The final program for the 2021 Graduate Students in Music Conference is available for download here:

GSIM 2021 Program and Abstracts

Abbreviated CUNY GSIM 2021 Schedule:

Friday, March 19

3:00–4:30: Session #1—Musical Articulations of Social Identity | Chair: Anne Stone

  • Sirens, Soul, and Song: On the Listening Relations Between Romantic Soul-Bearers and Singing Water Nymphs (Caleb Labbe Phelan, University of Toronto)
  • “Let the Spectacle Astound You”: Experiencing Bals Publics in Eighteenth Century Paris (Anna Wodny, University of North Texas)
  • “Lookin’ Sad But Lookin’ Pretty”: Country Spectacle and Queer Cowboys (Lisa Pollock Mumme, Washington University in St. Louis)

4:45–5:45 Session #2—Music-Technological Interventions | Chair: Eliot Bates

  • Playing (with) the Moon: Earth-Moon-Earth as Musical Technology (Devanney Haruta, Wesleyan University)
  • Monetizing (and Evading) Music Algorithms: User-Generated Content and Surveillance in The Era of Automated Copyright (Matthew Blackmar, UCLA)

6:00–7:00: Session #3—Negotiating Musical Lineages | Chair: Jeff Nichols

  • Sculpting the Chromatic: Triadic Pitch-Space Delineations in Kurtág’s Wind Quintet, op. 2 (Amelia Brey, The Juilliard School)
  • New Sounds, Distant Echoes: Historical and Cross-Cultural Evocation in pedale traverso for Baroque Flute (Paulo Brito and Jin Cho, University of Toronto)

Saturday, March 20

10:15–11:45: Session #4—Sounding Spaces of Dissent | Chair: Jane Sugarman

  • Sonic Activism Against the Tear Gas: HongKonger’s Raging Roars and Sound Acts (Winnie W. C. Lai, University of Pennsylvania)
  • Iranian Female Singers and the Issues of Public Performance: A Case Study (Sepideh Raissadat, University of Toronto)
  • Sowing the Seeds of Discord: India’s Farming Protests and The Music of Global Logistics (Davindar Singh, Harvard University)

12:00–1:00: Keynote presentation—Dr. Nina Sun Eidsheim (UCLA) | Chair: Sam Teeple

Dismantling the Panopticon Ear and Aural Redlining

2:30–4:00: Session #5—Listening, Timbre, and Racialization | Chair: Emily Wilbourne

  • Love Songs and Love Spells: Micropolitical Negotiations in Three Recordings of “I Put A Spell On You” (Hannah Waterman, Stony Brook University)
  • “Age Ain’t Nothing But A Number”: Adultification By Timbre (Emily Milius, University of Oregon)
  • Black Music and the Nervous System: Music Scholarship and Eugenics in the Post-Reconstruction Research University (Sam Golter, University of Virginia)

4:15–5:15: Session #6—Subversion and Enforcement in Mashups | Chair: Mark Spicer

  • What’s So Funny? Mashups Through an Intersectional Lens (Kayla Shaeffer, Florida State University)
  • “Only Shooting Stars Break the Mold”: Comedy and Subversion in the Mashups of Mouth Sounds and Mouth Moods (Kate Schau, University of Oregon)

5:30–6:30: Session #7—Language as Musical Structure | Chair: Michelle Yom

  • Diegetic Sound? Re-thinking Musical Narrative by way of Experimental Hip Hop (Calder Hannan, Columbia University)
  • Embodied Shadow Voices, Super Reality, and Fake Music: Communicating Meaningfulness Through Nothing in One Hundred and Fourteen Words (automatica) (Nolan Hildebrand, University of Toronto)