Brandeis University Graduate Student Musicology Conference

{meaning and {music} and meaning}


Friday, May 5, 2017

1:00–2:00 p.m. General Registration and Welcome Reception

2:00–3:30 p.m. SESSION 1: Representation[s] Revisited: Identity in Vocal Music
      Jacques Dupuis, Session Chair

  • Samantha Cooper, NYU
    Constructing Community: Jewish Response to Richard Strauss’ Salome in New York City, 1907–1934
  • Liz Crisenbery, Duke University
    Undoing Gendered Roles: Male Hysteria in Leoncavallo’s Pagliacci
  • Alexander Martin, CUNY
    Sunken IIs and Inwardness: Correspondences between Voice-Leading and Moments of Introspection in Three Pieces by Robert Schumann

3:30–3:45 p.m. Coffee Break

3:45–4:45 p.m. SESSION 2: Forms of Meaning
      Shawn Mikkelson, Session Chair

  • Bree Guerra, University of Texas at Austin
    An Enactive Approach to the Perception of Expression in Form Theory Analysis
  • Chad Fothergill, Temple University
    Late Style and Last Things in Brahms’ Op. 122 Chorale Preludes

4:45–5:15 p.m. Coffee Break

5:15–6:45 p.m. KEYNOTE ADDRESS 1:

Elaine Sisman, Columbia University
The Work of Titles

Saturday, May 6, 2017

7:30–8:30 a.m. Registration and Breakfast

8:30–10:30 a.m. SESSION 3: Uncovering New Meanings
      Charles Stratford, Session Chair

  • Nicholas Emmanuel, State University of New York at Buffalo
    Living Within the Truth: Formal Expressions of Dissent in Lutosławski’s Late Period
  • Elizabeth Hambleton, University of California, Santa Barbara
    The Equiton System of Notation as a Tool for Music Analysis
  • Kristi Hardman, CUNY
    Representations and Narratives of Stuttering in Popular Song from 1965 to Present
  • Drake Andersen, CUNY
    How New? Reading the Minimalist Dialectic in Earle Brown’s New Piece

10:30–11:00 a.m. Coffee Break

11:00 a.m.–12:30 p.m. KEYNOTE ADDRESS 2:

Byron Almén, University of Texas at Austin
Narrative and the Personal Equation

12:30–2:30 p.m. Lunch

2:30–4:30 p.m. SESSION 4: (In-)Absolute Music
      Christina Dioguardi, Session Chair

  • Peng Liu, University of Texas at Austin
    An Ironic Comedy: Constructing a Musical Narrative for the Finale of Beethoven’s String Quartet, Op. 135
  • Sacha Peiser, University of Connecticut
    Identity Crisis and Integration in Selected Early Works of Ralph Vaughan Williams: The Piano Quintet (1905) and Phantasy Quintet (1912)
  • Risa Okina, Temple University
    The Musical Uncanny and the Musical Symptom in the Finale of Brahms’ Piano Quintet in F Minor, Op. 34
  • Andrew Vagts, University of North Texas
    Not Only the Finale: Aesthetics of the Sublime in Mozart’s Symphony No. 41

4:30–5:00 p.m. Coffee Break

5:00–6:30 p.m. KEYNOTE ADDRESS 3:

James Hepokoski, Yale University
, Silence, Life, and Death in Beethoven’s
      Heiliger Dankgesang

6:30 p.m. Closing Remarks and Reception