Thursday, March 6

Registration, Coffee and Tea (8:30–9:00)

Introductory Remarks (9:00–9:10)

Wayne Petty (University of Michigan)

Beethoven and Schubert (9:10–11:10)

Chair: William Rothstein (CUNY Graduate Center and Queens College)

“Run, brothers, your track joyfully”: The Liquidation of B-flat and B Major in Beethoven’s Ninth Symphony

Chris Park (Mannes School of Music)

Discontinuity within Continuity: Analysis, Performance, and Reconsidering the Telos Narrative in Two Beethoven Variations

Cecilia Oinas (Sibelius Academy)

Divided Identity: The Slow Movement of Schubert’s Piano Sonata D. 959

Lauri Suurpää (Sibelius Academy)

Break (11:10–11:20)

Brahms and Dvořák (11:20–12:40)

Chair: Eric Wen (Curtis Institute of Music)

Brahms, the Anti-Classical

Timothy Jackson (University of North Texas)

The Finale of Dvořák’s Violin Concerto: Tonal-Formal Plenitude as a Route to Expressive Transcendence

Peter Smith (University of Notre Dame)

Lunch (12:40–1:30)

J. S. Bach (1:30–3:30)

Chair: Boyd Pomeroy (University of Arizona)

Observations about the Initial Chorale of J. S. Bach’s Chorale Variations “Sey gegrüßet Jesu gütig” BWV 768

Bernhard Haas (Hochschule für Musik und Theater München)

Thematic Content and Voice-Leading Structure in Bach’s WTC Fugues

Yuval Shapira (Mannes School of Music)

On the Dynamics of Transference in the D minor Fugue

Brian Hyer (University of Wisconsin)

Break (3:30–3:40)

Wagner (3:40–5:00)

Chair: David Damschroder (University of Minnesota)

Leitmotif and Structure in the Prelude to Act III of Wagner’s Siegfried

Sarah Case (Mannes School of Music)

The Einleitung Recapitulated: The Conclusion of Tristan und Isolde, Act One and the Double-Tonic Complex Reconsidered

William Marvin (Eastman School of Music)

Break (5:00–5:10)

Schenkerian Theory in Practice (5:10–7:15)

Chair: John Koslovsky (KU Leuven)

25-minute papers with single panel
discussion period at end of session

Schenker as Lied Composer: A Musical and Contextual Exploration of the Op. 3 and Op. 6 Songs

Matthew Hoch (Auburn University)

Beyond Reduction: Hearing Schenkerian Analysis with Essential Voices

Daniel Ketter (Missouri State University)

Hierarchy through History: Compositional Aurality in Early and Modern Music

Judith Petty (University of Michigan)

Imagining a Continuation: One Strategy for Sustaining Schenkerian Pedagogy in a Post-2020 Landscape

Jan Miyake (Oberlin College and Conservatory)

Friday, March 7

Coffee and Tea (8:30–9:00)

Shostakovich (9:00–11:00)

Chair: William Marvin (Eastman School of Music)

“Lowered” Tonal Space and Energetic Transformation in Shostakovich’s 24 Preludes, Op. 34

Lizhou Wang (Indiana University)

Vignettes for Structural Hearing in Three Preludes by Dmitri Shostakovich

Trevor Hofelich (Swarthmore College)

Reconsidering Schenker’s Views on Mode: An Exploration of Modal-Tonal Properties in Three Fugues by Dmitri Shostakovich

Sarah Marlowe (Eastman School of Music)

Break (11:00–11:10)

Individual Analyses (11:10–12:30)

Chair: Ellen Bakulina (McGill University)

François Couperin’s La Voluptueuse: Different Registral Top Lines and their Analytic Effects

Stephen Slottow (University of North Texas)

Secondary Developments in Mozart’s “Jupiter” Symphony

Eric Wen (Curtis Institute of Music)

Lunch (12:30–1:30)

The Fantasy (1:30–3:30)

Chair: Lauri Suurpää (Sibelius Academy)

Space, Boundaries and Register in Beethoven’s Fantasie Op.77

Malcolm Miller (The Open University)

Another Look at Robert Schumann’s Fantasie Op.17/I: Form, Large-Scale Auxiliary Cadence, and Interpolation

Xiao Yun (University of North Texas)

Schenker’s Analysis of C.P.E. Bach’s Fantasy in E-flat Major, Wq 58/6

Wayne Petty (University of Michigan)

Break (3:30–3:40)

Schenkerian Theory (3:40–5:40)

Chair: Frank Samarotto (Indiana University)

Schenker’s Melodic Bass Lines and the Legacy of Caccini and Peri

Matthew Brown (Eastman School of Music)

Gradience in Prolongation

David Temperley (Eastman School of Music)

Diatony and Its Discontents: The Linear Progression

William Rothstein (CUNY Graduate Center and Queens College)

Break (5:40–6:00)

Introductory Remarks (6:00)

Wayne Petty (University of Michigan)

Concert (6:05–6:35)

Performances TBA

Banquet (7:00–9:00)

In Hankinson Hall

Saturday, March 8

Coffee and Tea (8:30–9:00)

The Late Nineteenth Century (9:00–11:00)

Chair: Peter Smith (University of Notre Dame)

An Investigation of Structure and Voice Leading in the Lieder of Richard Strauss

Steven Smith (Mannes School of Music)

Rachmaninoff’s Subdominant and Schenker’s Middle-​ground

Ellen Bakulina (McGill University)

Hierarchical Harmonic Analysis of Verdi, Wagner, and Debussy—Helped and Hindered by Schenker

David Damschroder (University of Minnesota)

Break (11:00–11:10)

Reflections on the Dominant (11:10–12:30)

Chair: Brian Hyer (University of Wisconsin)

Reverse Tonicization: A Schenkerian Perspective

Boyd Pomeroy (University of Arizona)

Entangled Dominants

Frank Samarotto (Indiana University)

Lunch (12:30–1:30)

Neotonality (1:30–3:30)

Chair: Matthew Brown (Eastman School of Music)

Linear Delineations: Schenker, Hindemith, and the Issue of Neotonality

Aidan McGartland (McGill University)

From Surface to Foreground: Contrapuntal Techniques in Stravinsky’s Neoclassical Music

Lucy Liu (Texas Tech University)

Loosening of Formal Closure in Webern’s Vorfrühling: Perspectives from Neo-Schenkerian Principles and the New Formenlehre

Jason Lee (McGill University)

Break (3:30–3:40)

Schenker and the History of Ideas (3:40–6:20)

Chair: Bryan Parkhurst (Oberlin College and Conservatory)

Schenker’s Legal Courses, Professors, and Exams

Wayne Alpern (City University of New York)

Translating Schenker

Nathan Martin (University of Michigan)

An Irreconcilable Rift: Schenkerism’s Critical Contexts 1945–60

John Koslovsky (KU Leuven)

Rules versus Principles in Crossing the Bridges to Free Composition

Somangshu Mukherji (University of Michigan)