Provisional Schedule
Note: Unless otherwise specified, all events are in the Goodson Chapel/Recital Hall.
FRIDAY, MARCH 21
11:00–12:00	Registration
12:00–  1:15	Short Paper Session 1 (Chair: Vincent Benitez, Penn State University)
12:00 On Duration and Developing Variation: The Intersection of Bergson’s Time and Free Will with Schoenberg’s Sechs kleine Klavierstücke Op. 19 Keith Salley, Shenandoah University       12:15 Ebb and Flow: Rhythm and Temporality in Unmetered Music by George Crumb Kristina Knowles, Northwestern University       12:30 The Hunt for Form in Wolfgang Rihm’s String Quartet no. 9 “Quartettsatz” Robert Baker, Catholic University of America       12:45 Pathways to Compositional Autonomy: The Emancipation of the “Triad” in Howard Hanson’s Symphony no. 6 Mark Parker, Bob Jones University         1:00 Crossing One’s Fingers: Gestural, Textural, and Rhetorical Chiasmi in Works for Violoncello Daniel Stevens, University of Delaware
1:15– 1:30	Break/Registration
1:30– 1:45	Welcoming Remarks
1:45– 3:15	Schema and Prototype (Chair: TBA)
1:45 The Second-Reprise Medial PAC and the Form of Bach’s Binary Dance Movements Christopher Brody, Indiana University         2:15 Chord Types as Metric Determinants, Syncopation as Surprise Christopher White, University of North Carolina – Greensboro         2:45 Playing With Schemata Janet Bourne, Northwestern University
3:15– 3:30	Break/Registration
3:30– 5:30	Workshop (open to all registrants): “Approaches to Musical Narrative” Michael Klein, Professor of Music Studies, Temple University
5:30– 6:00	Reception
7:00	Banquet Brewbaker’s Restaurant, 168 N. Loudoun Street, Winchester, VA 22601 (540) 535-0111
SATURDAY, MARCH 22
8:00–  9:00	Executive Board Meeting
9:00–10:30	Analytical Approaches for Twentieth-Century Music (Chair: Diane Luchese, Towson State University)
9:00 Compositional Spaces in Mario Davidovsky’s Quaretto (1987) Inés Thiebaut, CUNY Graduate Center         9:30 Transformational Variation as Music Analysis: John Rea’s Las Meninas Anton Vishio, New York City       10:00 Concurrent Cycles, Shifting Pulse Options, and Metric States: Periodicities in Ann Southam’s Noisy River Antares Boyle, University of British Columbia
10:30–10:45	Break/Registration
10:45–12:30	Short Paper Session 2 (Chair: Anthony Kosar, Rider University)
10:45 Unshackling The Period: A Hybrid Form in the Viennese Classics Benjamin Wadsworth, Kennesaw State University       11:00 Mahler’s Veil: Todtenmarsch, Topoi, and the Jewish Question Rosa Abrahams, Northwestern University       11:15 Climax Structure in Wagner’s Operas Ji Yeon Lee, CUNY Graduate Center       11:30 Meter and Motion in Pop/Rock Backbeats Robin Attas, Elon University       11:45 The Renaissance of an Old Notation: Schenker’s Ausfaltung Symbol, Past and Present Rodney Garrison, SUNY – Fredonia         12:00 Dynamic Attending, Free Rhythm, and Soloistic Autonomy in the Classical Cadenza Mitchell Ohriner, Shenandoah University
12:30– 1:45	Lunch and Business Meeting
1:45– 2:45	Keynote Address “What We Mean By Musical Meaning” Michael Klein, Professor of Music Studies, Temple University
2:45– 3:00	Break
3:00–4:00	Scales and Collections (Chair: Jon Kochavi, Swarthmore College)
3:00 Pitch Centricity Without Pitch Centers Stanley Kleppinger, University of Nebraska       3:30 Exploring Polyscalarity in the Music of Igor Stravinsky: Discerning Surface- and Deeper-Level Scalar Collections Aaron Grant, Eastman School of Music
4:00–5:00	Time and Mode in Nineteenth-Century Music (Chair: Eugene Montague, George Washington University)
4:00 Modal Mixture as a Dynamic Process in Brahms’s Es träumte mir, Op. 57 no. 3 Loretta Terrigno, CUNY Graduate Center       4:30 Expressive Performance and Interpretation: Lussyian Analysis of Chopin’s Etude in E Major, Op. 10 no. 3 Timothy Saeed, Louisiana State University

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