- Log in
- About SMT
- Annual Meeting
- Boards and committees
- Bylaws, guidelines, and policies
- Call for Proposals
- Upcoming Events
- Grants and Awards
- Societies and Interest Groups
- Online Resources
- Special Offers
- MTS at Oxford Journals
The SMT offers educational workshops for graduate students, emphasizing instruction, participation, and discussion. The Graduate Student Workshop Program was founded by Wayne Alpern, who acted as Administrative Director of the Program from 2006–2011, and whose efforts, innovative ideas, and financial contributions supported the Program during its initial years. To encourage interaction, each workshop is limited to approximately 10–12 participants. Since its inception, around 269 graduate students have participated in the GSWP.
To apply for the 2017 workshop program, please send your name, e-mail, school affiliation, and degree program to Andrew Mead at email@example.com. Please be sure to indicate which workshop(s) you are applying for—you may apply for one or both. Also, you must have a professor at your institution send an email to firstname.lastname@example.org confirming that you meet the requirements for participation stated above. Applications are due by 1 July 2017; selected participants will be notified shortly thereafter. Be aware that these workshops require many hours of preparation in advance, including both reading and writing assignments. You are not expected to be an expert in the subject matter of the workshop(s) for which you apply, but you should have a serious interest in it and a commitment to it. In the event that a student selected for a GSWP workshop also has a paper accepted to the conference and scheduled by the program committee at a time conflicting with the workshop, the student may need to forgo participation in the workshop.
All full-time students registered in a graduate program in music theory, or in a graduate program in musicology or composition with a substantial theory component, and who have not received their Ph.D. as of July 1, 2017, are eligible to apply. Participants are selected by a random draw from the pool of applicants. The GSWP is intended to provide students with the opportunity to study with a professor not at their home institution; therefore, students affiliated with the institution of the instructor are not eligible for that instructor’s workshop. Prior GSWP participants are permitted to apply, but preference will be given to first-time applicants.
Be aware that these workshops require many hours of preparation in advance, including both reading and writing assignments. You are not expected to be an expert in the subject matter of the workshop(s) for which you apply, but you should have a serious interest in it and a commitment to it.
Applications are due by April 1, 2015; the selected participants will be notified by May 1, 2015.
Applications for 2015 are closed.
In the event that a student selected for a GSWP workshop also has a paper accepted to the conference and scheduled by the program committee at a time conflicting with the workshop, the student may need to forgo participation in the workshop.-->
There is no fee to participate in the program. Participants are responsible, however, for the cost of SMT membership and conference registration (but not at the time of application), as well as for other expenses of attendance, including transportation, housing, and meals. The GSWP provides a reception on the evening before the workshops and a modest brown-bag lunch after the workshops.
Marion Guck (University of Michigan): Music-Listener Intersubjectivity
Many listeners (including performers and composers; professional musicians and amateurs), hear human psycho-physical states and behaviors in music, among them affects and states of mind, as well as gestures and movements. These heard and felt qualities elicit reciprocal responses, including affects that either duplicate or complement the music’s or physical states aroused by the music. For example, listeners might feel happiness when the music seems sprightly, or concern when the music seems troubled, or they may experience physical expansiveness when the music seems uplifting. Thus the relationship between listener and music resembles relationships between one person and another—it is in this sense intersubjective.
The workshop will focus on three aspects of this music-listener intersubjectivity: the qualities conveyed, the responses elicited, and the aspects of the musical sounds that elicit both the psycho-physical attributions and the responses felt. The repertoire we will address is common-practice tonal concert music. I will provide participants with a reading list and we will consider descriptions of music found in the readings and in musical passages suggested by the participants.
Frank Samarotto (Jacobs School of Music, Indiana University): The Craft of Musical Analysis
The practice of our discipline typically gives high priority to the formulation of theories that generalize about musical structures. This workshop will reverse that priority by seeking in music the special and the individual, that is, the stuff of analysis. We will seek to address a selection of pieces as unique personalities with which we have a direct relationship. I will argue that analysis of this sort is a craft that can be developed, and in the workshop we will endeavor to hone those skills.
- 2016: Meter and Form in 19th-Century Music Instructor: Richard Cohn (Yale University); Topics, Phrase Structure, and Sonata Form in Haydn's Chamber Music Instructor:Danuta Mirka (University of Southampton)
- 2015: Schubert’s Modulatory Practice and the History of Tonal Coherence Instructor: Suzannah Clark (Harvard University); Cognitive Science Meets the Orphans Instructor:Robert Gjerdingen (Northwestern University)
- 2014: Exploring Pitch Memory and Melody Perception: Empirical Approaches Instructor: Elizabeth West Marvin (Eastman School of Music); Finding Narratives in Formal Analysis of Popular Music Instructor: Jocelyn Neal (University of North Carolina at Chapel Hill); Renaissance Instrumental Music Instructor: Peter Schubert (McGill University)
- 2013: The Idea of Musical Form as Process, from Analytic and Performance Perspectives Instructor: Janet Schmalfeldt (Tufts University); What is Metric Well Formedness? Instructor: Justin London (Carleton College)
- 2012: Harmony and Voice Leading in Rock and Pop Music Instructor: Walt Everett (University of Michigan); A Corpus-Based Approach to Tonal Theory Instructor: Ian Quinn (Yale University)
- 2011: Exploring Musical Spaces Instructor: Julian Hook (Indiana University)
- 2010: Stravinsky Instructor: Gretchen Horlacher (Indiana University); Musical Narrative Instructor: Michael Klein (Temple University)
- 2009: Music Pedagogy Instructor: Brian Alegant (Oberlin College); Schenkerian Analysis Instructor: Poundie Burstein (City University of New York)
- 2008: Musical Meaning in Beethoven Instructor: Robert Hatten (Indiana University); Analyzing Contemporary Music Instructor: John Roeder (University of British Columbia)
- 2007: Sonata Theory Instructors: James Hepokoski (Yale University) and Warren Darcy (Oberlin College); Analyzing Early Music Instructor: Cristle Collins Judd (Bowdoin College)
- 2006: Voice Leading in Atonal Music Instructor: Joseph Straus (City University of New York)
For additional information, please contact Andrew Mead, Chair of the Committee on Workshop Programs, at email@example.com. The 2017 Committee on Workshop Programs also includes Alan Gosman (University of Arkansas), Antares Boyle (University of British Columbia) and Vasili Byros (Northwestern University).