Please note: there will be two parallel sessions on both days of the conference.
Friday AM (April 29)
8:00AM–9:00AM registration, Humanities Institute Lobby
9:00–12:15 (coffee break 10:30-10:45), Humanities Institute 1006 & 1008
The Natural and the Technical
Chair: Stephen Decatur Smith (Stony Brook University, Music Department)
- Andrew Greenwood (Southern Illinois University Edwardsville), “Scotland’s ‘Sonic Enlightenment’”
- Kate Galloway (Memorial University of Newfoundland, Canada) “Curating Past Soundscapes and Sonic Memories through Radio: Field Recording, Exploratory Soundwork, and the Historical Evidence of Hearing Cultures”
- Henry Peter Reese (University of Melbourne, Melbourne, Australia), “The Noise of the Desert: Recording Aboriginal Australia in the 1920s”
- Jennifer Hsieh (Stanford University),”Elusive Noise: Techniques of Arbitration and the Hearing Subject in Environmental Noise Control”
Animating Inscriptions
Chair: Catherine Bradley (Stony Brook University, Music Department)
- Mary Caldwell (University of Pennsylvania), “Singing Joy, Singing Pain: Vocalizing Emotion in the Medieval Conductus”
- Andrew Albin (Fordham University at Lincoln Center), “The Manuscript is an Instrument and We Must Play”
- Mark Rodgers (Yale University), “Archive Traces: Petrucci’s Frottole and the Process of Replication”
- Kassandra Hartford (Muehlenberg College), “A Listening Guide to No Man’s Land: Capturing the Aural Culture of the First World War in Text and Music”
Friday PM
1:15PM–4:30PM (coffee break 4:30-5:00pm), Humanities Institute 1006 & 1008
Immersion
Chair: Robert Crease (Stony Brook University, Department of Philosophy)
- Angharad Davis (Yale University), “‘A Physical Possibility’: Sound, Vibration, and the Fourth Dimension in George Antheil’s Ballet Mécanique”
- Daniel Sharp (Tulane University), “Acousmatic Voices in the Brazilian Backlands”
- Scott Wilson (Unitec Institute of Technology, Auckland, New Zealand) “Dawn Chorus: Institutional Sound Use, Identity and Ideology”
- John Melillo (University of Arizona), “Breaking Waves and Aurality”
Intersensoriality
Chair: Stephanie Jensen-Moulton (Brooklyn College of CUNY)
- Stefan Honisch (University of British Columbia, Vancouver, Canada), “‘With ravished fingers’: Unseeing and Unhearing the Musical Encounters of Helen Keller”
- Bryce Peake (University of Maryland, Baltimore County), “Taking ‘Listening Seriously’ Seriously: Standpoint Acoustemology and Ethnographic Methods in Gibraltar’s British Botanical Garden”
- Katherine Kaiser (Independent Scholar), “Listening with Vocal Chords: An Embodied Approach to Recorded Voices in Twentieth Century Music”
- Magdalena Zdrodowska (Jagiellonian University, Cracow, Poland), “Sound-Amplifying Instruments for the Deaf: between Assistive and Emancipatory Technologies”
Friday Plenary Session
5:00PM–7:00PM, Humanities Institute 1006
—reception to follow—
Chair: Erika Honisch (Stony Brook University, Music Department)
Plenary Speakers:
Emma Dillon (King’s College London): “Sound History and the Comedy of Absence”
Stefan Helmreich (MIT): “For and Against Sound: Cosmic Waveforms, Cochlear Implant Music, and Hearing Humans”
Saturday AM (April 30)
9:00AM-noon (coffee break, 10:30-10:45), Student Activities Center 302 & 303
Soundstates
Chair: Judith Lochhead (Stony Brook University, Music Department)
- Sara Ballance (University of California, Santa Barbara), “Noisy Bodies: Gender, Physicality, and the Nineteenth-Century Silent Piano”
- Alexandra Kieffer (Rice University), “Debussy’s ‘Consonant’ Sevenths and the Challenge of Reception History”
- Clara Latham (Dartmouth College), “Echoes of Helmholtz: Sonic Materiality and Psychoanalytic Technique”
- Nicholas Tochka (University of Maryland), “Sound, Sovereignty, and “the Battle for the Mind” in the Early Cold War, c. 1945-1960”
Histories of Hardware
Chair: Ryan Minor (Stony Brook University, Music Department)
- Felix Gerloff (Academy of Art and Design Basel, University of Applied Sciences and Arts, Northwestern Switzerland, Basel, Switzerland) and Sebastian Schwesinger (Humboldt-University Berlin, Berlin, Germany), “The Genealogy and Efficacy of the Decibel”
- Andrea Bohlman (University of North Carolina, Chapel Hill) and Peter McMurray (Harvard University), “Rewind: or, Rethinking the Phonographic Regime”
- Ted Gordon (University of Chicago), “The Buchla Box and the Cultural Technique of Electronic Music”
- Lilian Radovac (New York University), “Outside the Box: Segregating Sound in 1970s New York”
Saturday PM
1:30PM–4:30PM (coffee break, 2:45–3), Student Activities Center 302 & 303
Empires and Regimes
Chair: Margarethe Adams (Stony Brook University, Music Department)
- G. Douglas Barrett (Akademie Schloss Solitude, Stuttgart, Germany) “The Limits of Sound: Critical Music After Sound“
- David Suisman (University of Delaware) “The Militarization of Sound: Power, the State, and the Acoustics of Modern Warfare”
- Eleni Kallimopolou (University of Macedonia, Thessaloniki, Greece), “Religious Buildings in Transition: The Meanings of Sacred Sound in Early 20th-Century Thessaloniki”
- Naomi Waltham-Smith (University of Pennsylvania), “Parisian Soundstates of Emergency”
Special Session
Discussants: Don Ihde (Stony Brook University, Department of Philosophy) and Jennifer Stoever (Binghamton University)
- Andrés García Molina (Columbia University), “Telecommunications in Cuba and Theories of Sound, Media, and Infrastructure”
- Megan Hill (University of Michigan) “‘Asakusa Meibutsu’: A Geisha in a Tokyo Soundscape Montage”
- Jacques Vest (University of Michigan), “On the Bottling of Souls: The Metaphysics of Sound Reproduction, 1878-1929”
- Stephanie Probst (Harvard University) “Sound to Point and Line: Visualizing Music at the Bauhaus”
- Alexander Newton (University of Texas-Austin), “Music on the Body, Music in the Ears: Gendered Hollywood Film”
Saturday Plenary Session
5:00–7:00PM, Wang Center Lecture Hall 2
Chair: Benjamin Tausig (Stony Brook University, Music Department)