Hosted and Sponsored By

© AAWM2012

Graphics by Colin Lewis

Web design by Kalin Kirilov

Asst Website Manager – Shi Yan



Keynote Addresses


Stephen Blum (City University of New York Graduate Center)

 Uses (and abuses) of metaphor in music-making and music analysis

Robert Morris (Eastman School of Music)

Into the Raga


Paper Presentations


Dániel Péter Biró, Peter Van Kranenburg, Steven Ness, George Tzanetakis and Anja Volk (Univ. of Victoria)

On Computational Transcription and Analysis of Candences in Oral and Semi-Oral Chant Traditions

Jaime Bofill (University of Arizona)

Improvisation in Jíbaro Music: A Structural Analysis

Nicholas Cook (Cambridge University)

Anatomy of the Musical Encounter

Ruth Davis (Cambridge University)

Music Theory as Symbolic Act in Postcolonial Tunisia

Mark DeWitt (University of Louisiana at Lafayette)

The Case of "Crooked Tunes" in Cajun and Creole Dance Music: Toward a Comparative Framework

Chelsea Edwardson (University of British Columbia)

Circles, Lines, Spaces and Context: Four Elements of Periodicity in a Panasar Topeng Performance

Michael Gardiner (University of PIttsburgh)

Three Chromatopes of Noh

Daniel Goldberg (Yale University)

Playing with Sums: Reconsidering Additive Rhythm in Balkan Music

Eliot Grasso (University of Oregon)

Playing with the Psychology of Expectation: Appraising Melodic Variation in Irish Traditional Instrumental

Dance Music

Rachel Hall (Saint Joseph's University)

Modal Drift and Modal Play in Nineteenth-Century American Shape Note Hymnody

Rachel Harris (School of Oriental and African Studies, University of London)

Sounding Islam in China: Towards an analysis of ritual performance in Uyghur villages

Maho A Ishiguro (Wesleyan University)

In Search of Refinement: Manifestation of Alus in Genderan Pathetan in Performances of

Martopangrawit and Projopangrawit

Kalin Kirilov (Towson University)

Rhythmic and Metric Aspects of Contemporary Bulgarian Wedding Music

Steven Knopoff (University of Adelaide, South Australia)

'Component Repertoires' and the Analysis of Yolngu Ceremonial Songs

Robert Labaree (The New England Conservatory of Music)

Darwin’s ‘Sensible Pluralism’ in the Study of Musical Variability Across Cultures

John Latartara (University of Mississippi)

Khap of the Tai Dam People

Jeffrey Levenberg (Princeton University)

The Commatic, the Khorasanī, and the Fumeuse: Solage’s Speculacion and the European-Arabian

Musical Confluence

Christopher Matthay (Princeton University and New York University)

Ravi Shankar: An Aesthetic of Variation

Marie-France Mifune (Ecole des Hautes Etudes en Sciences Sociales, France / Université Omar Bongo, Gabon)

Theory and methodology for the study of performance

Sam Mirelman (School of Oriental and African Studies, University of London)

Tuning Procedures in Ancient Iraq

Nancy Murphy (University of British Columbia)

“Do You Want to Play?”: Breaking from the Groove in the Music of Capoeira Angola'

Bruno Nettl (University of Illinois at Urbana-Champaign)

The Study Of Formal Design In Native American Music

Rainer Polak (Cologne University of Music and Dance)

Drumming Sunun. Asymmetric subdivision and metric flexibility in a piece of jembe music from Mali

Jay Rahn (York University)

Hearing is Believing: A Non-Numerical Formulation of Aristoxenus’s Tuning

Alex Rodriguez (UCLA)

Rhythmic Complexity In Jack Teagarden’s Early Improvisation

Mehmet Ali Sanlıkol (Brown University and Emerson College)

Karamanlica Publications: Cultural Translations Of Ottoman/Turkish Music Into Byzantine Notations

Grant Sawatzky (University of British Columbia)

Pattern and Cycle in Two Ndau Mbira Compositions

Martin Scherzinger (New York University)

Fractal Geometries of an African Music

Joren Six and Olmo Cornelis (University College Ghent)

Towards the Tangible: Microtonal Scale Exploration in Central-African Music

Maeve Sterbenz (Columbia University)

Possibilities for the Analysis of Noise Music from a Listening Perspective

Nolan Stolz (University of South Dakota)

Fractional Set Theory: A System for the Analysis of Microtonal Music

Leslie Tilley (University of British Columbia)

Kendang Arja: The Transmission, Diffusion and Evolution(s) of the Singapadu Style

Godfried Toussaint (New York University Abu Dhabi)

Phylogenetic Analysis of African Rhythm Timelines

Sally Treloyn (University of Melbourne)

Minimal contrast, juxtaposition and the power of parataxis in junba songs from the Kimberley region

of northwest Australia

Myfany Turpin (University of Queensland)

Text and music in traditional Arandic songs of Central Australia

Yuhwen Wang (National Taiwan University)

Linearity/Circularity and Cultural Heterogeneity

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

Schema Combination and Improvisation in Indian Music


Poster Presentations


Jane Piper Clendinning (Florida State University)

An Analysis of Tari Manuk Rawa (“Swamp Birds Dance”) for Balinese Gamelan Gong Kebyar

Philip Küppers and Nina Graeff (Institute of Musicology Weimar-Jena)

Music Information Retrieval and Musicological Research towards a Global Semantic

Analysis of Music

Eliana Asano Ramos and Maria José Dias Carrasqueira de Moraes (Universidade Estadual de Campinas)

The interaction of text and music and its implication on the performance of the song O Pato (1993) by

Ernst Mahle

Patrick E. Savage (Tokyo University of the Arts), Thomas E. Currie (University College London), and

Steven Brown (McMaster University)

Musical evolution and human migration: A global empirical analysis

Arvin Sedaghatkish and Marjan Kheirollahi (Tehran Polytechnic University)

Computational Analysis of Melodic Patterning in the Persian Classical Music: The Case Study of

Dastgah-e Shour and Mahour of Mirza Abdullah’s Radif

Éric Vandal (Université de Montréal)

Individuality in the performance of kotekan in North Balinese gamelan music


Discussion Panel on Comparative Analysis


Steven Brown (McMaster University)

Toward a New Comparative Musicology

Nathalie Fernando and Jean-Jacques Nattiez (University of Montreal)

Are Composing Strategies Universals in Oral Tradition?

Victor Grauer (Pittsburgh, PA)

Wellspring: Some Speculations Regarding a Musical “Proto-language” and its Implications for

Comparative Analysis

Respondent: Gage Averill (University of British Columbia)


Special Session on Jazz Analysis in Memory of Dr. Steve Larson


Cynthia Folio and Alexander Brinkman (Temple University)

Dexter Gordon’s Ultimate “Body and Soul”

Keith Salley (Shenandoah University)

Aspects of Phrase Rhythm in Standard Jazz Repertoire

Keith Waters (University of Colorado)

Form and the Miles Davis Quintet of the mid-60s