AAWM 2010, Conference Schedule


Friday, February 19, 2010

9:00 – 10:30 Registration (First Floor Concourse)

10:00 – 13:00 Parallel Sessions 1

10:00 – 12:30 Session 1A: Genre Studies and Comparative Analysis (Room 163C)
          Chair: Kofi Agawu (Princeton University)

A Musical Mind in an Information Theory World: Refining Concepts of Repetition and Progression Through Comparative Musical Analysis
          Leslie Tilley (University of British Columbia)

Intercultural Analysis as Relational Musicology
          Nicholas Cook (University of Cambridge)

The Concept of Change and Genre Development: A Case Study of Highlife Music
          Austin Emielu (University of Ilorin, Nigeria)

Musical Universals, Chinese Food, and Five Components of Tonality
          Dmitri Tymoczko (Princeton University)

10:00 – 13:00 Session 1B: Approaches to Cycles and Grouping (Room 162-75)
          Chair: Simha Arom (Directeur de Recherche Émérite au CNRS)

Grooves and Waves: Cyclicality and Narrativity in Cuban Timba Piano
          Orlando Enrique Fiol (University of Pennsylvania)

Retention, Protension, Projection: Analyzing the Role of Call and Response in the Teleology of Guaguancó
          Chris Stover (University of Puget Sound)

Interlocking Riff Complexes in Big Band Mambo, Latin Jazz, and Swing Arrangements from the Early- to Mid-Twentieth Century
          David DeMotta (City University of New York)

Rhythm as Pattern and the Study of Free Rhythm: The Case Study of Iranian Classical Music
          Negar Booban (University of Shiraz, Iran)

Fluctuant Grouping in a Silk-and-Bamboo Melody
          John Roeder (University of British Columbia)


14:00 – 15:30 Plenary Session: Ethnomusicology, Music Theory, and Music Analysis (Room 163C)
          Moderators: Simha Arom (Directeur de Recherche Émérite au CNRS) and Richard Widdess (School of              Oriental and African Studies, University of London)

15:30 – 16:30 Poster Session (First Floor Concourse)

16:30 – 17:00 Conference Welcome and Dedication (Room 163C)
          Welcoming remarks by the Organizing Committee
          Conference Dedication by Eugenia Ferreri

17:00 – 18:30 First Keynote Address (Room 163C)

On the Nature of Cyclic Time in Music
          Michael Tenzer (University of British Columbia)

18:30 – 22:00 Light Reception featuring World Music Performances (Amherst Room, 10th floor)

Saturday, February 20, 2010

8:00 – 9:30 Registration (First Floor Concourse)

8:30 – 11:30 Parallel Sessions 2

8:30 – 11:30 Session 2A: Studies of Rhythm and Meter (Room 163C)
          Chair: Stephen Blum (City University of New York)

Deep Rhythmic Structures in the African Continuum
          Julian Gerstin (Keene State College)

Speculative Analysis of Rhythmic Patterning in Two Zimbabwean Instrumental Genres; and Its Relation to Harmony
          Martin Scherzinger (New York University)

Polyphony By Way of Polyrhythm: The Case of the Banda-Linda Horn Ensembles
          Simha Arom (Directeur de Recherche Émérite au CNRS)

Brahms the African, Kwashi the German
          Richard Cohn (Yale University)

Phyologenetic Techniques for Musical Rhythm Analysis
          Godfried Toussaint (Radcliffe Institute for Advanced Study, Harvard University)

8:30 – 10:15 Session 2B: Music of the Middle East (Room 162-75)
          Chair: Mark Slobin (Wesleyan University)

Modal Analysis and Music-Text Relations in the Ashkenazic Jewish Tradition of Biblical Cantillation
          Yonatan Malin (Wesleyan University)

World Music before World Music: Rereading the beginnings of Israel’s Habrera Hativeet (“Natural Gathering”)
          Edwin Seroussi (Hebrew University of Jerusalem)

Setting the Oldest Scores: Idiom and Design in the Hurrian Pieces, ca. 1350 BCE
          Jay Rahn (York University)

10:15 – 11:30 Session 2C: Indian Performance Style (Room 162-75)
          Chair: Richard Widdess (School of Oriental and African Studies, University of London)

Tradition and Innovation in the Bansuri Performance Style of Pannalal Ghosh
          Carl Clements (The Graduate Center, City University of New York)

Cultivating a Respectable Femininity: Gender and Girija Devi’s Thumrī Style
          Chloe Zadeh (School of Oriental and African Studies, London)


12:45- 14:30 Parallel Sessions 3

12:45- 14:00 Session 3A: Mathematical Approaches to World Music (Room 163C)
          Chair: Richard Cohn (Yale University)

Geometrical Representations of North Indian Thats and Rags
          Rachel Hall (St. Joseph’s University) and Chiru Bhattacharya (Randolph-Macon College)

Modeling Dynamic Aspects of Mode (Echos) in Modern Greek Church Chant: A Mathematical Framework and Its Analytical Applications
          Panayotis Mavromatis (New York University)

12:45 – 14:30 Session 3B: Analysis of Harmony and Pitch Structures (Room 162-75)
          Chair: Steve Larson (University of Oregon)

Cadenza, Aleatory and Koranic Chant at the Norfolk Superior Court: What moves? What doesn’t? So what?
          Bob Labaree (New England Conservatory of Music)

Le Mystère des Voix Bulgares: Decoding the Mystery
          Kalin Kirilov (Towson University)

The Art of Extended Variation in Mande Music
          David Racanelli (Dowling College)

14:30 – 15:30 Poster Session (First Floor Concourse)

15:30 – 17:30 Workshop: Issues in the Typology of Time Organization in Music (Room 163C)
          Michael Tenzer (University of British Columbia)
          Simha Arom (Directeur de Recherche Émérite au CNRS)


18:00 – 19:30 Second Keynote Address (Room 163C)

Against Ethnotheory
          Kofi Agawu (Princeton University)

19:30 – 20:30 Conference Buffet Dinner (Marriott Center, 11th floor)

20:30 – 23:00 World Music Performances (Marriott Center 11th floor)

Sunday, February 21, 2010

9:00 – 11:00 Panel Discussion: Approaches to Temporal Organization in World Music (Room 163C)
          Moderator: Stephen Blum (City University of New York)

          Kofi Agawu (Princeton University)
          Simha Arom (Directeur de Recherche Émérite au CNRS)
          Richard Cohn (Yale University)
          Jay Rahn (York University)
          Michael Tenzer (University of British Columbia)
          Godfried Toussaint (McGill University)


12:00 – 15:00 Parallel Sessions 4

12:00 – 15:00 Session 4A: Music of Indonesia (Room 163C)
          Chair: Sumarsam (Wesleyan University)

Balinese Experimental Music and the Ideology of Intonation
          Andrew Clay McGraw (University of Richmond)

Conceptions of Musical Time in Balinese Gamelan and Culture: A Study through the Contrasting Styles of Gamelan Gong Gede and Gamelan Gong Kebyar
          Fabrizio Pellizzaro Ferreri and Lawrence Shuster (University of Massachusetts Amherst)

Representing Javanese Music: Postcolonial and Cognitive Perspectives on the History of Gamelan Notation
          Marc Perlman (Brown University)

Binary Division, Cyclic Recurrence and Dynamic Musical Interaction in Javanese Gamelan
          Sumarsam (Wesleyan University)

Revealing Form Through the Analysis of Process: A Case Study from Java and Some Thoughts on Using this Technique in the Classroom
          Sarah Weiss (Yale University)

12:00 – 14:30 Session 4B: Raga Theory and Analysis (Room 162-75)
          Chair: George Ruckert (Massachusetts Institute of Technology)

Decoding Traditional Indian Rāga Theory
          Peter Row (New England Conservatory of Music)

Implicit Rāga Knowledge in the Kathmandu Valley
          Richard Widdess (University of London)

Tana Varnams: An Entry into Raga Delineation in Carnatic Music
          Robert Morris (Eastman School of Music)

Path and Purpose in a Raga
          Steve Larson (University of Oregon)


On Continuous Display (First Floor Concourse)

Made in Iran: Theoretical Principles of Iranian Music Tested on West Music Performers Living in Iran
          Mohammad R. Azadehfar (University of the Arts, Tehran, Iran)

Toward a Practical Theory of World Rhythm
          Mark Hijleh (Houghton College)

A Traditional Georgian Ursatz? Schenkerian-Styled Reduction Analysis and Cross Regional Comparisons of Traditional Georgian Polyphonic Songs
          Andrea Kuzmich (York University)

The Metric Matrix: Simultaneous Multidimensionality in African Music
          David Locke (Tufts University)

The Analytical Approaches about Tonality and Atonality—via the Analysis of the Coda Lullaby of Jian-er Zhu’s Symphony No.9
          Guangrui Lu (JiMei University, China)

Analyzing Venezuela’s Folk-Baroque Fusion Music
          Joseph Lubben (Oberlin Conservatory)

Commonalities and Differences in Japanese-language Text Setting among Traditional and Western-Based Genres
          Noriko Manabe (Princeton University)

Towards a Sociology of Israeli Musics
          Judah Matras (Hebrew University of Jerusalem)

Genres, Panpipes, and Background Tonal Frames: Pitch Structures in Buin Music
          Jeffrey Meyer (Concordia College)

Stylistic Analysis of Afrobeat Music of Fela Anikulapo Kuti
          Albert Oikelome (University of Lagos, Nigeria)

Spontaneous Representation and Thought-Out Patterns: A Semiological Analysis of the Philippine Kulintang’s Improvisational Idiom
          Hideaki Onishi (National University of Singapore) and Pamela Costes-Onishi (Independent scholar)

Analyzing Amazonian Indigenous Music: Towards a Native Model
          Acácio Piedade (State University of Santa Catarina, Brazil)

Notation Translation and Pattern Matching
          Indranil Roy (Independent scholar, India)

Computer Analysis of (Scottish National) Folksongs
          Damien Sagrillo (Université du Luxembourg)

Maqam, Cognitive Science, and Information Theory: Avenues for Research in Arabic Music and Natural Language
          Sami Abu Shumays (Independent scholar)

Analysis of Sonic Structure in Gnawa Music
          Maisie Sum (University of British Columbia)