Faculty presentations

Spring, 2017

Edward Pearsall, “Restless Minds: Seeking Equilibrium in Music.” International Musicological Society, Tokyo, Japan, March 20, 2017.

Robert Hatten, “Staging Subjectivity as Spiritual Freedom: Beethoven’s ‘Emergent’ Themes,” for “Utopian Visitions and Visionary Art: Beethoven’s ‘Empire of the Mind’ Revisited,” Internationales Forschungszentrum, Vienna (March 17, 2017).

Fall, 2016

Eric Drott, “Music as a Technology of Surveillance,” American Musicological Society, Vancouver, BC, November 3-6, 2016.

Eric Drott, “Music, Technology, and Music-as-Technology,” Society for Music Theory, Vancouver, BC, November 3-6, 2016.

Eric Drott, “Why the Next Song Matters” Keynote address, University of Minnesota Music and Sound Studies Symposium, Minneapolis, MN, September 16-17, 2016. Also to be presented at the University of Chicago Music Department Colloquium Series, May 2017.

Eric Drott, “Putting New Music Ensembles in their Place.” Response to Panel, “Aspects of Ensemble Practice in the 1970s,” Royal Musical Association Annual Meeting, September 3-5 2016, London, England.

Robert Hatten, “Agentially and Expressively Motivated Counterpoint,” for special session on “Agency in Instrumental Music in the Long Eighteenth Century,” Society for Music Theory, Vancouver, BC, November 4, 2016.

Robert Hatten, “A Theory of Virtual Agency for Western Music,” University of Michigan (Distinguished Resident Lecture), September 16; Eastman School of Music, September 30; and Michigan State University, January 13, 2017.

Robert Hatten, “Composing My Own Libretto: Valerie’s Scena from Compassion,” for “New Approaches to Poetry and Song,” a symposium at The University of Rochester, October 1, 2016.

Spring, 2016

James Buhler, “Cinematic Listening and the Early Talkie.” Music and the Moving Image. New York. 27 May 2016.
James Buhler, “The End(s) of Vococentrism.” Voicing the Soundtrack: A Conference in Honor of David Neumeyer. The University of Texas at Austin. 16 April 2016.
James Buhler, “Afterglow: Television, Joss Whedon, and The Avengers.” Society for Cinema and Media Studies. Atalanta. 1 April 2016.

Eric Drott, “Genre in the Age of Algorithms.” Paper presented at the Northwestern University Music Theory Colloquium, May 2, 2016

Eric Drott, “Notes on the Political Economy of Music Recommendation.” Paper presented at the American Comparative Literature Association national meeting, Cambridge, MA, March 17-20, 2016.

Robert Hatten, “Musical Gestures and Virtual Agency,” keynote for the Graduate Symposium, University of Arizona, Feb. 27. Co-directing workshop on Romantic form with Boyd Pomeroy, February 26.

Robert Hatten, “Musical Gestures and Virtual Agency,” and “On the Expressive Meanings Composed into Scene 4 of My One-Act Opera, Compassion” (with a piano-vocal performance by conservatory students), for Riccardo Ceni’s Laboratory on Musical Rhetoric, Boito Conservatory, Parma, Italy, March 14-17.

Robert Hatten, “A Theory of Virtual Agency for Music,” keynote for the International Congress on Musical Signification XIII, Canterbury, England, April 4-7.

Fall, 2015

Eric Drott, “La musique en streaming et les médiations du capitalisme cybernétique.” Keynote presentation, Association pour un Colloque Etudiant sur les Musiques Populaires, Paris, France, December 4-5, 2015.

Marianne Wheeldon, “Neoclassicism Reconsidered,” Louisiana State University, October 2015.

Spring, 2015

Robert Hatten, Housewright Scholar at Florida State University (5-day residency, February 16-20, 2015). Presentation and teaching for “Musical Meaning and Performance” (3 days), “Classical Forms and Styles,” “Music and Meaning” (doctoral seminar), “Pedagogy of Music Theory,” “Piano Etudes as Art Music,” and lectures for the Cawthon Colloquium (freshmen) and the Music Theory Society (“Virtual Agency in Music”).

Robert Hatten, “Virtual Agency in Music,” University of California at Santa Barbara, May 20, 2015.

Fall, 2014

Robert Hatten, “Beethoven, Sonata Form, and Paradox,” plenary lecture/performance (Beethoven, Op. 101, I), and paper for a session I organized, “Virtual Agency in Mozart’s Piano Sonatas: From Musical Forces to Subjectivity,” Semiotic Society of America, Seattle, Washington, Oct. 1-5, 2014.

Robert Hatten, “Virtual Agency in Music,” Louisiana State University, October 16, 2014.

Robert Hatten, “Interpreting the Mozart Piano Sonatas,” two lecture-demonstrations and a piano masterclass, Berea College, Kentucky, September 12-13, 2014.

Spring, 2014

David Neumeyer, “Music in the Vococentric Cinema: Aspects of the Dialectic of Sound and Image,” keynote for the 2014 Music Theory Forum at Florida State University, 18 January 2014.

Fall, 2013

Marianne Wheeldon, “Anti-debussysme and the Formation of French Neoclassicism,” International Conference for Music since 1900, Liverpool Hope University, England, 2013.

Robert Hatten, “Virtual Human Agency in Tonal Instrumental Music: From Musical Forces to Subjectivity,” for Music Theory Colloquium, Indiana University, Sept. 25; Music Theory and Cognition Colloquium, Northwestern University, Oct. 22, Karol Szymanowski Academy of Music, Katowice, Poland, November 28, 2013.

Robert Hatten and Ann Gebuhr, “A Sea of Dreams Did Breathe on Me…: Songs of Reflection and Nostalgia,” for Penderecki’s 80th birthday symposium, Academy of Music, Krakow, Poland, Nov. 26.

Robert Hatten “Analytical Techniques: Caplin, Rothstein, Lerdahl and Jackendoff, Krebs, and Meyer,” five lectures and ten classes. Doctoral lecture: “Beyond ‘Beyond Analysis’,” Kraków Academy of Music, November, 2013.

Robert Hatten,  “Semiotics and Music” introductory workshop, and “Narrative Agency in Music: Its Consequences for Shostakovich’s Opera Based on Leskov’s Lady Macbeth of Mtsensk,Semiotic Society of America, Dayton, Oct. 24 and 25; “Narrativity and the Arts” II, University of Strasbourg, France, December 6, 2013.

Spring, 2013

Turci-EscobarDavid Neumeyer, “Music Production and Compositional Aesthetics in the Classic Hollywood Sound Film,” for the “Thinking about Music” series at the College-Conservatory of Music, University of Cincinnati (March).

Robert Hatten, “Melodic Forces and Agential Energy: An Integrative Approach to the Analysis and Expressive Interpretation of Classical Melodies,” International Congress on Musical Signification XII, Louvain-la-Neuve and Brussels, Belgium, April 2-7, 2013.

Robert Hatten, “Engaging the Spiritual in Music,” invited lecture, Penn State University, April 16, 2013.

James Buhler, “Film Music and Narrative Focalization,” for “Music and the Moving Image” conference, NYU, May 31-June 2.

Fall, 2012

Marianne Wheeldon, “Debussy, debussysme, and the Chansons de Charles d’Orléans,” Guest lecture, University of Southern Mississippi, October.

Marianne Wheeldon, “Five Unknown Early Songs of Debussy: History, Style, Analysis, and Performance,” American Musicological Society, New Orleans, November.

Byron Almén and James Buhler, “‘To Everything There Is a Season’: Topic Formation and The Hearts of Space.” International Conference on Music Semiotics in Memory of Raymond Monelle, University of Edinburgh (October 26-28).

Eric Drott, “The Peasant’s Voice and the Tourist’s Gaze: Listening to Landscape in Luc Ferrari’s ‘Petite symphonie intuitive pour un paysage de printemps’,” Ecomusicologies 2012 Conference, New Orleans, LA (October 29-31).

Robert Hatten, “The Troping of Topics in Mozart’s Instrumental Music,” for “Eighteenth-Century Musical Topics as an Interface Between Structure and Expression”; and a panel presentation for “A Discussion on Mentoring and Being Mentored,” two AMS/SMT joint sessions, New Orleans, LA (November 2).

WheeldonMarianne Wheeldon, “Five New Early Songs of Debussy: History, Style, Analysis,
and Performance,” AMS/SMT joint session, New Orleans, LA (November)

Byron Almén, “An Overview of Musical Narrativity in North America and Great Britain,” 1st International Conference on Narratology and the Arts. Institut Hongrois, Paris. (December 7-8).

Robert Hatten, “Constructions of Musical Agency and Musical Narrative,” 1st International Conference on Narratology and the Arts. Institut Hongrois, Paris. (December 7-8).

Robert Hatten, “Beyond ‘Beyond Analysis’,” for “Musical Analysis: Historia-theoria-praxis,” Wroclaw, Poland (December 11-12).

Summer, 2012

James Buhler, “A Postcolonial Critique of Musical Topics,” for Music and the Moving Image VII, New York University (June 3).

Spring, 2012

Marianne Wheeldon, “Debussy, Debussysme et les Chansons de Charles d’Orléans,”
Colloque International Claude Debussy, Paris (February).

Marianne Wheeldon, “Debussysme after Debussy,” L’héritage de Claude Debussy,
University of Montreal (March).

Robert Hatten, “Musical Forces and Agential Energies: An Expansion of Steve Larson’s Model,”Keynote address for the Steve Larson Memorial Conference (West Coast Conference of Music Theory and Analysis), University of Oregon, Eugene, Oregon (March 2-4).

Robert HattenRobert Hatten, “Beyond ‘Beyond Analysis’,” Keynote address for Music Theory Southeast, Emory University, Atlanta, Georgia (March 9-10).

Robert Hatten, “On War and Peace (Inner and Outer): A Complex Series of Oppositions in Beethoven’s Agnus Dei and Op. 111 from 1822,” Beethoven Symposium, Beethoven Easter Festival, Warsaw, Poland (March 27).

Robert Hatten, “Engaging the Spiritual in Music through Theory and Analysis,” Houston Baptist University (April 12).

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