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ABSTRACTS

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Keynote Address:

 

          Michael Tenzer (University of British Columbia)

                On the Nature of Cyclic Time in Music

          Kofi Agawu (Princeton University)

                Against Ethnotheory

 

Paper Presentations:

 

          Simha Arom (Directeur de Recherche Émérite au CNRS)

                Polyphony by Way of Polyrhythm: The Case of the Banda-Linda Horn Ensembles

          Negar Booban (Shiraz University, Iran)

                Rhythm as Pattern and the Study of Free Rhythm: The Case Study of Iranian Classical Music

          Carl Clements (CUNY Graduate Center)

                Tradition and Innovation in the Bansuri Performance Style of Pannalal Ghosh

          Richard Cohn (Yale University)

                     Brahms the African, Kwashie the German

          Nicholas Cook (University of Cambridge)

                Intercultural Analysis as Relational Musicology

          David DeMotta (CUNY Graduate Center)

                Interlocking Riff Complexes in Big Band Mambo, Latin Jazz, and Swing Arrangements from the

                Early- to Mid-Twentieth Century          

          Austin Emielu (University of Ilorin, Nigeria)

    The Concept of Change and Genre Development: A Case Study of Highlife Music

          Orlando Enrique Fiol (University of Pennsylvania)

                 Grooves and Waves: Cyclicality and Narrativity in Cuban Timba Piano

          Julian Gerstin (Keene State College)

                Deep Rhythmic Structures in the African Continuum

          Rachel Hall (St. Joseph's University) and Chiru Bhattacharya (Randolph-Macon College)

                Geometrical Representations of North Indian Thats and Rags

          Kalin Kirilov (Towson University)

                Le Mystère Des Voix Bulgares: Decoding the Mystery       

          Bob Labaree (New England Conservatory of Music)

                Cadenza, Aleatory and Koranic Chant at the Norfolk Superior Court: What moves? What doesn't? So what?

          Steve Larson (University of Oregon)

                Path and Purpose in a Raga     

          Yonatan Malin (Wesleyan University)

                Modal Analysis and Music-Text Relations in the Ashkenazic Jewish Tradition of Biblical Cantillation

          Panayotis Mavromatis (New York University)         

                Modeling Dynamic Aspects of Mode (Echos) in Modern Greek Church Chant: A Mathematical Framework

                and Its Analytical Applications

          Andrew Clay McGraw (University of Richmond)

                Balinese Experimental Music and the Ideology of Intonation

          Katarina Miljkovic (New England Conservatory of Music)

                Fractal Design in Japanese Gagaku music: Performance analysis of Goshoraku No Kyu

          Robert Morris (Eastman School of Music)

                Tana Varnams: An Entry into Raga Delineation in Carnatic Music   

          Fabrizio Pellizzaro Ferreri and Lawrence Shuster (University of Massachusetts Amherst) 

                Conceptions of Musical Time in Balinese Gamelan and Culture: A Study through the Contrasting Styles

                of Gamelan Gong Gede and Gamelan Gong Kebyar

          Marc Perlman (Brown University)

                Representing Javanese Music: Postcolonial and Cognitive Perspectives on the History of

                Gamelan Notation

          David Racanelli (Dowling College)

                 Formulaic Composition and Extended Variation in Mande Music     

          Jay Rahn (York University)

                Settling the Oldest Scores: Idiom and Design in the Hurrian Pieces, ca. 1350 BCE         

          John Roeder (University of British Columbia)

                Fluctuant Grouping in a Silk-and-Bamboo Melody

          Peter Row (New England Conservatory of Music)

                Decoding Traditional Indian Rāga Theory

          Martin Scherzinger (New York University)

                Speculative Analysis of Rhythmic Patterning in Two Zimbabwean Instrumental Genres; and its

                Relation to Harmony

             Edwin Seroussi (Hebrew University of Jerusalem)

                World Music before World Music: Rereading Israel’s Habrera Hativeet ("Natural Gathering") After Forty Years

          Chris Stover (University of Puget Sound)

    Retention, Protension, Projection: Analyzing the Role of Call and Response in the Teleology of Guaguancó

          Sumarsam (Wesleyan University)

                Binary Division, Cyclic Recurrence and Dynamic Musical Interaction in Javanese Gamelan

          Godfried Toussaint (McGill University)

                Phylogenetic Techniques for Musical Rhythm Analysis          

          Leslie Tilley (University of British Columbia)

    A Musical Mind in an Information Theory World: Refining Concepts of Repetition and Progression

    Through Comparative Musical Analysis

          Dmitri Tymoczko (Princeton University)

                Musical Universals, Chinese Food, and Five Components of Tonality

          Sarah Weiss (Yale University)

                Revealing Form Through the Analysis of Process: A Case Study from Java and Thoughts on Using this 

                Technique in the Classroom

          Richard Widdess (School of Oriental and African Studies, University of London)

                Implicit Rāga Knowledge in the Kathmandu Valley

          Chloe Zadeh (School of Oriental and African Studies, University of London)

    Cultivating a Respectable Femininity: Gender and Girija Devi’s Thumrī Style

 

Poster Presentations:

 

          Mohammad R. Azadehfar (University of the Arts, Tehran, Iran)

    Made in Iran: Theoretical Principles of Iranian Music Tested on West Music Performers Living in Iran

          Mark Hijleh (Houghton College)

                Toward a Practical Theory of World Rhythm 

          Andrea Kuzmich (York University)

    A Traditional Georgian Ursatz? Schenkerian—Styled Reduction Analysis and Cross Regional 

    Comparisons of Traditional Georgian Polyphonic Songs

          David Locke (Tufts University)

    The Metric Matrix: Simultaneous Multidimensionality in African Music

          Guangrui Lu (JiMei University, China)

    The Analytical Approaches about Tonality and Atonality­­­ —via the Analysis of the Coda Lullaby of

    Jian-er Zhu’s Symphony No.9

          Joseph Lubben (Oberlin Conservatory)

    Analyzing Venezuela’s Folk-Baroque Fusion Music

          Noriko Manabe (Princeton University)

    Commonalities and Differences in Japanese-language Text Setting among Traditional and Western-

    Based Genres

          Judah Matras (Hebrew University of Jerusalem)

    Towards a Sociology of Israeli Musics

          Jeffrey Meyer (Concordia College)

    Genres, Panpipes, and Background Tonal Frames: Pitch Structures in Buin Music

          Albert Oikelome (University of Lagos, Nigeria)

    Stylistic Analysis of Afrobeat Music of Fela Anikulapo Kuti

          Hideaki Onishi (National University of Singapore) and Pamela Costes-Onishi (Independent scholar)

                Spontaneous Representation and Thought—Out Patterns: A Semiological Analysis of the Philippine 

                Kulintang’s Improvisational Idiom

          Acácio Piedade (State University of Santa Catarina, Brazil)

                Analyzing Amazonian Indigenous Music: Towards a Native Model  

          Indranil Roy (Independent scholar, India)

                Notation Translation and Pattern Matching        

          Damien Sagrillo (Université du Luxembourg)

                Computer Analysis of (Scottish National) Folksongs

          Sami Abu Shumays (Independent scholar)

    Maqam, Cognitive Science, and Information Theory: Avenues for Research in Arabic Music and

                Natural Language

          Maisie Sum (University of British Columbia)

    Analysis of Sonic Structure in Gnawa Music