SOUND AND AFFECT: VOICE, MUSIC, WORLD

International ConferenceStony Brook University

April 18-19, 2014

Friday, April 18

8:00 am - 9:00 am: Registration, Humanities Institute Lobby 9:00 am -10:30 am : Session 1a, Humanities Institute, 1006

Session Chair, Amy Cimini, Music, UCSD

Ryan Dohoney, Musicology, Northwestern University “Whitehead’s Process, Music’s Reality: On Some Potential Modifications to Affect Theory”

Dan Wang, Musicology, University of Chicago “Skepticism’s Moods”

9:00 am - 10:30 am: Session 1b, Humanities Institute, 1008

Session Chair, Karmen MacKendrick, Philosophy, Le Moyne College

Adam Knowles, Philosophy, New School for Social Research “The Gender of Silence: Chōra and the Voice of Women in Ancient Greece”

Kris Trujillo, Rhetoric, U.C. Berkeley “Labor of Love: Psalter Recitation and the Affective Rhythm of Contemplatio”

10:45 am - 12:15 pm: Session 2a, Humanities Institute, 1006

Session Chair, Brooke Belisle, Cultural Analysis and Theory, Stony Brook University

Friday, April 18

Jessica Wiskus, Music, Duquesne University “Affect and Temporality: Maurice Merleau-Ponty on Depth and Movement in Music”

Sophie Landres, Art History, Stony Brook University “Playing Dead: Charlotte Moorman, Nam June Paik, and the Uncanny Body”

10:45 am - 12:15 pm: Session 2b, Humanities Institute, 1008

Session Chair, Ryan Minor, Music History and Theory, Stony Brook University

Christopher Haworth, Music, University of Calgary “Music Listening and Autobiographical Memory in Thomas Bernard’s Correction”

Emily Richmond Pollock, Music and Theater Arts, Massachusetts Institute of Technology “How ‘Abstract’ an Opera? : Stereotyped Emotion and the Political Poetics of Nonsense”

12:15 pm - 1:15 pm: Lunch, Humanities Institute Lobby

1:15 pm - 2:45 pm: Session 3a, Humanities Institute, 1006

Session Chair, Michael Gallope, Cultural Studies and Comparative Literature, University of Minnesota

Friday, April 18

James Currie, Musicology, University at Buffalo “An Orchestra of Nobodies: Daniel Barenboim and the Affective Disciplines of Musical Life”

Sara Marcus, English, Princeton University “’What do you want?’ Noise and Political Desire on the Cusp of Black Power”

1:15 pm - 2:45 pm, Session 3b, Humanities Institute, 1008

Session Chair, Ellie Hisama, Music Theory, Columbia University

John Melillo, English, University of Arizona “Affect and Belonging: Four Ways of Listening to Noise”

Benjamin Downs, Music History and Theory, Stony Brook University “Melancholy and the Politics of Vocal Materiality in Helmut Lachenmann’s Das Mädchen mit den Schwefelhölzern”

3:00 pm - 4:30 pm, Session 4a, Humanities Institute, 1006

Session Chair, Catherine Bradley, Music History and Theory, Stony Brook University

Emily Wilbourne, Musicology, Queens College and the Graduate Center CUNY ‘The Recorded Voice in Seventeenth-Century Italy”

André Redwood, Music Theory, University of Notre Dame “Delivering Affect: Sound and the Divine in the Harmonie universelle”

Friday, April 18

3:00 pm - 4:30 pm: Session 4b, Humanities Institute, 1008

Session Chair and Respondent, Robert Harvey, Cultural Analysis and Theory, Stony Brook University

Lorenzo Simpson, Philosophy, Stony Brook University “The ‘Sound’ of Music: Sonic Agency and the Dialectic of Freedom and Constraint in Jazz Improvisation”

Eduardo Mendieta, Philosophy, Stony Brook University “The Philosopher’s Voice: The Prosody of Logos”

Don Ihde, Philosophy, Stony Brook University “Postphenomenology: Sounds beyond Sounds”

4:30 pm-5:00 pm: Coffee Break, Humanities Institute Lobby

5:00 pm - 6:30 pm: Plenary Session I, Humanities Institute 1008

Session Chair, Stephen Decatur Smith, Music History and Theory, Stony Brook University

Tamara Levitz, Musicology, UCLA “Sara Ahmed’s Cultural Politics of Emotions and Forging Peace in the Middle East through Music”

Robin James, Philosophy, UNC Charlotte “Waves of Moderation: The Sound of Sophrosyne in Ancient Greek and Neoliberal Times”

6:30 pm: Reception, Wang Center, Alumni Lounge

Saturday, April 19

8:00 am - 9:00 am: Registration, Humanities Institute Lobby

9:00 am - 10:30 am: Session 1a, Humanities Institute, 1006

Session Chair, Ben Tausig, Ethnomusicology, New York University

Peter Winkler, Composition, Stony Brook University “Blackface and the Voice of Elvis Presley”

Ted Gordon, Musicology, University of Chicago “’High in the Custerdome’: Steely Dan’s Split Libido”

9:00 am - 10:30 am: Session 1b, Humanities Institute, 1008

Session Chair, Jairo Moreno, Music Theory, University of Pennsylvania

Roger Mathew Grant, Music Theory, University of Oregon “After the Natural Sign: Affect Theory’s End?”

Daniel Villegas Vélez, Musicology, University of Pennsylvania “Mimesis and the Affective Ground of Baroque Representation”

10:45 am - 12:15 pm: Session 2a, Humanities Institute, 1006

Session Chair, Stephen Decatur Smith, Music History and Theory, Stony Brook University

Berthold Hoeckner, Music and the Humanities, University of Chicago “Film, Music, Affective Economies”

Saturday, April 19

Julie Beth Napolin, Literary Studies, The New School “Miscegenating Sound”

10:45 am - 12:15 pm: Session 2b, Humanities Institute, 1008

Session Chair, Kathleen Vernon, Hispanic Languages and Literatures, Stony Brook University

Mack Hagood, Media, Journalism, and Film, Miami University, Ohio “Tinnitus: Sound, Suffering, and Remediation”

Michael Birenbaum Quintero, Ethnomusicology, Bowdoin College, Brunswick, Maine/ Universidad del Valle, Cali, Colombia “Loudness, Excess, and the Affect of Sovereignty and Abjection in a Neoliberal Frontier Zone (Buenaventura, Colombia)”

12:15 pm - 1:15 pm: Lunch, Humanities Institute Lobby

1:15 pm - 2:45 pm: Session 3a, Humanities Institute, 1006

Session Chair, Margarethe Adams, Ethnomusicology, Stony Brook University

Denise Elif Gill, Musicology and Ethnomusicology, Washington University in St Louis “Affect and the Melancholic Modalities of Turkish Classical Musicians”

Saturday, April 19

Murray Dineen, Musicology and Music Theory, University of Ottawa “Work’s End”

1:15 pm - 2:45 pm: Session 3b, Humanities Institute, 1008

Session Chair, Andrew Uroskie, Art History and Criticism, Stony Brook University

Aaron Hayes, Music History and Theory, Stony Brook University “Nietzsche’s Ariadne in Barraqué and Deleuze: Dionysian Affects of the Avant-Garde Voice”

Anthony Abiragi, Humanities, University of Colorado, Boulder “The ‘Quick of Life’ as Affect of the Political: Blanchot, Speech, and World Disclosure”

3:00 pm - 4:30 pm: Session 4a, Humanities Institute, 1006

Session Chair, Deborah Kapchan, Performance Studies, New York University

Martin Scherzinger, Media Culture and Communicat, New York University “From Autonomous Listening to Automatic Listening: Music, Software, Affect”

Tony Perman, Ethnomusicology, Grinnell College “Semiotic Expectations and the Transformation of Emotional Experience in Mhongo Drumming in Zimbabwe”

Saturday, April 19

3:00 pm - 4:30 pm: Session 4b, Humanities Institute, 1008

Session Chair, Brian Kane, Music Theory, Yale University

Deniz Peters, Music Aesthetics, University of Music and Performing Arts, Graz “Gesture, Empathy, Affect: The Adverbial Expression of Emotion in Music”

Chris Stover, Music Theory and Composition, New School for Jazz and Contemporary Music “Affect and Improvising Bodies”

4:30 pm - 5:00 pm: Coffee Break, Humanities Institute Lobby

5:00 pm- 6:30 pm: Plenary Session II, Humanities Institute 1008

Session Chair, Judy Lochhead, Music History and Theory, Stony Brook University

Lydia Goehr, Philosophy, Columbia University “Red Squares: Blank Scores: Affektive Images and Thought Experiments”

Gary Tomlinson, Musicology, Yale University “Sign, Affect, and Musicking before the Human”

6:30: Banquet for Conference Participants, Hilton Garden Inn

Principle Organizers:

Judy Lochhead, Stony Brook University Eduardo Mendieta, Stony Brook University Stephen Decatur Smith, Stony Brook University

Conference Committee:

Jairo Moreno, University of Pennsylvania Amy Cimini, University of California, San Diego Tomas McAuley, Indiana University Lorenzo Simpson, Stony Brook University

This conference was sponsored by Stony Brook University’s Department of Music and Department of Philosophy, with the assistance of the Music and Philosophy Study Groupof the American Musicological Society, and in collaboration with the Music and Philosophy Study Group of the Royal Musical Association.

It was supported by a grant from the Research Initiatives Fund for Fine Arts, Humanities, and the Lettered Social Sciences at Stony Brook University.We thank E. Ann Kaplan and Kathleen Wilson for the use of the Stony Brook Humanities Institute.Our thanks also to Alissa Betz, Martha Zadok, Michael Boerner, Matt Brounley, Katherine Kaiser, Felipe Ledesma-Núñez, Oksana Nesterenko, and Hayley Roud.