Conference Program

Adrian Gronseth (University of Iowa), “Hemispheric Brass: Mexico, the Military, and Early New Orleans Jazz” 

When Mexico’s Eighth Cavalry Band arrived in New Orleans for the 1884–85 World Cotton Centennial, they created a local mania for Mexican music in the Crescent City. Recent scholarship has pointed to this visit as a pivotal moment in the early development of jazz, revealing the wider Latin American and Caribbean influences on “America’s classical music.” This paper seeks to extend that hemispheric framework to an analysis of New Orleans brass bands in the decades following the U.S. Civil War, revealing how these groups transitioned from military ensembles to the progenitors of jazz. 

How did the experiences of musicians during the Civil War, especially those who served in the U.S.C.T (United States Colored Troops) regiments, translate to the postwar period in and around New Orleans? How did Black and creole New Orleanians merge the militaristic tradition of the U.S. brass band with Caribbean and Latin American musical idioms? And how did these musicians’ exposure to Mexico’s Eighth Cavalry Band—and other similar touring groups—help ferment the musical fusion which would come to be called jazz in the early 20th century? This paper will explore these questions in an effort to bridge the seemingly disparate musical worlds—the battlefield and the dance hall, the United States and Mexico—from which early jazz emerged. 

Jonathon Crompton (Columbia University), “Instrumental Jazz Practice via ‘Voice’: A Framework for Analyzing and Listening to Jazz” 

Jazz’s primary texts are recordings. Although jazz musicians sometimes transcribe such recordings into Western notation, more typically transcriptions are internalized via the transcriber’s primary instrument, where timbre, feel, and articulation—as well as pitch and rhythm—are integrated into the transcriber’s musical conception. Accordingly, transcribing is a holistic and highly embodied practice. 

This paper foregrounds the embodied quality of the relationships between transcription and jazz instrumental practice through the lens of “voice.” I distinguish three interrelated levels in which voice intersects with jazz practice broadly, listed here from most communally held to most individual: 3) general stylistic tendencies and attitudes functioning as kind of language; 2) individual artistic voices and agency within the style; and 1) practitioner-specific evocations of vocal characteristics. 

To demonstrate and explore these three levels, I bring ideas from Jonathan De Sousa and Kate Heidemann into a dialogue centered on an improvised phrase by saxophonist Charlie Parker and a quotation (performed transcription) of this same phrase in a solo by saxophonist Phil Woods. I expand De Sousa’s concept of idiomacity (2017) to clarify how the timbral affordances of the saxophone mouthpiece affect Parker’s and Woods’s artistic voices—the second level of voice. Further, I explore how each artist evokes the voice itself—the first level of voice—through Heidemann’s vocal-timbral analysis framework (2016), modified to include the embouchure. 

Through this productive constellation of methods, which informs both the disciplines of voice studies (within sound studies) and music theory, my analysis demonstrates that Parker’s and Woods’s first- level vocal imitations correspond to their second-level artistic personas or voices; the two levels are integrated. Thus, the lens “voice” foregrounds a given artist’s idiosyncrasies while also respecting and mirroring the holistic and vocal orientation of the music. 

Maria Torres-Melgares (University of Iowa), “Influence of the Style Danzón in the Piece Invitación al Danzón by Paquito d’Rivera” 

Invitación al Danzón by the Cuban saxophonist, clarinetist and composer Paquito d’Rivera, is a concert piece that contains influences from the Latin, Classical and Jazz styles. The danzón style has its origins in the French contredanse, adopted from the English around 1660. It was brought to Cuba by the French colonies in Haiti, and its creolization led to the contradanza, later evolved to the danza with a triple meter instead of a duple, and finally to the danzón, reducing the tempo and changing the formal structure. D’Rivera’s early training was classical and as he grew, he also became interested in Jazz, and with his Latin roots, he created his music mixing the three styles: “It was all music to me. I still look at it that way.” 

Invitación al Danzón is defined by the danzón’s rondó form (ABACADA) which d’Rivera modifies it to accommodate the other styles. Each section of the rondó matches the character of the original danzones, differentiating between paseos and danzones, which are directly related to their instrumentation in orquestas típicas and charangas. The presence of Latin rhythms such as cinquillo, tresillo, tango/habanera or anfíbraco is also related to the danzón genre as well as the use of remates between sections to mark the switch, which were very useful cues for dancers. The piece’s classical influences include a cadenza, a development, and the rondó structure that belongs to both Latin influence and classical. D’Rivera also includes an improvisation section where his jazz influences emerge.  

Jeff Martin (University of Iowa), “Formal Liquidation in Chaya Czernowin’s Dam sheon hachol”  

Composers of the twentieth- and twenty-first centuries often incorporate historical forms and compositional techniques into their works. This adaptation is less commonly associated with avant-garde composers. However, in her string sextet Dam sheon hachol, Chaya Czernowin implemented liquidation to dissolve what she calls “time-strains.” First introduced as a theoretical concept by Schoenberg, liquidation is often found in small formal units like phrases and sentences. In Czernowin’s piece, by contrast, it merges time-strains together to form static sonorities, marking the close of large formal units. Three out of four sections of the piece conclude with this process, subsuming instrumental ego into a larger whole. The fourth section embraces rhythmic homophony and imitative counterpoint, giving the liquidation of the third section a double meaning: not only is the section dissolved, but Czernowin’s time-strains are replaced with more traditional rhythmic materials. Thus, the entire piece is liquefied. In a brief closing section, the time-strains reappear, carefully interlaced and regularized. Liquidation has not only brought large sections to a close: it has permanently changed the flow of time and brought it to a rigid, macabre alignment. 

A compositional technique from the common practice era does not produce inconsistency in Czernowin’s work. Liquidation, unlike traditional forms, is a musical process rather than a structure. Czernowin implements liquidation idiosyncratically, demonstrating that while specifics of formal structure, timbre, texture, and harmony may vary through the ages, some musical principles (like liquidation) can be immune to the passing of time and stylistic convention.  

Amirhossein Zeinali (University of Utah), “The Philosophical Connection of Al-Fārābi’s Theory of Rhyhtm with Aristotle’s Conception of Time” 

This paper delves into the philosophical link between Al-Fārābi's theory of rhythm and Aristotle's time concept. Despite Al-Fārābi's influential status as a philosopher, he never explicitly addressed the nature of “time” in his works. Analyzing his theory of rhythm,

borrowing from Aristotle's temporal philosophy, provides insights into Al-Fārābi's implicit thoughts on time and its application to music theory.

Aristotle conceptualized time as intricately tied to the concept of change, employing discrete moments or “nows” as boundaries for temporal measurement. Al-Fārābi's rhythmic duration is reinterpreted as change-parts within the temporal framework, which is aligned with Aristotle's view of time. The shared emphasis on consistent units for measurement forms a bridge between these two philosophical perspectives.

Examining Al-Fārābi's definitions of “Naqra” (pulse) and “duration,” the paper reveals the foundational elements in his theoretical framework. The analysis underscores Al-Fārābi's reliance on Euclidean geometry for the indivisibility of “Naqra,” echoing Aristotle's measurement principles based on homogeneous units. Al-Fārābi's methodology for measuring duration closely aligns with Aristotle's perspective, emphasizing the identification of the smallest, indivisible unit of the same nature as the entity being measured.

The paper explores the connection between Al-Fārābi's theory of rhythm and Aristotle's definition of movement as the actualization of potentiality. Al-Fārābi's conceptualization of duration as a form of movement aligns with Aristotle's definition, viewing the interval between two points (Ānāt) as the temporal trajectory of the process.

Overall, this paper highlights the unexpected convergence between Al-Fārābi's theory of rhythm and Aristotle's philosophy of time, by emphasizing shared principles in measurement, indivisibility, and the dynamic nature of duration. This exploration, coupled with Al-Fārābi's indirect engagement with the concept of time, contributes to our understanding of his intellectual framework and its application to music theory, offering valuable insights into the multifaceted perspectives on time and its manifestation in diverse intellectual domains.

Alejandro Cueto (University of Chicago), “Wrong Place, Wrong Time: Queer Temporality, Otherness, and Black Protest in Ces noms que nous portons (2020)” 

This paper explores depictions of Black queer temporality in Kyle Abraham’s Ces noms que nous portons (2020) which he choreographed for Stanley Tayor of the NYCB. Abraham’s corpus of work is notable for juxtaposing classical and contemporary vocabularies in both his dancing as well as selected sonic accompaniment. In this case, Erik Satie’s Gnossienne no. 3 sets the backdrop for an exploration of Black and queer protest and an homage to those who have lost their lives to identity-based violence. 

I argue that the Gnossienne’s orientalist texture sits uncomfortably against themes of Black queer protest in Abraham’s choreography. I consider how the Orient as a morally bankrupt, temporally fixed, and geographically marginal Other maps onto Abraham’s choreography and dominant perceptions of Black queer individuals. Elizabeth Freeman (2010) offers the term chrononormativity to articulate the white heteronormative conception of time that is imposed upon Black, brown, and queer individuals that is never attainable. Hence, Freeman argues that historical points of anachronism and asynchrony offer rich sites of inquiry into queer phenomenology. The anachronism of the Gnossienne’s orientalist setting and fluid temporal structure can be understood as refracting the complex ways Black queer individuals navigate their own temporalities at the fringes of society. Just as the orientalist Gnossienne eschews normative tonal markers and metric groupings of dances (Zbikowski, 2017; Lerdahl & Jackendoff 1996) Abraham’s choreography warps time for the audience as he ponders Black queer proximity to death and celebrates queer life. 

Calvin Evans Jr. (George Mason University), “The Sound of the African American Hero Examining the films scores that created the musical topic of the ‘Black Action Hero’” 

This paper uses topic theory to highlight the composers and film scores that assisted in creating the musical topic of the solo African American action hero. Analysis of scores and transcriptions of selected films from the late 1960s and 1970s reveals the tropes and themes that created this unrecognized musical topic: repetitive funk bass line, soulful melody line, improvisational passages, and pop section instrumentation. African American composers like Quincy Jones, Isaac Hayes, Curtis Mayfield, and Roy Ayers shifted away from the traditional musical topic of the Hero, which at the time was solely connected to white male figures. The film scores of The Three Musketeers (1948) and The Great Escape (1963) and later the scores of Superman (1978), Batman (1989), and more have shared similar musical themes connected to the traditional “action hero” musical topic. The main leitmotif performed by a brass ensemble, the common use of the perfect 4th interval, and the accompanying militaristic march have become clear aural indicators that the “hero” has arrived. However, these pioneering composers focused their compositions on the genre and ideas that had a personal connection to the African American race and their history. Their work would create the well-known musical themes of Virgil Tibbs, Shaft, Superfly and Coffy. The themes associated with the cinematic Black heroes of the 1970’s would later inspire future composers to take a similar approach when scoring films with a lead African American protagonist such as Lethal Weapon (1987) and Passenger 57 (1992). 

Eunah Lydia Lee (University of Oregon), “Visual Cues and Topics in the Soundtrack Album of the Squid Game Series” 

The relationship between the visual components of a film and the film score has often been described as one of music being subservient to picture, for example Gorbman’s concept of “inaudibility” (Gorbman 1987, Neumeyer and Buhler 2015, and Buhler 2019). But what about situations in which music is primary, such as listening to a film’s or series’ soundtrack album after having watched the film or series? My paper will consider how remembering the visual cues in the Netflix TV series Squid Game after having watched the film shape the way one hears the soundtrack album. As galant schemata can acquire the role of musical signs when they are associated with topics through repetition and invoke meanings (Sánchez-Kisielewska 2020 and Mirka 2023), I argue that remembering the film can function as a visual sign (together with music) to invoke meanings in soundtracks. 

In this paper, I analyze Squid Game and its soundtrack album to demonstrate how the visual cues in Squid Game contribute to musical topics in its soundtrack album and create certain musical meanings, to allow the listener to comprehend the musical narrative in soundtracks. I begin by providing six topics with “essential characteristics” (Frymoyer 2017) in Squid Game’s soundtrack album, shown in Example 1: “childhood,” “death,” “identity,” “unfolding,” “tension,” and “trauma.” I identify the musical meanings under each topic by comparing musical characteristics of corresponding soundtracks and selected scenes where the musical clips with the topic are played in Squid Game. Through my investigation of this and other soundtracks in the album, I hope to more clearly describe the process of a listener comprehending a film’s soundtrack after having seen the film. This study will add a previously-unexplored perspective to the discourse on the relationship between sound and image in film. 

Canlin Qiu (University of Iowa), “Unlocking 3000 Years: Harmonizing the World Through 88 Keys” 

My presentation is about a piano piece: “Chinese Dream,” composed by Zhao Zhang in 2014, represents a unique fusion of traditional Chinese music with contemporary western composition. This exploration encompasses elements such as the an Tang Dynasty music form Da'Qu, traditional Chinese instruments Guqin( Zither) and Bianzhong(Chime Bells), offering a remarkable synthesis of ancient and modern musical influences. Zhan integrates Confucius's philosophy, traditional pentatonic scales, and specialized notations from Chinese music into the piece. 

The theme is based on a Buddhist Mantra, Pu’An. Structured as a blend of the Da'Qu form and ternary structure, “Chinese Dream” consists of six sections, each reflecting a thematic connection to Guqin. Zhang intricately mimics Guqin playing techniques, from hand positions to various tones and touches, by employing extended piano techniques and unique notations. The piece also replicates the sonority of Bianzhong, ancient bronze bells, through specific chord motifs, layered textures, and rhythmic patterns. 

Zhang’s meticulous attention to detail extends to the harmonic language, where he emulates the timbre of Bianzhong by combining specific intervals. The slow tempo and expansive rhythm in the Bianzhong motif sections simulate the natural decay time of the bells, creating an authentic acoustic experience. Zhang also emphasizes the communal aspect of Bianzhong playing, incorporating dense textures to mirror the collaborative effort of multiple performers. 

In “Chinese Dream,” Zhang seamlessly merges traditional Chinese music elements with modern piano techniques, showcasing a harmonious coexistence of Eastern and Western musical traditions. The piece not only serves as a bridge between past and present but also demonstrates the transformative power of cultural integration in the creation of innovative, forward-looking musical compositions. 

Orson Sproule (University of Iowa), “The Evolution of Flow and Its Role in the Growth of Hip Hop” 

Hip hop has evolved from its origins in the Bronx River District in the late 1970s to the global phenomenon it is today. During the fifty-plus years of its development, the rhythmic elements present in the lyrics and flow of hip hop have become more and more complex. Grandmaster Flash, LL Cool J, The Notorious B.I.G., and Kendrick Lamar stand out as some of the most influential and innovative lyricists in the last fifty years of the genre. Their respective songs “The Message,” “Momma Said Knock You Out,” “Hypnotize,” and “Alright” provide a valuable throughline for context for the lyrical rhythmic ability of their respective era. Their works will be discussed in regards the rhythmic elements present in the lyrics of some of their most noteworthy songs, specifically rhythmic density, complexity of rhythms, stress points, and the use of rhyme schemes. 

Maile Williams (Brigham Young University), “Language and Style Choice in Native Hawaiian Songs of Protest: From ‘Kaulana Nā Pua’ to ‘We Chanting’”  

Native Hawaiians have long used music as a potent medium both for cultural expression and conveying messages of protest. A study of these songs asserts music as a “filter through with change is mapped and expressed,” as well as a legitimizer of social movements by strengthening solidarity and awareness (Street, 2012). Two notable songs of protest include “Kaulana Nā Pua,” written by Ellen Kekoahiwaikalani Wright Prendergast in 1893 in loyalty to the Kingdom of Hawaii during the overthrow, and “We Chanting,” a song by Kealamauloa Alcon written in 2019 protesting the Thirty-Meter Telescope on Mauna Kea. A comparison of the diverse style and language choices in these protest songs, considering their relationship to social movements, underscores the legitimacy of these various style choices. 

“Kaulana Nā Pua,” delivered in the Hawaiian language, carries the weight of history and fosters Native Hawaiian solidarity through cultural remembrance. In contrast, “We Chanting” adopts a reggae style and expresses discontent in English, reflecting a more contemporary trend and the popularity of reggae in Hawaii. The two styles represent the tension between preserving tradition and inspiring change. At the same time, the authenticity of both songs underscores the importance of artistic agency in expressions of indigeneity and protest, evidencing the heart of Native Hawaiian protest being a fight for self-determination as well as asserting the validity of both style choices. 

Timothy Botswick (University of Illinois at Urbana-Champaign), “Beyond the Nightingale: (Re)Covering Jenny Lind” 

Despite being celebrated as the Swedish Nightingale, Jenny Lind (1820–1887) spent most of her adult life residing in England and eventually became a British citizen. As such, Lind’s legacy has been enshrined in numerous English biographies, articles, and works of historical fiction, each contributing to certain hagiographic traditions surrounding her life and career. However, where does mythology end and critical biography begin? 

In my proposed presentation, I shed light on the flawed foundations of Lind’s biography written by Henry Scott Holland and W.S. Rockstro in conjunction with Lind’s husband, Otto Goldschmidt. First, I demonstrate how hagiographic traditions—established during Lind’s career as a campaign for public support—remain central to recent scholars and how these trends in Lind studies shroud her legacy. Next, I return to the genesis of Lind’s biography by analyzing letters between Goldschmidt and the biography’s publisher, John Murray. In doing so, I ask fundamental questions about how Goldschmidt—via Holland and Rockstro—built Lind’s biography to reinforce the public perception of Lind as a model of English virtue. As such, I continue the foundational scholarship of George Biddlecombe and aim to interrogate prevailing narratives to uncover the complexities of Lind’s cultural phenomenon. 

In conclusion, I intend to offer a critical perspective on the biographical narratives surrounding Jenny Lind, challenging conventional interpretations, and advocating for a more rigorous approach to historical scholarship. My aims argue for a more articulated stand on women’s history in musicology by moving beyond the canonical composer model to one representing the power female performers held through much of music’s history. 

Austin Young (Bowling Green State University), “Generations of Japanese Immigrants in Hawaii’s Music Culture”  

Hawaii has been the home for generations of Japanese immigrants since their arrival in the 1880s, when thousands came to work for the booming sugar industry. This essay identifies the music that is connected to each generation, analyzing how the traditional arts are preserved, and explaining how the Japanese immigrant population assimilated to local society in Hawaii. Building off Susan Miyo Asai’s article, “Transformation of Traditions: Three Generations of Japanese American Music Making,” I move away from Asai’s Western music focal point and look at Japanese music and musicians specific to Hawaii. Grounded in research from fields such as ethnomusicology, sociology, immigrant studies, and Asian studies, as well as sources that provide historical and ethnographic evidence and context, I argue that Japanese immigrants of Hawaii have a unique music environment, that deserves recognition separate from the Japanese American community.