(requerido): Burkholder (requerido): SAM qui. 12:45

Cleveland: NICSP 3d

pm (Latin American and Caribbean interest

SAM 9c (Rao) Choi, David: IASPM 9d (Jung) Natal: SAM 6 (Harrison) Cincinnati Symphony Orchestra: SAM 1d (Ahl-

quist) Cincinnati: Joint IASPM/SAM Plenary, Thursday 7:30 p.m.; SAM 1d (Crosslin, Ahlquist,

hombre nuevo); SAM 5e (C. (C. J. Smith); SAM 12b (Rice); SAM Jueves 20:00 (Concierto) Cipullo, Tom: SAM 6 (Clifton) Civil War: IASPM 7c (McWhirter) Civil Rights Era: SAM 8d (López - Dabdoub) Clague, Mark: SAM 2c (Moderador, Presidente) Clark Sisters: SAM 1b (Ohman) Clayton, Merry: IASPM 5b (Mahon)

(Willis Chun); (Davis, Leach, Onkey, Walser) NIMF 5a

Clifford, Amber: IASPM 3b Clifton, Keith: SAM 6

Cline, John: IASPM 8b Clinton, George: IASPM 9d (Doleac)

party); SALMO 10c (President) Burton, Justin Justin: IASPM 5d


1233 12

Clinton, Hillary: PSALM 1a (Gorzelany-Mos (Gorzelany-Mostak) yes) Cocker, Joe: IASPM 5b (Mahon) Cohen, Jude: PSALM 8b (President); PSALM 9. Cohen, Michael: PSALM 9. (Cohen) Kalter Krieg: PSALM 8c (Ansari, Wood, Garcia) Columbian: SAM Sa. 12:45 PM Uhr (Recital-Play:

Reyes) Columbia University: SAM 5c (M. Joiner) Columbian Exposition (1893): SAM 2d (Spiller) Conner, Bradford: SAM Do. 12:45 Uhr (Conner Lecture

in view of)

Doolittle, Emily: SAM 9b (V (Von on Glahn) Dougan, John John: IASPM 2c; IASPM 3c (President) Downtown II (N.Y.): IASPM 4d (J. Robinson) Doyle, John: SAM 7d (Rostosky) Dre: SAM 7b (Kajikawa) Dresel, Otto:SAM 2b (Dahn) battery ("Trap Set"):IASPM 9c (Forward) Shower, Joshua Joshua: SAM 1st (hip);IASPM 8b Stuffing:IASPM 9d (Jung) Duran, Narcissus :SAM 11d (Cayward) Dury, Ian:IASPM 6c (Faulk)

Música cristiana contemporanea: IASPM 9a (Mall) Cooke, Sam: SAM 4a (Hamilton) Copland, Aaron: SAM 8a (Mathers); SAM8b (p.

Dylan, Bob:SAM 4a (Hamilton) Ecuador: SAM Sat. 12:45 (Concierto-Palestra:

Brown) Copyright: IASPM 3a (Carr) Country-Musik: IASPM 4a (Brost); SAM 3c (Melinda Boyd, Verbrechen, Stanislawski, Riley)

Edmonton, Alberta: IASPM 5c (Gramit) Education: IASPM 2b (Bakan); NIMF 2c (Dougan);

Courtier, Jessica: SAM 1c (Cadeira) Coyne, Kevin: IASPM 6c (Faulk) Crane, Burton: IASPM 1d (Yamada) Cranson, Todd: SAM Sex. 10h15 SO. (Palestra-

considerando) Crimes, Neil: SAM 3c Cross, Melissa: SAM 1a (Hardiman) Crosslin, Ursula: SAM 1d Crossover: SAM 2b (Keenan); NICSP1a

Reyes) IASPM 3b (Hickam); IASPM 4c (incorrect); ISPM 7a (Chris Miller); IASPM 8a (Serpent, moderator); PSALM 5c (Lie, M. Joiner, Goodman); PSALM 11c (Pohly); PSALM 11d (Cayward); SAM fifth fair. 12:45 (Interest Group from Latin America and the Caribbean: Madri, Romero, Wagstaff; Burkholder,



IASPM 9th (Burford) Crowe, Cameron: IASPM 5c (Golden) Cruise, Tom: IASPM 5c (Golden) Cuba: IASPM Plenary Session (Fri 2:15; Madrid) Culpeper, Sarah: IASPM 1st cumbia: IASPM 9d (Metz) ; Curtis, Edward: IASPM 2d (Ingraham, MacDonald) Czechoslovakia: IASPM 3a (Carr) DJ Shadow: IASPM 9c (D'Errico) D'Errico, Mike: IASPM 9c Dahn, Yu Yu Spiel: IASPM 2b Dälek: IASPM 4d (Mulliken). ). ) Dance: PSALM 8b (S. Brown); PSALM 10a (K. Lewis); PSALM 11c (chiefs); SAT Sat 12:45 (Concert: Rice) Dance: IASPM Plenary (Fri 2:15; Madrid) Davis, Mary: IASPM 5th Davis, Miles: IASPM 1b (J. Smith); SAM


Day, Doris: IASPM 1st (Adel) De Graaf, Melissa Melissa: SAM 9d De la Guesta, Felipe Arroyo: SAM 11d (Cayward) De Martelly, Martelly, Elizabeth: IASPM 8c Deaville, James: SAM 7c Dell'Antonio, Dell' Anthony o, Andrew Andrew: PSALM 4c (Vorsitz) Detroit, Michigan: PSALM 1b (Ohman); Sam 2c

(Flory, Clague, Abrams); SAM 3c (Stanislawski) (Flory DeVeaux, Scott: SAM 12b (president) DeVeaux, Dewar, Andrew Dewar, Andrew Ruffo: SAM 4d DiCensus, Daniel Daniel: IASPM 8c Dickson, Jean: IASPM 4b digital: IASPM 2d (S. Smith, Schaefer , Morris );

IASPM 3a (Burkart, Carr, Sanjek) Handicap: IASPM 5d (Tusler) Discus: IASPM 9c (Madden) Dissonant Counterpoint: SAM 6 (Spilker) Dixon, Dean: SAM 10d (Mok) Dlugoszewski, Lucia: SAM 10a (K. Lewis). ) Dlugoszewski

Edwards, Cliff: SAM 8a (Garber) eeng: SAM 8a (Garber) Electroclash: IASPM 9c (Madden) Eley, Craig: IASPM 6d Eley Ellington, Duke: SAM 8c (García) Emmett, Dan: SAM 5e (C.J. Smith ) Eno, Brian:IASPM 4d (Lindau) Epstein, Jon: IASPM 2c Everly Brothers:SAM 11b (Bishop) Explosion:IASPM 9d (Metz) Fallon, Robert Robert: SAM 3b Fanon, Franz:IASPM 4d (Mulliken) Farrugia, , Rebekah: IASPM 4c (Presidente) Farrugia Faubus, Orval:SAM 8d (López-Dabdo (López-Dabdoub) ub) Faulk, Barry Barry: IASPM 6c; IASPM 9b (Presidente) Fauteux, Brian Brian: IASPM 4c Fawcett-Yeske, Fawcett-Yeske, Maxine: SAM 10b (Presidente) Federal Music Project: SAM 7c (Brady) Federal Theatre Project: SAM 8b (Myers) Feisst, Sabine Sabine: SAM 2a (Presidente) Ferencz, Feren cz, George George: SAM 12d (Presidente) Ferencz, Feren cz, Jane Riegel: SAM 7c (Presidente) lm:IASPM 1a (Gentry, Replogy-Wong); IASPM

5c (Gold, Maine); NIMF 8c (Group); NICPM 9b (Leonard); SAM 1c (waxman, Brewer); SAM2d (Ingraham, MacDonald); SAM 3rd (Murray, Robbins, Wong, Woller, Scoggin; van de Merwe, president); PSALM 3b (Fallon); PSALM 12c (Morgan

ellis); SAM fifth fair. 8:00 PM (triagem) Fink, Robert: PSALM 3b Finland: IASPM 5c (Poikolainen) Fisher, Joseph: IASPM 4a (Co-Chair) Fisher Fischer, Paul: IASPM 6d; IASPM 8d (President) Fischer Flaming Lips: IASPM 1c (B. Jones) Fleet Foxes: IASPM 4a (Roessner) Fleiner, Carey: IASPM 6d Fleiner Florida: SAM 5b (Shewbert) Flory, Andrew Flory Andrew: SAM 2c Fleet, Brian Brian : IASPM 4th (Co-Chair) Floyd, Carlisle:SAM 3d (Jensen-Moulton) popular and traditional:IASPM 3d (Tsai); NICSP4a

(Randall); NICPM 6b (Fry, Stimeling, Harbert);

Doleac, Benjamin Benjamin: IASPM 9d Dominican Republic: SAM 4d Donahue, Matthew Matthew: IASPM 3b



IASPM 9a (Ether Pulse); SAM5b (Frank); PSALM 5th (L. Tischler); SAT Sat 12:45 (interest



Popular Renaissance:SAM 4b (Allen, Lee) Ford, Mary:IASPM 1st (Culpeper) Foss, Lukas:SAM 9b (Levy) Fourth World:IASPM 4d (Lindau) France:IASPM 7b (Le Guern) Frank, Anne:SAM 9th (Cohen) Franke, Matthew Matthew: PSALM 5b Franklin, Aretha: PSALM 1b (Ohman) Franz, Robert: PSALM 2b (Dahn) Fry, Robert Webb, Fry Webb, II: IASPM 6b Fulton, Will Will: PSALM 1a

Guberman, Daniel: SAM 12a guitarra: IASPM 5b (Matabene); SAM 5e (Reish) Gunst, Stephanie: IASPM 6a Guy, Nancy: SAM 2b; SAM 12c (Präsidenten) Hagen, Ross: IASPM 2a Hajek, Jessica C.: .: SAM 4d Hamilton, Jack: SAM 4a Hamilton Hammerstein, Oscar, II: SAM 9a (Axtell) Hampton Institute:SAM 9d (Miyakawa) Handel, George Frederick: SAM 6 (Harrison) Hanley, Jason: IASPM 1c (Präsidenten); IASPM/SAM PleHanley

Futterman, Enid: SAM 9. (Cohen) Garber, Michael G.: SAM 8. Garcia, Leon: SAM 8c Garcia, Luis-Manuel: IASPM 5d (President) Garland, Judy: IASPM 8c (Packet) Garrett, Charles Hiroshi: PSALM 10d (President) Gay for Johnny Depp: IASPM 8c (De Martelly) Gay Themes: IASPM 3b (Clifford); IASPM 8c (group, (group,

Session nary (fifth-fair, 7.30pm; Moderator) Haraway, Donna: IASPM 5d (Borton) Harbert, Benjamin Benjamin: IASPM 6b Hardiman, Hard iman, Eric: SAM 1st cravo: SAM 8c (Wood) Harris, R. H.: IASPM 9th ( Burford) Harrison, Leah: PSALM 6 Harrison Harvey, Eric: IASPM 8d Harvey Hatschek, Keith Keith: IASPM 4b Hawkins, Erick:SAMP 10a (K. Lewis) Heavy Metal: IASPM 2a (Wallach, Hagen, Ayik);

DiCenso, De Martelly); SAM7b (Cheng); SAM10c (Rosendahl); SAM 12d (Jürgens (Jürgens)) Geller, Devora Geller, Devo ra: SAM 4c Gender (female): IASPM 4b

(Dickson, Bernhagen); IASPM 5b (Gibson, Turner, Stakes, Mahón); Sam 1. (Hardiman); SAM 3a (Woller); SAM 7. (Pedro, ox); SAT Thursday. 12:45 pm (Gender Studies Group: von Glahn); SAM Sat. 12:45 (recital: Mergelsber Mergelsberg) g)

Genre (general): IASPM 5d

(Buzzalino, Bielecki); SAM1a (Hardiman); SAM 1b (Ohman); SAM 5th (English) Sex (male):SAM 1st (Hardiman, Fulton); SAM1d (Newman); PSALM 3d (Lumsden) Gentry, Philip: IASPM 1a; IASPM 6a (President) Germania Musical Society: PSALM 1d (Newman) Gershwin, George: PSALM 3a (Murray) Giamberardino, Antonio: PSALM 5d Gibson, Maya: IASPM 5b Gilbert, Charles: PSALM 9a (Housez, Blim) Ginastera, Alberto: . PSALM 9c (Zubieta) Glee:: IASPM 9b (Sternfeld) Glee Golden Ages: IASPM 3d (Powers) Golden, Rachel: IASPM 5c Goldenrod Music: PSALM 10c (Kehrer) Goldschmitt, Kariann: PSALM 3b; PSALM 11d (President) Golijov, Osvaldo: PSALM 9c (Zubieta) Goodman, Glenda: PSALM 5c Gordy, Berry, Jr.: PSALM 2c (Flory, Clague, Abrams) Gorzelany-Mostak, Gorzelany-Mostak, Dana C.: PSALM 1 . Gospel Song: IASPM 9th (Burford); PSALM 1b (Kehrberg, Ohman); SATURDAY Thursday. 12:45 p.m. m. (Interest group on gospel and sacred music: Ingalls, Johnson, Pollard); SATURDAY Thursday. 8:00 p.m.

(Screening) Gottschalk, Louis Moreau:SAM 7a (Pruett) Graduate Student Interest Panel:IASPM 8a

(Waksman, moderator) Graham, Martha:SAM 8b (S. Brown) Graham, Sandra: SAM 1b (Presidente) Gramit, David: IASPM 5c Grenade, Andrew: SAM 2. UK:IASPM 1. (Baade); IASPM2c

(Epstein); NIMF 5b (Mahón); NIMF 7b (Leonard, Knifton); SAM 11a (Hildebrand, van Winkle-Keller)

NIMF 3b (Hickam, Donahue, Clifford); SAM 1a (Hardiman) Heisler, Wayne, Heisler, Wayne, Jr. Jr.: SAM 7d Helena, Arkansas: IASPM 6b (Fry) Hendrix, Jimi: IASPM 8b (van der Bliek) Herrmann, Bernard: SAM 1c (Waxman); Sam 3a


Hess, Carol Carol: SAM 7a (presidente) Hickam, Brian Brian: IASPM 3b (presidente) Hildebrand, Hildebrand, David: SAM 11a Hiller, Lejaren:SAM 10a (M. Perry) Hindemith, Paul:SAM 3b (Fallon) quadril hops : IASPM 4c (silencio); NIMF 9c

(D'Errico); NIMF 9d (Jung); PSALM 3b (Fink); PSALM 7b (Kajikawa, Cheng, C. Robinson, Moses)

Hiser, Kelly: SAM 9c Hiser, Historiography: SAM Sat. 12:45 p.m. (Interest

Grupo) Hit Song Science:IASPM 7a (Savage) Hitchcock, Alfred:IASPM 1a (Gentry); Sam 3a

(Wong) Holiday, Billie: IASPM 5b (Gibson, Turner) Holm-Hudson, Holm-Huds on, Kevin: IASPM 3c; IASPM 8b (Präsident) Holm, Bill: SAM 2d (Ingraham, MacDonald) Home of Metal: IASPM 7b (Knifton) House-Musik: IASPM 9c (Madden) Housez, Lara E: SAM 9a Houston, Texas: IASPM 9d (Traber) Houston, Whitney:IASPM 7c (Metzer) Hull House:SAM 5c (Goodman) Hulsether, Mark: IASPM 9a Hulsether Hunt, Marsha:IASPM 5b (Mahon) Tenho um Segredo:SAM 1c (Monte) Islândia:SAM 8c (Ansari) canções Abbildungen (Dias de Música): SAM 12c (Morgan-

Ellis) Improvisation: SAM 5c (Lie); SAM 6 (Boothroyd) India: IASPM 1d (Shope, Kumar) Ingalls, Monique Monique: SAM Thursday 12:45 (Gospel

e Cuural Music IG,)5a Englisch, Francesca Francesca: SAM Ingraham, Mary Mary: SAM 2d instant classics:IASPM 3d (Powers)

Gregory Brothers: IASPM 2d (S. Smith) Grizzlybär: SAM 2b (Keenan); NICSP4a


Irving, Washington: SAM 12c (St. Pierre) italo-americano:SAM 4c (Wissner)


1255 12

Ives, Charles: SAM 1c (Waxman); SAM 2a (Qui-

Maier, Marschmann); SAM 5a (W. Brooks) Jackson, Alan: IASPM 7c (Latham) Jackson, Michael:SAM 5a (Love-Tulloch) Japón: IASPM 1d (Yamada) Java:SAM 2d (Spiller) Jazz: IASPM 1b (J. Smith, Oeste, Bell, Sharp): IASPM

1d (loaded); NIMF 4b (Suzuki, Hatschek); IASPM 4d (Wiederholung); NIMF 5c (Maine); PSALM 6 (Boothroyd); SAM 8c (Garcia); PSALM 8d (Steinbeck, Lopez-Dabdoub); Lopez-Dabdoub); PSALM 12b (W (Wells, ells, Rice) Jensen-Moult Jensen-Moulton, em, PSALM Stephanie Stephanie e: PSALM 3d Jewish Studies: 4c (Geller); PSALM 9a (Cohen); PSALM Sa. 12:45 (Group of interest ) Johnson Museum Victrola: IASPM 6d (Fleiner) Johnson, Eldridge: IASPM 6d (Fleiner) Johnson, Hall:SAM 9d (De Graaf) Joiner, Lauren: SAM 5e Joiner Joiner, Michael: SAM 5c Joiner Jones, Brian: IASPM 1c Jones , Gloria: IASPM 5b (Mahon) Jones, Tom: IASPM 5d (Tusler) Joplin, Janis: SAM 1a (Fulton) Joplin, Scott: SAM 3d (Lumsden) Joseph, Adam: IASPM 8c (Census) Jürgens, Jürgen s, . Meredith Meredith: PSALM 12d Jung, Eun-Young Eun-Young: IASPM 9d Emperor, Lars: IASPM 3c Emperor Kajikawa, Loren Loren: PSALM 7b Kaskowitz, Sheryl Sheryl: PSALM 5d Kattari, Kim: IASPM 8a (Vorsitz) Keenan, Elizabeth Elizabeth : PSALM 2b, IASPM 6a Kehrberg, Kehrberg, Kevin: PSALM 1b Kehrer, Lauron Kehrer Lauron:PSALM 10c Keightley, Keir: IASPM 6c Keightley Kern, Jerome:PSALM 9a (Axtel) Kernodle, Tammy Tammy: PSALM 5e (President) Kilburn y the High Roads: IASPM 6c (Faulk) King Biscuit Blues Festival: IASPM 6b (Fry) King Records: IASPM/SAM Joint Plenary Session (Qui. 7:30 Uhr) Kinnear, Tyler Kinnear Tyler: PSALM 9b Knapp, Raymond Raymond: IASPM 9b Knifton, Robert Robert: IASPM 7b Korean-American: IASPM 9d (Jung) Kreitner,, Mona: PSALM 9e Kreitner Kumar,, Music: IASPM 1d Kumar Lady Gaga: IASPM 2b (Black); NIMF 6a (Keenan, 2010).

Albrecht, Favor) Lamb of God: SAM 1a (Hardiman) Larsen, Libby: SAM Sat 12:45 p.m. m. (recital: Mergelsberg) Latham, Clara: IASPM 7c Latin America (general): SAM 9c (Zubieta); SAT Thursday. 12:45 (Interest Group from Latin America and the Caribbean: Group: Madrid, Romero, Romero, Wagstaff; Wagstaff;

Burkholder, Plaintiff) Le Guern, Philippe Philippe: IASPM 7b Leach, Andy: IASPM 5a Leavis, FR: IASPM 2b (Bakan) Lee, Tanya Tanya: SAM 12d Leonard, Leonar d, Kendra Preston Preston: IASPM 1a (President); IASPM

9b; SAM 11b (president)

Leonard, Marion: IASPM 7b (moderador y presidente) Leonard, Lesbian Issues: IASPM 3b (Clifford); NICSP 4b

Lewis, Hannah: PSALM 8d Lewis, Kevin: PSALM 10. Libretto: PSALM 3d (Ziegel) Lie, Siv: PSALM 5c Lind, Jenny: PSALM 1d (Newman) Lindau, Elizabeth Elizabeth: IASPM 4d Lomax, John A. y Alan: . PSALM 4b (Allen) Lopez-Dabdoub, Lopez-Dabdoub, Edward Edward: PSALM 8d Los Angeles: IASPM 3c (Zolle); NIMF 9d (Jung);

SAM3b (finch); PSALM 7b (Kajikawa); SAM fifth fair. 12h45 (Gospel and sacred music interest group: Johnson) Los Skarnales:IASPM 9d (Traber) Love-Tulloch, Love-Tulloch, Joanna Joanna: SAM 5th Lumsden, Rachel Rachel: SAM 3d Lynn, Vera: IASPM 1st (Baade) MacDonald, , Michael B.: SAM 2d MacDonald MacDowell, Edward: SAM 5c (Cabinetmaking); sat 12d

(Bomberger) Madden, David David: IASPM 9c Madlib: IASPM 9c (D'Errico) Madrid, Alejandr Alejandro or: SAM Qui. 12:45 p.m.

American and Caribbean advocacy group; moderator); IASPM Plenary Session (Friday, 2:15 am) Mahon, Maureen Maureen: IASPM 2c (chair); IASPM 5b Maine, Rachel Rachel: IASPM 5c Mall, Andrew Andrew: IASPM 9a Manchester (England) District Music Archive:

NIMF 7b (Knifton)

Manson, Marilyn: IASPM 5d (Tusler) Marchesseau, Marc hesseau, Nicole: IASPM 1c Marchman, Marc hman, Melodie: SAM 2a Maretzek, Max:SAM 12c (St. Pierre) Marillion:IASPM 2c (Epstein) Mariposa Folk Festival: IASPM 3d (Tsai) Marlowe, Sylvia: SAM 8c (Holz) Marsalis, Wynton:IASPM 1b (Sharp) Martin, Andrew Andrew: IASPM 7d Massey, Drew: SAM 3d Massey Matabane, Mashadi Mashadi: IASPM 5b Mathers, Daniel Daniel: SAM 8a McCulloh, Judy Judy: SAM 4b (cadeira) McWhirter, Christian: IASPM 7c McWhirter Memphis Minnie: IASPM 5b (Matabane) merengue:SAM 4d (Hadschikisch) Mergelsber Merg elsberg, g, Barbara: SAM Sat. 12:45 (Palestra-

Recital) Metal see Heavy Metal (and subgenres)

Metz, Kathryn: IASPM 7d (chair); IASPM 9d Metzer, David: IASPM 7c Metzer Mexico: IASPM Fri 14:15 (plenary session; Madrid);

SAM 7a (Ochs); SAM 8c (García) Mihalka, Matthew Matthew: SAM 5d Miller, Karl: IASPM 7a; IASPM 9a (Präsident) Miller Miller, Kiri: IASPM 7a Miller Miller, Leta: SAM 10a (Präsident) Mineiros Miller: IASPM 6b (Stimeling) Spielmann: SAM 5e (L. Joiner); SAM 8a (T. Brooks) Mitchell, Joni: SAM 4a (Neimoyer) Miyakawa, Felicia Felicia M.: .: SAM 7b (Cadeira); SAM 9d jazz modal:SAM 6 (Boothroyd) Mok, Lucille: SAM 10d Moon, Joshua Joshua: IASPM 1c Moore, Moore, Ben: SAM 6 (Clifton) Morgan-Ellis, Morg an-Ellis, Esther Esther: SAM 12c

(Dickson, Suzuki); IASPM 8c (Bunch, DiCenso, de Martelly); SAM 10c (Kehrer, Rosendahl) Levy, Beth Beth E.: SAM 9b; SAM 12a (President)


Morgan, Lee:SAM 11b (Branco) Morris, Jeremy Jeremy: IASPM 2d


Warrick: SAM 7b Moisés, Warrick Motown Records: SAM 2c (Flory, Randall, Clague,

Abrams) Mount, Andre Andre: SAM 1c Bewegungsmusik Mais:SAM 4d (Dewar) Mulliken, Seth Seth: IASPM 4d Murray, Sean: SAM 3rd Murray Museus: IASPM 7b (Leonard, Knifton); SALMO 9d

(Reece) Music Review: IASPM 3d (Powers) Music Hall (estilo británico): IASPM 6c (Faulk) SAM Musical Crossroads (Exposición Smithsoniana):

9c (Reece) Teatro-Musical: IASPM 4b (Hatschek); NIMF 9b

(Acton, Knapp, Sternfeld); ; SAM 3a (Murray, Woller, Scoggin); PSALM 4c (Geller, Wissner); SAM 7d (Pisani, Heisler, O'Leary, Rostosky); PSALM 8b (Myers, Wright); SAM 9a (Axtell, Housez, Blim, Cohen) Myers, Jennifer Jennifer: SAM 8b National Museum of African American History and Culture: SAM 9d (Reece) Native American:SAM 2d (Ingraham, MacDonald,

Eskalas); SAM 8b (S. Brown) sons da natureza: IASPM 6d (Eley) Neimoyer, Sue: SAM 4a Neimoyer, Nekola, Anna Anna: IASPM 9a New England Conservatory Conservatory:: SAM 5c (Lie) 4b (Allen) New Lost City Ramblers : SAM New Weird America: IASPM 4a (Randall) New York Dolls: IASPM 5d (Buzzalino) Nueva York, NY: IASPM 2b (Oakes); NICSP4a

(went); NIMF 4d (Robinson); PSALM 3b (Burke); Newman, Nancy: SAM 1d Nirvana:IASPM 1c (Cateforis) Nixon, Marnie:IASPM 1st (Replogie-Wong) Norway:IASPM 2nd (Hagen) unpublished song: IASPM 8b (Cline) O'Leary, James: SAM 7d O'Meara , Caroline Polk: PSALM 3b (president); IASPM5c

(Cadeira); SAM 9b (Presidente) Oakes, Jason: IASPM 2b; IASPM 3a (Presidente) Obama, Barak:SAM 1a (Gorzelany-Mostak);

IASPM 2d (S. Smith) Ochs, Anna: SAM 7a Ocklawaha River:SAM 5b (Shewbert) Ohman, Nina: SAM 1b Old Town School of Folk Music: SAM 4b (Lee) Oliveros, Pauline:SAM 9b (Von Glahn) Onkey , Lauren: IASPM 5a Oper: IASPM 4b (Dickson); SAM2b (Cara); SAM3a (Murray); SAM 3d (Ziegel, Lumsden, Jensen-

Molton, Massey); PSALM 7b (Cheng); PSALM 12c (St. Peter) Operti, Giuseppe: PSALM 7d (Pisani) Orchestral Rungen: PSALM (Ahlquist, Newman); PSALM 2b (Keenan); PSALM 3b (Fallon); PSALM 5b (Braun, Frank); SAM 7c (Deaville, Baur, Brady); Psalm 10d (Mok) Organ: Psalm 5d (Mihalka, Giamberardino) Outsider Music:IASPM 1c (Marchesseau) P T T :IASPM 4c (Sweden)

Parker, Craig B.: SAM 9e (Presidente) Parker, Parliament-Funkadelic Notas: IASPM 9d

Parton, Dolly: NIMF 7c (Metzer); Sam 3c

(Melinda Boyd, Crimes) pastoral:SAM 9b (Levy) Patterson, David David: SAM 10b Paul, Les:IASPM 1a (Culpeper) Pepsi-Cola:SAM 5a (Love-Tulloch) Peralta, Angela Angela: SAM 7a (Ochs) Perception: SAM 11c (Bosses) Percussion: IASPM 9c (Avanti); Thursday 20:00.

(Concierto) Perlis, Vivian Vivian: SAM 8c (Vorsitz) Perry, Jeffrey: SAM 12a Perry Perry, Mark E.: Perry.: SAM 10a Perú: IASPM 9d (Metz) Orquesta de Filadelfia: SAM 5b (Brown) Pirate Party : IASPM 3a (Burkart) Pisani, Michael Michael V.: .: SAM 3d (Präsident); SAM 7d Pita, Laura: SAM 7a Pittsburgh, Pennsylvania:SAM 3b (Fallon) Pohly, Linda: SAM 11c Pohly Poikolainen, Poikolainen n, Janne: IASPM 5c politica:IASPM 4a (Brost, Randall, Roessner, Vayo:

Fisher & Fleet, Cadeiras); NIMF 6a (Albrecht); NIMF 7c (McWhirter, Latham); SAM 1a (Gorzelany-Mostak); (Gorzelany-Mostak); SAM 2c (Claga); SAM 4d (Dewar, Hajek); SAM 5d (Kaskowitz); SAM 8c (Ansari, Holz, Garcia); SAM 8d (Steinbeck, Lopez-Dabdoub, Pomus, Doc: IASPM Lewis) 5d (Tusler) canción popular: IASPM 4c (Schnitker); SAM 3b (Berisch); SAM 4a (Hamilton, Neimoyer); SAM 5a (Brooks, Englisch, Love-Tulloch); SAM 8a (Mathematicas); SAM 12c (Morgan-Ellis) posterior al 11/9: version 11/9 poshumanidad: IASPM 5d (Burton) Powell, Eleanor:SAM 3a (Robbins) Powell, Maud: SAM 5b (Shewbert) Powell, Mel:SAM 12a (Perry) ) Machtballaden: IASPM 7c (Metzer) Powers, Devon: IASPM 3d; IASPM 6c (Cadeira) Powwow: SAM 2d (Skalen) Presley, Elvis: IASPM 2c (Shumway) Presley Preston, Prest on, Katherine K.: SAM 1d (Cadeira) Previn, André:SAM 3a (Murray)

Price, William William: IASPM 8d Prince, Harold:PSALM 7d (Rostosky) Prison Songs:IASPM 6b (Harbert) Protest:IASPM 5b (Gibson); IASPM 6b (stimulant) Prouty, Prouty, Ken: PSALM 8d (President) Pruett, Laura Moor Mooree: SAM 7a Public Enemy: IASPM 4d (Mulliken); PSALM 7b

(Robinson) Publisher and publication: IASPM 7d (Tiffe);

IASPM 8a (Wakeman, moderator); SAM3d (Murray); PSALM 5a (English) Punk Rock: IASPM 2c (Dougan); IASPM 3c (tariffs);

NIMF 5d (Buzzalino); IASPM 6c (Shank) Puppet Playlist: IASPM 2b (Oakes) Quakers: SAM 12d (Bomberger) Quimby, George: SAM 2d (Ingraham, MacDonald) Zitat: SAM 5a (Brooks); SAM6 (Clifton); SAM 8d (Lopez-Dabdo (Lopez-Dabdoub) ub)

RCA Victor Records see Radio Victor Records: IASPM 4c (Schnitker, Fauteux); SAM 12b (rice); SAT Thursday. 12:45 (Gospel and Church

(Doleac) Partch, Harry: SAM 2a (Granada); Sam 9b


Sohn); SAM 10a (K. Lewis)

Music Interest Group: Pollard) Radiohead: IASPM 5d (Bielecki)


1277 12

Ryan: IASPM 4a Randall, Ryan Rao, Nancy Yunhwa Yunhwa: SAM 9c Rapsee Hip Hop Raulerson, Graham Graham: SAM 9b Reading, Pa.:SAM 7c (Twomey) Gravação: IASPM/SAM (Gemeinsame Plenarsitzung Thu. 19:30 Uhr) ); NIMF 1c (B. Jones); NIMF 1d

(Yamada); IASPM 2d (Schaefer, Morris); NIMF 3a (Sanjek); NIMF 4d (Lindau); NIMF 6d (Fleiner, Fischer, Eley); IASPM 8d (Harvey, Weissbard, Price); IASPM 9a (A Shopping Center); SAM1b (Boone); SAM 2c (Flory, Clague, Abrams); SAM 2d (Staggered) ; SAM3c (Riley); PSALM 10c (Kehrer); SAM 11b (Weiß) Reece, Dwandalyn: SAM 9d Reich, Steve: SAM 2nd (Grenade) Reish, Greg Greg: SAM 5th Replogie-Wong, Replogie-W ong, Holley: Reunion Rounds of IASPM 1st: IASPM 3d (Powers) . Kings, Caesar: SAM Sat. 12:45 PM (Lecture-Recital) Rice, Marc Marc: PSALM 12b Rice, Thomas „Daddy“: PSALM 5e (CJ Smith) Riley, Nancy P.: Riley .: PSALM 3c Ringgold Band: PSALM 7c (Twomey) Riot Grrrl:IASPM 6a (Keenan) Robbins, Allison: PSALM 3a Robinson, Chris Chris: PSALM 7b Robinson, Jason Jason: IASPM 1b (President); IASPM 4d Institute of Rock and Popular Music: IASPM 5th (Davis,

Bleach, Onkey, Walser)

Hall da Fama do Rock and Roll: IASPM 3d (Willis-

to); IASPM 5th (Davis, Leach, Onkey, Walser) rock: IASPM/SAM Joint Plenary Session (Donnerstag 7:30).

PN.); IASPM 1c (Cateforis, B. Jones, Moon); NIMF 1d (Kumar); IASPM 2c (Dougan, Shumway, Epstein); NIMF 3b (Hickam, Donahue, Clifford); NIMF 3c (Kaijser (Kaijser, Holm-Hudson, Zolle);

IASPM 3d (Willis-Chun); NIMF 4a (Roessner); NIMF 4d (Lindau); IASPM 5a (Davis, Leach, Onkey, Walser); NIMF 5b (Mahón); IASPM 5d (Buzzalino, Bielecki); NIMF 6c (Faulk, Keightley); NIMF 7a (Kiri Miller); NIMF 7d (Martin); NIMF 9a (Nekola); SAM1a (Fulton); SAM2b (Keenan); SAM3b (Burke); SAM 11b (Bischof) Rodger, Gillian: SAM 11a (Vorsitzender) Rodger, Roessner, Jeffrey: IASPM 4a Roessner Rolling Stones, The:IASPM 5b (Mahon) Rome, Harold:SAM 8b (Wright) Romero, Romer o, Brenda Brenda : SAM qui. 12h45 (lat

Americas and Caribbean Advocacy Group) Root, Deane: Saturday, Thursday at 12:45 p.m. m. (Student Forum;

Moderador); SAM 4a (Cadeira) Rose, Billy:SAM 7d (O'Leary) Rosendahl, Todd Todd: SAM 10c Ross, Jerry:IASPM 9b (Knapp) Rostosky, Arreanna Rostosky Arreanna: SAM 7d Schuttmusik: IASPM 4a (Vayo) Rumshinsky ,, Joseph: SAM 4c (Geller) Rumshinsky Russell, George:SAM 6 (Boothroyd) sagrado: IASPM 9a (Nekola, Hulsether, Mall,

Sandburg, Carl: SAM 9b (Levy) Sandstrom, suelo: IASPM 8c (Presidente) Sanjek, David: IASPM 3a; IASPM 7a (cadeira) Savage, Steve: IASPM 7a Scales, Christopher: SAM 2d scat cantando:SAM 8a (Garber) Sceneggiata:SAM 4c (Wissner) Schäfer, Peter: IASPM 2d Schäfer, R. Murray:SAM 9b (Scheffer) Scheffer , Erin: SAM 9b Schnitker, Laura: IASPM 4c Schönberg, Arnold: SAM 12a (Guberman) Schrader, Arthur: SAM 11a (van Winkle-Keller) Schumann, Robert: SAM Sat. 12h45 (Recital de Palestra: Mergelsberg) Schweig, Meredith :IASPM 4c Scoggin, Lisa: SAM 3a Sears, Benjamin: SAM Qui. 12h45 (Palestra-

considered) sentimental: IASPM 7c (McWhirter, Latham, Metzer) September 11, 2001: Version 9/11 Shakespeare, William: IASPM 9b (Leonard) Shank, Barry: IASPM 6c; IASPM 7c (President) Sharp, Charles: IASPM 1b Shearon, Stephen: SAM who. 8:00 PM (Exhibition) Shewbert, Sarah Grace: SAM 5b Shope, Bradley: IASPM 1d Shumway, David: IASPM 2c Siegel, Louis: SAM 1c (Brewer) Sills, Beverly:SAM 2b (Guy) Sinatra, Frank:IASPM 4th ( Vayo) ska :IASPM 9d (Traber) Tie Knot: PSALM 1a (Hardiman) Smashing Pumpkins:IASPM 1c (Moon) Smith, Christopher J.: .: PSALM 5e Smith, Jeremy: IASPM 1b Smith, Patti:IASPM 6c (Shank) Smith , Stephen: IASPM 2d Smithsonian Institution:SAM 9d (Reece) Smooth Jazz:IASPM 1b (West) So You Think You Can Dance?: Dance?:IASPM 5d (Burton) soca: 7d (Tiffe, Sylvester) Smith, Sally Summers: SAM 2d ( Head) Snyder,, Jean Snyder Jean n: SAM 9d ( Head)

Sondheim, Stephen: 3a (Scoggin); (Rostosky); SAMSAM 9a (Housez, Blim) SAM 7d Song („Kunstlied“): SAM 6 (Clifton) indústria de poetas musicais („Song Sharks“):SAM 5a

(Portuguese) Sontag, Henriette:SAM 1d (Newman) Sooy, Harry, Raymond & Charles:IASPM 6d


Burford); SAM 1b (Kehrberg, Ohman, Boone); SAM1d (Crosslin); SAM 7a (Pruett); SAM 9d (Miyakawa,

Sousa, John Philip: SAM 9e (Warfield, Kreitner, Brucher); Sam sex. 10:15 (Concert: (Concert: Cranson); SAM Sa. 12:45 (Concert) South Africa: SAM 7b (Moisés) Soviet Union: IASPM 5c (Maine) Sowerby, Leo: SAM 9b (Levy) Spain: IASPM 5c ( Gold) Spilker, John D.: SAM 6 Spiller, Henry Spiller Henry: SAM 2d

of Graaf); 11d (Cayward Fields); SAT.qui.SAT.12:45 p.m. (Gospel Hazan and religious music

Spirituosen: SAM 5b (Marrom); SAM 9d (Miyakawa,

interesting group; Ingalls, Johnson, Pollard); SAT Thursday. 8:00 pm. (Ad: Shearon)

De Graaf) Sport:SAM 5d (Mihalka, Giamberardino, Kaskowitz) Springsteen, Bruce: IASPM 2c (Shumway)

Proof: PSALM 3b (Fink); IASPM 9c (D'Errico) San Francisco: IASPM 4d (Robinson)


St. Pierre, Kelly: SAM 12c Stanislawski, Stanislawski, John: SAM 3c


Steel Band: IASPM 7d (Tiffe) Steinbeck, Paul: SAM 8d Step Modulation: SAM 3c (Crimes) Sternfeld, Jessica: IASPM 9b Stewart, Jesse: SAM Thursday 12:45 (lecture

Consider) Stimulant, Travis: IASPM 6b Strachan, Robert: IASPM 4c; IASPM 9c (President) Strange Fruit: IASPM (Gibson, Turner) Stravinsky, Igor: PSALM 12a (Guberman) Stringfield, Lamar: PSALM 5b (Frank) Student Forum (SAM): qui. 12:45 Sullivan, Louis: SAM 10b (Thursday) Sunshine Pop: IASPM 6c (Keightley) Suzuki, Yoko: IASPM 4b Sweden: SAM 3a (Burkart); IASPM 3c (Kaiser) Swenson-Eldridge, Swenson-Eld Ridge, Joanne: SAM 2b (President) Sylvester, Meagan: IASPM 5b (President); IASPM 7d Taiwan: IASPM 4c (Silence) Dark Tan:SAM 9c (Rao) Tango (Finnish):IASPM 5c (Poikolainen (Poikolainen)) Taylor, Cecil: IASPM 4d (Mulliken) Taylor, Corey: SAM 1a (Hardiman) t-0. T-Shirts: IASPM 3b (Donahue) Television: IASPM 1c (Mount); NIMF 5d (Burton);

IASPM 9b (Starfield); PSALM 1c (Mount) Thomas, Isaiah: PSALM 11a (van Winkle-Keller) Thomson, Virgil: PSALM 3d (Massey); PSALM 12d (Jürgens) Thoreau, Henry David: PSALM 2a (Marchman) Thurmaier, David: PSALM 2a Thursby, Stephen: PSALM 10b Tiffe, Janine: IASPM 7d Tiger J K: IASPM 9d (Jung) Tillis, Mel: IASPM 5d (Tusler) . Tiomkin, Dimitri: SAM 3b (Fallon) Traber, Daniel: IASPM 9d Armadillo Set: IASPM 9c (Avanti) Tretter, Eliot: SAM 3b Tretter Trinidad and Tobago: IASPM 7d (Tiffe, Sylvester) Troutman, John: IASPM 9d (President) . Tsai, Sija S Eye: IASPM 3d Turkey: IASPM 2. (No) Turner, Katherine: IASPM 5b Turner

Tusler, Anthony: IASPM 5d Builder, Amos: IASPM 4d (Lindau) Twomey, Sean Twomey Consultation: PSALM 7c EE. UU. Africa: IASPM 7c (Latham) Underwood, Carrie: IASPM 4a (Brost) Department of Agriculture two United States: PSALM 11c

(Pohly) United States, see also Federal Music Project; Federal Theater Project University of Cincinnati, Blasorchester College-Conservatory of Music: SAM Sa. 12:45 pm (Konzert) Upton, George P.: SAM 7c (Deaville) Urso, Camilla: SAM 1d (Newman) van de Merwe, Ann: SAM 3a (Moderator); Sam 9a

(Präsident) van der Bliek, Rob: IASPM 8b van Winkle-Keller, Kate: SAM 11a Vayo, Isaac: IASPM 4a Venezuela:SAM 7a (Pita); SAM Sab. 12:45

(Conference-Recital;; Reyes) (Palestra-Recital 4b (Dickson)

Vestvali, Cheers: IASPM

Villa-Lobos, Heitor: SAM 9c (Zubieta) Von Glahn, Denise: SAM 9b; SAT Thursday. 12:45 p.m.

(Interessengemeinschaft Gender Studies) Wagstaff, G. Grayson: SAM Jue. 12:45 p.m. (Latin to

Caribbean Advocacy Group) Waksman, Steve: IASPM 8a (moderador) Wallach, Jeremy: IASPM 2a (moderador y presidente) Walser, Robert: IASPM 5a (moderador y presidente) Walters, Wendy S.: SAM 3b (Fallon) Wang, Adel Jing : IASPM 4d Guerra de 1812:SAM 11a (Hildebrand, van Winkle-

Keller) Warfeld, Patrick: SAM 9e Washington, Washington, DC: IASPM 9d (Doleac) Headset:SAM Thu. 12:45 (Concierto-Lecture:

Stewart) Waxman, Jonathan: SAM 1c Webb, Chick: SAM 12b (Wells) Weidman, Weidman, John: John: SAM 9a (Housez, Blim) Weisbard, Eric: IASPM 3d (Presidente); IASPM 8d Wells, Chris: SAM 12b Wells, Paul F.: SAM 3c (Cadeira), SAM Folk & Traditional

Music (Chair) West, Aaron: IASPM 1b; IASPM 2b (President) Westover, Jonah: PSALM 7d (President) “Whiffenpoof Song”: IASPM 8b (Duchan) White, Alisa: PSALM 11b Whitmer Whitmer, Marie: PSALM6d5d (President) (President) Williams, Mariana Alanana: IASPM Willis – . Chun, Cynthia: IASPM 3d Winnipeg Folk Festival: IASPM 3d (Tsai) Wissner, Reba: SAM 4c Woller, Megan B.: SAM 3rd Independent Women's Label Distributed: SAM 10c

(Kehrer) Wong, Melissa: SAM 3a Wood, Jessica Jessica: SAM 8c Primera Guerra Mundial: SAM 5a (Brooks) Segunda Guerra Mundial: IASPM 1a (Baade); SAM 3b (Berish) Worster, Larry: SAM 5c (cadeira) Wright, Frank Lloyd:SAM 10b (Patterson) Wright, Trudi: SAM 8B Yale Glee Club: IASPM 8b (Duchan) Yamada, Harumichi: IASPM 1d Teatro iídiche:SAM 4c (Geller) Young, Liam: IASPM 2b YouTube: IASPM 2d (S. Smith); NIMF 6a (Gunst);

IASPM 7a (Karl Miller, Kiri Miller) Zappa, Frank: IASPM 5d (Tusler); IASPM 8d (Preço) Zhou Long: SAM 9c (Rao) Ziegel, Aaron Aaron: SAM 3d Zolle, Jay: IASPM 3c Zorn, John: SAM 8d (Lewis) Zubieta, Sebastian Sebastian: SAM 9c

Victor's Notes: IASPM 6d

(Fleiner, Fischer) (Fleiner


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ISSN Print 1753-0768 ISSN Online 1753-0776 2011 Journal Subscription Fee (for (for two issues) Online Only Fees: Institutions £68.00 £68.00 (EEE/ROW) $121.00 (EE US & Canada) Individuals £53/$89 Print & Online Fees: Institutions £85.00 (EEA/ROW) $151.00 (US & Canada) Individuals £66/$112 Individuals £66/$112 This magazine includes non-student rates available

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Soul of the Man Bobby "Blue" Bland By Charles Farley The first biography of a blues composer whose style influenced nearly every form of popular music of the 20th century.

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The High-Kilt Muse Peter Buchan and His Secret Songs of Silence Edited by Murray Shoolbraid Foreword by Ed Cray A never-before-published collection of notorious Scottish ballads

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Popular Music by EQUINOX PUBLISHING Send in the Clones Tribute Band Study: A Cultural Study Georgina Gregory Send in the Clones makes an important contribution to understanding the tribute band phenomenon by linking it to other types of copycat entertainment, such as "ghost bands." ". Ghost', cover art and parody parody. It also demonstrates the influence of a changing cultural spirit on the development of popular music tributes and shows how they relate to other examples in retrospect. September September 2011 176 pages 234 x 156 mm 19 b/w ​​illustrations bb ISBN N 9781 97818455 845532451 32451 £14.99/$26.00

Auditory Zones: Sound, Sexuality, and Film Edited by Bruce Johnson This collection illustrates a variety of approaches to the auditory representation of sexuality in film. It is based on a variety of sexual attitudes, from pornography to science fiction and auteur cinema, and includes cinema from different cultures and countries. November 2010 256 pages 234 x 156 mm pb ISB ISBN N 9781 97818455 845533182 33182 £16.99/$29.99

Dub in Babylon: Understanding the evolution and importance of dub reggae in Jamaica and Britain, from King Tubby to postpunk Christopher Partridge Despite being an important genre, the importance of dub is rarely understood or acknowledged. This book examines Jamaica's past, necessary to understand the cultural significance of dub, and discusses its musical, cultural, and political importance to the UK's Afro-Caribbean and white communities in the late 1970s and early 1990s. ISB ISBN N 9781 97818455 845533120 33120 £14.99/$24.95

Drawn to Sound: Animation Film Music and Sonicity Edited by Rebecca Coyle "The first of its kind, this anthology will be an invaluable resource for students, faculty, and researchers in the fields of film, animation, culture, music, and media studies." Rick Altman, Professor of Film and Comparative Literature, University of Iowa June 2010 264 pages 234 x 156 mm pb ISBN 9781845533526 9781845533526 £16.99/$29.99

Examples of titles displayed on the

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Scholar's Choice position 142



Popular Popular music History of popular music Editor: Robert Strachan Resource editor: Andy Linehan

Popular Music History publishes original historical and historiographical research drawing on the variety of disciplines and intellectual pathways that have helped establish popular music studies as a recognized scholarly endeavor. In addition to reviews, a distinctive feature of the History of Popular Music is its resource department, which republishes historically significant articles that are hard to find or unreasonably obscured, reports on archival, museum, and private scholarly collections, and serves as forum for discussion of topics of particular interest in the history of popular music. Volume 4 3 issues per year Year ISSN 1740-7133 1740-7133 (Print) / ISSN ISSN 1743-1646 1743-1646 (Online)

Jazz Research Journal Editors: Catherine Tackley and Tony Whyton The Jazz Research Journal examines a variety of cultural and critical views of jazz. EITHER

The journal celebrates the diversity of approaches in jazz studies and provides a forum for interaction and cross-fertilization of ideas. The magazine has a reviews section that publishes critical articles in a variety of media, including recordings, films, books, educational products, and multimedia publications. Volume 3 2 numbers per year Year ISSN 1753-8637 1753-8637 (Print) / ISSN ISSN 1753-8645 1753-8645 (Online)

Journal of Film Music Editor: William H. Rosar Reviews Editor: Melissa Goldsmith The Journal of Film Music is a forum for the musicological study of film from the perspective of dramatic musical art. Analytical tools and methods from history, systematics, cognitive science, and ethnomusicology are relevant and essential to this study, which seeks to document and illuminate film practice through source study, analysis, theory, and research. criticism. Volume 3 2 issues per year ISSN 1087-7142 1087-7142 (Print) / ISSN 1758-860X (Online)

Perfect Beat Editors: Mark Evans and Denis Crowdy Reviews Editors: Shelley Brunt Perfect Beat focuses on "Pacific Rim" popular music and includes historical and contemporary studies with guest contributions from popular musicology, musicology, cultural studies, and perspectives. musicoethnological A common theme was the development of new styles of popular music by indigenous peoples and their relationships (beneficial and/or problematic) with modern media technologies and institutions and the music industries. The magazine's editors have attempted to maintain an ongoing relationship with the musicians, communities, and cultural groups that were the subject of the study. Volume 11 2 issues per year ISSN 1038-2909 1038-2909 (Print) / ISSN 1836-0343 (Online)

Take a look at our huge variety of titles across the range, from


1433 14

38th Annual Conference of the American Music Society, October 14-18 March 2012

Charlotte, North Carolina is hosted by Davidson College


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