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René Rusch Visits IU Music Theory for Five Friends Master Class Series Lectures

Posted on March 7, 2023 by Sarah J. Slover

Wednesday through Friday, March 22-24, René Rusch (University of Michigan) will visit the Indiana University Department of Music Theory. Prof. Rusch will deliver two talks on the music of Franz Schubert as well as hold individual meetings with graduate students. She will also lead a workshop titled “From Perceptions to Representations” that explores the value and context provided by transcriptions.

These events are presented by the Five Friends Master Class Series in honor of Jacobs School student and Music Theory AI, Robert Samels. More info below.

Wednesday, March 22 | 3:30 PM
M267 (Cook Music Library, 2nd floor)
“Contemporary Schubert Criticism, Musical Aesthetics, and Poetics”

Thursday, March 23 | 5:00 PM
Ford-Crawford Hall
“Transforming the Familiar into the Foreign: Schubert’s Last Piano Sonata Revisited”

 


René Rusch is an associate professor of music theory at the University of Michigan (U-M) School of Music, Theatre & Dance. Prior to joining the Department of Music Theory at U-M in 2015, she taught at the Schulich School of Music, McGill University, from 2007 to 2015. In addition to specializing in the music of Franz Schubert, Rusch’s research interests include late eighteenth- and early nineteenth-century harmony and form as well as jazz theory. Her papers often adopt an interdisciplinary perspective, drawing from literary theory, philosophy, and historiography. Her articles have appeared in the Journal of Music Theory, Music Analysis, Music Theory Online, and the Journal of the Society for Musicology in Ireland. She is currently completing her monograph, Schubert’s Instrumental Music and Poetics of Interpretation is forthcoming on Indiana University Press. She has presented her research at the Society for Music Theory’s (SMT) annual and regional meetings, the New England Conference of Music Theorists, the Society for Music Analysis Conference, the European Music Analysis Conference, the Biennial International Conference on Nineteenth-Century Music, and the International Conference on Music Theory and Analysis. In 2006, Rusch received the Arthur J. Komar Award from Music Theory Midwest for a paper presentation derived from her thesis. In 2011, she was awarded a research grant from the Social Sciences and Humanities Research Council of Canada for her work on Schubert. She is the recipient of the 2014 Schulich School of Music Teaching Award at McGill University. Rusch has also won first prize in several piano competitions, including the Music Teachers National Association’s Performance Competition and the National Federation of Music Clubs’ District and Regional Competitions. Rusch has served on the editorial boards of Music Theory Online, Intégral, and Engaging Students: Essays in Music Pedagogy; the SMT-Jazz Award Committee; and the Program Committee for SMT. She has also served as Co-editor and Editor-in-chief of Music Theory Online. She began a three-year appointment on SMT-V’s editorial board in November 2022.


About the Five Friends Master Class Series

The Five Friends Master Class Series honoring the lives of five talented Jacobs School of Music students—Chris Carducci, Garth Eppley, Georgina Joshi, Zachary Novak, and Robert Samels—was established in 2012 with a gift of $1 million from the Georgina Joshi Foundation, Inc. This annual series of lectures, master classes, and residencies by a number of the world’s leading musicians and teachers focuses on areas of interest most relevant to the lives of the five friends—voice performance, choral conducting, early music, music theory, composition, and opera. The Georgina Joshi Foundation was established in 2007 as the vision of Georgina Joshi’s mother, Louise Addicott-Joshi, to provide educational and career development opportunities for young musicians and to encourage and support public performance of music. The gift to the school establishes a permanent way for the world to learn about each of the five friends, their musical talents and passions, and to encourage the development of similar talents and passions in current and future music students. The establishment of this endowment by the families is administered by the IU Foundation.

Bass-baritone and composer Robert Samels was born on June 2, 1981, and died in a plane crash on April 20, 2006. He was a doctoral student in choral conducting at the Indiana University Jacobs School of Music and had studied voice with Giorgio Tozzi and Costanza Cuccaro. He began his vocal studies with Alfred Anderson at the University of Akron and Andreas Poulimenos at Bowling Green State University. Samels had recently appeared as Mr. Gibbs in the world premiere of Our Town by Ned Rorem, as Marco in the collegiate premiere of William Bolcom’s A View from the Bridge, and as Joseph and Herod in the collegiate premiere of El Nino by John Adams. In September 2005, he conducted the premiere of his own opera, Pilatvs. As a member of the Wolf Trap Opera Company for 2006, he would have added three roles that summer, including Bartolo in Le Nozze di Figaro, Friar Laurence in Roméo et Juliette, and Pluto in Telemann’s Orpheus. Other opera credits included the title roles of Don Pasquale and Il Turco in Italia, as well as Leporello in Don Giovanni, Falstaff in The Merry Wives of Windsor, and Bottom in A Midsummer Night’s Dream. In the summer of 2004, he performed Creon in the New York premiere of John Eaton’s Antigone. Samels also frequently performed in the oratorio repertoire. In the spring of 2005, he was selected as a semi-finalist in the annual competition of the Oratorio Society of New York. He was an announcer with public radio station WFIU, as well as the host and producer of its Cantabile program. A soloist with Aguavá New Music Studio, he had recently performed a concert at the Library of Congress. Samels was an associate instructor in the Jacobs School’s Music Theory Department, where was loved and admired by his students.

Filed under: Announcements, Events, Five Friends, Guest Lecture, IU Theory, StudentsTagged arts and humanities, Five Friends Master Class Series, Franz Schubert, iu music theory, music research, music theory, music theory research, René Rusch

Michèle Duguay and David Geary Featured in MTO

Posted on January 30, 2023 by Sarah J. Slover

The December 2022 Music Theory Online (Volume 28 Number 4) features articles by two IU Music Theorists: Prof. Michèle Duguay and recent Ph.D. alum, David Geary (Wake Forest University).

In “Analyzing Vocal Placement in Recorded Virtual Space,” Duguay establishes a methodology for analyzing vocal placement. Through the use of images and digital sound-processing tools, she helps the reader visualize the virtual space.

Dr. Duguay’s abstract and full article with audio and visual examples can be found here.

David Geary also explores sound in popular music, but from the perspective of rhythm and meter and “drum feels.” His article, “Analyzing the Beat in Metrically Consonant Popular Songs: A Multifaceted Approach” proposes a more nuanced approach to understanding rhythm via careful attention to drumbeat patterns.

Dr. Geary’s abstract and full article with examples can be fund here.

Filed under: Uncategorized

IU Alumni Win SMT Awards

Posted on November 18, 2022 by Sarah J. Slover

Congratulations to IU Music Theory alumnus Mitch Ohriner (PhD 2011), who won a 2022 Wallace Berry Award for his book Flow: The Rhythmic Voice in Rap Music (OUP, 2019). Presented each year by the Society for Music Theory, the award is given for a “distinguished book by an author of any age or career stage.”

While scholarship on hip hop and rap music has grown significantly in the past several years, Ohriner’s book is one of the first to explore the fundamental and expressive musical choices made by hip hop artists, namely the “flow” or rhythm of the rapping voice. In his book, Ohriner introduces us to his method of analysis, oscillating between computational music analysis and humanistic close reading — methods that will certainly prove useful in other musical genres as well. To learn more, visit the OUP companion website, which includes audio, visual examples, and links to additional resources.

Ohriner is Associate Professor of Music Theory at the University of Denver Lamont School of Music and is editor of Music Theory Online. He has earned degrees in music composition and music theory from the University of Colorado and Indiana University. His research interests focus on rap music, rhythm, expressive timing, and computational music analysis. He lives in Denver with his wife and two sons.

We also congratulate Gabriel Lubell (DM Composition, 2013), who received an honorable mention in SMT’s new Diversity Course Design award, which aims to “honor an outstanding undergraduate syllabus that promotes diversity in music theory.” Gabe, who also organized and gave a paper at a session in New Orleans entitled “Sound, Infrastructure and Lived Experience,” currently teaches in the Music in General Studies program at the Jacobs School. His SMT submission was based on his Z211 Music Theory II class for MGS.

Gabe was an AI for the theory department during his degree time at IU, and we’ve been lucky to have him as an instructor in the theory department on several additional occasions since then.

Congratulations to you both!

Filed under: Alumni, Announcements, Award, Book, IU TheoryTagged arts and humanities, indiana university, iu music theory, iu research, music research, music theory, music theory research, SMT 2022, Society for Music Theory

SMT 2022: IU Music Theory Events & Presentations

Posted on November 4, 2022 by Sarah J. Slover

IU Music Theory at the AMS-SEM-SMT 2022 Joint Annual Meeting
November 10-13, 2022
Hilton New Orleans Riverside | New Orleans, Louisiana

All times are EST


Conference Schedule

Thursday, November 10

2:15–3:45 pm

Session: Outlanders, Irritations, and Roving Harmonies
Matthew Boyle (PhD 2018; University of Alabama), Rossini’s reizend Melodies: Strategic Musical Irritation and the Capturing of Attention

Session: BIPOC Female Voices
Victoria Malawey (PhD 2007; Macalester College), Chair


Friday, November 11

8:00–10:00 am | Poster Session

Michael Baker (PhD 2007; University of Kentucky), Karate Kid Pedagogy and Interdisciplinary Priming in the Music Theory Curriculum
Sara Bakker (PhD 2013; Utah State University), Studying the Piano Etude: Virtuosity, Perfection, and Disability
Timothy Kern Chenette (PhD 2013; Utah State University), Amelia Merkley, Ryan Becker, Meghan Hatfield, Is Harmonic Dictation Effective?

9:00 am–12:00 pm

Session: Analyzing Hip-Hop through the Music of Daniel Dumile
SMT Graduate Student Workshop with Prof. Kyle Adams

9.00–10.30 am

Session: Narrative in Popular Music
Samantha Waddell, Storytelling Through Metric Manipulation in Popular Music

Session: Rethinkings and Critiques
Mariusz Kozak (post-doc 2012‑13; Columbia University), Rethinking the Meaning of Emotion in Leonard Meyer’s Emotion and Meaning in Music

10:45 am–12:15 pm

Session: Changing Careers: What I Wish I’d Known (SMT Professional Development Committee)
Michael McClimon (PhD 2016; Fastmail), presenter

Session: New Insights from the History of Music Theory
Abigail Shupe (MM 2009; Colorado State University), Annie Koppes, “Suspend the tweezers from your face”: Repeating Rameau’s Experiments in Génération harmonique

Session: Phrase Structures
Nathaniel D. Mitchell (MM 2015; University of North Carolina Greensboro), Rethinking Phrase Structure in Eighteenth-Century Music: Situation-Specific Models and ad hoc Hybrids

2:15–3:45 pm

Session: Cognition and Semiotics
Prof. Andrew Goldman, Neuroscience in Music Research: Critical Challenges and Contributions

2:15 pm–5:30 pm

Session: New Analytical Perspectives on Hip-Hop, EDM, and Post-Millennial Pop
Stephen Gomez-Peck (MM 2018; University of Alabama), Inter-Rotational Form in Trap-Influenced Hip-Hop
Mitchell Ohriner (PhD 2011; University of Denver), Enjambment and Related Phenomena in Rap Delivery

Session: Facts, Fictions, and the Musicological Imaginary
Frederick Reece (post-doc 2019–20; University of Washington), presenter 

4:00–5:30 pm

Session: Formal Ambiguities and Disruptions
Prof. Roman Ivanovitch, Surprise Tactics: A Haydn Habit of Disruption

Session: Riemannian, Neo-Riemannian, and Transformational Theory
Prof. Julian Hook, Chair


Saturday, November 12

9:00–10:30 am

Session: Embodiment
Jessica Anne Sommer (PhD 2018; Lawrence University), Embodying Sexual Abuse in Voice: Babbitt’s Philomel

Session: Mappings
Leah Frederick (PhD 2020; University of Michigan), Violin Fingerboard Space

7:00 pm–9:00 pm | Cambridge Room (Second Floor)

Indiana University Reception (Hosted by the departments of Music Theory, Musicology, and Folklore & Ethnomusicology)

 


Sunday, November 13

8:30-10:30 am

Session: Sound, Infrastructure and Lived Experience
Gabriel Lubell (DM 2013), The Sonic Allure of Water Infrastructure, and co-chair

9:00–10.30 am

Session: Vocal Timbre
Prof. Michèle Duguay, Chair

10:45am‑12:15 pm

Session: Modulatory Plans
Prof. Simon Prosser, Tonal Hierarchy as Schema

Session: Eclectic Idiolects
Bruno Alcalde (MM 2012; University of South Carolina), Chair
Prof. Kyle Adams, Untangling Lusitano’s Chromaticism

Filed under: Announcements, Events, Faculty, IU Theory, StudentsTagged indiana university, iu music theory, iu research, music research, music theory, music theory research, SMT 2022, Society for Music Theory

Prof. Jay Hook’s “Exploring Musical Spaces” Published with Oxford University Press

Posted on November 3, 2022 by Sarah J. Slover

Congratulations to Prof. Julian Hook on the publication of his book, Exploring Musical Spaces, which is now available for purchase on the Oxford University Press website.

Exploring Musical Spaces is a comprehensive synthesis of mathematical techniques in music theory, written with the aim of making these techniques accessible to music scholars without extensive training in mathematics. To bridge the gap between mathematical newcomer and specialist treatments of this thriving but sometimes difficult area of the discipline, the book adopts a distinctively visual orientation and incorporates musical examples from Bach to the late twentieth century. “Jay has always been celebrated, in his teaching and his professional presentations, for the ease and clarity with which he leads his audiences through complex material,” said interim chair of the music theory department, Roman Ivanovitch. “It will be exciting to see this book establish itself with students and scholars everywhere as the go-to reference work for the insights of transformational theory, geometric music theory, and other vital components of the modern music theorist’s toolkit.”

Prof. Jay Hook

Prof. Hook holds PhDs in both mathematics and music theory, as well as graduate degrees in architecture and piano performance. He has taught university mathematics and music theory courses, worked as an architect and structural engineer in Chicago, and performed as a chamber musician with members of the Chicago Symphony Orchestra. His research, which has been presented at conferences of the American Mathematical Society and published in Science, in addition to an impressive number of music theory venues, focuses on transformational theory and other mathematical approaches to the study of music.

His broad knowledge, skillset, and experience places him in the perfect position to create this work, which he has done with both the precision of an architect and the elegance of a fine pianist. Prof. Ivanovitch added that “at nearly 700 pages, and incorporating the fruits of a career of research and teaching, Exploring Musical Spaces is a magnum opus in every sense.”

Prof. Hook has taught in the Department of Music Theory at the IU Jacobs School of Music since 2003.

Filed under: Faculty, IU Theory, PublicationTagged arts and humanities, Exploring Musical Spaces, iu music theory, Jay Hook, Julian Hook, mathematics, music and mathematics, music theory, music theory research

Goldman article in MTO

Posted on October 4, 2022 by Sarah J. Slover

Prof. Andrew Goldman recently published an article, “Returning to the Continuum: On the Value of Typological Distinctions in the Analysis of Improvisation,” in the latest volume of Music Theory Online. To view the entire article, visit the MTO Webpage.

“Sometimes music theorists describe an improvisation continuum connecting the extremes of completely determined performance and completely free and novel performance,” Goldman explains, “but, much of the theoretical work actually lies in determining the types of performance that define those extremes, not in drawing a continuum per se. What types of improvisation exist!?”

Goldman is assistant professor of music in music theory at the Indiana University Jacobs School of Music and assistant professor of cognitive science at the IU College of Arts and Sciences. His research, which has primarily focused on improvisation in music and dance, considers how scientific methods can be used to learn about musical perception and cognition in principle. He also designs and conducts behavioral and neuroscientific experiments with musicians and has worked on projects concerning the perception of musical form, embodiment in music, musical syntax, and corpus studies.

His work has been published in both music and psychology journals and has been presented at national and international conferences, including the Society for Music Theory, International Conference for Music Perception and Cognition, and American Psychological Association.

ABSTRACT: Improvisatory musical practices are often characterized as lying on a continuum between complete prior determination and complete in-the-moment novelty. Continua allow music analysts to avoid problematic absolutisms and enrich their comparative analyses, but their construction ultimately relies on typological distinctions. The poles or dimensions of the continuum must be defined, and this is where much of the theoretical work actually lies—including in constructing new typological distinctions. To this end, I discuss and demonstrate how a typological distinction between embodied and propositional improvisation—a distinction primarily motivated by (but not limited to) a performance practice called Live Coding—predicates a music-analytical research program. I show how this typological distinction forms productive connections with cognitive-scientific research that helps refine the distinction and its application to music analysis, and then use it to discuss the relative contributions of typologies versus continua in the analysis of musical improvisation more generally.

Filed under: Faculty, Faculty Accomplishments, IU TheoryTagged faculty, iu music theory, music theory

IU Graduate Music Theory & Musicology Associations Host 28th Annual Symposium on Research

Posted on March 23, 2022 by Sarah J. Slover

This weekend, on Friday and Saturday, March 25 and 26, the IU Graduate Theory and Musicology Associations will host the Twenty-Eighth Annual Symposium of Research in Music. The event will feature keynote presentations by Catherine Coppola (Hunter College of CUNY), Michèle Duguay (Indiana University), and Sergio Ospina-Romero (Indiana University) as well as an interactive workshop titled “Doing Meaningful Musicology with Canonic Opera,” which will be led by Prof. Coppola.

The symposium was started in 1994 by the Graduate Theory Association. For the last two years, the GTA has partnered with colleagues in the Graduate Musicology Association to increase the symposium’s diversity and impact in the graduate population. The symposium invites graduate students from the US and Canada, IU professors, and a guest keynote speaker to present research, participate in workshops, and engage in lively debate about music scholarship and its impact.

This event, which is free and open to the public, is sponsored by the Indiana University Jacobs School of Music, the Departments of Music Theory and Musicology, and the Indiana University Funding board.

Schedule and information are available on the symposium website.

Filed under: Uncategorized

Prof. Toru Momii Wins Outstanding Publication Award at SMT

Posted on November 15, 2021 by Sarah J. Slover

Congratulations to Visiting Assistant Professor Toru Momii, who was named the winner of the Society for Music Theory’s 2021 Outstanding Publication Award. His article, titled “A Transformational Approach to Gesture in Shō Performance,” was published in Music Theory Online in 2020.

ABSTRACT: Through an analysis of contemporary shō performance practice, this article explores the relationship between instrumental gesture and modal theory in contemporary gagaku. I demonstrate that the idiosyncratic arrangement of the pipes on the shō is closely related to the pitch structure and tonal function of the aitake pitch clusters.

My analysis synthesizes two approaches. First, I adopt David Lewin’s (1987) transformational attitude to conceptualize the aitake not as static musical objects but as processes of motion enacted by the te-utsuri—standardized fingering movements for shifting between two aitake. Second, I treat the aitake as sonic byproducts of a performer’s instrumental gestures to examine how the aitake are related to one another kinesthetically, and whether these relationships correlate with the pitch structures of the aitake.

I argue that relatedness between aitake is determined by the parsimony of te-utsuri. The most parsimonious movements can be enacted between four aitake: bō, kotsu, ichi and otsu. These aitake are identical to the clusters that accompany the fundamental tones of five of the six modes: Ichikotsu-chō, Hyōjō, Taishiki-chō, Oshiki-chō and Banshiki-chō. These findings demonstrate that the pipes of the shō, while seemingly arranged in no discernable order, prioritize parsimonious te-utsuri between each of the aitake accompanying the fundamental modal degrees. An analysis of the pitch structure of aitake through the lens of te-utsuri reveals a striking correlation between gestural parsimony and tonal function.

To read the article, click here.

Filed under: Uncategorized

SMT 2021: IU Music Theory Events & Presentations

Posted on November 4, 2021 by Sarah J. Slover

(All times are EDT)

Thursday, November 4

11:00–12:30

Session: 20th-Century Composers’ Tonal Organization
Prof. Andrew Mead, Chair 

12:45–2:15

Session: Motives/Narritives/Timbres
David Orvek, “Like a Piece of Woven Material”: Unity and Organicism in Elizabeth Maconchy’s String Quartet No. 11

Session: Flexible Themes and Forms
Nathaniel Mitchell (MM ’15, Philadelphia, PA), Variations on a Theme by K. K. Slider: Variation Sets and the Hourly Music of Animal Crossing: New Horizons

2:30–4:00

Session: Delivery Schemata and Vocal Stress
Mitchell Ohriner (PhD ’11, University of Denver), Anaphoric Descents in Hip-Hop vocal Delivery

Session: Gestures and Fragments
John Heilig, Interpreting Harmony through Gesture in the Chromatic Music of Anton Webern

Poster Session 1
Nathan Smith (MM ’20, Yale University), Skiing in k Dimensions, Or, “Metric” k-ary n-Cubes in Some Music of (and since) Ligeti

5:30-6:30

Grad School Fair – IU Music Theory
Email mustheor@indiana.edu for details.

7:00 PM

Reception: Indiana Theory Review
Email mustheor@indiana.edu for details.

Friday, November 5

11:00–12:30

Session: Transforming Tunes/Appropriating Styles
Bruno Alcalde (MM ’12, University of South Carolina), Listener Interactions with Musical Hybridity in the Piano Puzzler Podcast

Session: Counterpoint
Patrick Domico (IU Musicology), and Lucy Y. Liu (PhD ’18, Illinois Wesleyan University), Compositional Techniques that Define Stravinsky’s Neoclassical Counterpoint

Session: Rethinking Jazz
Garrett Michaelsen (PhD ’13, University of Massachusetts), Chair

12:45–2:15

Session: Performative Challenges
Christa Cole, “And the Nightingale Sings…”: Performative Effort in Elisabeth Lutyens’s The Valley of Hatsuse, Op. 62

2:30-4:00

Session: Analyzing Complex Rhythms
David Geary (PhD ’19, Wake Forest University), A three-Part Approach for Analyzing the Beat in Popular Music

4:30 pm

Graduate Theory Association Open House
Email mustheor@indiana.edu for details.

Saturday, November 6

11:00–12:30

Session: The Expanding History of Theory II
Knar Abrahamyan (MM ’15, Yale University), Yuri Kholopov’s Theory of Universal Harmony as a Clandestine Bearer of Orthodox Beliefs

Session: Neo-Riemannian Excursions
Prof. Julian Hook, Chair

12:45–2:15

Poster Session 4
Prof. Kyle Adams, Convenor

8:00 PM

Reception: Indiana University Department of Music Theory
Visit our SMT landing page or SMT Schedule for info.

Sunday, November 7

11:00-12:30

Session: Hearling/Listening/Signing
Timothy Chenette (PhD ’13, Utah State University), Beyond Gestalt Listening: Interdisciplinary Models for Harmonic Dictation

Session: Linear Approaches
Trevor Hofelich (MM ’19, Florida State Univeristy), Contextualizing Triadic Post-Tonality in Three Preludes from Dmitri Shostakovich’s 24 Preludes and Fugues, Op. 87

12:45–2:15

Session: Compositional Uses of Space
Prof. Orit Hilewicz (Eastman School of Music), Experiencing Spaces through Musical Subjects in Caroline Shaw’s Plan and Elevation (2015) and Morton Feldman’s Rothko Chapel (1971)

Zachary Zinser (PhD ’20), Playing with Perspective in Billie Eilish’s “Party Favor” (2017)

2:30–4:00

Session: Gender Studies
Prof. Michèle Duguay, The Sonic Construction of White Femininity in the Music of Taylor Swift

Gabriel Lubell (DM 13), Experiencing Album Forms and Dialetics of Gender through Sleater-Kinney’s The Woods

Session: Corpus Approaches to Popular Music Analysis
Jinny Park, Meta Corpus Study of Chord-loop Syntax in Twenty-First-Centruy Popular Music

Week of November 8-12

The week following SMT, our faculty will be happy to meet one-on-one with prospective students to discuss the program. Please email them individually to set up Zoom appointments.

  • Kyle Adams: kyadams@indiana.edu
  • Michèle Duguay: mduguay@iu.edu
  • Andrew Goldman: angoldm@iu.edu
  • Orit Hilewicz (Jan 2022): ohilewic@iu.edu
  • Julian Hook: juhook@indiana.edu
  • Eric Isaacson: isaacso@indiana.edu
  • Roman Ivanovitch: rivanovi@indiana.edu
  • Marianne Kielian-Gilbert: kielian@indiana.edu
  • Andrew Mead: awmead@indiana.edu
  • Toru Momii: tmomii@iu.edu
  • Frank Samarotto: fsamarot@indiana.edu

Filed under: Announcements, Events, Faculty, IU Theory, StudentsTagged iu music theory, music theory, SMT 2021, Society for Music Theory

IU Graduate Music Theory & Musicology Students Present 27th Annual Symposium on Research

Posted on February 16, 2021 by Sarah J. Slover

Over the next two Saturdays — February 20 and 27, 2021 — the IU Graduate Theory and Musicology Associations will host (virtually) the Twenty-Seventh Annual Symposium of Research in Music. The event is free and open to the public.

Dr. Imani Mosley (University of Florida College of the Arts) will deliver the keynote on February 27, titled “‘They’re Gonna Do It Anyway’: Performing Black Male Death-as-Spectacle in the Music of Black Lives Matter,” in addition to leading a graduate student workshop on Saturday, February 20. Mosley is a musicologist, cultural historian, and digital humanist focusing on the works of Benjamin Britten, music, opera, and modernism in Britain post-1945. In addition to her work on Britten, she also specializes in contemporary opera, reception history, queer theory, masculinities studies, and race in 21st-century popular musics.

The symposium will also feature presentations by Jacobs School faculty, Prof. Frank Samarotto, “Energy, Inhalt, and the Inverting of Schekerian Hierarchy”; Prof. Jill Rogers, “Sound Science? Sonic Technologies, Medicine, and Power in France’s Long 19th Century”; and six guest student presenters from across the country.

Event is sponsored by the Indiana University Jacobs School of Music, the Departments of Music Theory and Musicology, and the IU Student Association. Schedule and information are available on the symposium website. To request access to presentation materials and Zoom links, please contact jbussert@iu.edu.

Filed under: Faculty, IU Theory, StudentsTagged iu music theory, iu musicology, music research, music theory research, musicology research

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Recent News

  • René Rusch Visits IU Music Theory for Five Friends Master Class Series Lectures
  • Michèle Duguay and David Geary Featured in MTO
  • IU Alumni Win SMT Awards
  • SMT 2022: IU Music Theory Events & Presentations
  • Prof. Jay Hook’s “Exploring Musical Spaces” Published with Oxford University Press
  • Goldman article in MTO
  • IU Graduate Music Theory & Musicology Associations Host 28th Annual Symposium on Research
  • Prof. Toru Momii Wins Outstanding Publication Award at SMT
  • SMT 2021: IU Music Theory Events & Presentations
  • IU Graduate Music Theory & Musicology Students Present 27th Annual Symposium on Research

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