Twenty-Eigth Annual Symposium of Research in Music | March 25, 2022

Twenty-Eighth Annual Symposium of Research in Music

Hosted by the Indiana University Graduate Theory and Musicology Associations

Join us on March 25 & 26, 2022

Twenty-Eighth Annual
Symposium of Research in Music

For twenty-eight years, the Graduate Theory Association holds a symposium for graduate students at Jacobs during the spring semester. For the last two years, we have partnered with our Musicology colleagues to increase the symposium’s diversity and impact in the graduate population. The symposium always engages graduate students from IU, invited graduate students from US and Canada, IU professors, and the invited keynote speaker in lively debate about music scholarship. Graduate students can participate in a workshop with the keynote speaker (an invited scholar chosen by the student body), engage and lead discussions on roundtables, and either present their scholarship or learn about their peer’s current projects. Furthermore, the symposium has three presentations from scholars, one from the keynote speaker, and two from IU faculty. This year, the invited keynote speaker will be Prof. Catherine Coppola from the Hunter College and the in-house speakers will be Prof. Michèle Duguay (Music Theory) and Prof. Sergio Ospina Romero (Musicology).

Mítia D'Acol | President, Graduate Theory Association
Miguel Arango Calle | Co-president, Graduate Musicology Association
Travis Whaley | Co-president, Graduate Musicology Association

Location

Jacobs School of Music
Indiana University
Bloomington, Indiana

Date & Time

March 25
Ford-Crawford Hall
March 26
Sweeney Hall

Keynote Speakers

Catherine Coppola

Professor Catherine Coppola is a musicologist and Lecturer at Hunter College of CUNY, where she teaches core courses and those of her own design such as Reframing Opera: Gender, Race, Class; Musical Quotation and Allusion; and Women and Power in Mozart’s Operas. On the latter, her ASECS presentation, “Fallacies of Context and Change,” was lauded as “a brilliant critique of contemporary engagement with Mozart’s women” in the conference review for Eighteenth-Century Music (March 2020). An invited speaker at the Venice International Conference on Improvisation and Open Forms, her “Didacticism and Display in the Capriccio and Prelude for Violin, 1785-1840” was published in Musical Improvisation and Open Forms in the Age of Beethoven, ed. Gianmario Borio and Angela Carone (2018). Forthcoming in The Cambridge Companion to Mozart’s The Magic Flute, edited by Jessica Waldoff, is her invited chapter, “A Revaluation of the Dialogue as Indispensable.” She is currently working on two book projects about dramatic music and its relevance—one focusing on performance and scholarship, and the other for the Routledge series “Modern Musicology in the College Classroom.” Invited lectures include the Don Wright Faculty of Music Graduate Colloquium at the University of Western Ontario (2020), and the Musicology Bytes series at the CUNY Graduate Center (2021); as well as her invited roundtable, “Confronting Race in The Magic Flute” for the Study Session of the Mozart Society of America (2020). That conversation continued in her ASECS roundtable, “Painting the Moor Green: Confronting Race and Gender in in The Magic Flute” (2021). Her articles appear in 19th-Century Music, the Mozart Society of America’s Newsletter, The Journal of the Society for Textual Scholarship, and Smithsonian Magazine. Work on musical borrowing includes “Source and Reception in Busoni’s Fantasia nach Bach” and “Affinities between Busoni’s Music and the Native-American Sources for his Indian Fantasy.” Dr. Coppola was also invited to join the Board of the Mozart Society of America, the Thomas Hunter Honors Council, and the pre-concert lecturers for Lincoln Center’s Great Performers Series.

Michèle Duguay

Professor Michèle Duguay (she/her) is an Assistant Professor of Music Theory at the Indiana University Jacobs School of Music. Duguay earned a Ph.D. in music theory from the CUNY Graduate Center, where she also completed a Certificate Program in Women’s Studies. Her research focuses on gender and popular music, feminist music theory, issues in performance and analysis, and computer-assisted music analysis. Her dissertation, “Gendering the Virtual Space: Sonic Femininities and Masculinities in Contemporary Top-40 Music,” was awarded the SMT-40 dissertation fellowship from the Society for Music Theory. Duguay’s recent article in Theory and Practice models the pianist’s embodied experience of physical balance in contemporary piano music. Her research has been recognized by the Patricia Carpenter Emerging Scholar Award from the Music Theory Society of New York State (MTSNYS), the Arthur J. Komar Award from Music Theory Midwest (MTMW), and a doctoral grant from the Social Sciences and Humanities Research Council (SSHRC) of Canada. Duguay has taught music theory at The City College of New York and Lehman College and is co-founder of the Engaged Music Theory Working Group, which encourages music scholars to engage directly with issues of cultural politics—race, ethnicity, gender, sexuality, class, intersectionality, decolonization, and disability—in their research and teaching.

Sergio Ospina-Romero

Professor Sergio Ospina-Romero is Assistant Professor of Musicology at the Jacobs School of Music at Indiana University, in Bloomington. He is the author of two books, Dolor que canta (ICANH, 2017) and Fonógrafos Ambulantes (Gourmet Musical, forthcoming), and of several articles, book chapters, and short pieces on sound reproduction technologies, Latin American music, and jazz that have appeared in journals, books, and blogs across the Americas, including Journal of the American Musicological Society, Ethnnomusicology, Keyboard Perspectives, Latin American Music Review, Journal of Folklore Research, Musicology Now, Revista Argentina de Musicología, Resonancias, Boletín Música, Anuario Colombiano de Historia Social y de la Cultura, Maguaré, Historia y Sociedad, Goliardos, Ensayos: Historia y Teoría del Arte, and BanRep Cultural. He has taught at Universidad Nacional de Colombia, Pontificia Universidad Javeriana, Universidad de los Andes, and Cornell University, and is an active member of various academic associations, including the American Musicological Society, the Society for Ethnomusicology, and the Latin American Branch of the International Association for the Study of Popular Music (IASPM-AL). Awards and recognitions include the Klaus P. Wachsmann Prize of the Society for Ethnomusicology, Cornell University’s Donald J. Grout Memorial Prize, a Fulbright Scholarship, and honorary mentions at the Otto Mayer Serra Award and at the Premio de Musicología de Casa de las Américas. Sergio is the pianist and director of his own Latin jazz Trio, and of Palonegro, an ensemble of Latin American music with which he recently recorded the album “Two minutes apart”, available in all platforms of digital streaming.

Schedule

Complete Symposium Program

Friday, March 25 | Ford-Crawford Hall

1:00-2:00 P.M. Registration
2:00-2:15 P.M. Opening Remarks
2:15-5:15 P.M. Workshop: “Doing Meaningful Musicology with Canonic Opera”
6:00-7:00 P.M. “Acoustic Listening and the Making of Sound Recordings in Itinerant Studios, 1901-1925,” Professor Sergio Ospina-Romero

Saturday, March 26 | Sweeney Hall

8:00-9:00 A.M. Registration
9:00-10:30 A.M. Student Paper Session: "Narrative, Phenomenology, and Gender: Perspectives on Pedals and Timbre"
11:00-12:30 P.M. Student Paper Session: "Lizzo, Mountain Goats, et al.: Theorizing Pop Music"

12:45-2:15 P.M. Roundtables

2:30-4:00 P.M. Student Paper Session: "From Bach to Nashville: Music Analysis and its Pedagogy"
4:30-5:30 P.M. “Analyzing White Femininity in Taylor Swift’s Folklore: A Case Study in Feminist Theory,” Professor Michèle Duguay

7:30-9:00 P.M. “Opera and Its Discontents: Reflections of/on the Canon” Professor Catherine Coppola

1201 E 3rd St, Bloomington, IN 47405

March 25 | Ford-Crawford Hall
March 26 | Sweeney Hall

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