Conferences Sponsored by the CPMS | Department of Music

“Popular Song in Film: Thirty Years of Gorbman’s Unheard Melodies,” October 6-7, 2017

Speakers included:

Caryl Flinn- How Todd Haynes Took the Camp out of The Carpenters
Anahid Kassabian- From Awkward to Insecure: Rap in a web series and its HBO offspring
Kevin Donnelly- The Rolling Stones Code and Performance (1970)
Jim Buhler- Nondiegetic Music and Stylized Sound- James Buhler
Jeff Smith- Pop Music, Processing Fluency, and Pleasure: Film Songs as Both Hype and Memento
Kathryn Kalinak- Popular Music at Edison: The Roots of Musical Accompaniment to Film
Richard Dyer- Is It Their Song? The Use of Popular Song for Melodramatic Climax
Elsie Walker- Hearing the melodies–from The Searchers to Shine
David Neumeyer- The Ballad of Sergei and Stella: Music in and from The Uninvited (1944)
Robynn Stilwell- Little Matched Girl: Belle’s voice, authenticity, and genuineness in Disney’s live-action Beauty & the Beast
Jennifer Fleeger- The Voice Lesson: Learning to Sing on Screen
Jim Deaville- Unheard Melodies: The Trailer
Neil Lerner- Unheard Metaphors are Sweeter: Towards a Disablist Film Music Theory
Julie Hubbert- Auteur Music and Labor
Daniel Goldmark- Pixar’s Memories
Martin Marks- I’ll Sing You in My Dreams: David Lynch’s American Songbook

The CPMS hosted the International Association for the Study of Popular Music, US-Branch’s annual conference at Case Western Reserve University. See information about the conference including the program.

Speakers included:

Natalie Oshukany (City University of New York), “‘Americanizing’ the Criminal Song: Willi Tokarev and Russian-Jewish Immigrant Identity in 1980s New York City”
Bryan Wright, (University of Pittsburgh), “The Ragtime Piano Revival Community in America”
Nicole Winger (University of Western Ontario), “Reinterpreting Harry Belafonte: A Narrative of Resistance, Activism and Crossover Success”
Sean Peterson (University of Oregon), “‘Hip-Hop Without a DJ’: Authenticating The Roots in an Era of Sample-Based Hegemony”
Catherine Hall (Florida State University), “‘Voldemort Can’t Stop the Rock!’: Music and Heroism in the Harry Potter Fandom”
Sarah Suhadolnik (University of Michigan), “Watch, Tweet, Listen, Repeat: Channel Surfing to the Top of the Charts”
Keynote lecture by Norma Coates (University of Western Ontario), “Fantasies and Humpty-Dumpties: Teen Girls, the Monkees, and The Monkees”

Speakers included:

Danielle Maggio (University of Pittsburgh), “‘Soul Power’: Black Popular Music as a Mobilizing Force For Radical Activism in Chicago, 1967-1973”
C. Megan MacDonald, (Florida State University), “White as Snow: Performances of Whiteness in Depression-Era Southern Gospel Communities”
Marco Accattatis (Rutgers University), “Work Hard, Play Hard: Normalizing Neoliberal Ideology in Popular Music”
Trevor Nelson (Michigan State University), “Bottoms Up: Parody, Camp, and Homonormative Critique in the Music of Willam Belli”
John Hausmann (College-Conservatory of Music, University of Cincinnati), “The Deadhead Community, Parodies, and the Marginalization of the Counterculture”
Christa Anne Bentley (University of North Carolina, Chapel Hill), “Self-Expression and Communal Belonging in Singer-Songwriter Performance from the 1970s”
Ryland Bennett (Tufts University), “The Cult of ‘Keytar Bear:’ Performing Utopia for Boston’s Masses”
Keynote lecture by Mark Katz (University of North Carolina, Chapel Hill), “‘We Need You to Get this Right’: Musical Communities and the Responsibilities of the Scholar”

Speakers included:

Robert Walser (CWRU), “A Typology of Drum Fills”
Mandy Smith (CWRU), “The Rhythm is Gonna Get You: The Primitive vs. the Virtuosic in Rock Drumming”
Mark Ferber (City College of New York), “Perspectives of Pedagogy of the Drumset”
Steven Baur (Dalhousie University), “Toward a Cultural History of the Backbeat”
Gareth Dylan Smith (Institue of Contemporary Music Performance), “Embodied Experience, Autoethnograph and Rock”

Speakers included:

Speakers included:

Richard Crawford (University of Michigan), “Scenes from Gershwin’s Porgy and Bess”
Walter Frisch (Columbia University), “If Ever a Wiz There Was: Harold Arlen and American Popular Song”
Keir Keightley (University of Western Ontario), “From Hogan’s Alley to Tin Pan Alley”
Jeffrey Magee (University of Illinois, Urbana-Champagne), “From Flatbush to the Sea: The Cozy Cottage Trope on Tin Pan Alley and Broadway, 1910s-70s”
Gillian Rodger (University of Wisconsin-Madison), “When Singing was Acting: Song and Character in Variety Theater”
Rose Rosengard Subotnik (Brown University), “My Father’s Musical Time-Capsule: American Songs, Sheet Music, and the Dream that Got Away”