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MTSMA 2018 Schedule
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| FRIDAY, March 23 |
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| William Paterson University |
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| Wayne, NJ |
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| 11:00-12:00 |
Registration |
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| 12:00-12:15 |
Welcoming Remarks |
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| 12:15-1:30 |
Short Paper Session 1: Jazz and Pop! |
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Chair: Cynthia Folio, Temple University |
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| 12:15 |
All the Things You Have Been: |
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Avant-Textes and the Analysis of Jazz Tunes |
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Sean R. Smither, Rutgers University |
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| 12:30 |
Capturing Schemata in Standard Jazz Repertoire |
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Keith Salley, The Shenandoah Conservatory |
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| 12:45 |
Standard Practices: Intertextuality and Improvisation |
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in Jazz Versions of Recent Popular Music |
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Ben Baker, Eastman School of Music |
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| 1:00 |
Deconstructing the Masculine: |
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Constructions of Masculine Fragility |
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in Three Songs from Radiohead's A Moon Shaped Pool |
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Sean Davis, Temple University |
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| 1:15 |
Embellishing the Verse-Chorus Paradigm: |
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Max Martin and the Descant-Chorus |
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Stanley Fink, Florida State University |
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| 1:30-1:45 |
Break/Registration |
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| 1:45-3:15 |
Long Paper Session 1 |
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Chair: Robert Baker, Catholic University of America |
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| 1:45 |
The Making of a Hit: Formal and Dramatic Narratives in |
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Max Martin's Bridge-Caesura |
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Toru Momii, Columbia University |
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| 2:15 |
Gesture and Transformation in Joel Mandelbaum's |
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Thirty-One-Tone Keyboard Miniatures |
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William Ayers, University of Cininnati |
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| 2:45 |
Seeking the Post-Tonal Cadence |
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in Alfred Schnittke's Viola Concerto |
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Anabel Maler, The University of Chicago |
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| 3:15-3:30 |
Break/Registration |
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| 3:30-5:30 |
Professional Development Workshop |
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Form and Formal Process in the Exposition |
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of Mozart's Symphony in F, K. 43/I |
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Poundie Burstein, Hunter College |
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| 5:30-6:30 |
Reception |
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| 7:00 |
Banquet |
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| SATURDAY, March 24 |
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| William Paterson University |
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| Wayne, NJ |
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| 8:15-9:15 |
Executive Board Meeting |
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| 9:30-11:00 |
Long Paper Session 2 |
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Chair: Jonathan Kochavi, Swarthmore College |
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| 9:30 |
Gabriel Fauré and Tonal Distortion: |
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Centripetal and Centrifugal Tonality in Two Piano Works |
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Matthew Kiple, Temple University |
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| 10:00 |
Relative Diatonic Modality in English Pastoral Music: |
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A Dorian Case Study |
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Nathan Lam, Indiana University |
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| 10:30 |
Tetrachord Transformation in the Vocal Works of J.S. Bach |
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Owen Belcher, Eastman School of Music |
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| 11:00-11:15 |
Break/Registration |
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| 11:15-12:30 |
Short Paper Session 2 |
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Chair: Edward Latham, Temple University |
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| 11:15 |
Pedagogical Potential in the Quadruple Gambits |
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of Bach's Solo Clavier Preludes |
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Christopher Doll, Rutgers, The State University of New Jersey |
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| 11:30 |
The Predominant V4/2 |
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Daniel B. Stevens, University of Delaware |
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| 11:45 |
Dissonant Triads and Two-Stage Operations |
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in Neo-Riemannian Theory |
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William O'Hara, Gettysburg College |
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| 12:00 |
Strauss and the Supertonic: Integrating Thoroughbass |
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Approaches with Conventional Tonal Theory |
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in Late Nineteenth-Century Harmonic Analysis |
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Kyle Hutchinson, University of Toronto |
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| 12:15 |
Harmony in Elliott Carter's Late Music |
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John Link, William Paterson University |
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| 12:30-1:45 |
Lunch and Business Meeting |
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| 1:45-2:45 |
Keynote Address |
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The Sky is Not Blue, |
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and Teaching Traditional Harmony and Counterpoint |
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Poundie Burstein, Hunter College |
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| 2:45-3:00 |
Break |
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| 3:00-4:00 |
Long Paper Session 3: J. S. Bach |
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Chair: Daniel B. Stevens, University of Delaware |
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| 3:00 |
Bach, Rotational Form, and the Galant |
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John Paul Ito, Carnegie Mellon University |
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| 3:30 |
Quasi-Sequences in Bach: A Case Study in the Relation |
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Between Technique and Expression |
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Mark Anson-Cartwright |
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Queens College: The Graduate Center, CUNY |
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| 4:00-5:00 |
Long Paper Session 4 |
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Chair: Christopher Doll, Rutgers, State University of New Jersey |
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| 4:00 |
A Tale of Three Alexanders: |
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Who Wrote Alexander Malcolm's Chapter 13? |
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Paula Telesco, University of Massachusetts Lowell |
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| 4:30 |
But We're Not in Zombie Mode: Meter and Selected |
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Attention in Greek Orthodox Movement and Music |
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Rosa Abrahams, Ursinus College |
