The annual meeting of the American Musicological Society will take place in San Francisco in November. As with any academic conference, some scholars seem to have worked a tiny bit harder than others to arrest the eyes of those browsing the program. There is, of course, no guarantee that these will be the most interesting papers in the conference. (Hat tip: Will Robin.)
Francesco Dalla Vecchia, "Sopranos Gone Wild: Flashing in Seventeenth-Century Venetian Opera"
Craig Monson, "'How Do You Solve a Problem Like Maria?' — 'They Would Claw Each Other's Flesh If They Could': Conflicting Conformities in Convent Music"
David Kasunic, "Beethoven in the Background: Music and Fine Dining in Nineteenth-Century France"
Amanda Eubanks Winkler, "High School Musicals: Understanding Seventeenth-Century English Pedagogical Masques"
Rachel Cowgill, "Filling the Void: Theosophy, Modernity, and the Rituals of Armistice Day in the Reception of John Foulds's A World Requiem"
Jessica Wood, "An Old World Instrument for Cold War Diplomacy: The Touring Harpsichord in 1950s Asia"
Elaine Kelly, "Late Beethoven and Late Socialism in the German Democratic Republic"
John Howland, "Nobrow Pop in the New Millennium?: Nico Muhly and Post-2000 Chamber Pop"
Paula Higgins, "Josquin and the Dormouse: Aesthetic Excess, Masculinity, and Homoeroticism in the Reception of Planxit autem David"
Joseph Auner, "Weighing, Measuring, Embalming Tonality"
Footnote: Prof. Winkler's strong showing here is no accident; she is also the author of O Let Us Howle Some Heavy Note: Music for Witches, the Melancholic, and the Mad on the Seventeenth-Century English Stage. The title comes from the madman's song in The Duchess of Malfi.
Addendum: Electric Pasta.
