Schedule
FRIDAY, MARCH 18
All Sessions and Keynote are in Phillips Hall, room B-120 The Graduate Students Workshop TBA (Seminar Room)?
12:00–2:00	Graduate Student Workshop: Data Mining in the Bach Chorales Ian Quinn, Yale University
1:30–2:15	Registration — Lobby
2:00–2:15	BREAK
2:15–3:45	Organizational Hierarchy in 20th-century Music Vincent Benitez, Penn State University, Chair
2:15–2:45 “Neither Tonal or Atonal”?: A Statistical Root-Motion Analysis of Ligeti’s Late Triadic Works Kris Shaffer, Yale University           2:45–3:15 A Voicing-Centered Approach to Additive Harmony in the French Impressionist Repertoire Damian Blättler, Yale University           3:15–3:45 Organizational Strategies in Selected Large-Scale Works of Claude Debussy Gregory J. Marion, University of Saskatchewan
3:45–4:00	Registration — Lobby
3:45–4:00	BREAK
4:00–5:00	Schenkerian Disjunction and Linkage Rachel Bergman, George Mason University, Chair
4:00–4:30 Potential Energy and Melodic Disjunction in a Brahms Intermezzo Melissa Hoag, Oakland University           4:30–5:00 A Framework for Describing Linkage Technique in Tonal Music Michael Baker, University of Kentucky
5:30	RECEPTION — Tonic Restaurant at Quigley's Pharmacy
6:30	MTSMA BANQUET — Tonic Restaurant at Quigley's Pharmacy
SATURDAY, MARCH 19
8:00–  9:00	EXECUTIVE BOARD MEETING
8:30–  9:00	Registration — Lobby
9:00–10:30	Pathways Though Pitch and Pitch-class Space in 20th-Century Music Jonathan Kochavi, Swarthmore College, Chair
9:00–  9:30 Nonatonic Collections, Intersections, Systems, and Towers: the Pitch Structure of Vaughan Williams's Fourth Symphony Cameron Logan, University of Connecticut           9:30–10:00 Modeling Melody and Harmony: Cyclic Unfolding in Ginastera’s String Quartets Nos. 1 and 2 David Sommerville, Nazareth College of Rochester         10:00–10:30 Gauges of Tonality and Pitch Space Paradox in Elliott Smith’s “Everything Means Nothing to Me” Rob Schultz, University of Massachusetts Amherst
10:30–10:45	BREAK
10:45–11:45	Pedagogy—Old and New Mark Janello, Peabody Conservatory (of the Johns Hopkins University), Chair
10:45–11:15 Toward a First-Semester Curriculum in Figured Bass Theory at the Keyboard Dan Prindle, University of Massachusetts Amherst         11:15–11:45 Shapey's Worksheet as a Pedagogical Resource Christian Carey, Westminster Choir College of Rider University
11:45–1:15	LUNCH; BUSINESS MEETING — Classroom 102, Smith Hall of Art
1:15–2:45	Keynote, Prof. Ian Quinn, Yale University What Counts When You’re Counting Notes?
2:45–3:00	BREAK
3:00–4:00	Compositional Process in C.P.E. Bach, Haydn, Beethoven Suhnne Ahn, Peabody Conservatory (of the Johns Hopkins University), Chair
3:00–3:30 Innovation and Improvisation: Beethoven's Sketches for the first movement of Op. 31, No. 1 Brian Moseley, Furman University and the CUNY Graduate Center           3:30–4:00 Storm and Stress, Form and Process: Compositional Strategies in Haydn’s and C.P.E. Bach’s Symphonies of the Early 1770’s Jason D. Yust, University of Alabama
4:00–5:00	Upbeat and DownBeat Fernando Benadon, American University, Chair
4:00–4:30 Hypermeter, Metrical Dissonance, and Metrical Ambiguity in the Waltzes of Joseph Lanner Jeffrey Schaeffer, University of Cincinnati College-Conservatory of Music           4:30–5:00 Functional Ambivalence of Dave Brubeck’s “Chorale” Vasil A. Cvetkov, Louisiana State University

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