UPCOMING CONFERENCES

This summer, I’m participating in some conferences that I’m really excited about. If you’re going to be around and want to hang, please get in touch! Likewise, if you’re interested in any of the work I’ll be presenting, I’m happy to share talks in progress.

May 26–28 I’ll be at the IASPM conference in Ann Arbor. I’m particularly excited about this one, as I’ve organized a panel on improvisation, along with Marc Hannaford, Tracy McMullen, and Nichole Rustin-Paschal. My talk will try to condense the case study of Eric Dolphy that I present in Contingent Encounters, with particular attention paid to the ways in which Dolphy’s eccentricity (physical, sonic, affective) creates a space of sharp ambivalence in his music, an ambivalence that is both aesthetically compelling and politically powerful.

Shortly thereafter I’ll be in Chicago for the Cultural Studies Association, June 2–4. This will be the inaugural year for the Music and Sound Studies Working Group, which I started with my friend and colleague, Christine. What this means is basically that we are convening several panels at CSA organized around music and sound studies themes.

Around June 10 I’ll be presenting virtually at the “Teaching Music History” conference, talking a bit about my experience this term being thrown into a Western art music survey with 2-weeks of prep time. My talk is called “A Hybrid Approach to the Canon” and will be real honest about what went well/ super poorly this term.

June 14 I’ll be at Case for the American Musicological Society’s Popular Music Study Group. Here I’ll be workshopping an article on Big Feelings for (hopeful) future publication with some of the best pop music scholars around. The essay I’m working on explains the concept of “Big Feelings” in more detail than I did here, while also examining Soccer Mommy’s “Cool” in detail.

Following up on the study group, I’ll present at the “Theorizing African American Music” conference that same week, also at Case. My talk will try to articulate how music theory generally—and (institutionalized) jazz theory in particular—currently function as reinforcing mechanisms that resonate with and enhance masculine competitiveness within music schools. The paper is called “Race, Gender, and Jazz Theory: the Decontextual Power of an Abstract Science.”

Before any of that gets underway, I’m also spending two weeks as a Visiting Scholar at the Martin Buber Society of Fellows in the Humanities and Social Sciences in Jerusalem. This will be a collaborative visit with Carolin Müller.

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