Sound at SCMS 2013
For the 2013 Society for Cinema and Media Studies meeting in Chicago, Sounding Out! enlisted one of our favorite guest writers, radio scholar Neil Verma (whom you’ll remember from our excellent Tune Into the Past series from summer 2012). When we heard the news that his recent book Theater of the Mind: Imagination, Aesthetics and Radio Drama (University of Chicago Press) won this year’s SCMS first book prize we were ecstatic. . .and not surprised in the least. It’s brilliant–for a taste read Neil’s SO! blog post from June 2012, “Radio’s “Oblong Blur”: Notes on the Corwinesque”). So, please join us in congratulating Neil, and then, join Neil for a thoughtful preview of sound studies at SCMS 2013. He’s one of the reasons why it’s such a great year for the field. —Editor-in-Chief, Jennifer Stoever-Ackerman
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For the Society for Cinema and Media Studies (SCMS), this year may mark the point at which sound studies became – likely temporarily, and perhaps distressingly – normal. That’s something to ponder at this year’s annual conference of the Society, which takes place from March 6th to the 10th at the Drake Hotel in Chicago.
SCMS last came to the Second City in 2007. A glance at the panels from that year highlights how quickly the conference has expanded. If you exclude ads, this year’s program is 80 pages longer than its counterpart six years ago. Back then, SCMS featured 323 panels and workshops. This year there are 456. And sound studies work has grown disproportionately. In 2007, by my count, there were just 13 panels with two or more papers featuring sound as an “analytical point of departure or arrival,” to borrow language that Jonathan Sterne has recently used to characterize the field. This time we have 31 such panels.
That’s a lot of foot traffic. And it’s extremely good news for the field. But if these trends continue, it is also true that visitors focused on sound may only be able to attend a fraction of all panels and papers on the subject. As a result, sound has transformed from one possible pathway through SCMS into a field of many possible itineraries. Not only is the durability of that situation tenuous, but its intellectual ramifications are as unclear as they are promising.
Sound Art Installation in Downtown Chicago, Image by Flickr user meironke
A Conference in Transition
As it grows, the SCMS conference is restructuring. In a move sure to stir controversy, for instance, the Society has taken the experimental step of dramatically scaling back its slate of screenings, citing poor attendance at such events during recent conferences in Boston and New Orleans. Seen in conjunction with other developments – a focus on social media (follow @SCMStudies on Twitter), expanded online video, and a marvelous new podcast sponsored by Cinema Journal – the reduction of screenings represents a small step away from the cinema as a privileged object of study and experience.
That idea is borne out by the offerings. This year’s conference features as much exciting work on Call of Duty as on The Clock, with more papers on Girls than on Godard, along with compelling offerings on topics ranging from Rancière to Revenge, from Warhol to Lego, and home movies to Grindr. The word “television” appears on 58 pages of the current catalog; back in 2007 it appeared on just 14. As Barbara Klinger points out in her introduction to the program, this year truly elevates the “M” for “Media” in “SCMS.”
Skeptics may see a conference drifting from its raison d’être, while optimists will see an increasingly capacious meeting that is willing to undertake the experimentation for which many members have long been calling. As the conference grows, both sides can expect perhaps less intimacy than in previous years, with more of the action localizing around Caucuses and Scholarly Interest Groups (SIGs).
Neil Verma’s Theater of the Mind (University of Chicago Press)
That’s true for sound. This year marks the debut of a new Radio Studies SIG, recognizing an area of scholarship that has been growing steadily for decades. Congratulations to Bill Kirkpatrick and Alex Russo, among others, for bringing this about. Readers interested in the radio SIG should hop over to Antenna to read Kirkpatrick’s terrific piece on the emergence of radio studies at SCMS this year (and be sure to catch his paper on disability and radio on Saturday at 1:00). In conjunction with the Sound Studies SIG, which has been driving a sound agenda since Jay Beck and Tony Grajeda helped form it in 2007, the Radio SIG is sure to be a magnet for future presenters and an advocate within the institutional SCMS structure.
The Radio SIG’s inaugural workshop features leading scholars to explore critical approaches (9:00 – 10:45 on Saturday), and that should be at the top of the agenda for SO! readers. I’m pleased to report that the Radio SIG’s first official meeting (9:00-10:45 on Sunday) will feature special guest Johanna Zorn, founder and Executive Director of the Third Coast International Audio Festival. The Sound SIG, meanwhile, helmed by Norma Coates and Tim Anderson, will hold its annual meeting on Friday (12:15-2:00) with an exciting presentation by John Corbett and Terri Kapsalis, who will speak about Sun Ra and his place in the history of Chicago sound and visual culture. Beyond these marquee events, these two SIGs together will sponsor a total of 13 panels this year.
That’s already quite an itinerary. Now let’s look deeper.
Further Highlights
In her SCMS post last year, Jennifer Stoever-Ackerman called for an effort to reimagine sound studies in the larger architecture of SCMS. She wrote,
Very few panels engage with sound as a primary modality and there are far less individual papers threading sound into panel discussions not explicitly about sound. We need more of both kinds of scholarly engagement […]
Image by Flicker user pbeens
Indeed. While many problems persist, including an uneven focus on music – it’s odd to see so little on music in a city rich in its history, from Bronzeville to Bloodshot Records – this year’s offerings also show great progress. Panels that engage sound as a primary modality have fresh takes on established subjects (Hollywood film music, voice narration in documentary, archiving, etc.) but many also raise subjects that SCMS might have been wary of in previous years, such as earth-sensing, sound in film noir and video game sound. And there is tremendous creativity in individual papers, with scholars engaging topics from sound in Yiddish Cinema and Russian pop to the Black audio film archive and player pianos in education, all sprinkled among panels considering other issues. There are not one but two papers about sound in Terrence Malick’s films, in two separate panels, neither of which is about sound.
What other goodies can you find this year? I’m glad you asked. Here are some highlights
- There are a couple of terrific panels on gender and sexuality this year. I’d recommend starting off your visit to SCMS by attending a panel on film music that Norma Coates is hosting on Wednesday (10:00-11:45), and following up with Jennifer Wang’s panel “Gender Trouble across the Dial” on Friday (9:00-10:45).
- On Thursday (from 9:00 to 10:45) I’m pleased to be chairing a panel with Jacob Smith, Mary Ann Watson, Shawn VanCour, and Alex Russo considering radio writer Norman Corwin as a transmedia author, continuing a project that we started on this blog last summer. Those interested in sites of overlap between radio and other media institutions should also check out “Radio in Transition” (Friday, 11:00-12:45), chaired by Cynthia Meyers, and “Economies of Media Industries” (Saturday, 3:00-4:45), featuring Jim Lastra and Douglas Gomery.
- The panel “Earth-Sensing” (Wednesday, 2:00-3:45) looks compelling, with work by Lisa Parks on broadcast infrastructure and Google Earth, as well as a presentation by Janet Walker on audiovisualizations of sea level rise. It might pair well with a panel on deep history later that day (4:00-5:45) which will feature, among other topics, Mack Hagood speaking on the work of Irv Teibel.
- Another great pairing is available on Friday. Try attending “Sounding the Radio Archive” (12:15-2:00), with projects from junior scholars and a response from Debra Rae Cohen. Then check out “Live Sound in Film and Television” (2:15-4:00), featuring exciting work on rockumentary by Michael Baker and sound in situation comedy by Foley artist Vanessa Ament-Gjenvick. Together, these panels should give newcomers a good sense of the future of sound studies.
- One theme that has emerged this year is a renewed interest in processes of adoption and incorporation of sound technology. For that, consider attending “Transitional Soundtracks” on early Hollywood film music (Thursday, 3:00-4:45), “Channeling Stereo Histories” (Saturday, 5:00-6:45), and “Rethinking Technologies of Audiovision” (Sunday, 9:00-10:45).
- There are two panels on sound in the mass media in Japan, each in a different period: “Archeologies of Intermediality in Prewar Japanese Cinema” (Friday, 2:15-4:00) and “Japanese Celebrity Cultures” (Saturday, 5:00-6:45). Only one is sponsored by Sound Studies, so the appearance of both may be a fortuitous coincidence.
- Another cluster of panels forms around issues of voice, talk, and orality. On Wednesday, there’s “Orality and Storytelling” (10:00-11:45), followed by “Speech, Music and the Sound of Film and Media” (12:00-145). On Thursday, there’s “Spectators: Sound and Talk” (1:00-2:45) and “Vocal Projections: The Disembodied Voice in Documentary” (5:00-6:45). Then on Saturday there is “The Actor’s Voice” (1:00-2:45) and “Cinema Sound, Music, and Voice” (3:00-4:45).
- Don’t forget the workshops! There’s great stuff this year on platform studies, spreadable media, and close reading, as well as several meetings on teaching and job searching. Attending these will give you a chance to hear from Mary Ann Doane, Michele Hilmes, Henry Jenkins, Peter Krapp, Jason Loviglio, Jason Mittell, Elena Razlogova and Jonathan Sterne, to name just a few.
That’s a lot of material, and it’s not even everything, which is precisely my point. For maybe the first time, SCMS has far more sound studies material than you can feasibly attend.
So is it time to indulge the pernicious scholarly habit of naming a moment of change and uncertainty as one of emergence? Should we declare that sound has come of age at last, a cliché that, as Michele Hilmes has pointed out, sound studies has been using for a hundred years?
Let’s not and say we did. There’s much more to do in terms of diversifying objects and cultures for sonic exploration. And rather than seeing papers that study sound in new ways, I’d love to see future presenters using sound in innovative ways to think about objects and events well outside the perimeter of sound studies, drawing experimental modes of listening in to the conference experience and challenging how scholarship itself is fashioned and displayed.
Chicago-based artist Nick Cave’s “sound suits,” Image by Flickr User Jeremy Zilar
As well as being a point of analytical departure and arrival, after all, sound is also a way of traveling between points. Sterne is right when, in the introduction to The Sound Studies Reader, he argues that sound studies should be a place where sonic imaginations are “challenged, nurtured, refreshed and transformed” (10), but sound studies can do that for other kinds of imaginaries, too. Sound is a medium to be studied, but it is also a way of doing media studies, and that is a property that should be highlighted in a scholarly society open to transition.
Or, to put it another way, as sound scholarship worms its way ever further into the mainstream of SCMS, let’s do our best to keep it weird.
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Note: Below I’ve listed times for panels that I’m guessing will be of most interest to SO! readers, plus special events and a few sessions that touch on professional matters. This year, SCMS has not released the room assignments on the PDF circulated prior to the event, so attendees will have to find that information in the printed catalog. I’m sorry for any errors or omissions. If your panel is missing or I’ve made some other mistake, please email me at nkhverma@gmail.com and I’ll be happy to amend this post.
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Neil Verma is a Harper-Schmidt Postdoctoral Fellow at the University of Chicago, where he teaches media aesthetics. Verma works on radio and its intersection with other media, and has taught subjects including film studies, sound, art history, literature, critical theory and intellectual history. His book, Theater of the Mind: Imagination, Aesthetics, and American Radio Drama, is published by the University of Chicago Press and is the winner of the 2013 SCMS First Book Prize.
Chicago-based artist Nick Cave’s “Sound Suits,” Image by Flickr User Jeremy Zilar
Jump to WEDNESDAY, March 6
Jump to THURSDAY, March 7
Jump to FRIDAY, March 8
Jump to SATURDAY, March 9
Jump to SUNDAY, March 10
WEDNESDAY, MARCH 6
Session A 10:00 – 11:45 a.m.
A19. Film Music: Gender, Sexuality, and Taste Formations
Chair: Norma Coates, UNIVERSITY OF WESTERN ONTARIO
Jack Curtis Dubowsky, ACADEMY OF ART UNIVERSITY, “Louisiana Story, Homoeroticism, Hollywood, and Americana Music”
Landon Palmer, INDIANA UNIVERSITY, BLOOMINGTON, “Pre‐existing Film Music as Traveling Text: The Case of 2001: A Space Odyssey”
Zhichun Lin, OHIO STATE UNIVERSITY, “Presenting Her through Music: The Theme Music of the Chinese Film Version of Letter from an Unknown Woman”
Norma Coates, UNIVERSITY OF WESTERN ONTARIO , “‘5% of It Is Good’: Leonard Bernstein, CBS Reports, and the Cultural Accreditation of Rock Music”
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A22. Orality and Storytelling
Chair: Sheila Petty, UNIVERSITY OF REGINA
Kester Dyer, CONCORDIA UNIVERSITY, “Storytelling and Testimony: Archiving Melancholia in Alanis Obomsawin’s Kanehsatake: 270 Years of Resistance”
Katherine Brewer Ball, NEW YORK UNIVERSITY, “The ‘Brainwashing’ of Patty Hearst and Sharon Hayes: Forging Alliances and Forgetting the Lines”
Yifen Beus, BRIGHAM YOUNG UNIVERSITY, HAWAII, “Deterritorializing Essentialism: Narrating Place and Space in Filming the South Seas”
Sheila Petty, UNIVERSITY OF REGINA, “Spaces in‐Between: Zahra’s Mother Tongue as Performative Documentary”
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Session B 12:00 – 1:45 p.m.
B19. Speech, Music, and the Sound of Film and Media
Chair: Heather Warren‐Crow, UNIVERSITY OF WISCONSIN‐MILWAUKEE
Nishant Shahani, WASHINGTON STATE UNIVERSITY, PULLMAN, “‘I Have a Voice’: Speech, Silence, and the Redemption of Empire”
Eric Dienstfrey, UNIVERSITY OF WISCONSIN‐MADISON, “New Methods of Multichannel Surround Sound Analysis and Contemporary Film Aesthetics”
Brian Fauteux, UNIVERSITY OF WISCONSIN‐MADISON, “Satellite Sounds and the Transnational Circulation of Music”
Heather Warren‐Crow, UNIVERSITY OF WISCONSIN‐MILWAUKEE, “The Phonetics of Early Video Art”
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B21. Workshop on Publishing on Digital Platforms
Chair: Christopher Hanson, SYRACUSE UNIVERSITY
Co‐Chair: Joan Saab, UNIVERSITY OF ROCHESTER
Kim Akass, UNIVERSITY OF HERTFORDSHIRE
Norm Hirschy, OXFORD UNIVERSITY PRESS
Jennifer Porst, UNIVERSITY OF CALIFORNIA, LOS ANGELES
John David Rhodes, UNIVERSITY OF SUSSEX
Andrew Young, UNIVERSITY OF CALIFORNIA, LOS ANGELES
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Session C 2:00 – 3:45 p.m.
C4. Character and Performance
Chair: Matthew Solomon, UNIVERSITY OF MICHIGAN
Ganga Rudraiah, INDEPENDENT SCHOLAR, “Singing and Dancing like an ‘Aravaani’: Emerging Articulations of Transgender Performances in Contemporary Tamil Cinema”
Kim Wilkins, UNIVERSITY OF SYDNEY, “Cast of Characters: The American Eccentrics and Pure Cinematic Characterization”
Elizabeth Alsop, WESTERN KENTUCKY UNIVERSITY, “The Imaginary Crowd: Neorealism and the Uses of Coralità”
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C20. Earth‐Sensing: Media Above and Below the Surface
Chair: Nicole Starosielski, NEW YORK UNIVERSITY
Co‐Chair: Janet Walker, UNIVERSITY OF CALIFORNIA, SANTA BARBARA
Janet Walker, UNIVERSITY OF CALIFORNIA, SANTA BARBARA, “Moving to Higher Ground?: Documentary Film and (Other) Scientific Audiovisualizations of Sea Level Rise”
Lisa Parks, UNIVESITY OF CALIFORNIA, SANTA BARBARA, “Signal Territories: Studying US Broadcast Infrastructure Using Google Earth”
Eva Hayward, UNIVERSITY OF NEW MEXICO, “Technologies of Migration: Conservation Science and Whale Media”
Nicole Starosielski, NEW YORK UNIVERSITY, “Sensing the Seafloor: Undersea Observatories and the Contours of Media Distribution”
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C21.Workshop on Platform Studies: Debating the Future of a Field
Chair: Caetlin Benson‐Allott, GEORGETOWN UNIVERSITY
Ian Bogost, GEORGIA INSTITUTE OF TECHNOLOGY
Jonathan Sterne, MCGILL UNIVERSITY
Steven Jones, LOYOLA UNIVERSITY, CHICAGO
Peter Krapp, UNIVERSITY OF CALIFORNIA, IRVINE
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Session D 4:00 – 5:45 p.m.
D12. Deep History II Insight from Artifacts
Chair: Mack Hagood, INDIANA UNIVERSITY
Kyle Stine, UNIVERSITY OF IOWA, “Cybernetic Movie Machines: Norbert Wiener’s Cinema Integraph and Richard S. Morse’s Data Soundtracks”
Sindhu Zagoren, UNIVERSITY OF NORTH CAROLINA‐CHAPEL HILL, “We Want the Airwaves: Early Radio and the Struggle for Airspace”
Mack Hagood, INDIANA UNIVERSITY, “Nixon, Mobster, Bigfoot: The Performative Audio Media Forensics of Irv Teibel”
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WEDNESDAY INDIVIDUAL PAPERS OF INTEREST
A 12. Veronica Zavala, UNIVERSITY OF CALIFORNIA, SANTA BARBARA, “The Role of Spanish Language Radio in the United States”
B7. Brian Gregory, COLUMBIA UNIVERSITY, “Packaging Sound for Schools: Selling the Player‐Piano and the Phonograph to American Education”
C12. Matthew Malsky, CLARK UNIVERSITY, “Early CinemaScope Sound Experiments”
D4. Lauhona Ganguly, AMERICAN UNIVERSITY “Production Cultures and Cultural Re‐Productions in a Global Television Industry: Rethinking Global Cultural Economy with Indian Idol”
D7. David Harvey, UNIVERSITY OF IOWA, “Rethinking Voice in the Essay Film Form”
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Special Events Wednesday Evening
6:00 – 8:00 pm
Caucus/SIG special event
Remembering the Life & Legacy of Alexander Doty
Grand Ballroom, Lobby Level
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6:00 – 9:00 pm
Caucus/SIG special event
Public Media 2.0
A Conversation on the Future of Urban Documentary and Social Change
Museum of Contemporary Art, 220 E. Chicago Avenue
Crown Fountain, Millennium Park, Chigaco, Image by Flickr user blg002
THURSDAY, MARCH 7
Session E 9:00 – 10:45 a.m.
E9. Sounds and Silences
Chair: Charles Kronengold, STANFORD UNIVERSITY
Chelsey Crawford, OKLAHOMA STATE UNIVERSITY, “Sound Off: Absolute Cinematic Silence and the Unconscious”
Manuel Garin, UNIVERSITY OF POMPEU FABRA, “Silent Film Gameplay: Keaton, Mario, and the Misadventures of Visual Freedom”
Charles Kronengold, STANFORD UNIVERSITY, “Puzzling Interfacing, Musical Thinking, and Multisensory Experience”
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E16. Workshop. Scholarly Social Media: Successes, Failures, and Future
Chair: Elizabeth Ellcessor, INDIANA UNIVERSITY
Gina Giotta, CALIFORNIA STATE UNIVERSITY, NORTHRIDGE
Dan Leopard, SAINT MARY’S COLLEGE OF CALIFORNIA
Jamie Poster, IRVINE VALLEY COLLEGE
Andrew Miller, SACRED HEART UNIVERSITY
Leah Shafer, HOBART AND WILLIAM SMITH COLLEGES
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Session F 11:00 – 12:45 p.m.
F22. Norman Corwin and Transmedia Authorship
Chair: Neil Verma, UNIVERSITY OF CHICAGO
Jacob Smith, NORTHWESTERN UNIVERSITY, “Norman Corwin’s Radio Realism”
Mary Ann Watson, EASTERN MICHIGAN UNIVERSITY, “Norman Corwin and the Big Screen: Artistic Differences”
Shawn VanCour, UNIVERSITY OF SOUTH CAROLINA, “Corwin on Television: A Transmedia Approach to Style Historiography”
Alexander Russo, THE CATHOLIC UNIVERSITY OF AMERICA, “Sonic Legacy: Exploring the ‘Corwinesque’ in Radiolab”
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Session G 1:00 – 2:45 p.m.
G13. Spectators: Sound and Talk
Chair: CarrieLynn Reinhard, DOMINICAN UNIVERSITY
Leo Rubinkowski, UNIVERSITY OF WISCONSIN‐MADISON, “‘When You Know the Words to Sing . . .’: Sing‐Along Exhibition and Participatory Audiences”
Annie Dell’ Aria, THE GRADUATE CENTER, CUNY, “Doug Aitken’s Song 1: Cinema‐in‐the‐Round”
Carter Moulton, UNIVERSITY OF WISCONSIN‐MILWAUKEE, “Reading Accents: Subtitles and Spectatorship in Multiplex Cinema”
CarrieLynn Reinhard,DOMINICAN UNIVERSITY, “Answering the Whats, Hows, and Whys of Film Spectatorship: An Empirical Investigation and Comparison of Film Reception”
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Session H 3:00 – 4:45 p.m.
H16. Transitional Soundtracks: The Vicissitudes of Hollywood Film Music, 1927–1933
Chair: Katherine Spring, WILFRID LAURIER UNIVERSITY
Lea Jacobs, UNIVERSITY OF WISCONSIN‐MADISON, “Words and Music: Dialogue Underscoring in the Early Musical”
Michael Slowik, KUTZTOWN UNIVERSITY, “From Presentational Aesthetics to Narrative Absorption: Film Music in Warner Bros. Part‐Talkies, 1927–1929”
Jeff Smith, UNIVERSITY OF WISCONSIN‐MADISON, “What Exactly Is a Partial Cue?: Jurisdictional Conflict in Warner Bros. Films of the Early Sound Era”
Katherine Spring, WILFRID LAURIER UNIVERSITY and Maggie Clark, WILFRID LAURIER UNIVERSITY, “Trading on Songs: The Emergence of the Musical Genre in the Trade Press”
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H23. Workshop on Spreadable Media: Creating Meaning and Value in a Networked Culture.
Chair: Henry Jenkins, UNIVERSITY OF SOUTHERN CALIFORNIA
Whitney Phillips, NEW YORK UNIVERSITY
Ethan Tussey, GEORGIA STATE UNIVERSITY
Kevin Driscoll, UNIVERSITY OF SOUTHERN CALIFORNIA
Sam Ford, PEPPERCOMM
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Session I 5:00 – 6:45 p.m.
I7. Vocal Projections The Disembodied Voice in Documentary
Chair: Maria Pramaggiore, NORTH CAROLINA STATE UNIVERSITY
Shilyh Warren, UNIVERSITY OF TEXAS AT DALLAS, “Documentary Attunement and Earthly Crisis”
Maria Pramaggiore, NORTH CAROLINA STATE UNIVERSITY, “‘You’re Gonna Miss Me’: The Disembodied Voice in Rock Documentary”
Jean Walton, UNIVERSITY OF RHODE ISLAND, “Animating Voices, Onscreen and Off, in Kathleen Shannon’s Working Mothers”
Respondent: Jason Middleton, UNIVERSITY OF ROCHESTER
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I22. Off Beat Music/Film Mismatches
Chair: Krin Gabbard, STONY BROOK UNIVERSITY
Caryl Flinn, UNIVERSITY OF MICHIGAN, “Christopher Plummer Learns to Sing”
Kathryn Kalinak, RHODE ISLAND COLLEGE, “How the West Was Off‐Beat: Howard Hawks, Dimitri Tiomkin, and the Score for The Big Sky”
Krin Gabbard, STONY BROOK UNIVERSITY, “‘What Is This Music?’: Jimmy Knepper with Charles Mingus and Tom Cruise”
Respondent: Kay Dickinson, CONCORDIA UNIVERSITY
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I23. Workshop on Success and Survival in the 21st Century: Career Strategies for Under‐ or Unrepresented Graduate Students and Early Career Faculty in Film and Media Studies
Chair: Theresa L. Geller GRINNELL COLLEGE
Co‐chair: Jeffrey Masko, PENNSYLVANIA STATE UNIVERSITY
Bambi Haggins, ARIZONA STATE UNIVERSITY
Sarah Projansky, UNIVERSITY OF UTAH
Julie Russo, BROWN UNIVERSITY
Maria San Filippo, WELLESLEY COLLEGE/HARVARD COLLEGE
Rebecca Gordon, FULBRIGHT FELLOW, NICARAGUA
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THURSDAY INDIVIDUAL PAPERS OF INTEREST
E20. Mark Hain, INDIANA UNIVERSITY, “Visualizing the Great American Songbook: Queer Archiving, Class, and Memory”
F3. Joan McGettigan, TEXAS CHRISTIAN UNIVERSITY, “Play This Movie Loud: Sound and Silence in Terrence Malick Films”
F4. Michelle Cho, BROWN UNIVERSITY, “K‐pop, YouTube and ‘Pop Cosmopolitanism’ in the Digital Age”
F7. Diego Zavala, MONTERREY INSTITUTE OF TECHNOLOGY AND HIGHER EDUCATION, “Voice, Testimony, and Reflexivity in Werner Herzog ́s Documentary Films”
F11. Shannon Mattern, THE NEW SCHOOL, “Echoes and Entanglements: A Sonic Archaeology of the City”
F13. Colleen Montgomery, UNIVERSITY OF TEXAS AT AUSTIN, “Pixarticulation: Vocal Performance in the Toy Story and Monsters Inc. Franchises”
G5. Steven Rybin, GEORGIA GWINNETT COLLEGE, “Beyond the Voice: Patterns of Performance in Terrence Malick’s Films”
G11. Chunfeng Lin, UNIVERSITY OF ILLINOIS, URBANA‐CHAMPAIGN, “Noise in Chinese Neorealist Cinema: A Temporary Reverse Hierarchy (TRH) Model and Political Statements”
G20. Hannah Hamad, KING’S COLLEGE LONDON, “Musical Moments of Women’s Work and Affective Labor on Contemporary British Television”
H4. Regina Arnold, STANFORD UNIVERSITY, “Hardly Strictly Utopia: Race, Space, and the American Rock Festival”
H22. Maura Edmond, UNIVERSITY OF MELBOURNE, “Here We Go Again: Making (and Remaking) Music Videos After YouTube”
I3. Melissa Click, UNIVERSITY OF MISSOURI, “Making Monsters: Lady Gaga, Social Media, and Fan Culture”
I9. Vanessa Chang, STANFORD UNIVERSITY, “Audiovisualizations: Musical Screens and the Sound Image”
I12. Rachel Haidu, UNIVERSITY OF ROCHESTER, “Triangulation and Transmission in the Works of Black Audio Film Collective, James Coleman, and Steve McQueen”
I17. Desiree Garcia, ARIZONA STATE UNIVERSITY, “Everything Old Is New Again: The Sing‐Along Musical Film”
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Special Events Thursday Evening
5:30 – 7:00 pm
Youth Film Festival—Competition
DePaul University, Downtown Campus, 14 E. Jackson
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8:00 pm
Remix‐It‐Right
Rediscoveries in the Phil Morton Archive
Gene Siskel Film Center, 164 N. State Street
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9:00 pm
Chicago Symphonies: Nontheatrical Shorts from the Chicago Film Archives
Cinema Borealis, 1550 N. Milwaukee Avenue, 4th floor
(Please note: there is no elevator)
Seating is extremely limited. (Reservations Martin Johnson (martin.johnson@nyu.edu)
Frank Gehry-designed sound system at the Pritzker Music Pavilion in Millennium Park, Chicago, Image by Flickr User anita 363
FRIDAY, MARCH 8
Session J 9:00 – 10:45 a.m.
J12. Gender Trouble across the Dial: Disrupting Conventions of Women’s Mediated Representation in Radio and Television, 1930–1960
Chair: Jennifer Wang, INDEPENDENT SCHOLAR
Jennifer Wang, INDEPENDENT SCHOLAR, “‘Recipe for Laughs’: Comedy While Cleaning in Housekeeping Radio Programs”
Kathryn Fuller‐Seeley, GEORGIA STATE UNIVERSITY, “‘What Are You Laughing At, Mary?’: Transgressive Women and Gender Performance on the Jack Benny Radio Program”
Catherine Martin, BOSTON UNIVERSITY, “Adventure’s Fun, but Wouldn’t You Rather Get Married?: Gender Roles and the Office Wife in Radio Detective Dramas”
Joanne Morreale, NORTHEASTERN UNIVERSITY, “Dreams and Disruption: The Fifties Sitcom”
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J18. Workshop on Surface Tension: The Stakes and Fates of Close Analysis
Chair: Elena Gorfinkel, UNIVERSITY OF WISCONSIN‐MILWAUKEE
Co-chair: Karl Schoonover, UNIVERSITY OF WARWICK
Victor Perkins, UNIVERSITY OF WARWICK
Lesley Stern, UNIVERSITY OF CALIFORNIA, SAN DIEGO
Jean Ma, STANFORD UNIVERSITY
Mary Ann Doane, UNIVERSITY OF CALIFORNIA, BERKELEY
..
J19. Sound in Video Games and Interactive Media
Chair: Lori Landay, BERKLEE COLLEGE OF MUSIC
Chris Russell, NORTHWESTERN UNIVERSITY, “The Atari VCS and the Making of Digital Sound”
Costantino Oliva, UNIVERSITY OF MALTA, “Soundmarks in Digital Games Soundscapes”
Lori Landay, BERKLEE COLLEGE OF MUSIC ,“Sound, Embodiment, and the Experience of Interactivity in Video Games and Virtual Environments”
Respondent: Benjamin Aslinger, BENTLEY UNIVERSITY
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J23. Workshop on Digital Humanities and Film and Media Studies: Staging an Encounter
Chair: Miriam Posner, UNIVERSITY OF CALIFORNIA, LOS ANGELES
Co-Chair: Jason Mittell, MIDDLEBURY COLLEGE
Hannah Goodwin, UNIVERSITY OF CALIFORNIA, SANTA BARBARA
Jasmijn Van Gorp, UTRECHT UNIVERSITY
Jason Rhody, NATIONAL ENDOWMENT FOR THE HUMANITIES
Eric Faden, BUCKNELL UNIVERSITY
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Session K 12:15 – 2:00 p.m.
K14. Sounding the Radio Archive
Chair: Ian Whittington, MCGILL UNIVERSITY
Katherine McLeod, UNIVERSITY OF TORONTO, “Acoustic Archives: Listening to the CBC Radio Archives of Anthology”
Melissa Dinsman, UNIVERSITY OF NOTRE DAME, “Clogged Networks: The Theoretical and Practical Difficulties of Radio Archivization”
Ian Whittington, MCGILL UNIVERSITY, “Tracing the Voice: Una Marson and the Ethics of the Radio Archive”
Respondent: Debra Rae Cohen, UNIVERSITY OF SOUTH CAROLINA
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* Meeting of the Sound Studies Schoarly Interest Group *
12:15 – 2:00 pm
The Club International Room, Lobby Level
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Session L 2:15 – 4:00 p.m.
L4. Live Sound in Film and Television
Chair Benjamin Wright, UNIVERSITY OF SOUTHERN CALIFORNIA
Co-chair: Randolph Jordan, SIMON FRASER UNIVERSITY
Benjamin Wright, UNIVERSITY OF SOUTHERN CALIFORNIA ,“We’ll Fix it in Post: The Professional and Creative Constraints of Production Sound Mixing”
Vanessa Ament‐Gjenvick, GEORGIA STATE UNIVERSITY, “Mad About You: Production Sound Challenges in the Television Situation Comedy with Live Studio Audience”
Randolph Jordan, SIMON FRASER UNIVERSITY, “Hearing the Cinematic City: Location Film Sound and Soundscape Research in Acoustic Ecology”
Michael Baker, UNIVERSITY OF BRITISH COLUMBIA , “The Sound of Rockumentary: Location Recording and Documentary Sound Practice”
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L11. Archeologies of Intermediality in Prewar Japanese Cinema
Chair: Michael Raine, UNIVERSITY OF WESTERN ONTARIO
Keiko Sasagawa, KANSAI UNIVERSITY, “Silent Films with Popular Music: The Intermediality of Kouta Films, 1896–1929”
Michael Raine, UNIVERSITY OF WESTERN ONTARIO, “A Revolution in Film Accompaniment: Record Playback Systems in Japanese Silent Cinemas”
Chie Niita, WASEDA UNIVERSITY, “Japanese Cinema and the Radio”
Johan Nordström, WASEDA UNIVERSITY, “Songs that Bind: Connections between the Early Japanese Sound Cinema and the Record Industry”
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L14. Genre Studies: Variations on the Musical
Chair: Frances Smith, UNIVERSITY OF WARWICK
Paulina Suarez, NEW YORK UNIVERSITY, “Stage, Backstage, Everyday Life: Scenes of Transition in the Cabaret Picture”
Sean Griffin, SOUTHERN METHODIST UNIVERSITY, “‘And Then I Wrote . . .’: Enshrining the American Songbook in the Postwar Musical Biopic”
Amanda McQueen, UNIVERSITY OF WISCONSIN‐MADISON, “Songs and Shadows: The Question of the Classical Film Noir Musical, 1941–1958”
Frances Smith, UNIVERSITY OF WARWICK, “‘(I’ve Had) the Time of My Life’: The Afterlife of Dirty Dancing (Ardolino, 1987) in the Contemporary Romantic Comedy”
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L16. Workshop on Graduate Education in Film and Media Studies
Chair: Masha Salazkina, CONCORDIA UNIVERSITY
Neepa Majumdar, UNIVERSITY OF PITTSBURGH
Dana Polan, NEW YORK UNIVERSITY
Jennifer Holt, UNIVERSITY OF CALIFORNIA, SANTA BARBARA
Shelley Stamp, UNIVERSITY OF CALIFORNIA, SANTA CRUZ
Masha Salazkina, CONCORDIA UNIVERSITY
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FRIDAY INDIVIDUAL PAPERS OF INTEREST
J9. Anastasia Saverino, NEW YORK UNIVERSITY, “Liveness Ever After: Popular Music and the Aesthetics of Referentiality”
J14. Richard McCulloch, UNIVERSITY OF EAST ANGLIA, “‘When Camp Goes Mainstream?’: Eurovision Audiences, Ironic Appreciation, and the Production of Comedy”
L5. Martha Shearer, KING’S COLLEGE LONDON, “‘Don’t You Realize a Big City Like this Changes All the Time?’: The Hollywood Musical and the Rise of Cold War New York”
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Special Events Friday Evening
4:15 – 5:30 pm
Awards Ceremony
Grand Ballroom, Lobby Level
Noise Canceling Tunnel at the Illinois Institute for Technology, image by Flickr User Zol87
SATURDAY, MARCH 9
Session M 9:00 – 10:45 a.m.
M6. “Hot‐Jazz in Stone”: The Urban Landscapes and Soundscapes of Film Noir
Chair: Richard Ness, WESTERN ILLINOIS UNIVERSITY
Michael Dwyer, ARCADIA UNIVERSITY, “It Takes the Village: The Neighborhood outside Hitchcock’s Rear Window”
Jans Wager, UTAH VALLEY UNIVERSITY, “From Paris to Ishpeming: Miles Davis, Duke Ellington, and the Landscape of Noir”
Richard Ness, WESTERN ILLINOIS UNIVERSITY, “Killer Riffs: Music as Cultural Identifier in Contemporary Neo‐Noir”
Michele Schreiber, EMORY UNIVERSITY, “David Fincher1s San Francisco as Neo‐Noirscape”
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M17. Workshop on Strategies for the Academic Job Market
Chair: Ashley Elaine, York UNIVERSITY OF ALBERTA
Maruta Vitols, EMERSON COLLEGE
Scott Richmond, WAYNE STATE UNIVERSITY
Homay King, BRYN MAWR COLLEGE
Aaron Baker, ARIZONA STATE UNIVERSITY
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M23. Workshop on Critical Approaches to Studying the Radio Industries
Chair: Eleanor Patterson, UNIVERSITY OF WISCONSIN‐MADISON
Brian Fauteux, UNIVERSITY OF WISCONSIN‐MADISON
Jason Loviglio, UNIVERSITY OF MARYLAND, BALTIMORE COUNTY
Jeremy Morris, UNIVERSITY OF WISCONSIN‐MADISON
Elena Razlogova, CONCORDIA UNIVERSITY
Alexander Russo, THE CATHOLIC UNIVERSITY OF AMERICA
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Session N 11:00 – 12:45 p.m.
N1. Networked Media
Chair: Patrick Jagoda, UNIVERSITY OF CHICAGO
Doron Galili, OBERLIN COLLEGE, “Networked Media Fantasies and the Project of Networking the World”
Max Dawson, NORTHWESTERN UNIVERSITY, “‘It’s the Network!’: Broadcasting, Cellular, and the Politics of Networks”
Patrick Jagoda, UNIVERSITY OF CHICAGO, “Between: Network Aesthetics and Networked Games”
Respondent: Wendy Chun, BROWN UNIVERSITY
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N4. Radio in Transition, Past and Present
Chair: Cynthia Meyers, COLLEGE OF MOUNT SAINT VINCENT
Kyle Barnett, BELLARMINE UNIVERSITY, “Rethinking Radio’s Rise through the Phonograph’s Fall”
Cynthia Meyers, COLLEGE OF MOUNT SAINT VINCENT, “Radio with Pictures: How the Ad Industry in the 1940s Debated the Transition from Radio to TV”
Andrew Bottomley, UNIVERSITY OF WISCONSIN‐MADISON, “The Liveness of Internet Radio: Streaming, Sociability, and the Experience of Radio in the Convergence Era”
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Session O 1:00 – 2:45 p.m.
O15. The Actor’s Voice
Chair: Katherine Kinney, UNIVERSITY OF CALIFORNIA, RIVERSIDE
Kelly Kirshtner, UNIVERSITY OF WISCONSIN‐MILWAUKEE, “Actor/Microphone: Acoustic Presence in Sound Collection Practices”
Yiman Wang, UNIVERSITY OF CALIFORNIA, SANTA CRUZ, “Speaking in a ‘Forked Tongue’: Anna May Wong’s Linguistic Cosmopolitanism”
Katherine Kinney, UNIVERSITY OF CALIFORNIA, RIVERSIDE, “The Resonance of Brando’s Voice”
Katherine Fusco, UNIVERSITY OF NEVADA, RENO, “Voices from Beyond the Grave: Virtual Tupac’s Live Performance at Coachella”
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O23. Workshop on Cinema and Media Studies in Higher Education: Perspectives from Administrators
Chair: Ted Hovet, WESTERN KENTUCKY UNIVERSITY
Co-Chair: Charles Wolfe, UNIVERSITY OF CALIFORNIA, SANTA BARBARA
Michele Hilmes, UNIVERSITY OF WISCONSIN‐MADISON
R. Barton Palmer, CLEMSON UNIVERSITY
Murat Akser, KADIR HAS UNIVERSITY
Deniz Bayrakdar, KADIR HAS UNIVERSITY
Mary Desjardins, DARTMOUTH COLLEGE
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Session P 3:00 – 4:45 p.m.
P11. Cinema Sound, Music, and Voice
Chair: Kate McQuiston, UNIVERSITY OF HAWAII, MANOA
Babak Tabarraee, UNIVERSITY OF BRITISH COLUMBIA “A Pragmatic Approach to the Metaphor of Silence in the Oeuvre of Abbas Kiarostami”
Paula Musegades, BRANDEIS UNIVERSITY, “I Don’t Think We’re in the Nineteenth Century Anymore: Copland’s Establishment of Atmosphere in Golden Age Hollywood Films”
Nilo Couret, UNIVERSITY OF IOWA, “The City Listened: Ethnography, Vernacular Speech, and Niní Marshall’s Vocal Stardom”
Kate McQuiston, UNIVERSITY OF HAWAII, MANOA, “Germanic Yearnings and Musical Dreams: Rehearing Stanley Kubrick”
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P12. Remixing Hip-Hop Film and Visual Culture
Chair: Michele Prettyman‐Beverly, MIDDLE GEORGIA COLLEGE
Lauren Cramer, GEORGIA STATE UNIVERSITY, “‘What Does Keepin’ It Real Look Like?’: Examining the Visual Language of Hip‐Hop Album Covers”
Charles Linscott, OHIO UNIVERSITY, “DJ Spooky’s Hip‐Hop Time Machine”
Michele Prettyman‐Beverly, MIDDLE GEORGIA COLLEGE, “Beautiful, Dark, and Twisted: Kanye West, Genius, and Madness in Hip‐Hop Film and Visual Culture”
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P18. Economies of Media Industries
Chair: Brett Gary, NEW YORK UNIVERSITY
Josh Shepperd, UNIVERSITY OF WISCONSIN‐MADISON, “The Emergence of the Non‐Monetary Economy of Public Broadcasting at the Allerton House Seminars, 1949–1950”
Colin Burnett, WASHINGTON UNIVERSITY, “Rethinking the Culture‐Style Conundrum in Film Studies: Marketplace, Language, Artistry”
James Lastra, UNIVERSITY OF CHICAGO, “The Economies of Modern Sound Design”
Douglas Gomery, UNIVERSITY OF MARYLAND/LIBRARY OF AMERICAN BROADCASTING, “Economies of Scale in Mass Media: The Case of Radio Broadcasting”
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Session Q 5:00 – 6:45 p.m.
Q11. Japanese Celebrity Cultures
Chair: Colleen Laird, UNIVERSITY OF OREGON
Junji Yoshida, OLD DOMINION UNIVERSITY, “The Works of Samurai Legend in the Age of Mechanical Reproduction: Restoring the Voice of Silent Humor in Horo Zanmai”
Kyoko Omori, HAMILTON COLLEGE, “In Occupied Japan, A Radio Star is Born: The Role of the Allied Powers in the Creation of an Anti‐governmental Political Satire Program”
Colleen Laird, UNIVERSITY OF OREGON, “AKB48’s Tears of Surprise: Teen Idol as Fetish and the Consumption of Star Image”
Forrest Greenwood, THE COLLEGE OF ST. SCHOLASTICA, “A Spectral Pop Star Takes the Stage: Hatsune Miku and the Materialization of the Ephemeral in Contemporary Otaku Culture”
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Q18. Channeling Stereo Histories The Shaping of Innovation in Film and Television Sound
Chair: Helen Hanson, UNIVERSITY OF EXETER
Helen Hanson, UNIVERSITY OF EXETER, “Invention, Innovation, and Compromise: The Shaping of Multi‐Channel and Multi‐Speaker Film Sound in Hollywood’s Studio Era”
Jay Beck, CARLETON COLLEGE, “Theorizing Stereo: The Growth, Decline, and Rebirth of Multi‐Channel Film Sound”
Katherine Quanz, WILFRID LAURIER UNIVERSITY, “Canadian Films’ Slow Transition to Multi‐Channel Sound”
James Lyons, UNIVERSITY OF EXETER, “‘You Don’t Need Stereo TV for Laverne and Shirley’: The Development of American Stereo TV Broadcasting
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SATURDAY INDIVIDUAL PAPERS OF INTEREST
M15. Paul Reinsch, CHAPMAN UNIVERSITY, “Song(s) of the South: Country Music in/and Exploitation Cinema”
M16. Terri Francis, YALE UNIVERSITY, “Baker’s Burlesque: The Ironies and Erotics of Josephine Baker’s Celebrity”
M21. Jennifer Porst, UNIVERSITY OF CALIFORNIA, LOS ANGELES, “The Sound Track Ban: The American Federation of Musicians’ Role in Excluding Feature Films from Television before 1955”
P13. Kristen Galvin, UNIVERSITY OF CALIFORNIA, IRVINE, “Jem: Girlhood, MTV, and Technological Transformation in the 1980s”
P19, Olufunmilayo Arewa, UNIVERSITY OF CALIFORNIA, IRVINE ,“Making Music: Copyright Law and Creative Processes”
O6. Akil Houston, OHIO UNIVERSITY, “Unrequited Love: Hip‐Hop Culture and 1970s Black Cinema”
O14. Bill Kirkpatrick, DENISON UNIVERSITY, “Voices Made for Print: Disabled Voices on the Radio”
O17. Barbara Klinger, INDIANA UNIVERSITY, “From Theaters to the Airwaves: Classic Hollywood Films and Transmedia in the 1940s”
Q9. Isabel Huacuja Alonso, UNIVERSITY OF TEXAS AT AUSTIN, “Censoring Film Music in All‐India Radio and the Case of a Failed Auditory Utopia”
Q15. Assem Nasr, INDIANA UNIVERSITY–PURDUE UNIVERSITY, FORT WAYNE, “Reliable Sources: Oral Cultures and News Media in Lebanon”
Q22. Sarah Kessler, UNIVERSITY OF CALIFORNIA, IRVINE, “I’m Your Puppet: Nina Conti’s Her Master’s Voice”
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Special Events Saturday Evening
8:00 – 11:00 pm
SCMS Screen Test
Live the Warholian Experience at a Multiple‐Projection Event
Featuring “Screen Tests” of attendees shot by legendary Chicago filmmaker Judy Hoffman
Gallery 400, University of Illinois at Chicago, 400 s. Peoria Street
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8:00 pm
With a Voice Like the Lake
New Experimental Media Work from Chicago
The Nightingale Theater, 1084 N. Milwaukee Avenue.
Signs designating public performance areas, downtown Chicago, Image by Flickr User romanaklee
SUNDAY, MARCH 10
Session R 9:00 – 10:45 a.m.
RI. Meaning and Multiplicity in Game Environments
Chair: Nina Huntemann, SUFFOLK UNIVERSITY
Lyn Goeringer, OBERLIN CONSERVATORY OF MUSIC, “Beyond Guitar Hero: Sound Shapes, Sonic Inclusivity and Peer‐to‐Peer Musical Experience”
Ian Peters, GEORGIA STATE UNIVERSITY, “Peril Sensitive Sunglasses, Batarangs, and Dark Lords of the Sith in Miniature: Videogame Feelies, Diegesis, and the Tangible Gaming Experience”
Benjamin Aslinger, BENTLEY UNIVERSITY, “Unlocking Kurt: Celebrity Likenesses and Ludic Music”
Nina Huntemann, SUFFOLK UNIVERSITY, “Foul Play v. Fair Use: Likeness Licensing Litigation in Sports Video Games”
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R20. Rethinking Technologies of Audiovision
Luke Stadel, NORTHWESTERN UNIVERSITY
Jonathan Crylen, UNIVERSITY OF IOWA, “The Whale Who Wanted to Sing at the Ciné: Humpback Whale Recordings and Film Sound”
Hannah Frank, UNIVERSITY OF CHICAGO, “Beyond Mickey‐Mousing: American Animated Cartoons Learn to Talk, 1926–1933”
Luke Stadel, NORTHWESTERN UNIVERSITY, “Two‐Way TV”
Respondent: Steve Wurtzler, COLBY COLLEGE
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* Meeting of the Radio Studies Scholarly Interest Group*
The Club International Room, Lobby Level
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SUNDAY INDIVIDUAL PAPERS OF INTEREST
R5. Kate Newbold, NORTHWESTERN UNIVERSITY, “Sounding TV History: Boundaries of the Archive, Memory, and Personal Media Histories in the Case of Phil Gries’s Archival Television Audio”
R12. Mika Turim‐Nygren, UNIVERSITY OF ILLINOIS, CHICAGO, “Tevye: Language, Sound, and the Resonance of Ritual in the Late Yiddish Cinema”
R19. Christopher Cwynar, UNIVERSITY OF WISCONSIN‐MADISON, “In a Town This Size: The Vinyl Café, the CBC, and the Nostalgic Mythos of Small‐Town Canada”
S1. Theodora Trimble, UNIVERSITY OF PITTSBURGH, “When All Boys Become Men: Russian Pop Music and the Global Ethnographic Idiom”
S4. Mark Lynn Anderson, UNIVERSITY OF PITTSBURGH, “Roads to Ruin; or, the Woman’s Voice in Late Silent Cinema”
S11. Sushmita Banerji, UNIVERSITY OF IOWA, “Band‐Baaja in the Background: Manmohan Desai’s Music”
Chicago Blues Festival, 2008, Image by Flickr User Janet and Phil—
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Interested in checking out the last few years of “Sound at the SCMS”? Peep the following links:
“Sound at SCMS 2012,” 26 March 2012
“Sound at SCMS 2011,” 28 February 2011
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Sound at AMS/SEM/SMT 2012
This week brings us #musicon12, the megaconference of the American Musicological Society (AMS), the Society for Ethnomusicology (SEM), and the Society for Music Theory (SMT). This will be the third joint conference of these societies, after Oakland in 1990 and Toronto in 2000. These roughly decennial gatherings of the three principal scholarly societies of music scholarship provide increased opportunities for cross-disciplinary conversations and amazing live performances. A fact augmented even more by the selection of New Orleans, a city known for its music, for this year’s meeting.
The conference takes place in the Sheraton and Astor Crowne Plaza hotels from this Wednesday, October 31st through Sunday, November 4th. It will be preceded by two events. The first, occurring Monday, October 29th and Tuesday, October 30th, at Tulane University’s Rogers Memorial Chapel, is Ecomusicologies2012, a pre-conference organized by the AMS Ecocriticism Study Group and the SEM Ecomusicology Special Interest Group. The second, all day Wednesday, October 31st, is the Preconference Symposium on Crisis and Creativity, held at the Lavin-Bernick Center for University Life at Tulane University.
The disciplines of musicology, ethnomusicology, and music theory have focused on sound for centuries. They are the disciplines that Michael Bull argues Sound Studies “goes beyond” in the upcoming anthology Sound Studies. While such a description could lead to the categorization of these disciplines as theoretically or methodologically antiquated, #musicon12 is too large and significant for Sound Studies to ignore, with over 600 individual presentations that all deal with sound or music somehow. The first eleven papers, in chronological order, should give some idea of the overall scope:
• Dorcinda Knauth (State University of New York, Dutchess), “Composing the Future by Listening to the Musical Past: Islamic Exegesis in Javanese Folksongs”
• Ruth Davis (University of Cambridge), “The Pilgrimage to ‘El-Ghriba’ and the Musical Aesthetics of a Muslim-Jewish Past”
• Abigail Wood (University of Haifa, Israel), “Sound, Aesthetics, and the Narration of Religious Space in Jerusalem’s Old City”
• Jonathan Dueck (Duke University), “Musical Lives and Aesthetics in the Worship Wars”
• Kim Carter Muñoz (University of Washington), “‘¡Todos somos huastecos! ‘We are all Huastecan!’: Performance of the Democratization of Son Huasteco at El Festival de la huasteca (The Festival of the Huasteca)”
• Raquel Paraíso (University of Wisconsin-Madison), “Festival Son Raíz: Building Community and Signifying Identity and Culture Ownership across Mexican Regions”
• Ian Middleton (University of Illinois, Urbana-Champaign), “Identity, Peace, and Learning at Rural Music Festivals in Colombia’s Caribbean Coast”
• Brenda M. Romero (University of Colorado, Boulder), “‘El Carnaval de Río Sucio No Es Festival’ / ‘The Carnival of Río Sucio is Not a Festival’”
• Michael O’Toole (University of Chicago), “Rehearsing Publics in a ‘Turkish Art Music’ Ensemble in Berlin”
• Suzanne Wint (University of Chicago), “Rehearsing the Social: Becoming a Performer in Kampala’s Classical Music Scene”
• Gregory Weinstein (University of Chicago), “Recording Rehearsing: The Hidden ‘Process of the Classical Studio Session’”
But for the sake of argument, if Sound Studies is something more than simply the application of long-standing disciplinary approaches to sonic works and events, if, as Jonathan Sterne proposed this year in his introduction to The Sound Studies Reader, “the difference between sound studies and… other fields is that they don’t require engagement with alternative epistemologies, methods, or approaches” (4), then we are inclined to pay attention to that work that reaches beyond the limits of conventional music scholarship, namely the sort which strives for some sort of critical self-reflection or interdisciplinary ambition.
Lost Bayou Ramblers. Borrowed from phillipleroyer on Flickr.
This is not an easy task given the vast number of papers and performances at such a large conference and the scarcity of information found in brief titles and abstracts. We can assume that every presentation challenges these conventions to some extent, but for the sake of this preview, here are a few items that venture beyond the traditional limits of music scholarship. You can find the full #musicon12 program here.
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Featured Image: Mardi Gras 2005, By Robert Garcia, The City Project
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Bill Bahng Boyer is an adjunct professor of music, writing and rhetoric at Dartmouth College. He is also a doctoral candidate in music at New York University, completing a dissertation on public listening in the New York City subway system.
Jump to MONDAY, October 29
Jump to TUESDAY, October 30
Jump to WEDNESDAY, October 31
Jump to THURSDAY, November 1
Jump to FRIDAY, November 2
Jump to SATURDAY, November 3
Jump to SUNDAY, November 4
New Orleans Jazz National Historical Park, 2005, Borrowed From Robert Garcia, The City Project
Ecomusicologies2012
All events at Rogers Memorial Chapel, Tulane University
5-6pm Soundwalk
Tyler Kinnear (University of British Columbia), “Environmental Listening and the Tulane Soundscape” (meeting place outside the entrance of the Rogers Memorial Chapel, Tulane University)
7-9pm Paper Jam
Chair: Aaron S. Allen (University of North Carolina, Greensboro)
Joe Browning (School of Oriental and African Studies, University of London) (virtual presentation), “Crane Calls and Shakuhachi Sounds: Interconnections, Disjunctures and New Directions in the Tsuru no Sugomori Pieces”
Travis Stimeling (Millikin University) (virtual presentation), “Music, Television Advertising, and the Green Positioning of the Global Energy Industry in the United States”
Olga Sánchez-Kisielewska (Northwestern University) (virtual presentation), “Theorizing the Musical Landscapes of John Luther Adams”
Andrew Mark (York University) (virtual presentation), “Consciousness, Solidarity, and Musicking: Ecoethnographic Justice”
Leah G. Weinberg (University of Michigan), “Orchestrating Nature: Music, Manipulation, and 1950s America in Disney’s True- Life Adventure Films”
Settimio Fiorenzo Palermo (Middlesex University), “Sounds Heard: the Environmental Ethics & Aesthetics of Hugh Davies’s Music”
Sabine Feisst (Arizona State University), “Negotiating Nature & Music Through Technology: Ecological Reflections in the Works of Maggi Payne & Laurie Spiegel”
The Canal Street Line. Borrowed from Hmeriomx on Flickr.
Ecomusicologies2012 (cont.)
All events at Rogers Memorial Chapel, Tulane University
8:30-10:30am Panel: Beyond Metaphor
Mark Pedelty (University of Minnesota), Chair
Marc Perlman (Brown University), “Instrument Builders As Environmental Activists: A Tale of Two Tonewoods”
Kevin Dawe (University of Leeds), “Small is Beautiful: Guitar Making, Sustainability and Community Building in Britain and Africa”
Jeff Todd Titon (Brown University), “Why Thoreau?”
Jennifer C. Post (New Zealand School of Music, Victoria University, Wellington), “Beyond Birds: (Ethno)musicologists, Environmental Scientists & the Evolution of Soundscape Ecology”
11am-1pm Panel: 20th & 21st-century Composers
Denise Von Glahn (Florida State University), Chair
Eric Drott (University of Texas at Austin), “The Peasant’s Voice and the Tourist’s Gaze: Listening to Landscape in Luc Ferrari’sPetite symphonie intuitive pour un paysage de printemps”
You Nakai (New York University), “An Electronic Ecology: The Natures of David Tudor’s Electronic Music”
Jacob A. Cohen (The Graduate Center, CUNY), “Carl Ruggles, Walt Whitman, and the Gendered Place of Men and Mountains”
Joseph Finkel (Arizona State University), “Searching for a Sonic Ecology: John Luther Adams’s Dark Waves”
2-3:30pm, Panel: Contemporary Issues
Sabine Feisst (Arizona State University), Chair
Melissa J. de Graaf (University of Miami), “‘The Music of Nature Makes Me Dream and Sleep’: Intersections of Nature, Gender, and Ultramodernism”
Alexandra Hui (Mississippi State University), “Agency and Aural Rights: Negotiating the Soundscape, 1948 to the Present”
Tyler Kinnear (University of British Columbia), “Emergent Soundscapes: Uses of Nature and Technology in Two Electroacoustic Compositions”
4-6pm, Panel: Ethnographic Approaches
William Bares (University of North Carolina, Asheville), Chair
Dan Bendrups (Queensland Conservatorium Resarch Centre, Griffith University), “Mapping Outdoor Music Festival Engagement with Ecological and Environmental Issues in Australia”
Robin Ryan (Western Australian Academy of Performing Arts, Edith Cowan University), “Eucalyptus as Musical Resource: Some Ecological Considerations”
Michael Silvers (University of California, Los Angeles), “Birdsong, Popular Music, &Predicting Rain in Northeastern Brazil”
Charlotte D’Evelyn (University of Hawaii), “Sounds of the Grasslands: An Ecomusicological Crisis of Romanticism, Loss, & Inheritance in Inner Mongolia, China”
6:30-8pm, Panel: Canadian Perspectives
Ellen Waterman (Memorial University of Newfoundland), Chair
Kate Galloway (Memorial University of Newfoundland), “Sounding the Environmental Past and Present: Repurposing and Representing Soundscape in Contemporary Canadian Compositions”
Erin Scheffer (University of Toronto), “The Mis-imagined Native: Musically Constructing Nativeness in 1940s Canadian Radio and Film Docudramas”
Jeremy Strachan (University of Toronto), “Sounding Empire: Coloniality and Environment in Canadian Art Music”
8-9pm, Reception & Concert
James Harley (University of Guelph), computer, and Ellen Waterman (Memorial University of Newfoundland), amplified flutes, “Birding,” an eco-improvisational performance by ~spin~
Borrowed from mattbyrne on Flickr.
SEM Pre-conference Symposium, Crisis and Creativity
All events at Lavin-Bernick Center for University Life, Tulane University
9:00-10:30am, Hurricane Katrina and New Orleans
Matt Sakakeeny (Tulane University), Chair
Nick Spitzer, Professor of Anthropology (Tulane University), Holly Hobbs, Director of the NOLA Hip-Hop Archive (Tulane University), Bennie Pete, leader of Hot 8 Brass Band
10:45-12:15pm New Realities: Haitian Performing Arts and the Built Environment
Joyce Jackson (Louisiana State University), Chair
Gage Averill, Dean of Arts (University of British Columbia)
Michael Largey, Professor of Ethnomusicology (Michigan State University)
Jean Montes, Director of Orchestral Studies (Loyola University New Orleans)
1:15-2:45pm, Environmental Crises in South Louisiana: Scientific, Sociological, and Ethnomusicological Perspectives
Mark DeWitt (University of Louisiana at Lafayette), Chair
Tommy Michot, Research Scientist (UL Lafayette), and member of Les Frères Michot
Robert Gramling, Professor of Sociology (UL Lafayette)
Mark DeWitt, Professor of Music (UL Lafayette)
3:00-5:00pm, Field Trip by Bus to Musician’s Village, New Orleans Area Habitat for Humanity (Upper Ninth Ward), House of Dance and Feathers (Lower Ninth Ward)
Milterngerger House. Borrowed from DavidPaulOhmer on Flickr.
8:30-10:30am, The Beautiful, The Good, and The Story: Aesthetics and Narrative in Religious Music
Session 1-1 (SEM) A: Astor Ballroom 1
Jonathan Dueck (Duke University), Chair
Dorcinda Knauth (State University of New York, Dutchess), “Composing the Future by Listening to the Musical Past: Islamic Exegesis in Javanese Folksongs”
Ruth Davis (University of Cambridge), “The Pilgrimage to ‘El-Ghriba’ and the Musical Aesthetics of a Muslim-Jewish Past”
Abigail Wood (University of Haifa, Israel), “Sound, Aesthetics, and the Narration of Religious Space in Jerusalem’s Old City”
Jonathan Dueck (Duke University), “Musical Lives and Aesthetics in the Worship Wars”
12:30-1:30pm, SEM Sound Studies Special Interest Group Meeting
S: Oakley
3:30-5:00pm, On Bells, Bugs, and Disintegrating Tape: Listening for Metaphysics in Ambient Sound
Session 1-44 AMS/SEM S. Edgewood
Mitchell Morris (University of California, Los Angeles), Chair
Paul Chaikin (University of Southern California), “Clattering Bells as a Field of Experience and Cognition”
James Edwards (University of California, Los Angeles), “Nature and the Metaphysics of Voice in Edo Period Aesthetics”
Joanna Demers (University of Southern California), “The Ethics of Apocalypse”
4:00-5:30pm, Musically Meaningful Soundscapes
Session 1-52 SEM S: Maurepas
Tom Porcello (Vassar College), Chair
Alison Furlong (Ohio State University), “Sound, Space, and Social Practice in the Zionskirche”
Kate Galloway (Memorial University of Newfoundland), “Sounding and Composing the Harbour: Performing Landscape and Re-contextualizing the Soundscape of Place in the Harbour Symphony (St. John’s, Newfoundland)”
Jessamyn Doan (University of Pennsylvania), “‘Bringin’ Back the Roots’: Rearticulating a Creole Sound in Southern Louisiana”
5:30–6:30pm, SEM First-Time Attendees and New Members
Reception S: Sheraton Grand B
5:30–6:30pm, AMS Ecocriticism SG* and SEM Ecomusicology SIG Joint Business Meeting
S: Oak Alley
7:30–midnight, Zydeco Dance Lesson and Evening at Rock’n’Bowl
Organized by the SEM 2012 Local Arrangements Committee and the SEM Dance, Movement, and Gesture Section
Dance Lesson at Sheraton Grand E (no ticket required), 7:30–8:30 p.m.
Evening at Rock’n’Bowl. Bus Departs Sheraton: 8:45 p.m. Bus Departs Rock’n’Bowl for Sheraton: 12:00 midnight
8:00–11:00 AMS Music and Philosophy SG Session
A: Astor Ballroom III
8:00-11:00pm, Fantasy, Cinema, Sound, and Music
Session 1-58 AMS S: Oak Alley
Mark Brill (University of Texas at San Antonio)
James Deaville (Carleton University)
J. Drew Stephen (University of Texas at San Antonio)
Jamie Lynn Webster (Portland, Ore.)
8:00-11:00pm, Music and Nature: Relations, Awareness, Knowledge
Session 1-64 AMS S: Borgne
Sponsored by the AMS Ecocriticism SG
Aaron Allen (University of North Carolina, Greensboro), Chair
Kevin Dawe (University of Leeds), “RELATIONS—A Social and Environmental History of Small Guitar Workshops in England”
Sabine Feisst (Arizona State University), “AWARENESS—‘Hello, the Earth is Speaking’: Four Case Studies of Ecological Composition, Performance, and Listening”
David E. Cohen (Columbia University), “KNOWLEDGE—Nature, Culture, and the First Principle(s) of Music: Two Myths of Theoretical Revelation”
Borrowed from prayitno on Flickr.
7:00–8:00am, SEM SIG for Voice Studies
S: Estherwood
7:00–8:30am, SMT Committee on the Status of Women
S: Roux Bistro Private
9:00-noon, The Ecomusicology Listening Room
Session 2-17 AMS/SEM S: Gallier
Co-Sponsored by the SEM Sound Studies Interest Group and the AMS Popular Music Study Group
Mark Pedelty (University of Minnesota), Chair
Robert Fallon (Carnegie Mellon University), Ellen Waterman (Memorial University of Newfoundland), Tyler Kinnear (University of British Columbia), Aaron Allen (University of North Carolina, Greensboro), Denise Von Glahn (Florida State University), Kate Galloway (Memorial University of Newfoundland), Naomi Perley (CUNY), William Bares (Harvard University), Rachel Mundy (Columbia University), Jeremy Woodruff (University of Pittsburgh), Justin D. Burton (Rider University), Michael Austin (University of Texas at Dallas), Michael B. Silvers (University of California, Los Angeles), Miki Kaneda (Museum of Modern Art), Zeynep Bulut (Berlin Institute for Cultural Inquiry)
10:30-noon, Beyond Hearing: Soundscapes and Ideoscape in Early Nineteenth-Century America
Session 2-25 AMS/SEM A: Iberville
Deane Root (University of Pittsburgh), Chair
Sarah Gerk (University of Michigan), “Love, Loyalty, and Fear: American Reception of Thomas Moore’s Irish Melodies”
Bonnie Gordon (University of Virginia), “Mr. Jefferson’s Ears”
12:00–2:00pm, AMS/SMT Music and Philosophy SG/IG
S: Sheraton Grand A
12:30–1:30pm, SEM Medical Ethnomusicology SIG
A: Astor Grand A
12:30–1:30pm, SEM Section on the Status of Women
S: Bayside C
2:00-5:00pm, Embodiment and Gesture
Session 2-38 AMS/SMT S: Oak Alley
Arnie Cox (Oberlin College), Chair
Margaret Britton (University of Texas at Austin), “Four Gestural Types in Chopin’s Mazurka in C-sharp Minor, Op. 50, no. 3”
Drew Massey (Binghamton University), “Thomas Adès’s Glossary”
Meghan Goodchild (CIRMMT / McGill University), “Towards a PerceptuallyBased Theory of Orchestral Gestures”
Zachary Wallmark, Marco Iacoboni (University of California, Los Angeles), “Embodied Listening and Musical Empathy: Perspectives from Mirror Neuron Research”
4:00-5:30pm, SEM Charles Seeger Lecture
Session 2-49 SEM S: Sheraton Grand C
Portia Maultsby (Indiana University), “‘Everybody Wanna Sing my Blues . . . Nobody Wanna Live My Blues’: Deconstructing Narratives of Race, Culture and Power in African American Music Scholarship”
Cheryl L. Keyes (University of California, Los Angeles), Introduction
6:00pm, Sound Studies Special Interest Group Soundwalk
Meet in front of the Sheraton Hotel on Canal Street
Matt Sakakeeny (Tulane University), organizer
8:00-11:00pm, Music and Video Games: History, Theory, Ethnography
Session 2-55 AMS S: Gallier
William Cheng (Harvard University), Moderator
Mark Katz (University of North Carolina, Chapel Hill), Respondent
Neil Lerner (Davidson College), “Musicological Contributions to Early Video Game Studies”
Roger Moseley (Cornell University), “Digital Analogies”
William Gibbons (Texas Christian University), “Framing Devices for Gaming Devices: Applying Film Music Theory to Video Games”
Elizabeth Medina-Gray (Yale University), “Modularity and Dynamic Play: Video Game Music and Its Avant-garde Antecedents”
Kiri Miller (Brown University), “Dance Central and the Listening Body”
Borrowed from squared2x on Flickr.
7:00–8:30am, SMT Music and Disability IG
S: Salon 828
7:00–8:45am, AMS Committee on Women and Gender
S: Salon 825
8:30-10:30am, Emergent Forms of Music Tourism, I: Music Tourism in the Aftermath of Rupture in New Orleans, Berlin, Bali
Session 3-2 SEM S: Bayside B
Daniel Sharp (Tulane University), Chair
Elizabeth Macy (University of California, Los Angeles), “Music and Cultural Tourism in Post-Disaster Economies”
Luis-Manuel Garcia (Tulane University), “Consuming Atmospheres and Social Worlds: ‘Techno-Tourismus’ and Post-Tourist Tourism in Berlin’s Electronic Dance Music Scenes”
Daniel Sharp (Tulane University), “Dithyrambalina: A Shantytown Sound Installation in Post-Katrina New Orleans”
SherriLynn Colby-Bottel (University of Virginia), “Authenticity Seekers: Music Post-Tourists and the Shifting Sound-Scapes of New Orleans”
8:30-10:30am, Online Musical Communities
Session 3-7 AMS/SEM A: Astor Ballroom 1
Marc Gidal (Ramapo College of New Jersey), Chair
Tara Browner (University of California, Los Angeles), “Bach Culture: Performers, Scholars, and Bachfreunde in the Twenty-First Century”
Olga Panteleeva (University of California, Berkeley), “Für Kenner und Liebhaber 2.0: Modes of Expertise in Online File-Sharing Communities”
Tom Artiss (University of Cambridge), “Solitary Socialities: Music Surf-Sharing in Nain, Labrador”
Charles Hiroshi Garrett (University of Michigan), “Joking Matters: Music, Humor, and the Digital Revolution”
9:00-10:30am, Language and the Senses
Session 3-10 AMS/SMT S: Edgewood
Donald Boomgaarden (Loyola University New Orleans), Chair
Charles Dill (University of Wisconsin-Madison), “Le Cerf’s Epistemology of Music”
Amy M. Cimini (University of Pennsylvania), “René Descartes’ Unfinished Compendium of Music: Rethinking Music and the Politics of Sensation after the Thirty Years’ War
9:00-10:30am, Music and Gaming
Session 3-12 AMS A: Iberville
Kiri Miller (Brown University), Chair
Christopher Tonelli (Memorial University of Newfoundland), “The Chiptuning of the World”
Neil Lerner (Davidson College), “Investigating the Origins of Video Game Music Style, 1977–1983: The Early Cinema Hypothesis”
9:00-noon, Performing Music, Performing Disability
Session 3-19 AMS/SEM/SMT S: Bayside A
Joseph Straus (Graduate Center, CUNY), Chair
Michael Bakan (Florida State University), Michael Beckerman (New York University), Stefan Honisch (University of British Columbia), Blake Howe (Louisiana State University), Stephanie Jensen-Moulton (Brooklyn College, CUNY), Bruce Quaglia (University of Utah)
9:00-noon, Sound, Language, and Mysticism from Vienna to L.A.
Session 3-22 AMS S:Borgne
Brian Kane (Yale University), Chair
Clara Latham (New York University), “The Impact of Sound and Voice on the Invention of Psychoanalysis”
Sherry Lee (University of Toronto), “‘Still, o schweige’: Music, Language, OpernKrise (Schoenberg’s Die glückliche Hand )”
Nicholas Attfield (Edinburgh University), “A Medieval Model for the 1920s: Anton Bruckner as Mystic”
J. Daniel Jenkins (University of South Carolina), “I Care If You Listen: Schoenberg’s ‘School of Criticism’ and the Role of the Amateur”
10:30-noon, Twentieth-Century Music and Advertising
Session 3-28 AMS A: Iberville
Jason Hanley (Rock and Roll Hall of Fame and Museum), Chair
Paul Christiansen (University of Southern Maine), “‘It’s Morning Again in America’: How the Tuesday Team Revolutionized the Use of Music in Political Ads”
Jonathan Waxman (New York University), “I Went to the New York Philharmonic and Came Home with a Cadillac: The Alliance Between Business and the Arts in the Early Twentieth Century
12:00–2:00pm, SMT Committee on the Status of Women Brown Bag Open Lunch
S: Salon 828
12:30–1:30pm SEM Gender and Sexualities Taskforce
S: Bayside C
1:45-3:45pm, Acoustics and Experiences of the Limit
Session 3-39 SEM S: Maurepas
Louise Meintjes (Duke University), Chair
Louise Meintjes (Duke University), “Pushing at the Edge of the Social”
Jairo Moreno (University of Pennsylvania), “Signatures of the Audible”
Ana Maria Ochoa (Columbia University), “South American Acoustics: Amerindian Perspectivism and Non-Linear Musical Histories”
Gary Tomlinson (Yale University), “Singing at the Limit of the Human”
1:45-3:45pm, Emergent Forms of Music Tourism, II: Multimedia, Spectacles and Memorials
Session 3-43 SEM S: Grand Chenier
Sponsored by the Popular Music Section (PMSSEM)
Lynda Paul (Yale University), Chair
Elizabeth Whittenburg Ozment (University of Georgia), “Elvis Presley and the Reanimation of Robert E. Lee”
Lynda Paul (Yale University), “Las Vegas and Virtual Tourism: Sonic Shaping of Simulated Worlds”
Michael Heller (Harvard University), “Deployments of Deadness at the Louis Armstrong House Museum”
Nicol Hammond (New York University), “‘The History Is in the Music’? Music, Museums, and the Politics of Presence in Post-Apartheid Cultural Tourism”
8:00-11:00pm, Music and Disability: Works in Progress Seminar
AMS/SMT S: Bayside A
Sponsored by the AMS Disability SG and SMT Disability IG
Michael Bakan (Florida State University), James Deaville (Carleton University), Stefan Honisch (University of British Columbia), Jeanette Jones (Boston University), Anabel Maler (University of Chicago), Julie Saiki (Stanford University), Joseph Straus (Graduate Center, CUNY)
9:00pm, KNOCKABOUT: wandering beats from across urban America.
Handsome Willy’s at 218 South Robertson St. No cover. 21+
5 DJs converge on Handsome Willy’s for KNOCKABOUT, a dance party featuring every genre you’ve ever loved and fly beats that you neva eva heard before.
DJ Yamin (NOLA): Hip-hop, funk, reggae, Afrobeat www.nolamix.com
DJ Super Squirrel (Boston): Dancehall, global mashup www.djsupersquirrel.com
The Attic Bat (L.A.): Hip-hop and dubstep www.derricomusic.com
LMGM (Chicago, Berlin): House and disco www.thelusisgarcia.com
Shilo Bourne (L.A.) UK bass
Roger Lewis. Borrowed from fantailmedia at Fiickr.
8:30-10:30am, Music and YouTube: Sound, Media, and Sociality
Session 4-5 SEM A: Astor Grand A
Sponsored by the Popular Music Section (PMSSEM)
Monique M. Ingalls (University of Cambridge), Chair
Fabian Holt (Roskilde University, Denmark), “Social Media Video and the Festivalization of Electronic Dance Music in Europe”
Monique M. Ingalls (University of Cambridge), “Worship on the Web: Building Online Religious Community through Christian Devotional Music Videos”
Patricia G. Lange (California College of the Arts), “In Synch with Lip-Synching: A Riff on Teen Sociality”
Trevor S. Harvey (University of Iowa), “Dulcimerica: Mediating a Musical Community through Video Podcasts”
8:30-10:30am, Musical Propertization in the Digital Age:
Session 4-7 SEM A: Astor Ballroom 1
From “Piracy” to Ontological Politics
Andrew Eisenberg (University of Oxford), Chair
Andrew Eisenberg (University of Oxford), “M-Commerce and the (Re)making of the Music Industry in Kenya”
Aditi Deo (University of Oxford), “Folk Music in the Digital Realm: Public Commons or Cultural Property?”
Alexandrine Boudreault-Fournier (University of Victoria), “Pirates of the Caribbean: Music Circulation in Late Socialist Cuba”
Henry Stobart (Royal Holloway, University of London), “Shifting Properties: Ownership, Informality, and the Digital Music Video in Bolivia”
9:00-noon, The City is a Medium
Session 4-16 AMS/SEM/SMT S: Edgewood
Alexander Rehding (Harvard University), Chair
Veit Erlmann (University of Texas at Austin), Respondent
Benjamin Tausig (New York University), “The City is Burning: Informal Musical Commerce at Urban Protest Movements”
Tiffany Ng (University of California, Berkeley), “An Instrument of Urban Planning: Bells and the Sonic Remediation of Community Space in the Southeastern United States”
John Melillo (University of Arizona), “Phatic Emphatic: Listening to New York City in Downtown Poetry and Punk”
Peter McMurray (Harvard University), “Heterophony of a Metropolis: Rites of Passage and Contestation Turkish Berlin”
10:45-12:15pm, Feminist Approaches to Music and Sound Technologies: History, Theory, and Practice
Session 4-29 SEM A: Astor Ballroom 1
Sponsored by the Section on the Status of Women (SSW)
Tara Rodgers (University of Maryland), Chair
Tara Rodgers (University of Maryland), “Feminist Approaches to Electronic Music and Sound Historiography”
Charity Marsh (University of Regina), “Reluctant Hip Hop Warriors”: Feminist Approaches to Hop Hop Community Projects”
10:45-12:15pm, Intersections of Ethnomusicology with Other Fields
Session 4-31 SEM S: Bayside B
Theresa Allison (University of California, San Francisco), Chair
Francesca R. Sborgi Lawson (Brigham Young University), “Has Ethnomusicology Met Its Calling? An Ethnomusicologist’s Response to Biomusicology”
Monique McGrath (University of Toronto), “What Does Ethnomusicology Have to Say to Music Therapy?”
Jeremy Day-O’Connell (Knox College), “‘Motherese’ and Universals of Musical Pitch
10:45-12:15pm, Sounds and Space in New Orleans
Session 4-35 SEM S: Maurepas
Marié Abe (Boston University), Chair
Danielle Adomaitis (Florida State University), “Sonic Fixtures and Drifting Buskers: Soundmarks of New Orleans and the Street Musicians Who Construct Them”
Zarah Ersoff (University of California, Los Angeles), “Treme’s Aural Verisimilitude”
Julie Raimondi (Tufts University), “Music, SEO Agency, and the Social Construction of Space in New Orleans
2:00–6:00pm, AMS Ecocriticism SG and SEM Ecomusicology SIG Outing:
Barataria Preserve Hike
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