Little Rock Program



Unless otherwise indicated, all sessions and events will take place at the Peabody Hotel, Little Rock.



12:00–1:30 p.m. SAM Finance Committee Meeting

2:00–6:00 p.m. SAM Board of Trustees Meeting  (Peck)

2:00–10:00 p.m. Registration Open  (Foyer Salon B)

3:00–8:00 p.m. Exhibitor Set-Up (Salon B)

6:30–8:00 p.m. Committee on Committee Governance Meeting (Presidential Suite)

8:00–10:00 p.m. Opening Reception  (Salon C)


7:00–8:30 a.m. Public Relations Committee Meeting (Peck)

8:00–5:00 p.m. Registration (Foyer Salon B)

8:00–5:00 p.m. Exhibits Open  (Salon B)


8:30–10:00 a.m. SESSION 1

Session 1a: Early Film Music (Salon C)

Chair: Neil Lerner (Davidson College)

“The Realm of Serious Art”: Henry Hadley's Involvement in Early Sound Film
HANNAH LEWIS, Harvard University

The Musical Roots of The Jazz Singer
DANIEL GOLDMARK, Case Western Reserve University

Citizen Kane Revisited: Romantic Realism, the Modern Subject, and Herrmann's Score
DAVID CLEM, University at Buffalo, SUNY

Session 1b: New York’s Alternative Spaces and Practices (Manning)

Chair: Caroline O'Meara (University of Texas)

John Cage at the Crossroads: ‘Hot Jazz’ Meets Modern Dance
PAUL COX, Oberlin College

“Sound as a Physical Reality”: Malcolm Goldstein with the Judson Dance Theater
JAY ARMS, University of California, Santa Cruz

The Kitchen's Journey from Impromptu to Institution
JOSHUA D. J. PLOCHER, University of Minnesota

Session 1c: Pop Goes the 1960s (Hoffman)

Chair: Travis Stimeling (Millikin University)

“Sounding” Political: The Sonic Representation of Political Ideology in the Musical Stylings of Lawrence Welk
JONAS WESTOVER, University of St. Thomas

Hoedown on a Harpsichord: Making Sense of 1960s Pop Stars Gone Country
JOCELYN NEAL, University of North Carolina, Chapel Hill

Dio's Lost Decade: Recovering the 1960s Career of Ronnie James Dio
GLENN T. PILLSBURY, California State University, Stanislaus

Session 1d: Panel: Shape-Note Gospel Traditions in Arkansas and Beyond (Salon A)

Chair: Stephen Shearon (Middle Tennessee State University)

“That We May Effect a More Nearly Perfect Society”: Community Shape-Note Gospel Singing in Central Arkansas, 1920-1950
KEVIN KEHRBERG, Warren Wilson College

Shape-Note Gospel Music in Watauga County, North Carolina: An Examination of Congregational Song in Independent Missionary Baptist Churches
MEREDITH DOSTER, Emory University

Authenticity and the Arkansas Imaginary in the Southern Gospel Music of The Martins
DOUGLAS HARRISON, Florida Gulf Coast University

10:00 a.m. –10:30 a.m. BREAK

10:30 a.m. –12:00 noon SESSION 2

Session 2a: Music in Transmediation (Manning)

Chair: Robynn Stilwell (Georgetown University)

Television Cartoons and the Paraphrase of Copyrighted Music
JEREMY OROSZ, University of Minnesota

Records, Repertoire, and Kubrick: Rollerball (1975) and the Early Compilation Soundtrack
JULIE HUBBERT, University of South Carolina

Joking Matters: Music, Humor, and the Digital Revolution
CHARLES HIROSHI GARRETT, University of Michigan
Session 2b: Music and Gender in the Nineteenth Century (Hoffman)

Chair: Judith Tick (Northeastern University)

Sentimental Songs for Sentimental Men
EMILY M. GALE, University of Virginia

Mama Sings Tenor: The Evolution of Voice Placement in Nineteenth-Century Shape-Note Books
PAULA J. BISHOP, Bridgewater State University

The Allure of Mrs. Alice J. Shaw, Professional Whistler
MARIBETH CLARK, New College of Florida

Session 2c: Soul Reverberations (Salon C)

Chair: Andrew Flory (Carleton College) 

Soul Voyeurism: The Rise and Fall of the Sweet Chariot
MARK BURFORD, Reed College

Ease on Down the Road: The Black Musical and the Routes of Soul in The Wiz
RYAN BUNCH, Holy Family University

Reconsidering Stevie Wonder's Journey Through the Secret Life of Plants
SCOTT DEVEAUX, University of Virginia

Session 2d: Panel: Localizing the Avant-Garde (Salon A)

Chair: Andrew Raffo Dewar (University of Alabama)

The CLAEM and the Legitimation of the Avant-Garde
EDUARDO HERRERA, University of Illinois, Urbana-Champaign

Alberto Ginastera's CLAEM (Argentina, 1962) and Pierre Mercure's SIMA (Quebec, 1961): Two Faces of 'Ex-centric' Cosmopolitanism
JONATHAN GOLDMAN, University of Victoria

Movimiento Música Más in Buenos Aires, 1969-1973: Performance, Resistance and the Sounding of Public Space
ANDREW RAFFO DEWAR, University of Alabama

12:00–12:45 p.m. LUNCH

12:00–1:00 Nominating Committee Meeting (Peck)

12:00–1:00 Cultural Diversity Committee Meeting (Lafayette)

12:00–2:00 Long Range Planning Committee Meeting (Presidential Suite)

12:45–1:45 p.m.  Poster Presentations I (Pre-Function Balcony)

“A Colorless, Colored Man”?: Frank Johnson – “America's Most Prominent Musician and
Composer during the Federal Period”
DANIEL P. ROBINSON, University at Buffalo, SUNY

Veni, Vidi, Vici: Emma Abbott's Performances in Little Rock, Arkansas
JENNA M. TUCKER, Henderson State University

A Fugitive at the Opera: Felipe Boero's El Matrero
JONATHAN SAUCEDA, University of North Texas

Mis-imagined or Misappropriated: Imagining Indigenous Music in 1940s Radio Docudramas
ERIN SCHEFFER, University of Toronto

Wes Montgomery in the mid-1960s: The Creation of a Jazz-Pop Crossover Paradigm
BRIAN FELIX, University of North Carolina, Asheville

After the Blacklist: Political Expression in Pete Seeger's Rainbow Quest
LUCY CHURCH, Florida State University

Courting the Beast: Philip Glass's La belle et la bête through the Critic's Lens
LEAH G. WEINBERG, University of Michigan

12:45–1:45 p.m.

Panel for Students and Early-Career Professionals (Salon A)
“Publishing as a Graduate Student and Beyond”

JOSEPHINE WRIGHT (College of Wooster), Past Editor of American Music, MELISSA GOOD, Commissioning Editor for Music Journals (Cambridge University Press), SUZANNE RYAN, Music Books Editor (Oxford University Press), RYAN BANAGALE (Colorado College)

Lecture-Recital (Salon C)

Songs for Voice and Piano: The Composers' Forum Laboratory, New York 1935-1940, The Federal Music Project of the Works Progress Administration
CAROLE C. BLANKENSHIP, Rhodes College, accompanied by TOM BRYANT, Rhodes College, piano

Interest Group Sessions

Music, Film, and Media Interest Group (Manning)

“Centennial Intermedialities:  Hugo, Méliès, and Media”
Moderators:  Mary Simonson (Colgate University) and James Deaville (Carleton University)
Panelists:  James Buhler (University of Texas at Austin), Julie Hubbert (University of South Carolina), Allison Robbins (Independent Scholar)

Music of Latin America Interest Group (Hoffman)

Alternative Vocalities: Ventriloquisims, Vocal Strangeness, and Other Destabilizing Utterances in Cuban Alternative Music
SUSAN THOMAS, University of Georgia

2:00–4:00 p.m. SESSION 3

Session 3a: Black Identities on Stage (Hoffman)

Chair: Marva Carter (Georgia State University)
Will Marion Cook and the Tab Show: From Cannibal King (1896) to La revue nègre (1925)         
PETER M. LEFFERTS, University of Nebraska, Lincoln

Little Rock Sources in Scott Joplin's Treemonisha
EDWARD BERLIN, Independent Scholar

 “Bring my goat!”—The Untold Story of Rouben Mamoulian's Contributions to Porgy and Bess
JOSEPH HOROWITZ, PostClassical Ensemble

Reviewing Troubled Island: William Grant Still and the New York Critics
MONICA HERSHBERGER, Harvard University

Session 3b: New Sources (Salon C)

Chair: George Boziwick (New York Public Library for Performing Arts)
The Bernard Ward Tunebook: A Chronicle of Reform in Western New England
BRENTON GROM, Case Western Reserve University

Dearest Sister, “Who Will Care for Mother Now?”  Epistolary Musical Glosses in the “Hidden” Archival Family Collections of the Civil War Northern Homefront
SABRA STATHAM, Pennsylvania State University

Composing Rhapsody in Blue: Gershwin, Grofé, and a New Source Manuscript
RYAN RAUL BAÑAGALE, Colorado College

Origin Stories and Songs with Secrets: Louise Talma's Early Life and Works
KENDRA PRESTON LEONARD, Journal of Music History Pedagogy
Session 3c: Panel: Following Pharoah Sanders: Spirituality, Modernity, Marketing, and Influence (Salon A)

Chair: Charles Sharp (California State University, Fullerton)

“They're not new sounds. They're very old sounds”: “The Creator Has a Master Plan,” Tradition, and Freedom   
CHARLES SHARP, California State University, Fullerton

“It's against the law of creation”: Pharoah Sanders, Modernity, and the 1960s
DANIEL R. MCCLURE, University of California, Irvine

Impulse Purchases: The Political Economy of Impulse! Records
DALE CHAPMAN, Bates College

From Black Unity to “Dark Star”: Pharoah Sanders and Free Jazz for Hippies

Session 3d: Panel: The (Musical) Making of a President, 2012 (Manning)

Chair: James Deaville (Carleton University) and Dana Gorzelany-Mostak (Dickinson College) 
Campaign Playlists

Music at the Party Conventions
JAMES DEAVILLE, Carleton University

Campaign-Generated Television and Online Advertisements
JOANNA LOVE-TULLOCH, University of California, Los Angeles

User-Generated Campaign Music
MICHAEL SAFFLE, Virginia Tech University

4:00 –4:30 p.m. BREAK

4:30–5:30 p.m. SESSION 4
Session 4a: Institutional Patronage in the Interwar Period (Salon C)

Chair: Carol Oja (Harvard University)

“Meet with Mr. Surette”: The Early Years of The John Simon Guggenheim Memorial Foundation Music Composition Awards
DENISE VON GLAHN, The Florida State University

Music Found in The Cradle: The Reconstruction of Marc Blitzstein's “FTP Plowed Under” (1937)
TRUDI WRIGHT, Regis University

Session 4b: The Politics of Dance (Hoffman)

Chair:  Maribeth Clark (New College of Florida)

Dance as Transgressive Politics in American Popular History
CHRISTOPHER SMITH, Texas Tech University

Urban Apparition: The Specter of Genre in Contemporary Tango
MORGAN LUKER, Reed College

Session 4c: Mary Lou Williams (Manning)

Chair: Tammy Kernodle (Miami University)

Preserving Black American Music: “Mass,” by Mary Lou Williams
CHRISTOPHER CAPIZZI, University of Pittsburgh

Mary Lou Williams's Educational Performances

Session 4d: Social Science Fiction (Salon A)

Chair: Louis Niebur (University of Nevada, Reno)

Woman, Thy Name is Mudd: Star Trek, Sound, and the Signification of Women
JESSICA L. GETMAN, University of Michigan

“Oh Say, Can You See—It's Really Such a Mess”: Jimi Hendrix's “1983…(A Merman I Should Turn To Be)” and Social Science Fiction
WILL FULTON, Graduate Center, CUNY


4:30–6:00 p.m. Shape-Note Sing
Old State House Museum
300 West Markham
(next door to the Peabody Hotel)

6:00–6:30 p.m. Anne Dhu McLucas Memorial (Salon C)








Interest Group Session
6:30–8:30 p.m. Folk and Traditional Music Interest Group (Salon C)
“Gospel Convention Singing in Arkansas Today”
This Interest Group session is dedicated to the memory of our beloved member, Anne Dhu McLucas.

5:30–7:00 p.m. SAM Brass Band Rehearsal (Salon A)

8:00 p.m. A Celebration of American Music!
The program will include selections by Arkansas composers Florence Price, William Grant Still, and Duke Ellington.
Stella Boyle Smith Concert Hall
University of Arkansas at Little Rock Campus

(Buses will leave the Peabody at 7:15 p.m.)



7:00–8:15 a.m. SAM Development Committee Meeting (Presidential Suite)

7:00–8:30 a.m. JSAM Advisory Board Meeting (Lafayette)

7:30–8:15 a.m. Conference Site Selection Committee Meeting (Peck)

8:00–5:00 p.m. Registration (Foyer Salon B)

8:00–5:00 p.m. Exhibits Open (Salon B)


8:30–10:00 a.m. SESSION 5

Session 5a: Patriotism Resounding (Salon C)

Chair: Mark Clague (University of Michigan)

“Thank you, and God Bless America”: The Political Life of an Iconic Song

John Cage's Contribution to the United States Bicentennial, Renga with Apartment House 1776—a Patriotic Composition?
JOSEPH FINKEL, Arizona State University

 “The Dreams of Our Founders are Alive in Our Time”: Musical Memories of the Revolution in Contemporary Patriotism
ELISSA HARBERT, Northwestern University

Session 5b: Panel: Re/Claiming Indigeneity through Music (Hoffman)

Chair: Gordon E. Smith (Queen’s University) 

A Peculiar Good Intention: Juliette Gaultier de la Verendrye and the Staging of Indigeneity
JUDITH KLASSEN, Canadian Museum of Civilization

Recovering Identity and Processes of Healing in a Mi’kmaw Community: Family Voices
GORDON E. SMITH, Queen’s University

Cultural Recovery and Empowerment through Song: Experiences of Urban Indigenous Women in Canada
ANNA HOEFNAGELS, Carleton University

Session 5c: Seminar: Music History Pedagogy I (Manning)
Moderator: Renee Lapp Norris (Lebanon Valley College)

Avoiding the “Culture Vulture” Paradigm: Constructing an Ethical Hip-Hop Curriculum
FELICIA M. MIYAKAWA, Middle Tennessee State University, and RICHARD MOOK, Arizona State University

Talkin' 'Bout Their Generation: “Performing Technology” as Pedagogy in American Vernacular and Popular Music Courses
ELIZABETH CLENDINNING, Florida State University

The Case for Local Musics in the Music History Curriculum
ERIC HUNG, Westminster Choir College of Rider University

 “The study of these primitive intervals…”: Interrogating Clarence Cameron White's Lecture Notes for “History of Negro Music,” Hampton University, Fall 1933
CHRISTOPHER J. WELLS, University of North Carolina, Chapel Hill

Session 5d: Seminar: Musical Improvisation and Identity (Salon A)

Moderator: Tracy McMullen (Bowdoin College)

Analytical Identities
PAUL STEINBECK, Washington University in St. Louis

Improvising Music and Identity at Brass Band Parades in New Orleans’s Tremé Neighborhood
MATT SAKAKEENY, Tulane University

Constructing Irish Identity through Improvisatory Percussive Dance

Theory, Pedagogy, and the Ethics of Chord/Scale Isomorphism: Toward a Minor Literature of Modern Jazz Practice
CHRIS STOVER, The New School University

10:00 – 10:30 a.m.  BREAK

10:30 a.m.–12:30 p.m. SESSION 6

Session 6a: Music and Civil Rights (Hoffman)

Chair: Josephine Wright (College of Wooster)

“Which Side Are You On?”: Secular Music in the Civil Rights Movement
KRISTEN TURNER, University of North Carolina, Chapel Hill

Black Blowers of the Now: Jazz and Activism in King and Coltrane's Alabama
BARRY LONG, Bucknell University

“When Malindy Sings” and Plays a Fugue: Rethinking Nina Simone's Protest Music
HEATHER BUFFINGTON ANDERSON, University of Texas, Austin

Oh Daddy/Mama, Love Me Good: Work Songs, Civil Rights, and a (Trans)Gendered Dialogue
KARA MCLELAND, Middle Tennessee State University

Session 6b: Sources and Reception of Late Nineteenth-Century American Music (Salon C)

Chair: Steven Baur (Dalhousie University)

A Lost Monument to Freedom: The “Emancipation” Symphony (1880) by Ellsworth Phelps
DOUGLAS SHADLE, University of Louisville

“The accompaniment completes the song”: Ethnology, American Indianism, and Musical Episodes in the Novels of Frederick Burton
JEFFREY VAN DEN SCOTT, Northwestern University

“Symphonic Dignity,” Geography, and the Reception of George Chadwick's Symphony No. 2
JACOB A. COHEN, Graduate Center, CUNY

The Curious Reception History of Edward MacDowell
E. DOUGLAS BOMBERGER, Elizabethtown College

Session 6c: Panel: Music in the Eighteenth-Century North Atlantic World (Manning)

Chair: Glenda Goodman (The Colburn School)

“A More Graceful Style”: Pleyel's Second and American Psalmody Reform
WILLIAM ROBIN, University of North Carolina, Chapel Hill

Widening the Scope: Early American Musical Taste as Seen through a Political-Economic Lens   
STEPHEN SIEK, Wittenberg University

“A Voyage O'er Seas”: Transatlantic Transformations of a Borrowed Tune
JOICE WATERHOUSE GIBSON, Metropolitan State University, Denver

Strategizing Atlantic Musicology
GLENDA GOODMAN, The Colburn School

Session 6d: Panel: Pharoah Sanders: Music and Context (Salon A)

Chair: Jeffrey Taylor (Brooklyn College/Graduate Center, CUNY)

Pharoah Sanders, Jazz Music, and the Iconography of the Black Arts Movement
W. S. TKWEME, University of Louisville

Timbral Virtuosity: Pharoah Sanders and the Significance of Extended Saxophone Technique in the 1960s and 70s Jazz Avant-Garde
GABRIEL SOLIS, University of Illinois

The Pharoah Sanders Quartet, Avant-Garde and Straight-Ahead

 “Live at the East”: Pharoah Sanders in Brooklyn
JEFFREY TAYLOR, Brooklyn College/Graduate Center, CUNY

12:30 p.m. Honorary Member Award Ceremony (Salon A)
John Miller, Butler Center for Arkansas Studies

1:00–1:30 p.m. LUNCH

1:30 – 2:30 P.M.

Interest Group Sessions

Gospel and Church Music Interest Group (Manning)

How Deitrick Haddon Took Sam Cooke to Church: Rearranging, Reclaiming, and Reframing the Liberation Message of “A Change is Gonna Come”
WILL BOONE, University of North Carolina, Chapel Hill

“A Higher Order of Citizenship”: Early Sacred Music Recordings and the (Re)definition of America’s Ethical Value System
MELANIE ZECK, University of Chicago

Research Resources Interest Group (Hoffman)

“Using Library Special Collections in Classroom Teaching”
MARK MCKNIGHT, University of North Texas, MARISTELLA FEUSTLE, University of North Texas, and JOHN MURPHY, University of North Texas



2:00–5:00 p.m. COPAM Meeting (Presidential Suite)

5:00 p.m. Student Forum Business Meeting and Dinner Out (Manning)

5:00–6:00 p.m. Forum for Early Career Professionals Meeting (Hoffman)
A Discussion of Balance

6:00–7:30 p.m. Oxford University Press Reception (Pinnacle Room)

7:30 p.m. Forum for Early Career Professionals Dinner Out
Meet in hotel lobby by check-in desk. The group will leave at 7:30 p.m.

8:00 p.m. SAM Jam (Salon C)
Sponsored by the SAM Folk and Traditional Music Interest Group



7:00–8:30 a.m. Membership Committee Meeting (Lafayette)

7:00–8:30 a.m. Publications Council Meeting (Peck)

8:00–4:00 p.m. Registration (Foyer Salon B)

8:00–4:00 p.m. Exhibits Open (closed during the Annual Meeting) (Salon B)

5:30–7:00 p.m. Exhibits Open (Salon B)

8:30–10:00 a.m. SESSION 7

Session 7a: Asian Musics on Stage (Hoffman)

Chair: Chris Wilkinson (West Virginia University)

Transnationalism and Everyday Practice: Chinatown Theaters of North America in the 1920s
NANCY YUNHWA RAO, Rutgers University

Music, Memory, and the Immigrant Experience in the Broadway Adaptation of C. Y. Lee's Flower Drum Song

Fighting Asian Stereotypes and Subjugation: Pacific Overtures and the Rise of Asian American Identity during the Vietnam Era
ASHLEY PRIBYL, University of Texas, Austin

Session 7b: Disability Case Studies (Salon A)

Chair: Stephanie Jensen-Moulton (Brooklyn College)

“Good-bye, Old Arm”: Amputee Veterans in Civil War Era Song
DEVIN BURKE, Case Western Reserve University

Analyzing Interactions of American Sign Language and Music
ANABEL MALER, University of Chicago

“‘Paparazzi,’ Wheelchairs, and a Mermaid: Lady Gaga's Use of Disability Aesthetics”
ELYSE MARRERO, Florida State University

Session 7c: Music and Landscape (Manning)

Chair: Sabine Feisst (Arizona State University)

Maryanne Amacher and the Sound of Pass Christian, Mississippi: 1969 & 1975
AMY M. CIMINI, University of Pennsylvania

Sounding and Composing the Harbour: Recontextualizing and Repurposing the Soundscape and Sense of Place in the Harbour Symphony
KATE GALLOWAY, Memorial University

“The “north” is also a state of mind”: Musical Evocations of the Canadian North and an Expressive Other in Meredith Monk's Facing North (1992)
JESSICA A. HOLMES, McGill University

Session 7d: Seminar: Music History Pedagogy II (Salon C)

Moderator: Renee Lapp Norris (Lebanon Valley College)

Teaching American Traditional Music in an Online Format
SALLY K. SOMMERS SMITH, Boston University, and PAUL F. WELLS, Middle Tennessee State University

Using Blogs and “Just-in-Time” Strategies to Teach the American Avant-Garde
SARA HAEFELI, Ithaca College

The Student-Created Recording Anthology as Pedagogical Tool in the Undergraduate American Music Survey
EDWARD EANES, Kennesaw State University

Teaching from the Object

10:00–10:30 BREAK

10:30–12:00 SESSION 8

Session 8a: Musics “Out of Place” (Hoffman)

Chair: Laura Moore Pruett (Merrimack College)

Taking it Out: Jazz Historiography and the Avant-Garde in Kansas City
PETER A. WILLIAMS, University of Kansas

From Carnival to Mardi Gras: The US Navy Steel Band in New Orleans
ANDREW MARTIN, (Inver Hills College)

Community Strategies for Native Hip Hop Performance
LIZ PRZYBYLSKI, Northwestern University

Session 8b: Music and Children’s Cultures (Salon C)

Chair: Diane Pecknold (University of Louisville)

Jazz Harmony for Kids: Billy May’s Children's Records, 1946–1954
DANIEL HENDERSON, Harvard University

Take a Bow: Giving Voice to Girls' Stories in The Hunger Games and Brave
ROBYNN STILWELL, Georgetown University

The Signifyin(g) Muppet: Blues and the Performance of Race for the Heartland on Sesame Street
AARON MANELA, Case Western Reserve University

Session 8c: Arkansan Perspectives (Manning)

Chair: Tracey Laird (Agnes Scott College)

In Hot Water: Musical and Cultural Conflict in “The American Spa”
ROBERT FRY, Vanderbilt University

A Song That Went with Him: Bozie Sturdivant's “Ain't No Grave Can Hold My Body Down”    
STEPHEN WADE, Hyattsville, Maryland

Arkansas-West: The Second Great Migration's Impact on African American Musicking in California
YVETTE JANINE JACKSON, University of California, San Diego

Session 8d: New York Opera in the Long Nineteenth Century (Salon A)

Chair: John Graziano (The Graduate Center, CUNY) 

The New Orleans “Gatti”: The Performance and Reception of Foreign-Language Opera in New York City, 1825-1833

The French Perspective on Music in 1860s New York
ROBERTA GRAZIANO, Music in Gotham Project, CUNY

Puccini and the Metropolitan Opera Company: Cosmopolitanism, Nationalism, and The World Premiere of La fanciulla del West
KATHRYN FENTON, London, Ontario

12:00–12:45 p.m. LUNCH

12:45–1:45 p.m. Poster Presentations II (Pre-Function Balcony)

Maud Powell, Performance, and American Music
CATHERINE WILLIAMS, Florida State University

Verdi's Otello in Mexico City: Defending Operatic Honor
ANNA OCHS, Instituto del Progreso Latino

Waiting for the Drop: Balancing Ambiguity and Danceability in Dubstep

 “Azz Everywhere”: Big Freedia and the Queering of New Orleans Bounce Culture
EVERETTE SCOTT SMITH, Southeastern Louisiana University

From Program Books to Twitter: The Evolution of Analytical Notes in Educating American Symphonic Audiences
JONATHAN WAXMAN, Hofstra University

Public Radio and the Ambassador Auditorium, 1990-1994
MICHAEL ACCINNO, University of California, Davis

The Life and Music of Paul Creston

12:45 – 1:45 P.M.

Lecture-Recital (Salon C)

Enhancing Flute Repertoire with the Music of William Grant Still
KAREN GARRISON, Auburn University, accompanied by LIZA WEISBROD, Auburn University

Interest Group Sessions

Jewish Studies Interest Group (Manning)
Roundtable: Musical Representations of the “New Jew” in Twentieth-Century Popular Media of the United States

Moderator, Erica K. Argyropoulos (University of Kansas)

Old Wine in New Bottles? Musical Manifestations of Jews and Jewishness in Twentieth Century American Popular Media
TAMAR BARZEL, Wellesley College

The Sound of Jewishness in Early 20th Century American Media
DANIEL GOLDMARK, Case Western University

“There is a God!”: Rod Serling and Jewish Representation in The Twilight Zone’s “The Obsolete Man”
ERICA K. ARGYROPOULOS, University of Kansas

“I Am So Easily Assimilated”: A Symbol of Leonard Bernstein’s Path as a Jewish Composer on Broadway
PAUL R. LAIRD, University of Kansas
Research on Gender Interest Group (Salon A)

Recovering a Woman’s Role in Ultramodernism: Researching Johanna Beyer

Moderator, Sarah Gerk (Oberlin College)

JOHN D. SPILKER, Nebraska Wesleyan University, RACHEL LUMSDEN, University of Oklahoma, AMY C. BEAL, University of California, Santa Cruz

Connecting Outside the Academy Interest Group (Hoffman)
The American Orchestra Forum and the Star-Spangled Music Foundation
MARK CLAGUE, University of Michigan, and SUSAN KEY, Star-Spangled Music Foundation

2:00–3:30 p.m. SESSION 9

Session 9a: Ballet in the Twentieth Century (Salon C)

Chair: Renée Camus (Burbank, California)

Modern Ballet Meets Modern America: The Ballets Suédois’ 1923-1924 American Tour

George Balanchine’s “First Ballet in America”: Serenade as Musical Emblem
JAMES STEICHEN, Princeton University

Comedy and American Identity in the Cold War Ballet Exchange
ANNE SEARCY, Harvard University

Session 9b: John Adams (Hoffman)

Chair: Cecilia Sun (University of California,  Irvine)

Trauma, Absence, and Identity in John Adams's On the Transmigration of Souls   
DAN BLIM, University of Michigan

“A Sort of Oratorio”: Dramatic Construction in John Adams’s Doctor Atomic
RYAN EBRIGHT, University of North Carolina, Chapel Hill

The Politics of Revision: Twenty Years of Klinghoffer
ALICE MILLER COTTER, Princeton University

Session 9c: Gender, Magic, and Death in Popular Musics (Manning)

Chair: Robert Walser (Case Western Reserve University)

Imperialist Conquest and the Phantasmagoric Deep South: Race, Gender, and Geography in Led Zeppelin and Memphis Minnie's “When the Levee Breaks”
ERIN SMITH, Case Western Reserve University

The Sound of Magic: Masculine and Feminine Power Relations in Blues-Rock
ALEXANDER WOLLER, University of Illinois, Urbana-Champaign

Fallen Women and Dead Baby Specials: The Dark Side of Dolly Parton’s Musical Craft
MELINDA BOYD, University of Northern Iowa

Session 9d: Sounding America(n) (Salon A)

Chair: Sally Bick (University of Windsor)

Copland, Mahler, and the American Sound
MATTHEW MUGMON, Harvard University

The Common Man in the Cold War: Copland's Old American Songs
KASSANDRA HARTFORD, Stony Brook University

Lukas Foss's American Landscapes (for Guitar and Chamber Orchestra) as an Expression of the Immigrant Experience
LARS HELGERT, Georgetown University

3:30–4:00 p.m. BREAK

4:00–5:30 p.m. ANNUAL MEETING (Salon A)

6:00–7:30 p.m. Reception with entertainment by the SAM Brass Band (Foyer Salon C)

6:45 p.m. Silent Auction Close

7:30 p.m.        BANQUET/DANCING (Salon C)



7:30 – 8:30 a.m. SAM Board of Trustees Meeting (Lafayette)

9:00–10:00 a.m. SESSION 10

Session 10a: Florence Price (Salon C)

Chair: Gayle Murchison (College of William and Mary)

“Free Within Ourselves”: Florence Price’s Symphonic Engagement with the Harlem Renaissance
SARAH SUHADOLNIK, University of Michigan

Nodding Poppies and a Field of Waving Grain: Arkansas Soulscapes in the Keyboard Music of Florence B. Price

Session 10b: American Musics Abroad (Hoffman)

Chair:  Maureen Mahon (New York University)

“Something We Cannot Get in England”: Representing Race, Nation, and Modernity in America Dances
CHRISTINA BAADE, McMaster University

Spiritual and Danceable: Global Sound and Local Meaning of Pharoah Sanders's Music in Japan
YOKO SUZUKI, University of Pittsburgh

Session 10c: Folk Revivals (Manning)

Chair: Gregory Reish (Roosevelt University)

The Common Man Meets the Matinee Idol: Harry Belafonte, Folk Identity, and the 1950s Mass Media
KIRSTIN EK, University of Virginia

Getting Past “Bob Dylan Sang Here”: Minneapolis in the Folk Revival
MELINDA RUSSELL, Carleton College

Session 10d: Alternative Histories of Twentieth-Century Music (Salon A)

Chair: Ellie Hisama (Columbia University)

“The Music of Nature Makes Me Dream and Sleep”: Intersections of Nature, Gender, and Ultramodernism
MELISSA J. DE GRAAF, University of Miami

Tony Conrad’s Early Minimalism: An Alternate History
CECILIA SUN, University of California, Irvine

10:00–10:30 a.m. BREAK

10:30–11:30 a.m. SESSION 11

Session 11a: Music and Suffrage (Salon C)

Chair: Kendra Preston Leonard (Journal of Music History Pedagogy)   

(M)othering: Strategies of Musical Activism in the American Women’s Suffrage Movement, 1900-1920
LEAH TALLEN BRANSTETTER, Case Western Reserve University

Constructing American Femininity: Hazel Mackaye’s Suffrage Allegory
MARY SIMONSON, Colgate University

Session 11b: Emigrés Composing the Other (Hoffman)

Chair: Beth Levy (University of California, Davis)

Jonny Strikes Up (more than just) the Band: Jonny spielt auf at the Met in 1929
JOHN GABRIEL, Harvard University

When Israel was in Egypt's Land: Kurt Weill's Ulysses Africanus and the Search for Common Ground
NAOMI GRABER, University of North Carolina, Chapel Hill

Session 11c: Québécois Fiddling (Manning)

Chair: Anna Hoefnagels (Carleton University)

Old World Tune, New World Sounds: Québécois Trajectories of the Scottish Fiddle Tune “Monymusk”
LAURA RISK, McGill University

Sounds from the Coast: An Anglophone Fiddle Tradition in Canada's Francophone Province
GLENN PATTERSON, Memorial University

Session 11d: Celebrating Cities (Salon A)

Chair: Susan Key (Star-Spangled Music Foundation)

Mega-Opera in Los Angeles: The 1984 Olympics Arts Festival and Robert Wilson's the CIVIL warS
SASHA METCALF, University of California, Santa Barbara

Toward a Postmodern Avant-Garde: Eighth Blackbird, Cultural Authority, and New Music for the Masses
JOHN PIPPEN, University of Western Ontario

11:30-1:00 Development Committee Meeting (Lafayette)