MGSO 2024 Conference “Music, Time, and Space” Program
Friday March 22 (Cathedral of Learning Room 501)
9:00—Check in with coffee/snacks
9:45—Welcome
10:00—Panel 1: Death and Livingness LIVESTREAM
Discussant: Melanie Kaye Mosley
10:00—Savannah Rose Ridley
"This moment is not an appropriate time...to talk about history": Listening Against State-Time, Sonic Relationships with the American-Vietnam War Dead
10:20—Ioannis Tsekouras
Landscapes of sacrifice and salvation: Chronotopes of trauma postmemory in Pontic parakathi singing
10:40—Khadeeja Amenda
Building Sonic Pasts: Stories of Sound Making in Hyderabad’s Fragile Archives
11:00—Panel Questions and Discussion
12:00—Lunch break
2:00—Keynote Talk
Dr. Shana L. Redmond
The Music of Black Living, Before and Between
3:30—Break
5:00-7:00—Panel 2: Performances (Frick Fine Arts Auditorium) LIVESTREAM
Discussant: Danny Fratina
Annick Odom
"West Virginia, My Home"
"Elevator Story": Tall tale learned from Phyllis Marks, music composed by Annick Odom for solo bass and voice
“Untapped Potential”: By Jacob Sandridge, a West Virginian composer, for solo bass and voice
“This is Home”: By Jane Rogers, collaborating with a West Virginian lyricist Julianna Warner, for solo bass and voice
Eliza Gelinas
“Your Silent World”
Fabricio Cavero Farfan
Poem-Rite 4: “Stories on Strings”
Till The Teeth
Sound and (Un)Event
Panel Questions and Discussion
Saturday March 23 (Cathedral of Learning Room 501)
10:00—Panel 3: Time in Western Art Music LIVESTREAM
Discussant: Naama Perel-Tzadok
10:00—Nathan Courtright
Quotation, Reference, and Nostalgia: Musical Borrowing as Compositional Technique
10:20—Nathaniel Harrell
The Mass Ordinary in Sarah Kirkland Snider’s Mass for the Endangered
10:40—Carlos Gutiérrez Cajaraville
Towards a Transformation of Time: Sofia Gubaidulina’s Hommage to T.S. Eliot
11:00—Panel Questions and Discussion
11:30—Lunch Break
1:00—Panel 4: Future Techniques LIVESTREAM
Discussant: Dan Wang
1:00—Matt LeVeque
The Fire in Tomorrow: Sampling as Futurity
1:20—Abimbola Cole Kai-Lewis
Glareification: Representations of an Africanfuturist Past, Present, and Future
1:40—Janet Sit
Bubble, bubble toil and trouble: examining and applying underwater time-space experiences towards an eco-activism informed artistic practice
2:00—Panel Questions and Discussion
2:30—Break
3:00—Panel 5: Intermedia Spaces LIVESTREAM
Discussant: Candace Burgess
3:00—Mark Fredricks
Visible Time: How the Artworks of Rico Gatson Synthesize Music, Time, and Space
3:20—Teerath Majumder
The Spectacle of the Streamed Space: A Private and Separated Sonic Image for the Alienated and Isolated Viewer
3:40—Miguel Almeida
“Wait, is this recording in mono!?” Time, space, depth and width—Adapting monaural techniques for the stereo era
4:00—Panel Questions and Discussion
4:30—Closing Remarks
Shana L. Redmond
The Music of Black Living, Before and Between
Shana L. Redmond (she/her) is a writer and scholar of race, culture, and power. She is the author of Anthem: Social Movements and the Sound of Solidarity in the African Diaspora (NYU Press, 2014) and Everything Man: The Form and Function of Paul Robeson (Duke UP, 2020), which received numerous awards, including a 2021 American Book Award. Other writings appear for NPR, Boston Review, and Mother Jones as well as liner essays for albums including You've Got to Learn by Nina Simone (Verve, 2023). A 2023 Guggenheim fellow, she is professor of English and Comparative Literature and the Center for the Study of Ethnicity & Race at Columbia University and Past President of the American Studies Association (2023-2024).