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ABSTRACTS
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Keynote Address:
Michael Tenzer (University of British Columbia)
On the Nature of Cyclic Time in Music
Kofi Agawu (Princeton University)
Paper Presentations:
Simha Arom (Directeur de Recherche Émérite au CNRS)
Polyphony by Way of Polyrhythm: The Case of the Banda-Linda Horn Ensembles
Negar Booban (Shiraz University, Iran)
Rhythm as Pattern and the Study of Free Rhythm: The Case Study of Iranian Classical Music
Carl Clements (CUNY Graduate Center)
Tradition and Innovation in the Bansuri Performance Style of Pannalal Ghosh
Richard Cohn (Yale University)
Brahms the African, Kwashie the German
Nicholas Cook (University of Cambridge)
Intercultural Analysis as Relational Musicology
David DeMotta (CUNY Graduate Center)
Interlocking Riff Complexes in Big Band Mambo, Latin Jazz, and Swing Arrangements from the
Early- to Mid-Twentieth Century
Austin Emielu (University of Ilorin, Nigeria)
The Concept of Change and Genre Development: A Case Study of Highlife Music
Orlando Enrique Fiol (University of Pennsylvania)
Grooves and Waves: Cyclicality and Narrativity in Cuban Timba Piano
Julian Gerstin (Keene State College)
Deep Rhythmic Structures in the African Continuum
Rachel Hall (St. Joseph's University) and Chiru Bhattacharya (Randolph-Macon College)
Geometrical Representations of North Indian Thats and Rags
Kalin Kirilov (Towson University)
Le Mystère Des Voix Bulgares: Decoding the Mystery
Bob Labaree (New England Conservatory of Music)
Steve Larson (University of Oregon)
Yonatan Malin (Wesleyan University)
Modal Analysis and Music-Text Relations in the Ashkenazic Jewish Tradition of Biblical Cantillation
Panayotis Mavromatis (New York University)
Modeling Dynamic Aspects of Mode (Echos) in Modern Greek Church Chant: A Mathematical Framework
and Its Analytical Applications
Andrew Clay McGraw (University of Richmond)
Balinese Experimental Music and the Ideology of Intonation
Katarina Miljkovic (New England Conservatory of Music)
Fractal Design in Japanese Gagaku music: Performance analysis of Goshoraku No Kyu
Robert Morris (Eastman School of Music)
Tana Varnams: An Entry into Raga Delineation in Carnatic Music
Fabrizio Pellizzaro Ferreri and Lawrence Shuster (University of Massachusetts Amherst)
Conceptions of Musical Time in Balinese Gamelan and Culture: A Study through the Contrasting Styles
of Gamelan Gong Gede and Gamelan Gong Kebyar
Marc Perlman (Brown University)
Representing Javanese Music: Postcolonial and Cognitive Perspectives on the History of
David Racanelli (Dowling College)
Formulaic Composition and Extended Variation in Mande Music
Jay Rahn (York University)
Settling the Oldest Scores: Idiom and Design in the Hurrian Pieces, ca. 1350 BCE
John Roeder (University of British Columbia)
Fluctuant Grouping in a Silk-and-Bamboo Melody
Peter Row (New England Conservatory of Music)
Decoding Traditional Indian Rāga Theory
Martin Scherzinger (New York University)
Speculative Analysis of Rhythmic Patterning in Two Zimbabwean Instrumental Genres; and its
Edwin Seroussi (Hebrew University of Jerusalem)
Chris Stover (University of Puget Sound)
Sumarsam (Wesleyan University)
Binary Division, Cyclic Recurrence and Dynamic Musical Interaction in Javanese Gamelan
Godfried Toussaint (McGill University)
Phylogenetic Techniques for Musical Rhythm Analysis
Leslie Tilley (University of British Columbia)
A Musical Mind in an Information Theory World: Refining Concepts of Repetition and Progression
Through Comparative Musical Analysis
Dmitri Tymoczko (Princeton University)
Musical Universals, Chinese Food, and Five Components of Tonality
Sarah Weiss (Yale University)
Revealing Form Through the Analysis of Process: A Case Study from Java and Thoughts on Using this
Richard Widdess (School of Oriental and African Studies, University of London)
Implicit Rāga Knowledge in the Kathmandu Valley
Chloe Zadeh (School of Oriental and African Studies, University of London)
Cultivating a Respectable Femininity: Gender and Girija Devi’s Thumrī Style
Poster Presentations:
Mohammad R. Azadehfar (University of the Arts, Tehran, Iran)
Made in Iran: Theoretical Principles of Iranian Music Tested on West Music Performers Living in Iran
Mark Hijleh (Houghton College)
Toward a Practical Theory of World Rhythm
Andrea Kuzmich (York University)
A Traditional Georgian Ursatz? Schenkerian—Styled Reduction Analysis and Cross Regional
Comparisons of Traditional Georgian Polyphonic Songs
David Locke (Tufts University)
The Metric Matrix: Simultaneous Multidimensionality in African Music
Guangrui Lu (JiMei University, China)
The Analytical Approaches about Tonality and Atonality —via the Analysis of the Coda Lullaby of
Joseph Lubben (Oberlin Conservatory)
Analyzing Venezuela’s Folk-Baroque Fusion Music
Noriko Manabe (Princeton University)
Commonalities and Differences in Japanese-language Text Setting among Traditional and Western-
Judah Matras (Hebrew University of Jerusalem)
Towards a Sociology of Israeli Musics
Jeffrey Meyer (Concordia College)
Genres, Panpipes, and Background Tonal Frames: Pitch Structures in Buin Music
Albert Oikelome (University of Lagos, Nigeria)
Stylistic Analysis of Afrobeat Music of Fela Anikulapo Kuti
Hideaki Onishi (National University of Singapore) and Pamela Costes-Onishi (Independent scholar)
Spontaneous Representation and Thought—Out Patterns: A Semiological Analysis of the Philippine
Kulintang’s Improvisational Idiom
Acácio Piedade (State University of Santa Catarina, Brazil)
Analyzing Amazonian Indigenous Music: Towards a Native Model
Indranil Roy (Independent scholar, India)
Notation Translation and Pattern Matching
Damien Sagrillo (Université du Luxembourg)
Computer Analysis of (Scottish National) Folksongs
Sami Abu Shumays (Independent scholar)
Maqam, Cognitive Science, and Information Theory: Avenues for Research in Arabic Music and
Maisie Sum (University of British Columbia)
Analysis of Sonic Structure in Gnawa Music