Fifteenth Annual Meeting
Catholic University of America, Washington, D.C.

Friday and Saturday, March 24 –25, 2017

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MTSMA 2017 Schedule
FRIDAY, March 24
JPH (Room 220) Ward Hall,
The Catholic University of America
620 Michigan Ave NE, WASHINGTON DC 20064
11:00–12:00 Registration

Welcoming Remarks

12:15–  1:30

Short Paper Session 1
Chair: Kip Wile, Peabody Conservatory


Chord-Scale Slippage: Towards a Contextual Definition of Dissonance in Jazz
Joon Park, University of Arkansas

  12:30 The Arrival 6/4 in Wagner’s Die Walküre
Ji Yeon Lee, The Graduate Center, CUNY
  12:45 Sententially-Organized Subordinate Themes in Schubert’s Sonata Forms
Caitlin Martinkus, University of Toronto
    1:00 Asymmetrical Dissonances in Ligeti’s Hungarian Rock (Chaconne)
Jay Smith, University of North Texas
    1:15 Harmonic Polysemy in Nineteenth-Century Chromatic Tonality
Kyle Hutchinson, University of Toronto
  1:30– 1:45


  1:45– 3:15 Long Paper Session 1
Chair: Jonathan Kochavi, Swarthmore College
    1:45 Chromatic Evolution: V-of-iii as a Dominant Substitute in Felix Mendelssohn’s Songs without Words
Faez Abdalla, University of Arizona
    2:15 Meter without Levels
Peter Selinsky, Yale University
    2:45 Generic (Mod-7) Voice-Leading Spaces
Leah Frederick, Indiana University
  3:15– 3:30 Break/Registration
  3:30– 5:30

Professional Development Workshop:
Processual Approaches to Form in Early Nineteenth-Century Music: The Case of Mendelssohn and the First Movement of his Violin Concerto, Op. 64
Janet Schmalfeldt, Tufts University

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  5:30– 6:00 Reception

Location: Gordon Biersch
900 F St NW, Washington, DC 20004
(on SW corner of 9th St. NW & F St. NW)


SATURDAY, March 25
JPH (Room 220), Ward Hall,
The Catholic University of America
620 Michigan Ave NE, Washington DC 20064

  8:15–  9:15 Executive Board Meeting

Long Paper Session 2
Chair: Jamuna Samuel, University of Pennsylvania


Haydn's Op. 50 Quartets and the Search for “A Really New Minuet”
Samantha Inman, University of North Texas

  10:00 Robert Schumann’s Learned Self and Vier Fugen Op. 72
Laurence Willis, McGill University
  10:30 Dialogic Form in Mahler’s Tenth Symphony, Movement I
Eric Hogrefe, University of Louisville
11:00–11:15 Break/Registration
11:15–12:30 Short Paper Session 2
Chair: Januna Samuel, University of Pennsylvania
  11:15 Pitch, Form, and Time in Two Works by Henri Dutilleux
Robert A. Baker, Catholic University of America
  11:30 Linearity and Compensatory Coherence in the Varied Tonalities of Prokofiev’s War Symphonies
Joel Mott, The University of Texas at Austin
  11:45 #genre: Reconsidering Popular Music Categorization
Thomas Johnson, The Graduate Center, CUNY
  12:00 Beethoven’s Middle Earth: Analyzing Film Music Topics in Music of the Long Eighteenth Century
Janet Bourne, Bates College
  12:15 “I Will Survive” and the Homophobic Cover
Taylor Myers, Rutgers University
12:30– 1:45

Lunch and Business Meeting

  1:45– 2:45

Keynote Address: Domenico Scarlatti, Escape Artist: Sightings of His ‘Mixed Style’ Towards the End of the Eighteenth Century
Janet Schmalfeldt, Tufts University

  2:45– 3:00 Break
  3:00–4:00 Long Paper Session 3
Chair: Eugene Montaue, The George Washington University
  3:00 Hearing Voices in Their Hands: Performing and Perceiving Polyphony
John Lawrence, University of Chicago
  3:30 Phrase Expansion Through the Metaphor of Musical Motion: A Case Study of Mendelssohn’s Violin Concerto in E Minor, Op. 64
John Peterson, James Madison University
Brian Jarvis, University of Texas at El Paso

Long Paper Session 4
Chair: Jenine Brown, Peabody Conservatory

  4:00 Schenker, Mazel, and Chopin: Elements of Linear Analysis in the Work of Leo Mazel
Ellen Bakulina, University of North Texas

Modulatory Second Section: a Reevaluation of Schenker’s Definition of Three-Part Form
Hiu-Wah Au, Appalachian State University

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