Conference Papers and Presentations

  • Poster: Affective Music Theory and Musical Exploration: Michael Hamad’s @phishmaps (Society for American Music national conference, Montreal, Canada, March 2017)
  • Dancing in the Barn with Charles Ives (American Musicological Society national conference, Vancouver, BC, November 2016)
  • Assessing a Writing Across the Curriculum Collaboration (CUNY Coordinated Undergraduate Education Conference, Bronx, NY, May 2016)
  • Teaching History, Teaching Crisis (Invited roundtable discussion, Pedagogy in the Environmental Humanities Symposium, Columbia University, New York, NY, April 2016)
  • “Real Vermonters”: Dorothy Canfield Fisher and the New England Identity of Carl Ruggles (Society for American Music national conference, Boston, MA, March 2016)
  • All the Years Combine: Issues of Historiography in the Periodization of the Grateful Dead (Southwest Popular/American Culture Association, Albuquerque, NM, February 2016)
  • Affective Music Theory and Musical Exploration: Michael Hamad’s @phishmaps (Harvard Graduate Music Forum Conference: “Musical Cartographies,” January 2016)
  • Performing Race, Place, and Hybridity in the Music of the Talking Head (Invited lecture, Hitchcock Institute for Studies in American Music, Brooklyn, NY, April 2015; Society for American Music national conference, Sacramento, CA, March 2015; International Association for the Study of Popular Music conference, Gijón, Spain, June 2013)
  • “The Formerly Quiet Corner is Full of Bustle and Business”: Symphony Hall and the Changing Cultural Geography of Fin-de-siècle Boston (National conference of the Nineteenth Century Studies Association, Boston, MA, March 2015)
  • Embodied Environmentalism in John Luther Adams’s Become Ocean (Ecomusics and Ecomusicologies 2014: Dialogues, Asheville, NC, October 2014)
  • “Symphonic Dignity,” Geography, and the Reception of George Chadwick’s Symphony No. 2 (Society for American Music national conference, Little Rock, AR, March 2013)
  • Carl Ruggles, Walt Whitman, and the Gendered Place of Men and Mountains (Ecomusicologies 2012 conference, New Orleans, LA, October 2012; Graduate Students in Music conference, CUNY Graduate Center, New York, NY, April 2012)
  • Harmonic and Geographic Ambiguity in the Grateful Dead’s “Terrapin Station” (IASPM-Canada national conference, Montreal, QC, June 2011)
  • IT and the X Factor: Improvisational Strategies and Tendencies of Phish and the Grateful Dead (Popular Culture Association/American Culture Association national conference, San Antonio, TX, April 2011)
  • Phish and the Grateful Dead: What a Long, Uncomfortable Relationship It’s Been (Southwest/Texas Popular Culture Association/American Culture Association, Albuquerque, NM, February 2010)
  • “The Compass Always Points to Terrapin”: Harmonic and Geographic Ambiguity in the Grateful Dead’s “Terrapin Station” (American Musicological Society, Greater New York Chapter, Montclair, NJ, January 2010; Southwest/Texas Popular Culture Association and American Culture Association, Albuquerque, NM, February 2008)
  • Between Two Worlds: Aaron Copland and the Musical Place of Vitebsk (UCLA ECHO conference: “Space, Time and Music,” Los Angeles, CA, May 2008; American Musicological Society, Pacific Northwest Chapter, Vancouver, BC, April 2008)
  • Nomadic Musical Audiences: A Historical Precedent for the Grateful Dead (Southwest/Texas Popular Culture Association and American Culture Association, Albuquerque, NM, February 2007)

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