Humor and Horror: Immersive Functions of Glissandi in Video Game Music
Jeremy W. Smith (The Ohio State University)

Message from the Veins: Analyzing “Charts” in the Virtual Reality Rhythm Game Beat Saber
Drake Eshleman (Indiana University)

Unique Timbral Effects in 8-Bit NES: Technological Affordances in Mega Man 1–3
Matthew Ferrandino (Murray State University)

Tracing Boulanger’s La Grande Ligne in French Modernist Music
Matthew Bilik (The Ohio State University)

Hearing Materiality: Embodied Metaphors in György Ligeti’s Atmosphères and Lontano
Chris Lennard (Elon University)

Subversion and Rebellion: Readings of Anti-Narrative Strategies in Eastman’s Piano 2
Brendan McEvoy (Michigan State University)

Pitch, Motive, and Non-Alignment in the Idiomatic Phrasing of Melodic Rap Verses
Devin Guerrero (Texas Tech University)

Democratized Form: Collage and Cohesion in the Music of Bon Iver
Audrey Slote (University of Chicago)

“All The Lonely Starbucks Lovers”: Prosodic Dissonance in Taylor Swift’s Discography
Alexander Shannon (Indiana University)

Listening to Listening: Silence in the Music of Rebecca Saunders
Justin Weiss (University of Chicago)

Texture and Form in Henry Threadgill’s In For A Penny, In For A Pound
Guy Capuzzo (UNCG)

Listening for Culture in Performances of The Butterfly Lovers Violin Concerto
Clare Sher Ling Eng (Belmont University)

Rhythmic Resistance: Music’s Subversive Power in Women’s Anti-Violence Protests
Jill Vogel (Louisiana State University)

Tap Dance Choreographers as Composer-Analysts: Formal Interactions between Tap Dance and Post-Millennial Pop Music
Stefanie Bilidas (University of Texas at Austin)

Storytelling in Under Two Minutes: Exploring Narrative and the 3/4 Prechorus in Anime OPs
Sam Falotico (Eastman)

Dispersed Harmony as a Means of Distinguishing Sacred Harp Hymn-Tune Subgenres
Robert T. Kelley (Lander University)

One More Time: Ritornello Cycles in J.S. Bach’s Concerto for Two Harpsichords in C major (BWV 1061), First Movement
Vlad Praskurnin (CUNY Graduate Center)

Bitter Rage, Beautiful Song: Form and Function in Maslanka’s Symphony No. 10
Wesley J. Bradford (University of Louisiana at Lafayette)

Extended Techniques and Valve Transformations and in Luciano Berio’s Sequenza X (1984)
Gillian Radcliffe (Florida State University)

Nonexistent Fundamentals and Distant Partials as the Source of Tuning and Pitch Inception
Navid Bargrizan (East Carolina University)

Distances in voice-leading spaces as tensional relationships: Determining form in John Adams’ Nixon in China (1987)
Eric Yang (University of Toronto)

“Ancient Voices”: A Hypermetrical and Orchestrational Analysis of the Theme Songs to Seasons of CBS’s Survivor
Micah Roberts (University of Cincinnati College-Conservatory of Music)

All the Blues: Measuring Blue Note Usage in Jazz Improvisation
Connor Davis (Jacksonville State University), Peter Bryant,
Laura Weinkauf, Shannon Roberston, Trevor Johnson

Woo Young-Woo: Autistic, Not a Child
Tiffany Ta (University of California, Santa Barbara)

Terminally Anti-Climactic Form in Post-1990s Progressive Metal
Zachary Simonds (Florida State University)

Signifyin(g) on the Performer/Listener: Formal Process as Rhetorical Prank in the Scherzo of Florence Price’s Piano Sonata in E Minor
Benjamin Dobbs (Furman University)

Compound S-Module Strategies in Emilie Mayer’s Solo Sonatas
Tyler Osborne (University of Louisville)

Markedness Correlations and the Constraints of Operatic Multimedia
Nathaniel Mitchell (UNCG)

From Old-Time to “Hard Times”: Phrase Rhythm and Prosody in the Music of Tyler Childers
Samantha Waddell (Indiana University)

The Evolution of the Hero’s Introduction: Topic and Intercultural Trope in Kollywood Film Music
Hanisha Kulothparan (Eastman)

From “Moonlight Blest” to Wordless Grief: Deforming the Lullaby Topos in Amy Beach’s Cradle Song of the Lonely Mother
Sabrina Clarke (Meredith College)