n

Acknowledgements
Funding for this conference is provided by THE UNIVERSITY OF ARIZONA

Third Annual
The Daveen Fox Endowed Chair for Music Studies

Conference Coordinators Graduate Student Music Conference

Gwyndolyn Morneault, Miguel Arango, Olman Alfaro,
Mariana Mevans, Cecilio Novillo, Olga Savic, Faez Abdalla,
Morgan Block, Jules Streety, Blake Cesarz,
Elizabeth Blin, Candice Sierra

The University of Arizona

Composition, Musicology, Theory and Music Education Faculty
Matthew Mugmon
  Daveen Fox Endowed Chair for Music Studies
Philip Alejo, theory
Daniel Asia, composition
John T. Brobeck, musicology
Dawn Corso, music education
Alyssa Cossey, music education
Pamela Decker, theory, composition
Donald Hamann, music education
Robin Horn, music in general studies
Brian Moon, music in general studies
Matthew Mugmon, musicology
Karin Nolan, music education
John Muniz, theory
Keith Pawlak, music in general studies, research collections
Boyd Pomeroy, theory
Jennifer Post, ethnomusicology, music in general studies
Carol Reeves, music education
Jay Rosenblatt, musicology Featuring
Janet Sturman, ethnomusicology, music in general studies Dr. Suzannah Clark (Harvard University)
Craig Walsh, theory, composition
Matthew Williams, music education and presentations by student scholars
on topics related to contemporary
••• musicology, music theory and
music education
The University of Arizona
College of Fine Arts, Fred Fox School of Music
1017 North Olive Road - P.O. Box 210004
Tucson, Arizona, 85721-0004
520-621-1655 phone February 9 & 10, 2018
music.arizona.edu Tucson, Arizona

Poster & Program Cover Art:

Gustav Klimt, “Music” (1895)
Bavarian State Painting Collections, Munich

COLLEGE OF FINE AR TS
N Fred Fox School of Music
 n n
The University of Arizona
2018 Graduate Student Music Conference analysis employs three levels of analysis. With schema, once it is identified,
there is no need for further reduction because schemata are a pattern to be
Featuring Dr. Suzannah Clark embellished. Therefore, one can conclude that a schema will rarely make
(Harvard University) its way into the background in a Schenkerian reading. Despite this,
however, schemata are frequently found at the middle ground level.
February 9 & 10, 2018
  Since schemata are compositional tools used by composers, they can
often help clarify a foreground reading. The fact that schema can appear
throughout the various levels of a Schenkerian graph, or not at all, can
PROGRAM beg the question, what is the “true” hearing of a piece. My paper uses
Mozart’s K.311 as a backdrop to explore how each of these two analytical
techniques interact, both when in congruence and in opposition. I explore
FRIDAY, FEBRUARY 9 (Room 146)
the complex relationship and interaction between these two forms of
analysis and conclude that schema theory and Schenkerian analysis
9:30 a.m. Registration and Coffee
frequently complement each other and when employed in tandem,
offer a more insightful analysis.
10:30 a.m. Workshop:
“The Hermeneutics of Song: A Case Study by Liszt”
Dr. Suzannah Clark (Harvard University) Text, Meter, Line and Music: Toward a Holistic Approach
to Structural Analysis of Ars Antiqua Polyphony
12:30 p.m. Lunch Break Eric Elder (Brandeis University)
  The nature of musical coherence in ars antiqua polyphony has long
2:30 p.m. Panel 1: “Music and Meaning” been shrouded in mystery. Felix Salzer, Saul Novack, and Delores Pesce
Yumi Kim (Temple University) (following Daniel Leech-Wilkinson’s work on Machaut) have all attempted
Expressive Transformation of The Cross Motive to lift the proverbial veil with analytical techniques derived from the
In Liszt’s Sonata in B Minor work of Heinrich Schenker. Several shared features characterize their
analyses: recurringpitches beamed together in prolongations that often
Tyler Howie (Boston University) blur the metric rule of the perfection,obscured individual lines with the
“I Know Things Now:” Messages, Symptoms, music herded into one or two staves, eschewed texts, and musical
and the Lacanian Subject in Into the Woods material that is left to drift aimlessly through sonic space.

3:30 p.m. Coffee Break   In this paper, I renew Schenkerian criticisms of this analytical trend.
Focusing on Pesce’s 1990 article, “A Case for Coherent Pitch Organization
4:00 p.m. Panel 2: Harmony, Melody, and Texture in the Thirteenth-Century Double Motet,” and employing a narrow
definition of Schenkerian prolongation, I examine the structural ramifications
Clay Downham (University of Colorado Boulder) of the tonal implications present in her analyses. I conclude by proposing
Eric Dolphy’s Out that more solidly grounded voice leading analysis may prove fruitful in
considering ars antiqua tonal structures. Using meter and text as anchors,
Yu Ye (The University of Texas at Austin)
and preserving the speaking power of individual lines, I revisit Pesce’s
Ancient Melody and New Sound in Music from the
prolongations before offering a more extensive analysis of the motet, In
Tang Court: A Heterophonic Perspective
mari miserie/Gemma pudicicie/MANERE (MO 61). Through this, I
demonstrate that a holistic analytical approach, one that embraces the
6:00 p.m. Social Event
multiple structures present in ars antiqua polyphonic works, can not only
Social event at Gentle Ben’s, 865 E. University Boulevard
illuminate possible sources of tonal coherence, but the text-expressive
potential of the music as well.

N N
 
n n
the importance of error detection abilities, many institutions demonstrate a SATURDAY, FEBRUARY 10 (Room 146)
disparity in the amount of time dedicated to this skill. Several factors
result in the neglect of error detection in the aural skills curriculum, 9:30 a.m. Panel 3: “Meter, Rhythm, and Form”
however, the astonishing lack of resources available for instructors is
Matthew Chiu (Boston University)
likely the most damaging. Throughout this paper, I argue that error
Form as Meter: Metric Forms through Fourier Space
detection must be incorporated pervasively throughout aural skills
classes and that the development of more resources for instructors is Bryan Hayslett (NYU Steinhardt)
required to accomplish this goal. Linguistic Stress and Its Relationship to Phrase:
  The field of aural skills pedagogy has made significant gains in the Rhythm and Meter in Lee Hyla’s Dream of Innocent III
past few decades, however the topic of error detection has been
neglected. Stacey Davis’ 2010 article “Error Detection in the Aural Skills 10:30 a.m. Coffee Break
Class: Research and Pedagogy” is one of few exceptions. Davis’ work
brings together aspects of music cognition research and music theory 11:00 a.m. Panel 4: “Pedagogical Approaches”
pedagogy to revise pre-existing error detection exercises into more Lynnsey Lambrecht (Michigan State University)
effective activities. However, these exercises are limited in their content Post-Tonal Pedagogy: Teaching and Learning Early
and approach. In my paper, I build on Davis’ argument by creating a Twentieth-Century Techniques at the Keyboard
wide variety of new exercises that demonstrate the range of content and
soft skills that can be taught through this medium. Alexandrea Jonker (Michigan State University)
An Argument for Error Detection: Why and How It Should
  The paper is divided into three main sections. First, I explain that error Be Taught in the Undergraduate Aural Skills Curriculum
detection can be presented in two formats, sound-to-sound or sound-to-
notation, and show that these activities build several soft skills, including 12:00 p.m. Lunch
musical memory, establishing expectations, and audiation. Next, I present
the current literature on the topic, including Davis’ article, several 2:00 p.m. Panel 5: “Schenker and Beyond”
cognition studies, and 15 aural skills texts, to demonstrate that the
resources for aural skills teachers are severely lacking in error detection Sammy Gardner (University of North Texas)
activities. Finally, I present several examples of activities that align with Schenkerian Schematizations: A Tale of Two Analytical Lenses
written theory topics in a four-semester curriculum and give detailed Eric Elder (Brandeis University)
instructions on how to effectively carry out each exercise. Attendees will Text, Meter, Line, and Music: Toward a Holistic Approach
leave this presentation with the understanding of why aural error to Structural Analysis of Ars Antiqua Polyphony
detection must be taught as part of the aural skills curriculum, as well as
the materials required to begin teaching this skill in their classrooms. 3:00 p.m. Coffee Break

Panel 5: Schenker and Beyond 3:30 p.m. Keynote: “Cupid’s Arrow and the Conventions of Song
in the Medieval Motet”
Schenkerian Schematizations: A Tale of Two Analytical Lenses Dr. Suzannah Clark (Harvard University)
Sammy Gardner (University of North Texas)
  Schenkerian analysis and Robert Gjerdingen’s schema theory seem
to find themselves at odds. This is ironic when one considers that both •••
forms of analysis seek to answer one question; that is, what are the
voice-leading diminutions over musical patterns. Schenkerian analysis
examines the relationship between the Urlinie and bass Stufen. With
schema, the method is the embellishment over the schemata themselves.
The problem when one compares how these forms of analysis interact is
the way in which they reduce the structural levels of the music Schenkerian

N N
 n n
About the Keynote Speaker meter, and temporality contributes to an understanding of phrasing, in
terms of both interpretation and perception, and provides a framework
  SUZANNAH CLARK, AKC, BMus, within which to understand structure in music that assimilates temporal
MMus, MFA, MA, PhD, is professor of structures from different genres.
music at Harvard University. Before moving
to Harvard in 2008, she taught at Oxford
University for eight years. Panel 4: Pedagogical Approaches

Pedagogy: Teaching and Learning Early Twentieth-Century

  Dr. Clark specializes in the music of Techniques at the Keyboard
Franz Schubert, the history of music theory, Lynnsey Lambrecht (Michigan State University) - Post-Tonal
and medieval music. Her book, Analyzing
Schubert, was published by Cambridge   Innovative music theory pedagogues and scholars have created
University Press in 2011. She co-edited intensely musical classrooms that enable students to learn concepts
Music Theory and Natural Order from the Renaissance to the Early Twentieth through music-making. Michael Callahan’s article (2015) discusses the
Century (Cambridge University Press, 2001; pbk 2005) with Alexander engaging and practical uses of the keyboard as a teaching and learning
Rehding, and co-edited Citation and Authority in Medieval and Renaissance tool in undergraduate music theory courses. Callahan addresses learning
Musical Culture: Learning from the Learned (Boydell & Brewer, 2005) with outcomes, potential activities structured for non-primary pianists, and
Elizabeth Eva Leach. She is currently working on a book, Quirks in solutions to challenges that are posed by using the keyboard in a theory
Tonality: Aspects in the History of Tonal Space, a book that focuses on major class; however, the use of the keyboard as a teaching and learning tool is
issues in the history of tonal theory, such as changing conceptions of not extended to teaching musical techniques of the early twentieth-
modulation, changing perceptions of key relations, constructions of century.
diatonicism versus chromaticism, and even why theorists like to draw
  To help students build an aural, tactile, and visual understanding of
musical diagrams of what has come to be known as “tonal space.”
musical techniques in the early twentieth-century, I have created
keyboarding activities that are shaped by research from the scholarship
  Clark has given lectures in the UK, USA, Canada, France and
of teaching and learning. These exercises provide opportunities for
Germany and has held fellowships from the Deutscher Akademischer
students to gain command of techniques through a multi-modal
Austausch Dienst (Germany), Social Sciences and Humanities Research
approach by engaging with the keyboard, including melodic scales,
Council (Canada), British Academy (UK), Arts and Humanities
harmonic idioms, improvisation, melody harmonization, recomposition,
Research Council (UK). Most recently she was the William J. Bouwsma
model composition, sing and play, play and talk, and representative
Fellow at the National Humanities Center in North Carolina. She has
repertoire. These examples are extended to crucial concepts from the
served on the editorial boards of Music Analysis and Music Theory
early twentieth-century curriculum, including symmetrical collections,
Spectrum and is currently on the advisory board for Music Analysis.
harmonic textures, diatonic collections, composer characteristics, set
In 2012, she served as chair of the Publication Awards Committee
theory, and twelve-tone serialism. Representative materials for the
for the Society for Music Theory. She currently serves on Council for
keyboard demonstrated at this presentation can be immediately
the American Musicological Society and, since 2013, she serves as
implemented, tailored to a specific cohort, and expanded upon to
reviews editor for the Journal of the American Musicological Society.
deepen student learning and engagement. Attendees will leave this
presentation with the understanding of how keyboarding activities
enhance student proficiency in an early twentieth-century course.

An Argument for Error Detection: Why and How It Should Be Taught in

the Undergraduate Aural Skills Curriculum
Alexandrea Jonker (Michigan State University)
  The ability to aurally compare performances and perceive errors is
imperative for every musician. Although most musicians acknowledge
N N
 n n
in his succinct, 5-page article “On Harmony and Meter in Brahms Abstracts
Op.76, No.8,” proposed a connection between the tonal and metric
functions within the piece - after which, a subsequent line of metric- Panel 1: Music and Meaning
form theorists extended his concepts. Among these metric-formal
theorists are Richard Cohn (“Complex Hemiolas, Ski-Graphs, and Expressive Transformation of The Cross Motive In Liszt’s
Metric Spaces”), Scott Murphy (“Metric Cubes in Some Music of Sonata in B Minor
Brahms”), and Samuel Ng (“Phrase Rhythm as Form in Classical Yumi Kim (Temple University)
Instrumental Music”). In Form as Meter, I build on previous approaches   This paper will explore how the cross motive in Franz Liszt’s Sonata
to metric form by exhibiting how the Discrete Fourier Transform in B Minor (1853), derived from the Gregorian chant Crux Fidelis, is
(DFT) presents these theorists’ ideas in a new perspective, while transformed throughout the piece and what expressive effects result
simultaneously demonstrating how it can formally address other from that process. In Liszt’s instrumental music, motto themes become a
metric-analytic problems. vehicle for thematic transformation, and their characteristics and emotional
  The DFT, first introduced to music theory by David Lewin, is an states change over time like characters in a narrative. Michael Klein calls
analytical tool, which was later developed by Ian Quinn. Theorists such this change in the musical narrative “expressive transformation” (2004,
as Jason Yust, William Sethares, and Andrew Milne have expanded on 32). Based on this idea, I will trace how the cross motive in Liszt’s
Quinn’s work. Though it was originally designed for pitch-class spaces, Sonata in B Minor undergoes “expressive transformations” in its
Emmanuel Amiot has explored the DFT in the rhythmic domain, and narrative journey throughout the piece.
has recently used it to explain analytical conundra (such as tiling).   The paper begins with a discussion of the sonata’s structure and of
In this paper, I will use the DFT in the context of various musical several programmatic readings. Then, a narrative analysis will illustrate
timelines to demonstrate its applicability to rhythm, before subsequently how music can have its own life, not only opening a hermeneutic window
implementing the model to study the music of Brahms. In doing so, I on this sonata as it relates to the composer’s religious conviction, but
hope to demonstrate how the DFT represents a configuration of metric also considering intertextuality in the sonata and a recent film, The
forms. Revenant, which expresses a similar emotional change. The secondary
theme in the Exposition with the cross motive expressing the glory of
the Crucifixion through metric changes, a fortissimo accompaniment,
Linguistic Stress and Its Relationship to Phrase: Rhythm and Meter and double octaves. By the end of the secondary theme, the cross theme
in Lee Hyla’s Dream of Innocent III is questioned because the music evades a cadence, anticipating what
Bryan Hayslett (New York University Steinhardt) will happen in the Development, where the motive’s expressive state
Rhythm and meter are essential to the compositional aesthetic of transforms to tragic. In the Recapitulation, the cross motive tries to
Lee Hyla (1952-2014), which reveals the diverse influences of Captain attain victory and accomplishes the glorious triumph with an apotheosis
Beefheart, Cecil Taylor, and Ludwig van Beethoven. More than pitched in the Coda, recovering its religiousness and magnificence.
elements or harmony, rhythm and meter are the primary structural and
stylistic determinants. While his music features sections of groove, Hyla “I Know Things Now:” Messages, Symptoms, and the Lacanian
also works within the metric framework of non-isochronous meter. Many Subject in Into the Woods
passages feature no discernible pulse or periodic meter; rhythms in these Tyler Howie (Boston University)
metric contexts often comprise varying combinations of duple and triple
subdivisions of the notated beat. Although events are notated within a   This paper examines the dramatic narrative of James Lapine and
metric framework, that framework is not part of the music as heard. Stephen Sondheim’s retelling of a classic folktale in the song “I Know
Things Now” from Into the Woods. It then examines the musical
  The improvisatory nature of Hyla’s rhythms suggests a linguistic narrative, and shows how it reflects the dramatic narrative of the
inspiration, and concepts from language, particularly English linguistic musical, before turning to psychoanalysis—particularly Lacanian
stress, help in understanding Hyla’s music. My study of Hyla’s Dream psychoanalysis—to aid the interpretation of the narrative(s) examined
of Innocent III presents an analytical model inspired by Lerdahl and previously. The interpretation deals with the Lacanian concept of the
Jackendoff’s generative theory of tonal music and the linguistic theories symptom, but must also, inherently, turn to the Lacanian subject and
of Bruce Hayes. Examining Hyla’s music from the perspectives of rhythm, three orders of subjectivity: the Imaginary, the Symbolic, and the Real.
N N
 n n
The paper opens with a discussion of interpretation, and how it pertains Dolphy’s solo on “Take the ‘A’ Train.” In the case of “Gazzelloni,”
to both music and psychoanalysis, before moving to analysis. “I Know Dolphy bases his composition on a two-octave synthetic scale he designed
Things Now” is sung by Lapine and Sondheim’s reincarnation of Little (F#,G,A,C,D,E,F,G#,B,C#,D#,F#), which establishes a 13-bar form that is
Red Riding Hood; in it Little Red recounts her story of being tricked and negotiated during the course of collective improvisation. Based on my
eaten by, and cut out of, the Big Bad Wolf. Through the song, Little Red research with Dolphy’s personal music manuscripts (Eric Dolphy
attempts to interpret and cure her symptom—a reflection in the music Collection at the Library of Congress), I demonstrate how Eric Dolphy
of the trauma she experiences after her encounter with the Wolf. The devised novel strategies for playing out by extending both Russell’s
examination of the dramatic narrative attempts to facilitate understanding theories and previous compositional and improvisational schemata.
by examining Lacanian concepts in the context of a familiar folktale; the
examination of the musical narrative attempts to show this Lacanian
narrative’s reflection in the music. Ancient Melody and New Sound in Music from the Tang Court:
A Heterophonic Perspective
Yu Ye (The University of Texas at Austin)
Panel 2: Harmony, Melody, and Texture
  Heterophony is a musical texture which features accidental or intentional
Eric Dolphy’s Out variations of one single melody within different vocal or instrumental
Clay Downham (University of Colorado Boulder) parts simultaneously. In Chinese traditional musics, heterophony is one
of the predominant textures in various genres. Due to the influence of
  An ardent force of the 1960s avant-garde, jazz musician, multi- Western-centrism and social Darwinism, heterophony once was considered
instrumentalist, and composer Eric Dolphy (1928-1964) developed “less advanced” than Western approach of harmonization or counterpoint.
systematic musical strategies for playing out, despite naïve or racist In recent decades, with the appreciation of cultural relativism, heterophony
perceptions of his music as random, comical, or most famously “anti- has been highly valued as one of the essential musical tools to construct
jazz.” The metaphor of out or playing outside has pervaded discourses national identity. However, in general, heterophonic writing is still far
of jazz and improvised musics since the 1950s. In particular, George from fulfilling its potential in the context of Chinese contemporary music.
Russell’s Lydian Chromatic Concept of Tonal Organization (1953, 1st ed.
& 1959, 2nd ed.), the most influential music-theoretic treatise to arise   Shanghai composer YE Guohui’s Music from the Tang Court (2013)
from African-American musical communities, establishes a universe provides a recent fascinating case of intensive heterophonic writing. I am
of tonal possibilities for musicians to explore, including conditions going to focus on its grand orchestra version (2013) and string quartet
for ingoing melodies and outgoing melodies. Through its inclusive and version (2014), which premiered in Shanghai and San Francisco respectively.
experimental philosophy, Russell’s LCCOTO contributed to the Both versions demonstrate the composer’s attempt to reconstruct the
technologies of performance and aesthetic agencies of African-American musical experience of the Tang dynasty yet in a contemporary way. The
musicians and others, particularly following its second publication in instrumentation relates to the musical performance scene of the tenth
1959. However, Russell’s music-theoretic work, the metaphor of out, century Chinese painting Night Revels of Han Xizai. The composition is
and Dolphy’s music have received little scholarly attention despite their primarily based on the heterophonic interpretation of Jiuhuzi (The Wine
ubiquitous positions in avant-garde music during the 1960s and beyond. Puppet), an ancient melody presented in ethnomusicologist Laurence
Eric Dolphy and his music provide an ideal case study of how Russell’s Picken’s multi-volume monograph Music from the Tang Court. By analyzing
LCCOTO can be apprehended by musicians and taken into a unique the interval structures and pitch cells within the composition, I will
“outward bound” trajectory. discuss how Ye constructs the “Chinese sound” with the alternative
use of heterophonic and chordal harmony.
  In this presentation, I focus on two recordings from the last several
months of Dolphy’s life in 1964: “Take the ‘A’ Train” live video footage
with the Charles Mingus Sextet and “Gazzelloni” from Dolphy’s last Panel 3: Meter, Rhythm, and Form
studio record, Out to Lunch!. For example, Dolphy’s sketchbooks include
voice-leading sketches of ii-V-I progressions in C, which places a quartal Form as Meter: Metric Forms through Fourier Space
harmony (Eb-Ab-Db-Gb) in lieu of the dominant G7 chord. Serving as Matthew Chiu (Boston University)
an “outgoing melody” in Russell’s sense, this quartal harmony then   Several significant music theorists have directly addressed, or alluded
appears in the form of an Ab blues scale (Ab-B-Db-D-Eb-Gb) in to, meter’s relationship with form. Among them is David Lewin who,

N N